Podcasts about his carnegie hall

Jeff Harnar is an award-winning cabaret, concert and recording artist. His Carnegie Hall appearances include both the Cole Porter and Noël Coward Centennial Galas. Jeff's televised PBS concerts include: The 1959 Broadway Songbook with music director Alex Rybeck, as well as American Songbook: Stephen Sondheim co-starring KT Sullivan, and Michael Feinstein's Live at the New Jersey Performing Arts Center. Jeff also toured with Broadway's Shauna Hicks in their Symphony Pops Concert I Got Rhythm: Mickey & Judy's Hollywood. For his exceptional live performances, and for directing the shows of other outstanding performers, Jeff has won multiple MAC, Bistro, and BroadwayWorld Cabaret Awards and The Noël Coward Foundation Cabaret Award. He's released four solo albums, including Dancing in the Dark, and most recently I Know Things Now: My Life in Sondheim's Words. Jeff can also be seen performing in the movie Joshua Tree, 1951: A Portrait of James Dean. 

Drawing on the concepts presented in Matt's book, Hooks: Lessons on Performance, Business, and Life from a Working Musician, Stuart Malina  joins Matt to discusshis role in creating Movin' Out and a reflection on the show 20 years later,multiple strategies for masterful performance,utilizing and discerning opinions,and maintaining a balanced perspective professionally and personally.In a wide variety of concerts, from masterworks and grand opera to pops, Stuart Malina's ease on the podium, engaging personality, and insightful interpretations have thrilled audiences and helped break down the barriers between performer and listener.This year marks Stuart's 22nd season as Music Director and conductor of the Harrisburg Symphony Orchestra. In June 2022, he was named Music Director of the Greenwich Symphony Orchestra in Greenwich, CT, where he will begin conducting concerts in September of 2023. Throughout his career, he has conducted and directed multiple orchestras around the world. His Carnegie Hall debut was in 2007, where he conducted the New York Pops in an all-Gershwin tribute, including Rhapsody in Blue, which he conducted from the keyboard.He's also an accomplished pianist; Stuart has impressive credits as a soloist and chamber musician. He has performed concertos in Harrisburg, Greensboro, Charleston, New York, and Chautauqua, most often conducting from the keyboard. As a composer and arranger, he has created dozens of orchestral works, ranging from entire pops shows to works for symphony orchestra. His most recent composition, Common Fanfare for an Uncommon Orchestra, received its world premiere by the Harrisburg Symphony Orchestra in September 2017.Stuart's activities also extend to Broadway. In 2003, he won the Tony award for orchestration with Billy Joel for the musical Movin' Out. He acted in Terrence McNally's Tony Award-winning play Master Class, opposite Zoe Caldwell and Audra MacDonald, at the Kennedy Center in Washington, DC. He has also served as associate conductor of the national touring company of West Side Story and as conductor of the Charleston production of Porgy and Bess. In May 2020, Stuart received an honorary doctorate from Lebanon Valley College. He has received the Joanne Rogers Award for contribution to the artistic life of Pennsylvania, the Jump Street Spectrum Award, the Lebanon Valley College's 2012 Founders Day, the Award for Distinguished Service to the Arts from Theater Harrisburg, and Leadership Harrisburg's Platinum Award for Servant Leadership.Stuart holds degrees from Harvard University, the Yale School of Music, and the Curtis Institute of Music, where he studied conducting with Otto-Werner Mueller. He studied piano with Drora and Baruch Arnon and with Keiko Sato.  He resides in Harrisburg, Pennsylvania, with his wife, Marty. They are the proud parents of two children, Sara and Zev.  Stuartmalina.comMatt Wilson gained national exposure as the "Piano Man" in the First National Tour of the Billy Joel and Twyla Tharp's Tony-award-winning musical Movin' Out. In 2005, the Texas State Senate honored Matt with a resolution for his achievements in Fine Arts, and he was accepted to the 2016 - 2018 Texas Commission on the Arts Touring Roster. Matt continues to tour with his band, headlining numerous public, private, and social events of all sizes. In 2021, Matt released his first book, Hooks: Lessons on Performance, Business, and Life from a Working Musician, available on Amazon and iBooks.Support the show

For the video version, go here and subscribe: https://youtu.be/q7FRvcxtpTE JEFF HARNAR is an award-winning cabaret, concert and recording artist.  His Carnegie Hall appearances include both the Cole Porter and Noel Coward Centennial Galas.  Jeff was a featured artist at Carnegie’s Well Recital Hall in “A Talent to Amuse,” hosted by Noel Coward biographer Sheridan Morley. Jeff’s PBS televised concerts are “The 1959 Broadway Songbook,” “American Songbook: Stephen Sondheim” (with KT Sullivan) and “Remember: Songs of the Holidays (with KT Sullivan). Jeff tours with Broadway's Shauna Hicks in their Symphony Pops Concert "I Got Rhythm: Mickey & Judy's Hollywood." Jeff was Artisic Director and Host of three seasons of “The American Songbook in London” at The Jermyn Street Theatre and Pizza on The Park.  Together with Andrea Marcovicci, Jeff has curated and co-hosted nine concerts for The Mabel Mercer Foundation’s Cabaret Convention at Town Hall and Jazz at Lincoln Center’s Rose Hall.  Jeff has won multiple MAC, Bistro and BroadwayWorld Cabaret Awards and The Noel Coward Foundation Cabaret Award.  He has released four solo CD’s. Jeff is also a MAC, Bistro and BroadwayWorld Cabaret Award winning Director. He has directed solo shows for such artists as Tovah Feldshuh, Rita Gardner, Dawn Derow, Celia Berk and Josephine Sanges.   He teaches Master Classes and is on the Faculty of the annual The St. Louis Cabaret Conference. jeffharnar.com mickeyandjudy.com

Ryan Shaw is a three-time GRAMMY® nominated artist for his solo projects, Columbia Records’ This is Ryan Shaw, his In Between and Dynotone’s Real Love. He has shared the world stage with such artists as Van Halen, Bonnie Raitt, John Legend, B.B. King and Jill Scott. His music has been featured on FOX’s So You Think You Can Dance and ABC’s Dancing with The Stars, Grey’s Anatomy, and Lincoln Heights, and the films My Blueberry Nights and Bride Wars and the Sex and the City soundtrack. Ryan has been a featured guest on national TV talk shows. He starred as Judas in the Lyric Opera of Chicago’s Olivier Award-winning London production of Jesus Christ Superstar, as the original Stevie Wonder in Motown: The Musical on Broadway, and on London’s West End as the Soul of Michael Jackson in Thriller Live. Ryan debuted at Radio City Music Hall in the Dream Concert benefit for the Martin Luther King, Jr. Memorial. His Carnegie Hall appearances include Elton John and Bernie Taupin Tribute, A Celebration of The African American Cultural Legacy, and a Nat King Cole 100th concert with the NY Pops. His concert schedule includes Nat King Cole at 100 with the National Symphony Orchestra at The Kennedy Center, and A Tribute to the Queen of Soul: Aretha Franklin with numerous orchestras throughout North America. Ryan’s new album, Imagining Marvin, showcases Marvin Gaye hits alongside Ryan’s original songs and features multi GRAMMY Award-winning co-writers and special guests.   

Join my conversation with 3-time Grammy nominated singer/songwriter Ryan Shaw. We discuss his upbringing in Georgia, acting and touring in Tyler Perry's stage play 'I Know I've Been Changed', and his new album 'Imagining Marvin' a tribute to Marvin Gaye.He has shared the world stage with such artists as Van Halen, Bonnie Raitt, John Legend, B.B. King and Jill Scott. His music has been featured on FOX’s So You Think You Can Dance and ABC’s Dancing with The Stars, Grey’s Anatomy, and Lincoln Heights, and the films My Blueberry Nights and Bride Wars and the Sex and the City soundtrack. Ryan has been a featured guest on national TV talk shows.He starred as Judas in the Lyric Opera of Chicago’s Olivier Award-winning London production of Jesus Christ Superstar, as the original Stevie Wonder in Motown: The Musical on Broadway, and on London’s West End as the Soul of Michael Jackson in Thriller Live.Ryan debuted at Radio City Music Hall in the Dream Concert benefit for the Martin Luther King, Jr. Memorial. His Carnegie Hall appearances include Elton John and Bernie Taupin Tribute, A Celebration of The African American Cultural Legacy, and a Nat King Cole 100th concert with the NY Pops. His concert schedule includes Nat King Cole at 100 with the National Symphony Orchestra at The Kennedy Center, and A Tribute to the Queen of Soul: Aretha Franklin with numerous orchestras throughout North America. Ryan’s new album, Imagining Marvin, showcases Marvin Gaye hits alongside Ryan’s original songs and features multi GRAMMY Award-winning co-writers and special guests.Listen to 'Imaging Marvin' on Spotify: https://open.spotify.com/album/2yR0uRdGRy70B9ScUrKR23?si=AD0YHVvASr2TqCIqmvNoTA Connect with Ryan Shaw Online:Instagram: thisisryanshaw/Facebook: ThisIsRyanShawTwitter: @thisisryanshaw/TikTok: thisisryanshawWebsite: www.ryanshaw.com For more information and news, check out our website and on social media:www.BringBackSoulMusic.com. Facebook: BringBackSoulMusic2019Instagram: bringbacksoulmusic2019/Twitter: @BringBackSoulM1 Support our channel by purchasing merch @ shop.bringbacksoulmusic.comCOPYRIGHT © 2020 Bring Back Soul Music.

On this episode of Baring It All with Call Me Adam, on the Broadway Podcast Network, I chat with three-time Grammy Nominee Ryan Shaw. In addition to his original music, Ryan is known throughout the Broadway community for his portrayals of Stevie Wonder in Motown: The Musical, being the soul of Michael Jackson in Thriller Live in London's West End, and most recently as "Judas" in the Lyric Opera of Chicago's U.S. premiere of the critically acclaimed London/Regent’s Park’s production of Jesus Christ Superstar. Ryan is getting ready to release his NEW album, Imagining Marvin, featuring Marvin Gaye hits alongside five of Ryan’s original songs. Imagining Marvin will be released by Broadway Records, on Friday, November 27, 2020. Order it here! In this interview we discuss: What it is like to portray music icons Stevie Wonder and Michael Jackson His new album Imagining Marvin Working with the legendary Valerie Simpson Rapid Fire questions End with Ryan "Baring It All" with something he's never talked about before Connect with Ryan: https://www.ryanshaw.com Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family for advanced notice of interviews & exclusive behind-the-scene perks Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ)  Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY)  Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Ryan: Ryan Shaw is a three-time GRAMMY-nominated artist. He recently appeared as Judas at the Lyric Opera of Chicago in the U.S. premiere of the critically acclaimed London/Regent’s Park’s production of Jesus Christ Superstar, which won the Olivier for Best Musical Revival. He starred as the original Stevie Wonder in Motown: The Musical on Broadway, and on London’s West End as the Soul of Michael Jackson in Thriller Live. As a recording artist, Shaw has released three solo GRAMMY-nominated projects to date: 2008’s THIS IS RYAN SHAW, 2011’s IT GETS BETTER, and 2014’s REAL LOVE. He has toured the world and shared the stage with such artists as Van Halen, Bonnie Raitt, Joss Stone, John Legend, B.B. King, Bruce Hornsby and Jill Scott, to name a few. On television, Ryan has been a guest artist on The Ellen DeGeneres Show, Ellen’s Really Big Show, Last Call with Carson Daly, and The Martha Stewart Show. His music has been featured in television on FOX’s So You Think You Can Dance and ABC’s Dancing with The Stars, Grey’s Anatomy, and Lincoln Heights, as well as in films My Blueberry Nights and Bride Wars and the Sex and the City soundtrack. As a concert soloist, Shaw made his Radio City Music Hall debut at the Dream Concert benefit to build the Martin Luther King, Jr. Memorial in Washington, D.C. His Carnegie Hall appearances include Elton John and Bernie Taupin Tribute, A Celebration of The African American Cultural Legacy, curated by Jessye Norman, and a recent Nat King Cole centennial concert with the New York Pops. His concert schedule also includes Nat King Cole at 100 with the National Symphony Orchestra at The Kennedy Center, and A Tribute to the Queen of Soul: Aretha Franklin with numerous major orchestras throughout North America. Shaw continues to be a return featured special guest with the Houston Symphony, as well as performing with the Chicago Symphony, Cleveland Orchestra, Philly Pops, Seattle Symphony, Utah Symphony, Colorado Symphony, Arkansas Symphony, Tucson Symphony, Utah Symphony, St. Louis Symphony, Orlando Philharmonic, Helena Symphony, Mississippi Symphony, Anchorage Symphony, Calgary Philharmonic and numerous others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents' classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman's songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world's leading jazz scholars.” Now that's academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he'd be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman's orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician's and historian's approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington's and Count Basie's bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert's own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley's story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz's and America's cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman.