If I Loved You…

If I Loved You…

 

Rodgers&Hammerstein

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.

Callahan_Michael

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).

doug-hammer-2017-february-1

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.

Will&Bobbi2

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.

Sondheim1

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.

STEPHEN SONDHEIM

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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Hurrah for Jerome Kern

 

I love Jerome Kern’s melodies.

I love his chord changes.

I am not sure if I would have loved him had I had the opportunity to meet him, but I am very grateful he co-wrote so many wonderful songs.

Kern1

Jerome David Kern was short and a very snappy dresser.

He loved the color green — including wearing bright green, custom-tailored trousers.

He could be quite critical and bossy — and he did not suffer fools gladly.

He was also very funny with friends.

And he knew bird calls well — and was sometimes melodically inspired by them.

Kern was the composer whom George Gershwin and Harold Arlen  — and many other composers of what we now call the Great American Songbook — looked up to and strived to emulate.

He was older than they were, having been born in New York City on January 27, 1885 — the youngest of seven children (four of whom died before the age of six…)

His family moved from apartment to apartment around Manhattan before settling into a house across the river in Newark, New Jersey, which is where Jerry went to high school and where he began writing songs for musical events.

His nickname in high school was “Romie.”

Kern’s first job in the music business was doing accounts payable and accounts receivable for a music publishing company run by the uncle of a friend.

He rose to become a song plugger, eventually earning a shift at Wanamaker’s, which was one of the first — and very grandest — department stores in New York City.

He proved to be a savvy businessman, investing money he received as an inheritance in his early 20s to become a shareholder in the second music publishing company he worked for, TB Harms.

Harms started getting Jerry’s songs interpolated into musical productions.

I learned from reading various Kern biographies that in the early days of musical theater, it was very common for individual songs to be added to a show by another composer.

These interpolated songs could freshen up a show during a long run — and also provided great opportunities for unknown and up-and-coming songwriters.

Harms let him work as a rehearsal pianist for Broadway reviews and shows, which he did on and off for ten years.

Being a rehearsal pianist meant that Kern became well-acquainted with the movers and shakers in the New York theater world — and it also meant he could be on hand to help create a new number if needed.

He also was allowed to accompany singers on short tours, which provided more opportunities to incorporate Harms and/or Kern tunes into their performances as needed.

I was surprised to learn that Kern was very well acquainted with the theater world in London.

Part of the reason Jerry went to London so many times as a young man was to check on TB Harms’ publishing partners in England.

He saw all of the latest shows and schmoozed as many London theater people as possible, pitching his songs for interpolation into London shows as well.

This is when he first met the author, humorist and lyricist P. G. “Plum” Wodehouse, with whom he began collaborating on songs in 1906.

Nine years later — when Wodehouse was living in New York — Kern introduced him to librettist Guy Bolton, who became one of Kern and Wodehouse’s lifelong friends.

Kern and Bolton had worked together on a musical called Nobody Home which was presented at the intimate, 300-seat Princess Theatre. Wodehouse contributed some lyrics to their next Princess musical, Very Good Eddie, and officially joined their creative team for Oh, Boy! — which ran for 463 performances (and according to Wikipedia was one of the first American musicals to have a successful London run).

The three men collaborated upon what became a very successful series of musical comedies — most of them presented at the Princess Theatre — during and after the First World War.

These shows were inspirational to many songwriters and librettists, partly because the songs and dances and script were well integrated to advance the storyline of the show.

And no songs by other writers were arbitrarily interpolated into the plot!

In an interview following the success of Oh, Boy, Kern explained, “It is my opinion that the musical numbers should carry on the action of the play, and should be representative of the personalities of the characters who sing them….Songs must be suited to the action and mood of the play.”

Kern collaborated with a wide variety of lyricists during his long career on Broadway and in Hollywood.

One of my favorite songs, “I’m Old Fashioned” was written with lyricist Johnny Mercer for a 1942 film called You Were Never Lovelier, which paired Fred Astaire with Rita Hayworth.

Partly as a result of a dear friend’s uncle giving me a Kern songbook when I left college, I became aware of Kern’s body of work early in my singing life.

KernSongbook

I recorded three Kern songs with jazz pianist and composer Steve Sweeting when Steve lived above an ice cream store in Brighton, MA — “I’m Old Fashioned,” The Way You Look Tonight,” and “Smoke Gets In Your Eyes” — which I have included in this blog post.

 

Jerome Kern was very successful during the 1910’s and 20’s on Broadway and in London.

In fact one newspaper at the time estimated that he was earning as much as $5000 (which would be the equivalent of $63,000 in 2016) each WEEK from sheet music and ticket sales.

He created what is considered to be his masterwork, Show Boat, in 1927 in collaboration with lyricist/librettist Oscar Hammerstein II and producer Florenz Ziegfeld.

Ziegfeld had made his reputation with huge revues on Broadway filled with beautiful chorus girls, extravagant costumes, and colossal sets.

Thus many people were surprised that he agreed to produce Show Boat — which featured an integrated cast of black and white performers and dove deeply into painful human phenomena including prejudice, gambling and alcoholism (which were not the usual topics for a night’s entertainment on Broadway).

Ziegfeld, in fact, remained very doubtful about the success of Show Boat — postponing the start of production several times.

Hammerstein and Kern

Although this was very frustrating to Jerry and Oscar, it also gave them extra time to fine-tune their songs and script before casting and rehearsals finally began.

Many of Kern’s Broadway musicals were adapted into movies, including Show Boat — which was filmed three different times — and his 1933 hit Roberta, with a book and lyrics by Otto Harbach.

The Broadway cast included many performers who went on to become stars including Fred MacMurray and Bob Hope — and Roberta also introduced the musical gem “Smoke Gets In Your Eyes.”

Along with many other Broadway songwriters, Kern moved with his family to California during the 1930s.

Although the Great Depression was in full swing, the movie industry was making lots of money.

Mr. Kern wrote “The Way You Look Tonight” with another favorite collaborator — lyricist/librettist Dorothy Fields — for the film Swing Time, where it was introduced by Fred Astaire and Ginger Rodgers, who in this movie was cast as a dance instructor.

“The Way You Look Tonight” won Best Song in a Motion Picture in 1936.

Dorothy Fields later remarked, “The first time Jerry played the melody for me I went out and started to cry. The release absolutely killed me. I couldn’t stop, it was so beautiful.”

 

In addition to being a composer, Kern was also a collector.

He started collecting books when he first visited London in his early 20s, and ten years later had amassed a collection which — when he auctioned it off in 1929 — earned him almost two million dollars (which would be worth more than $27 million dollars in 2016).

He also collected real estate, antique silver and furniture.

The home he built in Bronxville, NY (north of New York City) was decorated with beautiful paintings, Colonial, Jacobean and Italian furniture, rare vases, lamps with Buddha bases, and books which he had bought during his travels to Europe and around the USA.

And whatever he became curious about, he would soon become an expert in.

As a small example of this, when they were living in Bronxville, Kern and his wife Eva took a trip with their neighbors, Mr. and Mrs. Nathan Newman, to Canada to visit an asbestos plant that Mr. Newman owned.

Jerry asked lots of questions and was particularly concerned about the large amounts of asbestos waste.

After they got home, he did some independent research and wrote a 40-page report — detailing several possible uses for the wasted asbestos — which he gave to his neighbor.

After the huge success of Show Boat in 1927, Kern developed the habit of playing “Old Man River” the last thing before he left his house on a trip and the first thing upon arriving back home.

In fact, during his final trip to New York City from California in 1945  — when he was overseeing yet another revival of Show Boat with Hammerstein and beginning work on a new show with lyricist/librettist Dorothy Fields (produced by Hammerstein and Richard Rodgers) about a sharp-shooting phenomenon named Annie Oakley — he was apparently worried because he had forgotten to play this song before he left his home in California.

Much to everyone’s shock — since he was only 60 years old — Jerome Kern collapsed from a stroke while browsing on the east side of Manhattan.

He died a few days later with his wife and Hammerstein at his hospital bedside.

I would like to end this post with something president Harry Truman said upon hearing Kern had died:

“I am among the grateful millions who have played and listened to the music of Jerome Kern. His melodies will live in our voices and warm our hearts for many years to come.”

Thank you, Jerome Kern, for your wonderful songs — and thank YOU for reading and listening to yet another blog post.

Something Good

 

Skimming over some of my previous posts, I see that I rarely mention anything about feeling frustrated, unhappy, anxious, or any other “negative” emotional state.

I would like to clearly state that I feel disappointed, scared, envious, disheartened, disgusted, vengeful, upset, discouraged, and cranky on a regular basis.

But I strive — when feeling out of sorts — to remind myself of any number of things in my life that I can be grateful for.

A wonderful life partner.  Health.  Plenty of food.  Lots of family.  Lots of friends.  A functional bicycle.  Employment.  A safe place to live.  Clean water.  No tanks patrolling my neighborhood.  Music.  Electricity.  The children and grown-ups in my Music Together classes. Warm clothing.  Two lap top computers.  Access to the internet.  Great collaborators.  Our local network of public libraries.  The retirement communities which invite me and my collaborators back to perform again and again.

Once one gets started, the list can go on and on and on…

The week before Doug Hammer and I performed Songs About Parents & Children at the Third Life Studio in Somerville, MA, I found out that I had been awarded a grant from the newly-created Bob Jolly Charitable Trust to help pay for rehearsals and marketing outreach.

Bob Jolly, who died in 2013, was a beloved actor in the Boston community for 28 years.

The Bob Jolly Charitable Trust — established by his will — supports local actors, performers, composers, and theater companies with modest yet very meaningful financial support.

I am very grateful for this grant as well as Bob’s vision to nurture Boston’s creative community for years to come.

His generosity is indeed something good!

The song in the player at the beginning of this blog post was created by Richard Rodgers for the movie version of The Sound Of Music.

He wrote both the music and the lyrics because his second longtime lyricist/collaborator, Oscar Hammerstein, II, died before the movie was made.

The knowledge that Mr. Hammerstein was dying from stomach cancer while they were bringing the original Broadway musical to life adds — for me — an extra layer of poignance to songs such as “My Favorite Things,” So Long, Farewell,” “Climb Every Mountain,” “Edelwiess,” and “The Sound Of Music.”

And learning more about Mr. Rodgers challenging relationship with alcohol — as well as with various female cast members in his shows —  adds many more layers of complexity to “Something Good,” which Doug and I performed as our final encore at the end of Songs About Parents & Children.

Deep breath in.

Deep breath out.

Thank you for reading and listening.