That’s Entertainment: Dietz & Schwartz and Friends

The Mabel Mercer Foundation’s annual summer concert celebrated composer Howard Dietz (1896-1983) and lyricist Arthur Schwartz (1900-1984), while including an unrelated roster of other writers. Relative newcomers and established artists presented jazz, cabaret, and musical theater interpretations out of what we call The American Songbook, which, despite suggestions to the contrary, continues to endure and evolve.

Arthur Schwartz was pressured into law by his family and admitted to the bar in 1924. By 1928, having moonlighted for years, he’d closed his office in favor of songwriting. Howard Dietz moved from advertising to MGM’s Vice President in Charge of Publicity, originating their iconic, roaring lion as well as the slogan “More Stars than there are in Heaven.” The composer wrote continuously throughout his alternate career. Collaboration began with The Little Show, a revue starring Libby Holman, Clifton Webb, and Fred Allen. The rest is history.
The Mabel Mercer Foundation’s annual summer concert celebrated composer Howard Dietz (1896-1983) and lyricist Arthur Schwartz (1900-1984), while including an unrelated roster of other writers. Relative newcomers and established artists presented jazz, cabaret, and musical theater interpretations out of what we call The American Songbook, which, despite suggestions to the contrary, continues to endure and evolve. Arthur Schwartz was pressured into law by his family and admitted to the bar in 1924. By 1928, having moonlighted for years, he’d closed his office in favor of songwriting. Howard Dietz moved from advertising to MGM’s Vice President in Charge of Publicity, originating their iconic, roaring lion as well as the slogan “More Stars than there are in Heaven.” The composer wrote continuously throughout his alternate career. Collaboration began with The Little Show, a revue starring Libby Holman, Clifton Webb, and Fred Allen. The rest is history.

Howard Dietz and Arthur Schwartz (Wikipedia)

In her best, wide-eyed, faux innocent persona, the Foundation’s Artistic Director, KT Sullivan, opened with “Confession” from The Band Wagon.

Frank Dain’s version of “Penny” was utterly enchanting. (Songwriter/musical director/musician/board member and lifetime card-carrying, cabaret supporter  Larry Elow.) Dain shimmered with ardor. The unfussy ballad goes straight to the heart with timeless appeal. Kathleen Landis – lovely arrangement, graceful piano.

“Make the Man Love Me” (Arthur Schwartz/Dorothy Fields) emerged genuinely sweet as rendered by Lauren Stanford. During an instrumental, the vocalist seemed to continue internal dialogue holding us captive. Piano-Jon Weber.

Howard Dietz and Arthur Schwartz (Wikipedia) In her best, wide-eyed, faux innocent persona, the Foundation’s Artistic Director, KT Sullivan, opened with “Confession” from The Band Wagon. Frank Dain’s version of “Penny” was utterly enchanting. (Songwriter/musical director/musician/board member and lifetime card-carrying, cabaret supporter Larry Elow.) Dain shimmered with ardor. The unfussy ballad goes straight to the heart with timeless appeal. Kathleen Landis – lovely arrangement, graceful piano. “Make the Man Love Me” (Arthur Schwartz/Dorothy Fields) emerged genuinely sweet as rendered by Lauren Stanford. During an instrumental, the vocalist seemed to continue internal dialogue holding us captive. Piano-Jon Weber.

Frank Dain; Lauren Stanford

The Inimitable Sidney Meyer, who has the most articulate shoulders in the business, sang “Rainy Night in Rio” (Arthur Schwartz/Leo Robin) with iconoclastic, deadpan phrasing, impish facial expression, and the rousing help of the band’s “Ai Yi Yi!” chorus. A photographic finish. Piano-Jon Weber.

Danny Bacher and Alexis Cole, usually solo performers, symbiotically joined for three numbers with Cole at the piano and Bacher on soprano sax as well as duet vocals. “I’ll Buy You a Star” (Arthur Schwartz/Dorothy Fields) swung in with the ease of a languid hammock. “I Guess I’ll Have to Change My Plan” was insouciant rather than wistful. “You and The Night and The Music” showcased the artists’ extraordinary ability with scat. Someone find these people a supper club!

Frank Dain; Lauren Stanford The Inimitable Sidney Meyer, who has the most articulate shoulders in the business, sang “Rainy Night in Rio” (Arthur Schwartz/Leo Robin) with iconoclastic, deadpan phrasing, impish facial expression, and the rousing help of the band’s “Ai Yi Yi!” chorus. A photographic finish. Piano-Jon Weber. Danny Bacher and Alexis Cole, usually solo performers, symbiotically joined for three numbers with Cole at the piano and Bacher on soprano sax as well as duet vocals. “I’ll Buy You a Star” (Arthur Schwartz/Dorothy Fields) swung in with the ease of a languid hammock. “I Guess I’ll Have to Change My Plan” was insouciant rather than wistful. “You and The Night and The Music” showcased the artists’ extraordinary ability with scat. Someone find these people a supper club!

Alexis Cole; Danny Bacher

In his first appearance with The Mabel Mercer Foundation, Darius de Haas displayed well honed acting skill with the theatrical prose/poem “Trotsky in Mexico” (Renee Rosnes/David Hajdu). An original “Shine On Your Shoes” arrived like a slow-motion Fred Astaire turn, every word savored as if preaching gospel. Todd Firth-splendid, textural piano and arrangements.

John Wallowich’s “I Live Alone Again” was performed with rare restraint by Mark Nadler as stipulated by its author – first verse a lament, second in gleeful relief. The artist sold both with credibility. “By Myself,” adroitly including Jack Buchanan’s original spoken word, was a crie de coeur rather than familiar resignation. And, oh, the piano!

Alexis Cole; Danny Bacher In his first appearance with The Mabel Mercer Foundation, Darius de Haas displayed well honed acting skill with the theatrical prose/poem “Trotsky in Mexico” (Renee Rosnes/David Hajdu). An original “Shine On Your Shoes” arrived like a slow-motion Fred Astaire turn, every word savored as if preaching gospel. Todd Firth-splendid, textural piano and arrangements. John Wallowich’s “I Live Alone Again” was performed with rare restraint by Mark Nadler as stipulated by its author – first verse a lament, second in gleeful relief. The artist sold both with credibility. “By Myself,” adroitly including Jack Buchanan’s original spoken word, was a crie de coeur rather than familiar resignation. And, oh, the piano!

Mark Nadler; Marta Sanders

To my mind, this evening’s highlight was veteran Marta Sanders whose inhabiting lyrics, flexible timbre, and arch humor created a show unto itself. The gypsy “Come A-Wandering With Me”(Mark Nadler-emphatic piano), cue atmospheric stage smoke, was followed with equal fervor by John Wallowich’s amusing “Warsaw,” (John McMahon-piano), an impeccably timed in-one, deftly utilizing a babushka.

Sullivan then closed with “Lovely,” for which she played matchmaker to a forgotten composition by Howard Dietz and Bart Howard’s lyrics, and, perhaps the best known Dietz and Schwartz song, “Dancing in The Dark” materializing a chanteusey, soprano waltz.  Jon Weber-piano.

Mark Nadler; Marta Sanders To my mind, this evening’s highlight was veteran Marta Sanders whose inhabiting lyrics, flexible timbre, and arch humor created a show unto itself. The gypsy “Come A-Wandering With Me”(Mark Nadler-emphatic piano), cue atmospheric stage smoke, was followed with equal fervor by John Wallowich’s amusing “Warsaw,” (John McMahon-piano), an impeccably timed in-one, deftly utilizing a babushka. Sullivan then closed with “Lovely,” for which she played matchmaker to a forgotten composition by Howard Dietz and Bart Howard’s lyrics, and, perhaps the best known Dietz and Schwartz song, “Dancing in The Dark” materializing a chanteusey, soprano waltz. Jon Weber-piano.

Finale

Also featuring: exuberant Seth Sikes; Celia Berk’s poignant “Something to Remember You By” rife with implicit “please”; an underwhelming Margi Gianquinto; the polished Sue Matsuki with a clever, if seemingly out of place number on which she collaborated; a bright, sweetheart rendition of “Rhode Island is Famous for You” from Karen Oberlin; Laurie Krauz and Daryl Kojak’s extremely original interpretation of “Alone Together” with massaged vocal, wordless singing, and Valkyrie delivery; the sincere Gary Crawford; and Mauricio Bustamante’s rendition of John Wallowich’s “Bruce.”

Musicianship was uniformly superb.

Performance Photos by Seth Cashman
Opening: Jon Weber; KT Sullivan

Songs by other than Dietz and Schwartz are noted.

Recommended Reading: Dancing in The Dark by Howard Dietz (published in 1974)

That’s Entertainment: Dietz & Schwartz and Friends
Music Director: Jon Weber
Saadi Zain-bass, Sean Harkness-guitar, David Silliman-drums.
Weill Hall June 20, 2017
The Mabel Mercer Foundation                         

Finale Also featuring: exuberant Seth Sikes; Celia Berk’s poignant “Something to Remember You By” rife with implicit “please”; an underwhelming Margi Gianquinto; the polished Sue Matsuki with a clever, if seemingly out of place number on which she collaborated; a bright, sweetheart rendition of “Rhode Island is Famous for You” from Karen Oberlin; Laurie Krauz and Daryl Kojak’s extremely original interpretation of “Alone Together” with massaged vocal, wordless singing, and Valkyrie delivery; the sincere Gary Crawford; and Mauricio Bustamante’s rendition of John Wallowich’s “Bruce.” Musicianship was uniformly superb. Performance Photos by Seth Cashman Opening: Jon Weber; KT Sullivan Songs by other than Dietz and Schwartz are noted. Recommended Reading: Dancing in The Dark by Howard Dietz (published in 1974) That’s Entertainment: Dietz & Schwartz and Friends Music Director: Jon Weber Saadi Zain-bass, Sean Harkness-guitar, David Silliman-drums. Weill Hall June 20, 2017 The Mabel Mercer Foundation

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DANNY BACHER

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