discover the answers, theywill make you think.”

The then unknown writerwas Ron Fassler, a few ofwhose reviews werepublished for the first time inhis recently released book UpIn The Cheap Seats: AHistorical Memoir ofBroadway. At the Marchmeeting of the AmericanPopular Song Society, Ronpresented a hilarious programof highlights from his book,describing vivid memories ofa four-year period, from 1969to 1973, during which heattended 200 Broadwayproductions. Ron’s delightfulcoming-of-age story is a taleof how an eleven-year old boyfrom Great Neck, New Yorkfound happiness in thebalconies of Broadway. Or, ashe sang in his parody OnceThere Was A Boy, set to themusic of Once Upon A Time:“…nearer heaven than thestage.”

The first Broadwayproduction Ron attended IDo! I Do! didn’t cost him athing. His kind-hearted AuntHelen, knowing how much heidolized the legendary actorRobert Preston, purchased thetickets as a gift. Seven yearsearlier, when Ron was five,Aunt Helen had taken him toRadio City Music Hall to seethe film version of MusicMan, which starred RobertPreston, reprising the role hehad created on Broadway in1957. Said Ron: “I was so

mesmerized by Preston. I wasawestruck, and star-struck, by

Preston’s career-definingperformance. Not only didthat afternoon hook me onmusicals for the rest of mylife, it hooked me on the ideaof becoming an actor.”

But at the end of themagical day in 1969, it wasback to Great Neck and theday to day reality of living in apermanently hectic householdwith his parents and fivesiblings. Ron decided what hehad to do to preserve the joyhe felt in the theater, was torecreate it. The objective wasto get himself into Manhattanevery Saturday, paying fortransportation, lunch, and thecost of a theater ticket. Withlimited capital of $12 perweek, earned from a paperroute, Ron made a budget,estimating the total cost at$10.60, which presumed aticket price of $3.00.

APRIL 2019www.APSSinc.org

Newsletter

VOLUME 40, NUMBER 7 Formerly New York Sheet Music Society

By Jerry Osterberg

Continued on page 3

In writing about the onlytime Katharine Hepburn eversang in a musical, BrendanGill of the New Yorker, wrote:“Coco is a terrible show andwell worth going to see.”Around that time, anunknown young man, withneither a byline nor anaudience, began writingreviews to himself, amongthem Front Page, “This is oneof the great shows of thetwentieth century;” The YearBoston Won The Pennant,“Itwas so bad I could have slitmy wrists;” George M! “Tsk,tsk, tsk! That’s all I can say.My hopes were up high, andthey fell faster than a bird withno wings;” ThePhilanthropist, “During thefirst act, a man sneezed in thebalcony. It was the highlightof the show;” and for TheMan in the Glass Booth,“There are many questionsthis show asks, and when you

Now fifty years after hisgreat adventure began, Ron

came to talk about a-number-of the plays he attended, bothmusicals and dramas, duringthose thrilling days whenthere were almost alwayscheap seats, and to share hisjoy with APSS members bybringing a talented troupe ofsingers with him. MichaelCaizzi performed “You CouldDrive a Person Crazy” fromCompany (StephenSondheim); Matt Kurzniecsang “Mama, a Rainbow”from Minnie’s Boys (LarryGrossman & Hal Hackady);“Knowing When to Leave,”from the score of Promises,Promises (Burt Bacharach,Hal David & Neil Simon) wascontributed by Payton Reilly,who also joined MattKurzniec in a duet of “I’llNever Fall in Love Again,”also from the score of

Ron Fassler – Up In The Cheap Seats - Broadway On $10 A Day

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Ron Fassler

Hello to APSS members, friends and fans:

Spring has finally sprung! I am looking forward to the last threeprograms of our incredible 2018-2019 season. Just a reminder that the Jazz Monthcelebration, produced by Marilyn Lester, featuring Danny Bacher and his Trio will beheld on April 20th! Our afternoon concerts have all been “showstoppers,” and I knowthis because people always stop me after each one to say, “This was the best one yet!”Many thanks to Sandi Durell, who produced the delightful program presented by RonFassler, based on his book about his youthful years attending the theater, and how thoseexperiences affected the choices that he made in life. You can read all about it in thisissue by our Editor Jerry Osterberg.

I want to welcome Mark William as the newest member of ourBoard of Directors. Mark has worked as an assistant to Board MemberMichael Lavine, and is a talented young man who is an “old soul.” Heloves musical theater and the standards of the past, yet I know will bringhis youthful ideas and experience to APSS. Mark’s last three shows atThe Green Room 42 were all sold out and received rave reviews!

Don’t miss Sandi Durell’s 14th Annual Songwriter Series on May 11th, and ourseason closing on June 15th, produced by Richard Skipper - a tribute to the greatMeredith Wilson. These two programs are sure to be fabulous!

It is no surprise that people say that we are the “biggest bargain in NY” – Nineamazing shows along with nine informative and interesting newsletters. So, pleaserejoin now - tell your friends about us, and let’s keep APSS and great music alive!

Looking forward to seeing you on Saturday, April 20th at The Musician’s Hallat Local 802. Doors open at 1:00PM for seating, viviting, and getting “free stuff” at ourMember Exchange Table. Showtime: 1:30 -3:30.

Wishing you all a very Happy Passover and Easter.

PAGE 2 AMERICAN POPULAR SONG SOCIETY APRIL, 2019

President’s Message...Linda Amiel Burns, President

Linda

President:Linda Amiel Burns

Vice Presidents:Joan AdamsSandi Durell

Treasurer & Membership:Glen Charlow

Secretary:Marilyn Lester

Board Of Directors:Elliott AmesBill Boggs

Will FriedwaldMichael LavineSandy MarroneJerry OsterbergAndrew PoretzJudy StewartTom ToceMark William

Membership Mailing Address:American Popular Song Society

P.O. Box 5856Pikesville, MD 21282APSSinc.org@gmail.com

(212) 315-3500 (Linda A. Burns)

American PopularSong Society

MEETING LOCATION: Local 802 – Musicians’ Hall322 West 48th Street. Program: 1:45 – 3:30PM.

Come early to look thru Sheet Music & CD’s & stuff, all FREE.

N E W S L E T T E REditor/Publisher: Jerry Osterberg

osterbergg@aol.comContributing Editor: Marilyn Lester

mj@mjlester.comAssociate Editor: Joan Adams

joan.adams@corcoran.comGraphic Designer: Glen Charlow

GlenCharlow@gmail.comor

APSSinc.org@gmail.com

Linda Amiel Burns, Ron Fassler, Sandi Durell

Best wishes,

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Mark William

APRIL, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 3

Promises, Promises. JimBrochu, an actor, singer andwriter for more than 40 years,performed “Lovely Ladies,Kind Gentlemen” (Stan

Freeman & FranklinUnderwood) a song from themusical of the same name.

Ron Fassler is a passionatestory teller. During thedelightful afternoon, there werenumerous tales of theproductions he attended,including the first, in which he

sat behind Lady Bird Johnson.He also touched on RayBolger’s return to Broadwayafter an absence of ten years;Burt Bacharach’s onlyBroadway outing, Promises,Promises,with Jerry Orbach ashis star; and most significantly,Robert Preston. Although he

did not get to meet Preston onthe day of his first visit toBroadway, Ron did meet himeventually, and has a photo ofthe star with Mary Martin andLady Bird Johnson, takenbackstage after a performanceof I Do! I Do! on the very nighthe was in the audience. The

photograph was given to himby Robert Preston’s widowCatherine for sending her atouching piece Ron had writtenas a tribute to her husband.

Those who have readRon’s book will recall thatbesides Robert Preston, therewere other Broadway actors

who inspired him: DavidBurns, James Earl Jones, HalLinden, William Daniels,Robert Ryan, Harry Goz, JohnMcMartin, and Julie Harris.When Ron first saw her inForty Carats, it was his play#26 and her 21st Broadwayouting, winning her a third

Tony Award, ultimately one offive out of ten nominations.

“There is no doubt mytheatrical education wouldhave been incomplete withoutseeing this luminescent actresslive on stage…” wrote Ron. Julie Harris once said in aninterview: “God comes to us in

the theater in the way wecommunicate with eachother…It’s a way of expressingour humanity.” From thatfamiliar last row of the balcony,“…nearer heaven than thestage,” a young Ron Fasslerwould have agreed.

Ron Fassler...Continued from page 1

Bryce Edwards was lastseen in Broadway Vagabondsand Quintin Harris in theNarnia International Festivalin Narnia, Italy. He attendsBaldwin Wallace Universitywhich is partnered withCleveland’s Great LakesTheatre. He is currentlyappearing in As You Like It,playing Touchstone.

Quintin Harris is a singer,jazz pianist and actor,appearing recently as GeorgeGibbs in Our Town. Last yearhe performed in the GothamJazz Festival after a week atNY Hot Jazz Camp, directed

by Bria Skonberg and MollyRyan. He’s returning on a fullscholarship this summer.

Accompanied by ReneeGuerrero, Bryce performed“The Shadow of Your Smile,”while Quintin sang “A FoggyDay.” Bryce and Quintin alsojoined for two duets, “Me andMy Shadow” and “HappyDays Are Here Again”/”GetHappy.” They are grateful toNatalie Douglas for bringingthem to the attention of theAmerican Popular SongSociety.

Another Opening, Another Show - Bryce Edwards & Quintin Harris

Photos by Andrew Poretz

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Bryce Edwards Quintin Harris

Mark William & Jim Brochu Michael CaizziMatt Kurzniec, Michael Caizzi

& Payton ReillyMatt Kurzniec

PAGE 4 AMERICAN POPULAR SONG SOCIETY APRIL, 2019

For institutions such as theMabel Mercer Foundation (MMF), theAmerican Songbook Association(publisher of Cabaret Scenes magazine),and others, The Adela & Larry ElowTeenager Endowment Fund(administered by the MMF) is cause formajor celebration. The endowment wascreated to encourage teenagers to learnand perform songs from The GreatAmerican Songbook from the years 1900to 1970, and for this second year of thisprogram, it looks like the legacy ofAmerican music is in very good hands.

And what better way to kick off thefestivities than with MMF ArtisticDirector and cabaret star KT Sullivan’srendition of “While We’re Young.”

The twelve participatingvocalists in the competition were chosenfrom students who attend New York Citypublic performing arts high schools.Across the board, their talent wasdazzling. These young singersdemonstrated a mature appreciation ofvocal modulation and dynamics, the arcof a song, and the all-important skill ofstorytelling via a deep understanding ofthe lyric. Song choices often fell outsidethe box, with the most unusual being“Sam, You Made the Pants Too Long,”delivered in an animated and slylycomedic turn by Harriet Smith(Professional Performing Arts School).During post-performance deliberations,the three winners from last year’sinaugural competition were on hand tothe unexpected delight of all. The 2018

third-place winner, Naomi Steel,performed a delightful “A-Tisket A-Tasket,” and second-place winnerHannah Jane Peterson precociouslydelivered an upbeat “Hit Me With a HotNote (and Watch Me Bounce)” and “It’sa Good Day.” The 2018 first-placewinner, Christina Jimenez, thoughtfullyperformed a trio of numbers: “ACockeyed Optimist,” “The Gentleman Isa Dope,” and “Someone to Watch OverMe.”

The first prize of $2,500 wasawarded to Anaïs Reno (Fiorello H.LaGuardia High School) for hertriumphant interpretation of the DukeEllington/Don George classic, “Ain’t GotNothing But the Blues.” Reno’s win alsoincludes an appearance during the annualMabel Mercer Foundation CabaretConvention in October at Jazz at LincolnCenter’s Rose Theater.

In second place, Jessica Ball(Professional Performing Arts School)won $1,500 with her straight-ahead,heartfelt interpretation of Ray Noble’s“The Very Thought of You.”

The third place win of $1,000went to Thomas Hogan (Fiorello H. LaGuardia High School) for a jazzyinterpretation of Cole Porter’s “I’ve GotYou Under My Skin,” complete withdance interlude.

Making it difficult for the judgeswere Gabriella Veciana (Fiorello H. LaGuardia High School) with “So In Love,”Hannah Butcher (Fiorello H. LaGuardiaHigh School) with “Ain’t Misbehavin’,”Diana Caba (Professional PerformingArts School) with “My Own Morning,”Annie Ross (Talent Unlimited HighSchool) with “Falling in Love WithLove,” Grace Gammins (Fiorello H. LaGuardia High School) with “Georgia onMy Mind,” Kaitlyn Dieppa (ProfessionalPerforming Arts School) with “The LadyIs a Tramp,” Dwany Guzman with “MyRomance” and Julia Parasram (FrankSinatra School of the Arts) with “Beyondthe Sea.”

Judges for the competition weresinger’s singer Sandy Stewart, masterteacher and jazz singer Natalie Douglas,award-winning cabaret performer anddirector Jeff Harnar, Broadway musicaldirector and arranger Mark Hummel,Time Out New Yorkcritic AdamFeldman, and music author and journalistWill Friedwald. Accompanying thesebright and talented students were pianistsJohn Prestianni, Arri Simon, and JonWeber. Ending the competition on theproverbial high note, was Sullivanleading the entire room in a sing-a-longof “Love Is Here to Stay.”

Editor’s Note: Used by permission ofCabaret Scenes Magazine

Photos by Maryann Lopinto

The Next Generation of Entertainers Sing American Songbook Classicsby Marilyn Lester

Thomas Hogan

Anais Reno

Jessica Ball

KT Sullivan

APRIL, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 5

By Joe LangJo Stafford was among the finest female pop/jazz vocalists

ever. She had perfect pitch, a great feeling for anything thatshe sang, was effective as a solo artist or as a member of thelegendary Pied Pipers, and performed music that ranged fromfolk to jazz, with a few side trips to humorous endeavors asCinderella G. Stump, a hokey country singer, and as DarleneEdwards, an inept lounge singer.

Stafford was born on November 12, 1917, and VocalistMargi Gianquinto celebrated her centennial by presenting aprogram of 20 songs that covered her career from her period asa member of the Pied Pipers with the Tommy Dorsey Orchestrathrough her successes as an artist with chart hits to her days ofrecording theme albums.

The Dorsey days were represented by songs like“Manhattan Serenade,” “What Can I Say After I Say I’m Sorry”and “Watcha Know Joe.”

After leaving Dorsey, she remained with the Pied Pipersfor a couple of years, but soon began a successful period as asolo artist who landed over 70 songs on the charts. Gianquintooffered up a nice sampling of the Stafford hits, including anopening medley of “It Could Happen to You” and “There’s NoYou,” “Haunted Heart,” “A Sunday Kind of Love,” “Teach MeTonight,” “The Best Things in Life Are Free,” and perhaps herbest know hit, “You Belong to Me.” She had assistance on a

MARGI GIANQUINTO -A Centennial Tribute to Jo Stafford

Birdland, New York City -November 1, 2018

few tunes with Danny Bacher joining in on “Play a SimpleMelody,” and Kate Jones singing along on “Make Love to Me,”and “Whispering Hope,” a song that Stafford charted withGordon McRae.

When she started to record albums, her repertoire wasvaried. Gianquinto tapped into a disparate selection of albumswith “My Heart’s in the Highlands” from Songs of Scotland; “IDidn’t Know About You” and “Dream of You” from Joe +Jazz; and “Make the Man Love Me” and “How High theMoon” from Broadway Revisited. The latter tune was also onethat she addressed as Darlene Edwards in one of the albumsthat she did with her husband Paul Weston that spoofed alounge singer who sang wildly off-key and her accompanistwho played all the wrong chords.

Gianquinto supplemented the vocalizing with enoughcomplementary dialogue to present a full picture of Stafford.While her voice does not at all resemble that of Stafford, shehad obviously listened carefully to Stafford’s versions of thesongs and captured much of Stafford’s approach to the material.In this she was wonderfully supported by Chris Byars on tenorsax and clarinet, Dan Blankenship on trumpet, John Mosca ontrombone, Jon Weber on piano, Neal Miner on bass and JoshDavis on drums.

Stafford was fully deserving of this kind of attention, andMargi Gianquinto did a fine job of preparing a show thatprovided an inclusive look at the special singer who was JoStafford. She also demonstrated that she is a fine vocalist in herown right; one who’s capable of reaching well beyond theStafford oeuvre to address other songs and putting herindividual stamp on them.

Editor’s Note: Used by permission of Jersey Jazz

I met Sue when I was living at Tower 67 and we bonded over our love of cats, each of usowning one. At the time, I met Clarence III. All her cats were named Clarence. Sue, was alsoa lover of music and art, was intrigued when I told her about what was then, the NY Sheet MusicSociety, came to a couple of meetings and became a member for many years, bringing some ofher friends. A caring, special lady, Bob and I enjoyed several of her lobster dinner evenings ather apartment where Clarence III and then IV would happily sit nearby waiting for a morsel tocome his way. On Sunday, March 31, I attended a memorial to celebrate Sue’s life attended byher many friends. You’ll be missed by many dear Sue! Below is her obit. Sandi Durell

Suzanne Tillman Darrow of Mamaroneck and Manhattan’s Upper West Side passed awayon March 12, 2019. She was 84. Born in Manhattan on August 7, 1934 to Edward & SuzanneTillman. Sue grew up at Orienta Condominium and attended Central School, Mamaroneck HighSchool and Katherine Gibbs. Sue worked as an Executive Secretary for Richard W. DarrowCEO of Hill & Knowlton public relations firm in New York. Later in life she restarted her careerat U.S. Tobacco in Greenwich, CT. She was an avid golfer and bridge player at Winged FootGolf Club and the New York Athletic Club, and an extremely talented knitter and needle pointer.Sue retired to Lincoln Center in 2004 where she fully engaged in all the ballet, theatre and opera

culture New York has to offer. Throughout her life Sue’s clever, creative gifts, gadgets, trips and traditions were legendary andbrought great joy to her tremendous family of friends. She is predeceased by her husband Dick Darrow in 1976, her parentsSuzanne & Dr. Edward Tillman DDS, and her brother Eddie. She is survived by countless friends and her beloved catClarence Darrow IV.

In remembrance of Sue Darrow

PAGE 6 AMERICAN POPULAR SONG SOCIETY APRIL, 2019On April 14,

1961, David Merrickmet with MichaelStewart overbreakfast in the OakRoom of the Plaza Hotel. Merrick hadrecently acquired the rights for an adaptationof Thornton Wilder’s The Matchmaker, andinvited Stewart to write the book for a newshow. Basing his creation on originalmaterial dating back to 1836, Wilder wroteThe Merchant of Yonkers, adding a newcharacter Mrs. Dolly Gallagher Levi, ameddlesome matchmaker who had a naturaltalent to charm. She was the kind of womanwho drew attention whenever she entered aroom.

The Merchant of Yonkers opened onBroadway on December 28, 1938, closingafter thirty-nine performances. Earlier thatsame year, another of Wilder’s plays opened– Our Town – which won the Pulitzer Prize.Thirty years later, a revival won both aDrama Desk and Tony Award, long afterGrover’s Corner and the Webbs had becomepermanent fixtures of theater history.Possibly boosted by Our Town’s success, theplaywright began the process of revisingThe Merchant of Yonkers, this timefocusing the story on Dolly. Following awell- received production in Edinburgh,Matchmaker made its Broadway debut onDecember 5, 1955 with Ruth Gordon asthe now prominent character Dolly andRobert Morse as Barnaby. The show ranfor 486 performances followed by anextensive national tour. Morse reprised hisrole in a film version in 1958 with ShirleyBooth, Paul Ford, Anthony Perkins andShirley MacLaine.

David Merrick had collaborated withMichael Stewart for Carnival and wanted tofield the same team for The Matchmakeradaption, including Gower Champion andBob Merrill. When Merrill declined ratherthan work with Champion, Merrick neededto not only find someone else to write thescore, but he needed to persuade Championwho was initially reluctant to break awayfrom a budding career in Hollywood.Everything fell into place when Stewartreached out to Jerry Herman, whosereputation was largely based on Milk &Honey which enjoyed a 543 performance run.At Stewart’s suggestion, Herman borrowed adraft of the recently completed book andwrote four songs over three days, including“Hello, Dolly!” After a fifteen-minuteaudition for Merrick, the incredulous

producer said “Kid, the show is yours.’ After advising Herman to tailor the

songs for Ethel Merman, whom he intendedfor the leading role, much to Merrick’ssurprise, Merman turned him down, beggingoff because she had decided to cut back onlengthy commitments, and begin the processof retirement. Putting his star search asidefor the moment, he set about to find adirector. Merrick approached JeromeRobbins, Joshua Logan, Joe Layton andHarold Prince who had recently staged amuch acclaimed production of TheMatchmaker. But Prince didn’t like the score,most especially the flagship song “Hello,Dolly!” and quickly expressed his lack ofinterest.

T h i n g sbegan to look up for Merrick when GowerChampion began to feel disillusioned over hisfling with Hollywood and a multi-dimensional disappointing experience uponhis return to theater, particularly as itpertained to projects involving LillianHellman and Alan Jay Lerner. What reallyconvinced Champion to come on board,however, was an innovative staging concept– the use of a ramp which extended from thestage and encircled the orchestra pit. Thiswould allow him to create the continuouslychoreographed dancing that he felt wascrucial to his vision of how to present theshow.

Only one task remained to be done –engaging the right performer to play Dolly.Among those considered were Nancy Walker

and NanetteFabray. Merrickand Championundertook a shortjourney to Long

Island to see Carol Channing in GeorgeBernard Shaw’s The Millionairess, butChampion was somewhat reluctant due toChanning being so closely identified with hercharacter Lorelei Lee, the leading gold-diggerof Gentlemen Prefer Blondes. He andMerrick agreed that she would be wrong forthe role, except that Champion was notcompletely sure. After giving Channing thebad news, she asked if he would be willing tolisten to a reading. Over the next severalhours, well into pre- dawn, they workedcontinuously until Channing had convincedChampion that she understood who DollyGallagher Levy was. Said Channing ‘She’sfunny, Gower. She’s a funny woman. She’sso aggravating, we have to laugh.’ Nowthoroughly persuaded, Champion calledMerrick and asked that he meet them the nextday to hear Channing read. Champion wouldlater say ‘She read for him and that was it.’

From the day of David Merrick’s firstmeeting with Michael Stewart until Hello,Dolly! opened on Broadway – January 16,1964 – a little less than three years hadpassed. During that time two of Merrick’sproductions went up on the boards – I CanGet It For You Wholesale and 110 in theShade. He went on to have more successwith I Do! I Do!, Sugar, Play it Again Sam,

and Promises, Promises. Gower Championteamed with Merrick again for both I Do! IDo! and Sugar. Michael Stewart addedSeesaw, Barnum and Mack & Mabel to hisresume. Jerry Herman’s legacy expandedexponentially with Mame and La Cage AuxFolles. The stars aligned miraculously forHello, Dolly! for everyone connected to theshow, most prominently Carol Channing.During the course of her long career sheappeared more than 5,000 times as Dolly.Nothing she did before and nothing since hasever eclipsed that iconic role. CarolChanning will forever be our Dolly andthere’s no denying it.

By Jerry OsterbergHello, Dolly! Before the Parade & After

Editor's Note:This was originally publishedin the NYSMS newsletter of February, 2014.Carol Channing died on January 15, 2019,one day before what would have been the55th anniversary of the opening night ofHello, Dolly! We've decided to republish thearticle in her memory.To access the entireedition, please visit our website archive.

Linda Amiel Burns, APSS President, is celebrating four decadesof The Singing Experience. Several APSS members have taken thisworkshop, some more than once. For those of us who have, we canassure you that you’ll feel like a pro by the night of the performance.Although many students have never sung in public before, thesupportive environment has prepared them well for their debut. CallLinda at 212-315-3500 to sign up. The Singing Experience Cable TVshow continues on MNN Time Warner: Channel 56 or RCN: Channel111. The program broadcasts are every Sunday at 5:00 PM. You canalso see your fellow NYSMS members on YouTube at any time.

Linda is back from vacation, feeling rested, and is about towelcome in the Spring with a new edition of The Singing Experience.Classes for Ain’t We Got begin on April 16, and continue April 23, April30, and May 7. Performance scheduled for May 14. Contact Linda foradditional information at………… 212-315-3500 orlinda@singingexperience.com.

Midday Jazz Midtown continues Wednesdays (1:00 PM to 2:00PM) at Saint Peter’s Church (East 54 Street (entrance) @ LexingtonAve), NYC, Hosted by Ronny Whyte. March 13, April 3, Ben Cassara– singer; April 10, Lou Caputo Not So Big Band; April 24, Russ Kassoff& Catherine Dupuis; May 1, Remembering Marlene VerPlanck.Suggested donation: $10. Parking: Icon Parking, East 51 St, betweenThird and Lexington Ave. $15 including tax for five hours withvalidation@Saint Peter’s Reception Desk. www.ronnywhyte.comwww.saintpeters.org/jazz/midtownjazz.htm.

Jeff Macauley, 2019 MAC Award winner, will be back with LeGrand Tour: The Music of Michel Legrand with Tex Arnold & Jon Burron Wednesday, April 17 @ 7:00 PM at 53 Above (The BroadwayComedy Club), 318 West 53rd Street. Call 212-757-2323 forreservations.

Steve Ross will return with his Master Class: The Song In You andYou in the Song on Saturdays, April 20, April 27, and May 4. Allsessions are from 1:30 to 4:30 PM. Call Dena Kaufman to scheduleat….917-848-4797 or write denakaufman7@gmail.com.

APRIL, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 7

Member News...

Send Member News to Osterbergg@aol .com no la ter than the 15th of each month for the next issue.

If you have any member news, or other items you would like to haveconsidered for this newsletter, please send it by e-mail to the Editor,Jerry Osterbergg: osterbergg@AOL.com. It will be subject toediting, depending on size and content, and please remember thatwe try to go to press two weeks before each monthly meeting. Weoften get very good items that get to us after the newsletter has beenfinalized and made available to the membership.

Congratulations to this years MAC Award winners Anita Gillette,Bobbie Horowitz, Bob Levy, Marissa Mulder, Jeff Macauley, and SidneyMeyer.

Steve Ross reports that the classic radio interview show New YorkCabaret Nights, which was broadcast on WNYC, can be accessedanew by going to https://www.wnyc.org/series/new-york-cabaret-nights.

Board member Marilyn Lester is now the Executive Director of thenew nonprofit American Songbook Association (an outgrowth of theCabaret Scenes foundation). The mission is publishing the magazine,bringing the music into the schools and providing quality, low-costperformances to senior citizens, students and all who love songbookmusic. Please check out www.americansongbookassociation.org

Do you seek an elusive song? If you do, write APSS Boardmember Sandy Marrone @ smusandy@aol.com or call 856-829-6104.You can also visit Sandy in New Jersey to see thousands andthousands of sheets of music, most of which can be yours veryreasonably. She is a marvelous resource and a super-great lady!Having heard from only a few of our members over the past year or so,Sandy wants to remind you that she’s still at it, adding to her collectionevery day, and always willing to part with sheet music at especially fairprices for us. Sheet music was the reason we were founded thirty plusyears ago, after all, and she’s only a phone call or e-mail away. Sandycontinues to be willing to offer free appraisals with no expectation ofhaving right of first refusal and can provide unbiased advice as to howand where to sell music. It’s not a secret, pass it on please.

In November 2009, to celebrate the centennial ofsongwriter/singer Johnny Mercer, Minneapolis radio personalitiesDavid Cummings and Les Block produced and broadcast a 100th

birthday tribute to Mr. Mercer. The show features original interviewswith a distinguished roster of Mercer-connected performers and writers,showcasing recordings of Mercer songs sung by the guests andpresenting valuable comments on the songs and on the man. Amongthe more than twenty celebrities interviewed were Tony Bennett,Johnny Mathis, Andy Williams, Kay Starr, Nancy Wilson, RobertKimball, Barry Manilow and Margaret Whiting. Sadly, our interview withMiss Whiting was her last. The show is being archived by the Libraryof Congress which acknowledged that “…it would be impossible toproduce a work of this quality on Johnny Mercer today.” The entireshow can be heard online at the following URL/web address:https://archive.org/details/mercer100/ksav-mercer-1.mp3 ORjohnnymercer100:davidcummingsandlesblock

Sandi Durell is Publisher-Editor of TheaterPizzazz.com, a vital websitethat presents up to date theater reviews, news, interviews andpreviews, along with cabaret reviews and videos. There is a largecontributing group of writers who offer discerning and professionalreviews and information. Sandi is a Drama Desk and Outer CriticsCircle Awards Voter, member of the American Theatre CriticsAssociation, League of Professional Theatre Women, The Lambs, andThe Dutch Treat Club. Visit: www.theaterpizzazz.com.

October 13, 2018Alex Leonard presents Harry Warren

November 10, 2018Alan Jay Lerner with Amy Asch,

KT Sullivan and Mark NadlerDecember 8, 2018

Celebrating Frank Sinatra on his birthday withclips and songs

January 12, 2019The Anderson TwinsFebruary 9, 2019

Barbara Cook show by Shana FarrMarch 9, 2019

Ron Fassler: Up In The Cheap SeatsApril 20, 2019

Celebrating Jazz Month and theNat King Cole centenary

May 11, 2019Songwriter Showcase

June 15, 2019Richard Skipper Celebrates Meredith Willson

P.O. Box 5856 • PIKESVILLE, MD 21282

Did you know every issue of this newsletteris in COLOR online at www.APSSinc.org

American PopularSong Society

2018 - 19 Season

APRIL 20STRAIGHTEN UP AND FLY RIGHT

Celebrating Jazz Month andthe Nat King Cole centenary.Entertainer-singer and acesaxophone player DannyBacher and his trio (piano andbass) present the music that

made jazz pianist and vocalist Nat King Cole aninternational star. He not only acted in films andappeared on Broadway, but was the first Blackman to host an American television series. Withsuch tunes as "Nature Boy," "Straighten Up andFly Right," "Sweet Lorraine" and many more,learn why prolific hit-maker Cole set the musicalpace for many of his contemporaries as well asjazz men and women to follow.

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