If I Loved You…

If I Loved You…

 

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Today’s post is inspired by the act of collaboration.

Theater is all about collaboration — as are many forms of music.

I have been part of a musical collaboration with singer Bobbi Carrey for almost 20 years.

The song at the beginning of this blog post — “If I Loved You” — was written by Oscar Hammerstein II and Richard Rodgers for their musical Carousel.

Both Hammerstein and Rodgers had achieved tremendous success working with other collaborators before they joined forces during WWII to create the musical Oklahoma! 

Following the triumph of Oklahoma! they rose to new heights, co-creating a new musical every couple of years — interspersed with producing plays and musicals (such as Annie Get Your Gun) created by others.

And as their extraordinary list of hit shows — including South Pacific, The King and I, Flower Drum Song and The Sound of Music — expanded, they also devoted a considerable amount of time to overseeing touring companies, movie adaptations, and revivals of their work.

It was an extraordinary creative and business collaboration — the fruits of which will continue to be harvested  and celebrated for decades to come!

Collaboration can be a mysterious process — and theirs was not without its challenges.

But they persevered, remained respectful of each other’s gifts, and left an astounding body of work for the rest of us to savor for decades to come.

Pianist/composer/engineer/producer Doug Hammer, singer Bobbi Carrey and I recorded “If I Loved You” — one of their most beautiful ballads — for a CD we put together with exquisite arrangement input (both vocal and instrumental) from Michael Callahan.

Mike wrote the cello part on this recording of “If I Loved You,” for example.

My collaboration with Bobbi, too, has included a variety of challenges — and we have also respectfully persevered

Right now, due to a variety of factors, our collaboration is in a fallow period.

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Mike is busy being a music professor at Michigan State as well as an enthusiastic husband and father.

Doug’s career as a composer, producer and touring musician — in addition to being a devoted husband and father of two terrific sons — has meant that he is less available to perform with singers (although regular readers/listeners of this blog know that he is still willing to make music together in his wonderful home studio on the north shore of Boston).

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Bobbi was working for a while in various parts of Asia — with a home base in Kuala Lumpur.

And I — now that I am making a very modest living as a singer, songwriter and teacher — am (somewhat paradoxically) less available to collaborate with Bobbi than when I had a full-time, non-musical day job.

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Blessedly, recording technology exists so that all of the collaboration we did together has not evaporated without a trace.

 

Here’s a version of “The Little Things You Do Together” that we recorded with Doug playing piano plus a playful string arrangement by Mike.

Stephen Sondheim wrote it for the musical Company, and it paints a slightly different picture of love and marriage (another type of collaboration) than one might find in a Rodgers & Hammerstein show.

I have loved this song ever since my parents bought the cast album — which I listened to again and again and again as a child.

Sondheim knew both Rodgers and Hammerstein very well, having been unofficially adopted into the Hammerstein family when he was a teenager.

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Hammerstein became a role model and mentor for Sondheim as he, too, devoted himself to musical theater and songwriting.

And after Hammerstein died, Sondheim even collaborated as a lyricist with Richard Rodgers on a show called Do I Hear A Waltz? — along with one of Sondheim’s collaborators from West Side Story, librettist Arthur Laurents.

As someone who writes songs, I am always curious to learn more about the lives, practices, and habits of other songwriters.

I forget where I read it (maybe in one of Laurents’ great memoirs? or one of Sondheim’s terrific books about his own creative process?) but I was surprised to learn that Sondheim — with Laurents’ approval and support — transformed chunks of the dialogue  which Laurents wrote for early drafts of the West Side Story libretto into lyrics for certain songs in West Side Story.

And Laurents did not ask for co-credit on the lyrics for these songs,

It was simply part of their generous and respectful collaborative process.

Now Sondheim continues to support, nurture, encourage and inspire new generations of musical-theater-lovers. librettists, songwriters, and performers.

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Thank you to Sondheim and Laurents and Rodgers and Hammerstein — and all of their scenic, costuming, choreographic, lighting, casting, directorial, production, and performance collaborators — for leaving us an extraordinary body of songs and shows and ideas.

Thank you to Bobbi Carrey, Doug Hammer, Mike Callahan, Jon Lupfer (who did the final mix of our CD at Q Division), Jonathan Wyner (who mastered our CD at M Works), and the musicians who played on it — Mark Carlsen (bass), Jane Hemenway (violin), Mike Monaghan (tenor sax and flute), Gene Roma (drums, percussion), Johann Soults (cello), and Kenny Wenzel (trombone).

Thank you to the internet for the photos of Rodgers, Hammerstein, Sondheim, Callahan, and Hammer.

Thank you to Paul Forlenza for the photos of Bobbi and me.

And thank YOU for reading and listening to this post!

What have YOUR experiences with collaboration taught you?

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Can We Slow It Down?

Can We Slow It Down?

 

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Although spring is just arriving here in the greater Boston area, I am deeply aware of how quickly it will pass.

Yesterday I was celebrating the 22 crocus flowers in my front yard.

And today there are only 9…

Someone nibbled the rest of them down to the ground overnight!

I do not begrudge anyone (rabbit? skunk? possum? squirrel? raccoon? rat?) an early spring feast.

But it was a reminder of how life changes… and sometimes much too quickly.

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A couple of weeks ago I was asked by the pianist/songwriter Molly Ruggles to share a few songs during a Sunday morning service at the Unitarian Universalist church in Medford, MA.

It’s a beautiful building — with lots of stained glass windows and gently curving pews — and the congregation is very welcoming.

One of the longstanding members of the church is someone I worked with at my very first job after dropping out of college. He and I have reconnected a little bit in recent years due to a shared interest in music and poetry — and it was a pleasure to see him before and after the service.

The minister, Reverend Marta Valentin, was planning a sermon about the value of observing some sort of Sabbath in one’s life.

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I immediately started thinking about standards which might fit this theme, such as “Up A Lazy River” by Hoagy Carmichael and Sidney Arodin or “Bidin’ My Time” by the Gershwin Brothers.

But it also occurred to me that a couple of my original songs might fit the theme, too.

With some shyness, I sent them — “Can We Slow It Down” and “The Beauty All Around” — to Molly for consideration.

Much to my delight, she liked them and forwarded them to Reverend Marta, who also liked them.

In fact, Reverend Marta visited my blog and found another original song, “May Your Life Be Blessed,” which she asked us to include in the service.

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Needless to say, I found this entire experience to be a much-needed affirmation that my original songs can be meaningful to people other than myself…

It was also exciting because I had been thinking that I could only perform my original songs in public with Doug Hammer (who is playing in the recording at the top of this page) at the piano with me.

I write songs using a ukulele — which I play very rudimentarily — and then flesh them out with Doug at his recording studio north of Boston. And Doug has performed many of them with me in different showcases during the past few years.

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So it was a revelation that another pianist would be able to bring them to life as well as Molly did (with very little rehearsal)!

The service itself was very satisfying, too.

My songs — especially “Can We Slow It Down?” — almost seemed as though they had been written to complement the Reverend Marta’s sermon.

Hurrah!

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As I have probably noted in previous blog posts, there is a thriving ukulele Meetup community in the greater Boston area.

I attend a group which meets the 2nd and 4th Wednesday night of each month and another which meets the 1st and 3rd Wednesday afternoon of each month.

Most ukulele Meetup groups include a humble — and very supportive — open-mic period where attendees can share a song they’ve been working on.

This is the main place I have dared to share my original songs during the past few years.

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After I played “Can We Slow It Down?” two weeks ago, a couple of fellow ukulele attendees asked me if I might post it somewhere.

So this post is created for them!

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Thank you to Molly Ruggles, Reverend Marta, Doug Hammer, and my ukulele-playing peers for their enthusiastic support and encouragement.

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Thank you to Pixabay for some lovely images.

And thank YOU for reading and listening to another blog post.

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I welcome any thoughts/feelings you might have about the pace of life these days…

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