length of performance. For a programwhich involved so many singers and 21songs, it’s impressive that we came inahead of the allotted time. Our sincerethanks to Kaye!

Mary Fahl first achieved fame as thelead singerand co-founder of aNYC basedchamber-popg r o u pO c t o b e rProject. As asolo artist,Mary hasr e l e a s e ds e v e r a lcompe l l i nga l b u m s ,

including the re-working of Pink Floyd’sDark Side of the Moon. She has alsowritten and performed songs for severalmotion pictures, including the lead song“Going Home” for the Civil War epicGods and Generals. Mary performed“Black is the Color,” “Shenandoah,” and“I’ll Be Seeing You.” Margi Gianquintohas built a reputation on the New Yorkjazz scene over the past five years,feeling a strong connection to the musicof America’s Golden Age, from Tin PanAlley and Broadway, to Old Hollywood.She’s been seen regularly at MezzrowJazz Club, Iridium, Birdland, anddebuted at Lincoln Center and CarnegieHall earlier this year. Margi sang“There’s No You,” “He’s Gone Away,”accompanying herself on piano, “TheGentleman is a Dope,” and “HauntedHeart.”

Katie Martucci grew up singing and

DECEMBER 2017www.APSSinc.org

Newsletter

VOLUME 39, NUMBER 3 Formerly New York Sheet Music Society

JUST REMEMBER, DARLING, ALL THE WHILE, YOU BELONG TO MECENTENNIAL TRIBUTE TO JO STAFFORD

Continued on page 3

The average age of our singers, notcounting me, who performed at theCentennial Tribute to Jo Stafford onNovember 11, was 35. Born in 1917, JoStafford turned 35 in 1952, the year ofher biggest hit “You Belong to Me,”which reached #1 in the U.S, Canada,and in the U.K. By the end of the

momentousyear, after lessthan ten yearsas a soloist,70 of herr e c o r d i n g shad charted,25 in the Top10.

In spite ofthe fact thatJo Staffordhad more hitsthan all of her

contemporaries such as Dinah Shore, theAndrew Sisters, and Patti Page, mostpeople below a certain age, have no ideawho she is. Mention some of her popularrecordings and one encounters blankstares. Recite the first line of lyrics from“You Belong to Me,” however, See thepyramids along the Nile, and a look of atleast partial recognition begins to dawn.While they may recall the lyric, thecasual interviewer may have to add thatthe tune was recorded by Jo Stafford. Noneed to mention Patti Page, Patsy Cline,and the Duprees of course.

So, how was I able to discover somany talented young female singers whohappen to not only be familiar with JoStafford’s music, but feel a stronginspirational connection? I found themwhile researching a book about thesinger, which led to several good

interviews. What they mostly have incommon is that they were exposed to Jo’ssinging early on by parents orgrandparents. Those of you who attendedthe recent program may recognize thatI’m stretching a bit here, although not bytoo much. Katie Martucci was recruitedlate in the process by a member of theoriginal cast, Laurel Masse, who had towithdraw because of a family illness.Until now, Katie, a former music studentof Laurel, was unfamiliar with Jo’slegacy, as was Emma Roos, who hadbeen a finalist in Michael Feinstein’sannual competition in Indiana. Emmawas already slated to be the day’s openerbefore graciously agreeing to close theprogram with no less than “You Belongto Me.”

Kaye Allyn, after a career as ac l a s s i c a lsinger, seen inleading rolesat New YorkCity Opera,C a r n e g i eHall, amongothers, hasb e e nperforming inrecent yearsas a jazzsinger in clubssuch as the

Cutting Room, Tomi Jazz, Stage 72, andthe Metropolitan Room, sang “AutumnLeaves” (in its original French), “BakeryBlues,” and “Black Out the Moon.” Itshould be mentioned that Kayeadditionally helped this writer/producerand her fellow singers in song selection,and by organizing the program as tosinger, genre, tempo variation, order, and

By Jerry Osterberg

Jerry Osterberg

Kaye Allyn

Mary Fahl

I hope you all had a good Thanksgiving holiday! It’s so hard tobelieve that 2017 is almost over, and that our last program of theyear will take place on Saturday, December 9th, with the

esteemed Harvey Granat’s program on the late, great Sammy Cahn. Harvey hasbeen conducting amazing programs on the American Songbook at the 92nd Street Yfor many years, and his series is deservedly extremely popular. We are thrilled thathe will be sharing his vast knowledge, humor, and singing voice with us.Accompanying him at the piano will be longtime friend David Lahm, a talentedmusician, composer, and the son of Dorothy Fields.

I cannot thank Jerry Osterberg enough for his wonderful Tribute to Jo Stafford at ourNovember meeting, which featured a terrific musical cast. It was wonderful to havea packed SRO crowd! We signed up many new members, and lots of guests cameand were introduced to APSS. You can read all about Jerry’s Jo Stafford event in thisissue.

Our “exciting rising stars” pre-show has received a lot of positive comments. We areintroducing you to new and talented young singers who are attracting notice. Jerryintroduced us to the delightful Emma Roos, and included her in the show. Thismonth you will meet Joie Bianco who has been profiled by Cabaret Scenes and haswon many awards at her young age.

Thanks for participating in the “Member Exchange” table, by bringing and donatingsheet music, books, CD’s and other memorabilia. It is good to clear out some of ourcollections, and so much fun to find new treasures. And the price is right - FREE!

I am looking forward to seeing you on December 9th, and am wishing you all a veryhappy holiday season filled with good health, music and song!

PAGE 2 AMERICAN POPULAR SONG SOCIETY DECEMBER, 2017

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

Linda

Board Of Directors:Linda Amiel Burns

President

Lynn DiMennaSandi Durell

1st Vice Presidents

Joan AdamsSandy Marrone

2nd Vice Presidents

Glen CharlowTreasurer & Membership

Marilyn LesterSecretary

Bill BoggsWill FriedwaldMichael LavineJudy Stewart

-------------------------------------Publicist

Marilyn Lestermj@mjlester.com

Programs & Special EventsElliott AmesSandi DurellTom Toce

APSS Official Photographer:Rose Billings

Graphic Designer, WebsiteGlen Charlow

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

info@APSSinc.org

Membership Mailing Address:American Popular Song Society

P.O. Box 5856Pikesville, MD 21282

info@APSSinc.org(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

info@APSSinc.org

Linda with Sammy Cahn and Jule Styne at a Songwriter's Hall ofFame display. Taken at Symphony Cafe.

playing fiddleand guitar, andis the daughterof the jazzpianist VinnieM a r t u c c i .H a v i n gwritten andp e r f o r m e dsongs sincethe first grade,Katie laterstudied withLaurel Masse,

a co-founder of Manhattan Transfer,attended Skidmore College andultimately, the New York Conservancy.She is currently leading a nine pieceproject Amalia, and touring with her trioThe Ladles. Katie contributed“Stardust,” “Make Love to Me,” and “I’llWalk Alone.”

Emma Roos was a finalist at theM i c h a e lF e i n s t e i nG r e a tA m e r i c a nS o n g b o o kCompetitionin 2013 beforea t t e n d i n gS y r a c u s eU n i v e r s i t ywhere shereceived herBFA inM u s i c a l

Theatre. More recently she’s appeared inOklahoma! and at the GlimmerglassFestival. Previously she’s been seen inSweeney Todd, Nine, A Little NightMusic, and The Addams Family. Emmapresented “Bewitched,” “Every Night atSeven,” “I’m in Love With a WonderfulGuy,” and “You Belong to Me.” BarbaraRosene has built a reputation forinterpreting the great music of the 1920s,1930s, and 1940s, performing jazzclassics with The Harry James Orchestra,Vince Giordano and His Nighthawks,Les Paul at the Iridium, and with

orchestras and at festivals across theworld. Barbara sang “I Remember You,”“It Could Happen to You,” and “ASunday Kind Of Love.” Oh, can’t forgetthat she had arranged to coax DarleneEdwards out of retirement for a once in alifetime performance of “It’s Magic.”Although Darlene offered to sing anencore, there was no audience responseexcept from one person who shouted“No!” Refusing to be left out, Darlene’shusband Jonathan bravely accompaniedher. He appeared to play with a hardlynoticeable limp. Thank you Barbara forhelping us to remember that somememories are best left undisturbed.

Seriously folks, Darlene andJonathan Edwards did not perform, butwe can dream of what might have beencan’t we? In sharp contrast, JohnDiMartino, our Musical Director for the

entire afternoon,was present andwell accountedfor. John is amuch soughtafter jazz pianist,arranger, andproducer, havingworked withDavid “FatHead” Newman,Pat Martino,Houston Person,Taj Mahal, Jon

Hendricks, Keely Smith, Billy Eckstine,Janis Siegel, Gloria Lynn, Grady Tate;and on Grammy nominated albums withIssac Delgado and Freddie Coles. As along-time member of Ray Barretto’s NewWorld Spirit, he’s appeared as a featuredpianist and arranger on several ofBarreto’s recordings, including Portraitsin Jazz, Clave, featuring James Moody,Kenny Burrell, Joe Lovano, and SteveTurre), and the Grammy nominatedContact.

Jerry Osterberg, after a career inbanking, decided to devote his full timeto writing and singing, both of themlongtime passions. As a writer, he’swritten extensively for Cabaret ScenesMagazine and the American PopularSong Society, for which he also acts as

the Editor and Publisher for thenewsletter. As a singer, Jerry has studiedat the Singers Forum, and at the SingingExperience, with which he debuted atDon’t Tell Mama and at the Triad. He’salso performed with a male chorale formore than 35 years. For the past severalyears, he has been working on abiography of Jo Stafford, hoping to see itpublished during his own lifetime. Jerryperformed “You’d Be So Nice to ComeTo.”

Far be itfor this writerto say, but theroom lookedquite full tome. Therewere plentyof smilesfrom theaudience, aswell as a goodamount ofapplause andlaughter in

the right places. We had assembled afantastic group of singers, most of themunfamiliar to the membership. For thesecond time in the brand new season, atalented young vocalist had opened theshow with a flair, and left us eager formore. Every one of the chosen songsfrom Jo Stafford’s body of work wassung as it was meant to be, without frillsand straight to the heart. The show was avivid reminder of how great is theAmerican songbook, and how importantJo Stafford’s contribution was inbringing it to life.

All photoswith this storywere taken byRose Billings.

DECEMBER, 2017 AMERICAN POPULAR SONG SOCIETY PAGE 3

Jo Stafford...Continued from page 1

Katie Martucci

Emma Roos

John DiMartino

Margi Gianquinto

Barbara Rosene

PAGE 4 AMERICAN POPULAR SONG SOCIETY DECEMBER, 2017

By Marilyn Lester Westward Ho! the SongwritersIn the late 1920s a revolution in sound technology brought

a huge change to the film industry. In 1926, Warner Brothersstudio purchased a Vitaphone system, which synced filmedimages with sound recorded on large phonograph disks. Thepotential was immediately apparent to Harry Warner, who it’ssaid exclaimed, “Who the hell wants to hear actors talk? Themusic – that’s the big plus about this.” And so, in 1926, DonJuan starring John Barrymore became the first feature filmreleased with a soundtrack, a background score performed bythe New York Philharmonic. This film, plus a few Vitaphoneshorts, was a hit, and the Warners began using a soundtrack inall of their films. In 1927 The Desert Song, became the firstsound film of a Broadway musical. Then came Al Jolson’slegendary The Jazz Singer in 1928, another Broadway transplant(which had starred George Jessel on the stage).

Yet, there was still no spoken dialog. But the game was on,and a musical Gold Rush was sparked. The studios began luringEast Coast songwriters to Hollywood with the promise of solidwork and great exposure. Songwriters whose bread and butterhad been the Great White Way recognized opportunity. Althoughsheet music perpetuated their output beyond the stage, aBroadway musical was a fleeting affair. Movies, presumably,would last forever and reach a nationwide audience. First on thewestward trail were men mostly involved in operetta, still apopular art form; they included Arnold Schoenberg, FritzKreisler, Sigmund Romberg and Rudolf Friml. They were soonjoined by a slew of others over the span of a few years. Men

such as Nacio HerbBrown, George“Buddy” DeSylva,Ray Henderson,Harry Warren, FrankLoesser, RichardWhiting and JohnnyMercer – Tin-PanAlley kings of sheet

music and vaudeville – were joined by the Broadway writers,“name brands,” such as Irving Berlin, George and Ira Gershwin,Jerome Kern, Cole Porter, and Richard Rodgers and LorenzHart.

Back East they’d been rivals. Out West they became allies,soon discovering the business of Hollywood was not what

they’d been used to. Studio heads and producer despots createdwriting teams for a single project only. Decisions could be madeon a whim. Harold Arlen and Yip Harburg got the Wizard ofOz commission solely because their “In the Shade of the NewApple Tree” was in a Broadway show that Arthur Freed ofMGM happened to catch on a trip to New York. Work was oftencut. Famously, Cole Porter wrote many songs for 1934s GayDivorcee’ only to find they were all cut except “Night And Day.”Songs were also transferred at will from one film to another, orsabotaged by clueless directors or hack arrangers, or buried inobscure movies. Songwriters soon learned too that money wasthe driving force of creativity in Hollywood. Producerscommissioned five or six “hits” per film (where dozens of songswere the norm in a single Broadway musical). HoagyCarmichael wrote that the phrase he heard most was “it’s notcommercial.” The thought that sitting down at the piano meant“thinking commercial” took getting used to. Playing studiopolitics also became an art form. Still, there was work, andplenty of it, especially during the Depression, which had initiallyhit Broadway hard.

A bonus for songwriters came via the radio and recordings,especially when songs came to the attention of the big bandleaders and their singers. Songs that might have been overlookedin obscure films could become hits. Early examples includeHold Everything (1930), “You’re The Cream in My Coffee”(DeDylva/Brown/Henderson; Lord Byron of Broadway (1930),“Japanese Sandman” (Whiting/Egan); and Bombshell (1933),“Lazybones” (Carmichael/Mercer). In the early 1930s thestudios also began doing their own song publishing and churningout musicals at a steady clip. With a stake in the publishing,studios were motivated to plug their songs. It’s estimated thatduring the 1930s and early 1940s more songs were publishedthan at any other time in a comparable period. As movies

matured, so did the songwritingand the approach to themusic. Studios beganhiring musicaldirectors such asArthur Freedand JohnnyGreen atMGM andV i c t o rSchertzinger atP a r a m o u n t .These men knew

music and wereoften songwriters

themselves. Unquestionably,film musicals contributed significantly to the legacy of the GreatAmerican Songbook. In the words and music of Johnny Mercerand Richard Whiting – “Hooray for Hollywood.”

DeSylva, Brown & Henderson

The Songwriters

DECEMBER, 2017 AMERICAN POPULAR SONG SOCIETY PAGE 5

Jo Stafford was born in

Coalinga, California onNovember 12, 1917, thesecond youngest of foursisters. Her family had movedwest from middle Tennessee,part of the “Great Migration,”shortly before Jo came along.Jo’s father was an oil fieldworker and transferred toLong Beach, where hisdaughter was enrolled in anexceptional school, LongBeach Technical High School.Although her older sisterssang professionally, Jo wasnaturally gifted. Enhanced bya musical home environment,Jo arrived with a strongfoundation for formal training.

By some accounts, shewas somewhat reserved aboutbeing singled out, which didnot prevent her music teachersfrom encouraging Jo to pursueher extraordinary talent, up toand including both classicaland operatic repertoires. Wereit not for the Depression, JoStafford may well have goneon to such a career. But, thefamily couldn’t afford it, andthere were no scholarships tobe found. Upon high schoolgraduation, Jo followed in thefamily footsteps, becomingthe third voice of the StaffordSisters, conveniently replacinganother singer who was not

related. The trio mostly performed

on local radio shows,including a performance withThe Sons of the Pioneers, apopular group of singingcowboys, one of whom wasthe future film and televisionstar Roy Rogers. In addition,with easy access toHollywood, the Stafford girlsenjoyed a marvelous day job,performing on sound tracks infilms such as Alexander’s

Ragtime Band and Damsels inDistress, the latter actually on-screen within a chorus ofmadrigal singers.

At around that time,wedding bells began to ringloudly in the ears of Jo’ssisters Christine and Pauline,causing the act to dissolve.Fortuitously for her, Jo met agroup of men on a moviesoundstage, and together theyformed a singing group whichcame to be called The PiedPipers. Thanks to Jo’s futurehusband Paul Weston, whowas writing arrangements forthe Tommy Dorsey Band, theywere “discovered” by Dorsey,who immediately put them towork in every area of hisbusiness: recording, concerts,broadcast, and film.

Tommy Dorsey’sorchestra was the most

popular in the country, soconstant exposure was assuredfor the Pipers. The band’spopularity increasedexponentially when Dorseyhired Frank Sinatra away fromHarry James, setting the stagefor a watershed moment for JoStafford. Back then, the bandwas the main event, providinga backdrop for dancing. Thesingers often sat patiently in arow behind the band, waitingfor their big moment, typicallyin the last chorus. At somepoint, perhaps because thesound of the Pipers wasdominated by Sinatra, and theBig Bands had begun torecognize that the audiencewanted more singing and lessdancing, Jo began to yearn foran occasional solo, stronglyencouraged by Sinatra.Perhaps already prepped bySinatra, Dorsey was in areceptive mood when Jo came

calling with her request to do asolo, the first “Little Man Witha Candy Cigar.”

By the time Jo and Pipers,sans Sinatra, departed TommyDorsey en masse, after TD hadfired one of them after astupid, one-sided argumentwith the band leader, bandsingers, including Sinatrawere beginning to becomerestless about the timing of

when to go out on their own,no longer as “featured,” but asheadliners. Once again, fateintervened and Johnny Mercerhired Jo and the boys for hispopular radio show, and Jowas once again the dominantvoice. Soon afterwards,Mercer formed CapitolRecords and offered the entireteam a contract, although heencouraged her to record somesolos, eventually having hersign a separate contract.Ultimately, June Huttonassumed Jo’s part in thePipers, and Jo started the pathto countless hits for Capitol,most of the arrangements byPaul Weston.

When Weston moved onto Columbia Records, Jo wentwith him. It was there that shehad her most prolific andsuccessful period of hercareer, appearing in her owntelevision show and countlessother variety programs, whileproducing over 25 million inrecord sales for Columbia.That was a huge number ofsales in the era, which helpsaccount for the fact that, inspite of her relatively briefcareer, Jo surpassed all of hercontemporaries, includingDinah Shore, the AndrewSisters, and Patti Page.Measured against the moremodern singers, over a

OUR JO: THE LIFE OF JO STAFFORD, 1917 – 2008By Jerry Osterberg

PAGE 6 AMERICAN POPULAR SONG SOCIETY DECEMBER, 2017

seventy year period ending in2010, Jo’s hits were secondonly to Madonna,incorporating forty years inwhich Jo did not record.

During theaforementioned time, Jomarried Paul Weston, had twochildren, and witnessed theadvent of Rock & Roll, aphenomena that came onquickly and changed thefortunes of not only Jo, butmany singers of a certain age,such as Frank Sinatra, BingCrosby, Tony Bennett,Rosemary Clooney, andothers. By the end of the1950s, and quicklyprogressing through the1960s, the music of the earliergeneration was nowhere to befound.

Consistent with theshifting popular culture, andfueled in part by a rapidlygrowing population ofyounger consumers, the tasteof the new generation ofrecord buyers was unlikeanything resembling that oftheir parents. While some of

Jo’s colleagues tried valiantlyto adapt, most could not.Faced with the reality of aninability to fill theaters inorder to generate record sales,the stars of the 1940s and1950s could no longer getrecording contracts. Someturned their sights to LasVegas, where their popularitycontinued to have currencyand the need to produceconstant hits, wasn’t required.This was an older audience,who like their favoritevocalists, had fled from Rock& Roll.

Jo Stafford had alwayspreferred the anonymity ofradio and recording.Performing before a liveaudience, be it in Las Vegas, atheater, or especially anintimate cabaret room, wassomething she dreaded.Combined with a decliningdrive or a passion for celebrity,and a reluctance to put in thetime in an entertainmentenvironment she no longerloved, Jo decided toessentially retire, become a

housewife, and raise her kids. She continued to record at

a succession of recordcompanies until 1972,producing some good work.Always an artisticperfectionist, Jo wasn’t aboutto have it otherwise. Her lastpublic appearance was at aparty to honor Frank Sinatrafor his Seventy-Fifth birthdayin 1990. Backed by the Hi-Lo’s, who were substitutingfor the long defunct PiedPipers, Jo performed “I’llNever Smile Again.”

It must be noted that JoStafford was extremelypopular with servicemenduring both World War II andKorea, so much so that shebecame known as G.I Jo.Capitalizing on her popularity,the U.S. Government recruitedher for its propaganda efforts,enlisting her to host broadcastson both Voice of America andRadio Luxembourg, much tothe chagrin of Joseph Stalin.Such exposure gave Jo a hugeadvantage in the Europeanmarket, particularly in the UK,

where lovingly producedcompilations of her recordingscome to market on a regularbasis.

Another factor that shouldbe mentioned is the sheerdiversity of Jo’s output,everything from pop, gospel,folk, jazz, bop, and comedy.Indeed, with her husband PaulWeston, she won her onlyGrammy Award, havingrecorded numerous albums asJonathan and lovely wifeDarlene Edwards, that pitch-challenged lady from Trenton,New Jersey. While it’s beenmany years since Jo Staffordwas in the public eye, she hastruly become a part of theAmerican fabric. Jo wasunderstated, perhaps to anextreme, and clearly inclinedtoward a philosophy of “less ismore.” Nonetheless, JoStafford deserves to beremembered for herextraordinary talent anddedication to an excellentperformance, nothing less andnothing more.

Whatcha Know Joe? Turns Out Plenty!

Our thanks to APSS member Joe Regan, Jr, for reminding us about yet another example of Jo Stafford’s versatility: Bop.Jo recorded two sides with Dave Lambert & His “Choir” in the spring of 1949 for Capitol Records. The A side was “JollyJo,” or… [(M+H+R x 3ee – 00 / 4/4aa3)] x 32 = BOP

The B side was “Smiles,” with a chorus of backup singers (obviously including Jo Stafford) and the Paul Weston orchestra(only just enough) whereas “Jolly Jo” is pure vocalese, almost as if Jo had pre-joined the future team of Lambert, Hendricks,Ross & Stafford. John Bush, writing for All Music, said that “Jolly Jo” was the “most radical song in Jo Stafford’s catalog.”Those looking for proof of this will find both cuts on YouTube. It’s also included on the DRG album Capitol Rarities, 1943-1950 and Lambert, Hendricks & Ross: Improvisations For The Human Voice for El Records.

Interestingly, Paul Weston, as he did following Jo’s early folk recordings, wrote a light hearted yet elegant piece forMusical Express, barely a month after his recording session with his future wife. In the article “What Is Bop?” Westonconcludes: Eventually it will all be absorbed into what we call music, but meanwhile don’t fight it…enjoy it. A beret and a beardaren’t necessary, and you don’t even have to confine your adjectives to cool and crazy. Bop is here to stay and we might aswell welcome it as a new and most interesting contribution to the great art of music. Obviously, as sincere as he may have been,Weston was most probably salting the clouds on behalf of his singer. Unlike Jo’s successful venture into folk, however, therewas no follow through with respect to Bop. There stands her impressive catalog, which includes a few tunes with Vic Damone,Gene Autry, Liberace, and Nelson Eddy, plus two pioneering stunners with Dave Lambert.

By Jerry Osterberg

DECEMBER, 2017 AMERICAN POPULAR SONG SOCIETY PAGE 7

Linda Amiel Burns, APSS President, is celebrating four decades ofThe Singing Experience. A number of 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.

Midday Jazz Midtown continues on Wednesdays (1:00 PM to 2:00PM) at Saint Peter’s Church (East 54 Street (entrance) @ LexingtonAve), NYC, Hosted by Ronny Whyte. Programs: December 6, Hell’sKitchen Funk Orchestra; December 13, Yuletide Celebration I, RozCorral, Erli Perez, Marlene VerPlanck, Danny Bacher, Alexis Cole,Alex Leonard, Taro Okamoto, Boots Maleson, Ronny Whyte: YuletideCelebration II, David Silliman, Saundra Silliman, Boots Maleson,Ronny Whyte, Gabrielle Stravelli, Eric Comstock, Barbara Fasano,Daryl Sherman; December 27, Geoff Keezer, piano. Suggesteddonation: $10. Parking: Icon Parking, East 51 St, between Third andLexington Ave. $15 including tax for five hours with validation @ SaintPeter’s reception desk. www.saintpeters.org/jazz/midtownjazz.htmwww.ronnywhyte.com/.

The Singing Experience will present Holiday Stars on Thursday,December 14 @ 7:30 PM at the Triad, 158 West 72nd St. There is $15cover charge plus a 2 drink minimum. Call Linda Amiel Burns at 212-315-3500 or write: linda@singingexperience.com.

Lucille Carr-Kaffashan sings the praises of contemporary songwritingartists in her 2017 Bistro Award Winning cabaret show “Unwritten,Celebrating 21st Century Female Singer-Songwriters.” With musicaldirector Jeff Cubeta on piano, Sean Harkness on guitar, and MattScharfglass on bass. This show features a mix of joyful, touching,thought-provoking and laughter-inducing 21st century songs written byoutstanding artists such as Adele, Annie Lennox, Sara Bareilles,Susan Werner, Meghan Trainor and Tracy Chapman. The programreflects the voices of women in their 20’s as well as those in their 60’s,

and every decade in between, opening a window to the hearts andminds of contemporary women. Lucille performs Unwritten at Don’tTell Mama in NYC on Saturday, December 2nd @ 3:00 PM. There isa $20 music charge ($10 for APSS members), plus a two-drinkminimum. For reservations call 212-757-0788 or reserve online atdonttellmamanyc.com.

Ronny Whyte, with Boots Maleson on bass, will perform on December23 @ Kitano, 8:00 & 10:00 PM.

Carol J. Binkowski’s new book, Opening Carnegie Hall: The Creationand First Performances of America’s Premier Concert Stage was justpublished by McFarland & Co. www.caroljbinkowski.com.

APSS Board member Tom Toce has recorded a studio version of hissuccessful MAC Award nominated cabaret show Songwriter in theHouse at the Metropolitan Room last year. The recently released CDis different than Tom’s earlier album. It features his singer-songwritersongs and his vocals throughout. Backing Tom are Jon Burr – bass,Sean Harkness – guitar, Justin McEllroy & Peter Millrose – vocals.The CD is available on CD Baby. https://www.cdbaby.com/cd/tomtoce.

Hilary Kole’s newest CD: The Judy Garland Project (Miranda Music)is now on-sale. The remarkable performer conjures the spirit andbeauty of Judy Garland in stunning arrangements of songs madefamous by the legendary singer, including “The Trolley Song,” “TheMan That Got Away,” “Over the Rainbow.”

Do you seek an elusive song? If you do, write APSS Board memberSandy Marrone @ smusandy@aol.com or call 856-829-6104. Youcan also visit Sandy in New Jersey to see thousands and thousandsof sheets of music, most of which can be yours very reasonably. Sheis a marvelous resource and a super-great lady! Having heard fromonly a few of our members over the past year or so, Sandy wants toremind you that she’s still at it, adding to her collection every day, andalways willing to part with sheet music at especially fair prices for us.Sheet music was the reason we were founded thirty plus years ago,after all, and she’s only a phone call or e-mail away. Sandy continuesto be willing to offer free appraisals with no expectation of having rightof first refusal, and can provide unbiased advice as to how and whereto sell music. It’s not a secret, pass it on please.

Speaking of Sandy Marrone, our congratulations for having beenfeatured in the September 17 edition of the Philadelphia Inquirer, TheRegion. The profile, Lost in Song: Name That Tune. She ProbablyHas It, by Kevin Riordan, traces the beginning of her 600,000 piececollection to 1975 and a fortuitous stop in an antiques shop. RobertRawlins, Rowan University music-theory professor said “Her collectionis amazing. I didn’t think there could be that much music in one place.There were things I thought I would never find, and she had them.”

Member News...

Send Member News to Osterbergg@aol.com no later 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 co-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 beenprinted and mailed.

October 14, 2017Will Friedwald, tied to his new book launch

November 11, 2017Jerry Osterberg on Jo Stafford

December 9, 2017Harvey Granat, on Sammy Cahn

January 13, 2018Robert Rawlins - Tunes of the Twenties

(with input from Elliott Ames)February 10, 2018

Michael Lavine & Tom ToceThe contemporary music of Disney Animation 

March 10, 2018(Cabaret Month) Linda Burns,performance by Sidney Myer

April 14, 2018(Jazz Appreciation Month) Marilyn Lester

New directions in JazzMay 12, 2018

Sandi Durell, Songwriter ShowcaseJune 9, 2018

Richard Skipper on Cabaret and ColeA celebration of Cole Porter on his Birthday

P.O. Box 5856 • PIKESVILLE, MD 21282

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American PopularSong Society

Lyrics by Sammy Cahn, Music by James Van Heusen

Our 2017-18 Season

December 9, 2017:This 4 time AcademyAward winner wrotemore words for FrankSinatra than any otherlyricist. His songsreceived 22 academyAward nominations.You"ll hear many of these songs along with thestories behind them. Harvey Granat, singer andmusic historian, produced Cahn on Broadway in"Words and Music" and has wonderful insidestories to tell from his special friendship with Cahn.Granat presented a very popular series on theAmerican Songbook at many of the NYC popularvenues including NYPL for the performing arts.

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Sammy Cahn