Here - Linda Eder

Volume 6- Edition 1
Summer/Fall 2005
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Eder-tors' Notes
BY MYSELF
Judy Garland
Dan Levine
PETER PAN
Quarters
Michael Feinstein
Linda Kids
Mann Center
Contest
Fan Corner
September 2005
Okay… it's that time again. The time when I try to put into words some of
what is happening in Ederville. Honestly, it feels like a different planet. My
life has gone through a major change, and now that the dust has started to
settle, I'm still looking around in awe at the new world. I have to start by
saying that I'm very happy. On all fronts, life is good.
The new album, BY MYSELF, was a joy to make. It took me to London, a
city that I love, and it introduced me to new wonderfully creative people
who I had a great time hanging out with. Ettore Stratta (producer,
conductor) and Byron Olson (orchestrator) made this project so much fun
and, between the two of them, there is a wealth of amazing stories about
this crazy business and the people who inhabit it. I was fascinated and
laughing at the same time. It was also quite incredible to record a tribute
to Judy while working with someone who actually knew and worked with
her. I learned things about Judy that you don't find in the books. One of
the things that became loud and clear, upon hearing the personal stories
from people who knew her, is that they all really liked her. She was fun to
be around and her sense of humor was stellar.
While we were recording with The London Symphony at Abbey Road
Studios in London, we took a day and went to The London Palladium with a
film crew. This is the famous venue where Judy made her triumphant
"comeback" after Hollywood told her she was a has-been. We were met
there by a long-time member of the Judy Garland Fan Club. He was a small
(Judy's height) 80-year-old Englishman with the most charming and
dignified manners. He wore the same brown silk corduroy blazer that he
had worn to all of Judy's opening nights. It was 54 years old and looked brand new because he had only worn it for those
occasions. The crew filmed us while he gave me the tour of The Palladium and we ended up on the bare stage talking. He
pointed up to the mezzanine to show me where he had been sitting on that fateful night all those years ago. I admit that I got
a goose bump or two. We ended our conversation with me saying that I hoped he and the club would like the new album and
that I would pass muster. He squeezed my arm and with the kindest smile told me that he was sure I would. It was a day that
I won't forget.
I am thrilled to finally be doing a real show with my buddy Michael Feinstein. Ever since we first shared the stage for some
shows, we have wanted to do an evening where we really "shared" the stage and we have finally done that. It wasn't easy with
our busy schedules to find the time to work on it, but we managed to carve out a few days where we were on the same coast.
With the help of a wonderful musical director, John Oddo, we put together Two For The Road. It was a challenge for me to
learn all those new songs with harmonies in time for the first performances that took place on the Cape and on Long Island. I
spent all my airplane trips with my ipod listening to the mp3s that John had made. I felt like I was cramming for a test. To say
that I was nervous for the first night is a major understatement, but I was happy with the results and with some tweaking, I
had a good sense that we really had something. It was a pleasure to watch the faces in the audience every time we introduced
another classic duet. Backstage was fun as well. It felt a bit like a Broadway show. Not only was my crew there, but so was
Michael's and because of the newness and the nerves, it added to the excitement. It was great to have someone to share it
with, and I look forward to the shows we have planned. Michael, you are the best!
My solo concert will now be the Garland Tribute and that is my latest challenge, learning all those words and finding the timing
and the rhythms that make a show work — finding it for Judy, but also for myself. My goal has never been to imitate, but to
let her influences, that have become inherent in me out, and at the same time be me. I have now performed some of the
songs from the album, and it has made me excited for this show.
It was never my intention to move forward without Jeremy Roberts. He has been a part of my performing life for so long, and
this is one change that I have not looked forward to. Change is something I have always resisted. However, it no longer
frightens me. I know that I have changed, dramatically. It's an important part of life and often the key to true happiness. So,
while I am saddened by the end of 19 years of magic and memories, I applaud his desire to change and challenge himself.
TRAIL MIX has been an amazing project to be part of. The goal is to show famous singers relaxed in their own horse
environments, and it has lead to some wonderful interviews. Co-creator Maureen Smith and I have traveled to great locations
and spent fun days with the talented team that has made TRAIL MIX a reality. We have been welcomed into the homes of
these amazing singers, and I have had the great pleasure to literally "horse around" with them. Highlights included riding
western cutting horses with LeAnn Rimes. It was something I had always wanted to try and it was a blast. Cutting horses
evolved out of the need for ranchers to cut a single cow from the herd in order to brand or treat it. Because of their strong
desire to return to the herd, it is no small feat and it is mostly up to the horse to stop that cow. They bob and weave and
almost go to their knees in the process. I was happy that I did not fall off. Another highlight was riding horses on the beach in
Mexico with a very good-looking Latin heartthrob. Ladies, it's a tough job.
But my favorite interview was the first. My friend, the incredible Irish tenor with the life story that movies are made of, Ronan
Tynan, came to my farm. On the hottest day of the year, we laughed, we joked, we rode my horses, we sweated, but we really
did what I so love to do. We talked horses. He helped kick off TRAIL MIX in a way that gave me the confidence to believe it
was going to work. Thank you, Ronan.
I am blessed with a wonderful family and very good friends who have made navigating through this "change" in my life much
easier. I am also blessed with extraordinary fans who gave me the courage to perform during a time when I was really very
much afraid to. It has been an amazing year. I want to thank all of you for coming along for the ride. I have no idea what the
future holds, but I'm not afraid of it. I look forward to it. I appreciate everyone who is on the "team" helping me to sail the
open water.
Volume 6- Edition 1
Summer/Fall 2005
It's almost impossible to imagine a more exciting time than the present for Linda and her career
and for us, her devoted fans! There are so many events to celebrate and to thoroughly enjoy. Linda
is "driving her own bus," and we are along for the ride of a lifetime! This edition of THE VOICE is a
celebration of Linda and the incredibly wonderful happenings in "Ederville."
Linda has once again written a warm and heartfelt letter to you, her fans, in which she talks about
her life and career. She knows that her fans so look forward to hearing from her and reading about
what is new and incredibly exciting from her perspective.
In this edition, we have dedicated two sections to Linda's new album: "BY MYSELF" and "Judy
Garland." Among the features you will enjoy are interviews with Ian Ralfini and Ettore Stratta, both
of whom played a major role in making the new album a reality; interviews with John Fricke and
John Meyer who provide wonderful background information on Judy Garland herself and the songs
on the new album.
As we all know, Linda's musicians are such an important part of her shows and recordings. The talented trombonist, Dan
Levine, is featured in this issue and he gives the fans a glimpse into his successful life and career.
Everyone was excited in June when a new recording of Leonard Bernstein's PETER PAN was released featuring Linda. The
incomparable conductor, Alexander Frey, has graciously shared with us the story of his journey in making this recording a
reality.
Linda's fans across the country have opened their hearts and their pocketbooks to give quarters (and often much more than
quarters!) to support Pets Alive. You will read about the work of an amazing woman, Sara Whalen, at this special animal
shelter and know that your quarters are making a difference.
This summer has brought Linda to the stage with two incredibly talented men: Michael
Feinstein and Keith Lockhart. The fans were treated to a wonderful "duet concert" with
Linda and Michael at several venues, and concerts with the world-renowned Boston
Pops as well. We have provided the fans with reviews of these shows and special
interviews with Michael and Keith.
The EDER-tors and Keith Lockhart
following the August 10 performace at
The Mann Center in Philadelphia.
As we thought about an extra special page for this
edition of THE VOICE, we had a "light bulb" moment.
"What would Linda love to read about?" we
wondered. And then the idea came… KIDS! Some
adorable "Linda kids" have submitted their stories,
interviews, pictures, and more. Linda, this is for you!
Fans submitted pictures of their "Eder-mobiles," uniquely decorated for the ride to a Linda
concert. On the Contest page, you can view photos of the winners' entries and also read
about the contest information for the Winter 2006 edition of THE VOICE.
Last, but certainly not least, Fan Corner presents your submissions of photos with Linda and heartfelt messages to her. You,
the fans, make the newsletter special.
As always, we are deeply appreciative of the tremendous amount of support and assistance
we receive from so many as we prepare each issue of THE VOICE. Once again, we'd like to
express our sincere thank you to all those who have contributed to the Summer/Fall 2005
issue.
To Linda: Thank you for being our inspiration and greatest supporter! You have taken us on quite a "bus ride" in 2005 with
some amazing stops along the way. In the months ahead, there will be so much more to celebrate and enjoy. You are always
so gracious as we prepare THE VOICE, taking time to allow us to take pictures and providing us with whatever we need for
each and every issue. We want you to know how much it means to us to have your support. We are truly grateful.
To Ian Ralfini: First and foremost, thank you for your incredible idea that allowed Linda to record a tribute to Judy Garland
and for the amazing job you have done to make this a recording that Linda's fans and countless others will treasure for years
to come. A huge extra special thank you for your help in preparing this edition of THE VOICE. Your wonderful interview will be
thoroughly enjoyed by readers of Linda's online newsletter.
To Ettore Stratta: We are so grateful to you for contributing to THE VOICE. How wonderful it is to include thoughts from
somebody who knew and worked with many world-renowned singers, especially Judy Garland, and now Linda. Your comments
are the icing on the cake!
To John Fricke: Your incredible knowledge of Judy Garland's life and career has been instrumental in providing Linda's fans
with interesting biographical data, as well as background information on the songs Linda has recorded for this tribute album
and how they relate to Judy's amazing career. You have graciously been there for us as we prepared this issue to (in your own
words) "advise, enthuse, cheerlead, counsel — whatever — where Judy Garland aspects are concerned." No matter how many
e-mails we sent (eleventy-two according to you!), you were there for us in whatever we needed. A huge, heartfelt thank you!
You make us look so good!
To John Meyer: You have been so kind in providing background information on "I'd Like To Hate Myself In The Morning," the
song you wrote (music and lyrics) and actually taught to Judy Garland. Your unique experience with Judy herself will provide
the fans with first-hand knowledge. Your input for THE VOICE is special and invaluable. Thank you.
To Jack Murphy: Thank you for sharing your perspective as composer/lyricist of "The Rainbow's End." You have given Linda
so many wonderful songs over the years, and this one is right up there with the best of them. Your incredible talent allowed
you to write a song in 2005 that blends in perfectly with the classic songs Judy sang all those years ago. We appreciate your
willingness to share your perspective on BY MYSELF with Linda's fans.
To Dan Levine: You're such a joy to watch perform on stage. You're an even bigger joy to get to know as a person. Thank
you for your amazing music and for letting us tell your story in THE VOICE. We know the fans will be as fascinated as we were.
To Alexander Frey: It has been a pleasure getting to know you and working closely together with you to provide the fans
with information on your wonderful new CD, PETER PAN. Your perspective on the journey of this special project will be
thoroughly enjoyed by Linda's fans in this edition of THE VOICE. Thank you so much for everything.
To Michael Feinstein: First of all, thank you for writing such an incredible and fun show, Two For The Road. We love it! Your
friendship with Linda is so evident on the stage, and we are thrilled to have you participate in her newsletter. We appreciate
your taking the time to respond to our interview questions. Thank you.
To Keith Lockhart: Linda and The Boston Pops — what a perfect combination! The most amazing orchestra in the world
combined with the most beautiful voice in the world… who could ask for anything more? Thank you for participating in an
interview about your career and your partnership with Linda over the past several years. The fans will enjoy reading it.
To Kim Scharnberg and David Finck: You have been friends of THE VOICE since its beginning. Thank you so much for
always being there when we call upon you. We know we can always count on you.
To the "Linda Kids:" Thank you for sending your pictures, drawings and words. Linda and all her fans are going to LOVE your
page.
To Jeffery Osborne: Thank you for putting up with us! :-) You're a gem.
To Dave and Ronni Hart: Your support of THE VOICE is amazing! Thank you for all you do for the fans.
To Jill Siegel: Without you, THE VOICE wouldn't be a reality. Thank you for always being there for us with your advice and
invaluable experience. We love you!
To the Fans: THE VOICE is for you and your submissions make it complete. On the Future Issue page, you can learn more
about how to be a part of the newsletter. We always look forward to hearing from you and we hope you will enjoy reading THE
VOICE as much as we enjoy creating it for you. Thank you!
And lastly, we would like to wish Jeremy Roberts well. You were always a joy to watch perform. Thank you for everything you
did for THE VOICE. We wish you only the best.
Warmest regards,
THE VOICE EDITORIAL STAFF
Amanda Christensen (Webmistress and Editor), Ellen Jacobs (Editor) and Lori Phelan (Editor)
THE VOICE Team (l to r): Ellen Jacobs, Amanda Christensen, Linda Eder, Jill Siegel and Lori Phelan
Volume 6- Edition 1
Summer/Fall 2005
"For the first time I have done a tribute album. The
challenge of serving myself, the music, and the incredible
woman it honors hit me right before we were about to
record the first track. But Judy picked great songs, and the
fun we had recording them quickly made me forget
anything else. I'm proud of the album and so impressed
with the work of everyone involved. I am, as always,
thankful to and for Judy Garland."
BY MYSELF: THE SONGS OF JUDY GARLAND, Linda Eder's ninth solo album, is billed as a tribute to the incomparable Judy
Garland. However, it is so much more than that. The album is a gift and a work of art that honors Judy Garland's legendary
talent in a manner that elevates the music to an unequaled level — as only Linda's voice and passion for the music can.
Linda has said on many occasions that Judy Garland was one of her biggest musical influences from the time she was a young
girl. Now, Linda herself will inspire generations to come with her distinctive take on these classic Garland songs, and one
original song by Jack Murphy, with her latest album.
Here, for the readers of THE VOICE, we've provided some insight into the creation of the album through interviews with
Executive Producer and Senior Vice President/General Manager of Manhattan Records (EMI) Ian Ralfini and Producer Ettore
Stratta, background on the songs and how they relate to Judy Garland's career by Author/Historian John Fricke, commentary
from songwriters Jack Murphy and John Meyer, and more.
A Chat With Ian Ralfini…
VOICE: How long have you known of Linda and her work?
IAN: I first became aware of Linda when I heard a track from a record she did for
Angel Records called "And So Much More," which I believe was in 1994. I thought,
"Who is this voice? Where did this voice come from?" I'd been around the record
business for a long time and hadn't heard of Linda Eder and thought, "This is a
terrific album!" That was the first time I heard her. There was a track on that
record… "Bridge Over Troubled Water." Everybody knows that song from Simon &
Garfunkel. I loved Linda's version… she took that song and made it her own.
VOICE: When and how did you first meet Linda?
IAN: I first met her when I was working with Ahmet Ertegun [founder of Atlantic
records]. She came by the office to say hello to him. They had a really nice
relationship. My first impression of Linda was how tall she was... I was awed by
how tall she was! What an elegant woman she is! She has such a presence. That
was the first time I actually met Linda in person, and then, of course, I went to see
the show [JEKYLL & HYDE] and fell in love with her.
VOICE: Had you worked on any projects with Linda before BY MYSELF: THE
SONGS OF JUDY GARLAND?
L to R: Ian Ralfini (Senior Vice
President/General Manager Manhattan
Records), Linda Eder, Bruce Lundvall
(President EMI Jazz and Classics).
IAN: Yes. When I came here to EMI, I started the Manhattan Label in 2001. Under
the EMI umbrella is Angel Records. Bruce Lundvall is President of EMI Jazz and
Photo by Gary Gershoff
Classics Division, and a big fan of Linda's. I asked Bruce if I could put together a
compilation of the tracks that she had recorded during the time she was with Angel in the early 90s. I compiled an album
called STORYBOOK. We had some remixes and then added a bonus track, "Vole Mon Ange." What an incredible voice that is on
the bonus track… a real soprano voice!
VOICE: Would you please tell us how BY MYSELF: THE SONGS OF JUDY GARLAND was conceived? Whose idea was it and
when did it all begin?
IAN: Bruce Lundvall was the one who first met Linda back in Minneapolis. He was asked to go down and hear her way back in
the early 90s. He became a fan of hers, but he didn't actually sign her then. She came to Angel which became part of his
division, and that's when he first got to work with her. After this, Linda went to Atlantic. When I came to EMI, I said to Bruce,
"Linda's contract is coming up again at Atlantic and if she doesn't sign with them, I'd love to sign her." I knew that Bruce
would do it in a heartbeat [laughs] because he loved her! Anyway, after completing the deal, I wanted to start making a record
with Linda that was different from the ones that she'd made before. At the same time, I wanted something that would
hopefully please her strong and loyal fan base but that also would attract a new and wider audience. There were a lot of artists
doing standards and I didn't want to do just another standards album. I wanted her to have new opportunities and I wanted to
associate Linda with great songs. In doing some research, I discovered that no one had actually recorded an album that was
exclusively all Judy Garland songs and I thought that it was a good idea. I decided to suggest it to Linda, so immediately I
called Linda asked if I could come to the house and talk about some ideas for the material for the album. At that point, I didn't
say anything about Judy.
VOICE: Once you had the idea for Linda to do a Judy Garland album, what was
your next step as executive producer?
L to R: Byron Olson, Linda and Ettore
Stratta in the studio.
IAN: Before I went to see Linda, I started to think about producers. If Linda liked
the idea, who would I use to produce it and who would be the right person for the
project if she did agree to do it? I knew of this wonderful producer named Ettore
Stratta who had produced many artists over the years. Artists such as Judy
Garland, Barbra Streisand, Lena Horne, Tony Bennett, Cleo Laine, Sissel and
Diahann Carroll. One of the things about Ettore… apart from being very talented, is
he's a very sensitive man and I thought this might be a very difficult and unusual
record for Linda to do. It would be the first time she is going into the studio with
unfamiliar people. She really hadn't worked with me before. We'd gotten to know
each other but we hadn't known each other for a long time. So she would be going
into the studio with a new team who was trying to move the direction a little bit. It
was going to be a scary time for her. So I wanted to get somebody I felt would be
sympathetic to this and someone I knew musically could do it. If we did the Judy
Garland album, I wanted somebody who would be perfect and I thought Ettore was
that person. I felt Ettore, as a human being, would work well with Linda and as it
turned out, the two of them got along very well. She respected him and she felt really comfortable with him in the studio,
which was my goal. Ettore also happens to be the last person to record Judy Garland before she died. I met with Ettore, who is
also a great Linda Eder fan, and he agreed that the songs of Judy Garland were the perfect repertoire for her. I explained to
him that although I wanted the album to be very contemporary, I also wanted the arrangements to reflect the era in which
Judy recorded them. That is what we strove for.
VOICE: What was Linda's reaction when you presented your idea of doing an album of Judy Garland songs?
IAN: I went to Linda's house with Ettore to sell her the concept and I was greeted by the dogs! [laughs] Having gotten passed
the dogs, which was the first test I suppose, I barely got inside the living room when I started my pitch. I was excited and a
little anxious… I started to blurt it out and I said, "I've got this really great idea… what do you think of doing a record of all
Judy Garland…" That was as far as I got and Linda said, "I LOVE IT!" and it was as simple as that. I had worked up how I was
going to do this and what I was going to say if she said, "No, I don't like the idea." But I didn't have to… I just got as far as
"Judy Garland" and she said, "LET'S DO IT!" It was as easy or as difficult as that. But I had thought about it very carefully and
it was something that really made sense to transition her from the kind of songs she had been singing, and even the Broadway
songs, into something else. But whatever the next step is going to be, this album was an important step to take. Linda's fan
base will hopefully like it and maybe it will bring Judy's fan base into the fold as well. Obviously I love the concept and not just
because I came up with it! [everyone laughs] It works so beautifully and it's such a perfect vehicle for Linda. I mean… this
VOICE! She has a one of kind voice. It is one of the great voices of our time! It's simply remarkable. You've heard her many
times but in the studio you see that person standing behind the microphone, and then she opens her mouth… I don't know
how the microphone stands there!
VOICE: Well, she's blown out a few!
IAN: [shouts enthusiastically/laughing] I know! [everyone laughs] It is just such a powerful voice.
VOICE: Were you a fan of Judy Garland before you were involved in this project?
IAN: First of all, I love female singers. My father was a Big Band leader in the 40s and 50s in England, and he would always
have girl singers in front of the band. I thought that was absolutely amazing, so I grew up with that. My father played Judy
Garland's records at home. I loved her from the first time I heard her and, of course, then eventually when I saw her singing
"Over The Rainbow" in THE WIZARD OF OZ. I really fell in love with her — she had something incredible, which I think Linda
has as well. That quality is something that they both share.
VOICE: Did you ever meet Judy Garland or see her perform live?
IAN: Regretfully I never met Judy. I saw her at The Dominion Theatre and The London Palladium several times. In fact, I was
at a Royal Command performance in England, which happens once a year, when the royal family hosts an evening for their
invited guests. They have lots of show business personalities and there is a performance. This particular year, the Beatles were
the headline guests and Judy was in the audience. The audience cheered her to go up on stage and she did, and in the end
they got her to sing. It was quite remarkable… off-the-cuff, you know. So I did get to see her. I was around a lot of those
people at the time, but I never did get the chance to meet her.
VOICE: In your opinion, what qualities make Linda and Judy similar as performers? While at the same time, what makes them
different?
IAN: I think the first thing that comes to mind about the two singers is the dramatic quality in their respective voices. When
they sing a sad song, they immediately tear at your heartstrings and build the emotion… it's something they both can do.
When you hear them sing a song, even if it is an emotional song, somehow they can make it even more so. They take every
word and give it its true meaning. I hang on every word. As I hear Linda's album over and over again, she makes me listen to
the words. Every note resounds when Linda and Judy sing, and I think that's what they have in common. And yet, they are
opposites and not just their heights! [laughs] Judy was such a diminutive person and Linda is a woman of stature with a
beautiful powerhouse voice. I felt Judy was coquettish and mischievous but with an equally powerful voice.
VOICE: Now… to the songs! How did you ever manage to choose what songs to include on the album from Judy's seemingly
endless catalog of fantastic songs?
IAN: Choosing the songs for the album was easy because there were so many to choose from, but choosing what ultimately
finished up on the record was hard. [chuckles] We talked a lot about it collectively. Ettore and I talked; Linda and Ettore
talked; Linda and I and Ettore talked. We talked with Byron Olson, the wonderful arranger, who helped us to made this project
really work with his beautiful musical interpretations of each of the songs. We thought about it long and hard. What we wanted
to do was not just all of the obvious songs… that would be too easy. Ettore
came up with some songs by John Meyer, one of Judy's last boyfriends. He
had written a couple songs for Judy and we had Linda listen to them. Many
people have never heard these songs so we were able to introduce songs
that Judy Garland had done, but songs that are going to be new, maybe
even to her fans. In the end, the songs on the album are Linda's choice.
She's very happy with the songs that ended up on the album.
VOICE: Please tell us about the original song on the album.
IAN: Linda wanted to do one original song. She had it written and it fit so
perfectly. I wondered if this song was going to stand out because all of the
other songs have a certain quality about them that was of an era. This one
wasn't… but it worked perfectly. Jack Murphy wrote a really great song
that fits right in the concept of what we did. I wanted this album to be a
contemporary album, but at the same time I wanted it to have a feel of
that era when Judy Garland sang the songs… like an album when Nelson
Riddle or Billy May wrote for Frank Sinatra… that sound, that time.
L to R: Ettore Stratta, Ian Ralfini and Linda Eder
after a recording session.
VOICE: Do you have a favorite song from BY MYSELF?
IAN: We talked long and hard about "Over The Rainbow." We thought maybe we shouldn't put it on the album because
everybody's done it and everyone claims it as their song. We thought, "Maybe we'll leave it off," but then, "How could you do a
Judy Garland album and not have 'Over The Rainbow' on it!" We were talking about it and Linda said, "You know, I'd like to do
'Over The Rainbow' but it's got to be really simple. We can't go out and try to do a big Judy Garland arrangement. Why don't
we just do it on piano?" What became the last track is now called "I'm Always Chasing Rainbows/Over The Rainbow." When I
listened to this medley, it was so dramatic and so beautiful that it had to be the last track. I felt there was no way that other
songs could follow it on the CD, and Linda agreed. The album opens with a blockbuster, "By Myself," so we had to have
something perfect to end it. When I listen to the record and get to "Over The Rainbow," I thnk it is absolutely amazing! The
way Linda carries the notes… her breathing and intonation are perfect. What a mood she creates! At this moment in time, I
think this is the best version of "Over The Rainbow" that I have heard.
VOICE: So "Over The Rainbow" is your favorite?
IAN: It's my favorite. I took the long way around to tell you that!
VOICE: Why did you decide to record in Studio 1 at Abbey Road with the London Symphony?
IAN: I am an Englishman obviously [Ian speaks with a charming English
accent]. I've spent all my life in the record business and I've recorded at
Abbey Road. Abbey Road is a really wonderful studio to record in… it's a
beautiful building and it has a lot of history and was perfect for Linda. I
was there when the Beatles recorded "Sgt. Pepper's Lonely Hearts Club
Band." The primary reason why I wanted to go to Abbey Road was that I
wanted to use the London Symphony Orchestra, which is a terrific string
orchestra… wonderful… and for what we wanted to do with this record, I
thought they were the best orchestra to do it. When you hear the strings
on the CD, you will understand why. Equally as important, is that Judy
Garland had recorded in Abbey Road, and I wanted to try and get a little
bit of that Karma and atmosphere. I told Linda, "I hope that when you are
there that you will feel you are in her presence… that she was there…." So
there were several reasons for recording there, but overall it was the right
place to record with the London Symphony Orchestra and the right studio
for Linda Eder to record this material. There is a little side story to this.
Judy Garland did record there with the orchestra and she sent in cases of
champagne for the musicians. Judy was notorious for always being late for
her sessions… arriving two or three hours late. When she arrived, the band
was so smashed… they could hardly play. I sent Linda one case of
champagne and I said, "That's all you're getting! Because I don't want the
orchestra to get drunk!" I don't know if they knew it at the time or just
thought, "Oh, well, that's nice he sent champagne!" but that was the
reason.
VOICE: What a great story! We have one final question, we were
wondering what your responsibilities are as executive producer?
(At left: Linda in the studio with some of the guys "behind the scenes.")
IAN: The executive producer doesn't necessarily have to be someone who
is a musician, but they are responsible for organizing all of the elements of
the recording process including, sessions, budgeting, arrangers, studios,
repertoire, but most of all to help make the recording process as easy and
unstressful for the artist as possible. You help to create the environment
for everyone to work in. It is the producer, in this case Ettore Stratta, and
the associate producer and arranger, Byron Olson, who were responsible
for putting together the actual musicians and arrangements and working
with the engineers to achieve the sound and feel for the record.
VOICE: Thank you for taking the time to speak with us and providing all of
this insight for the fans.
All About Ian Ralfini…
Ian Ralfini is an executive with many years of experience in the domestic and international music business. Originally based in
the UK, he's created, developed and managed several successful international record and music companies for major U.S.
corporations, taking them from start-up to multi-million dollar businesses. He relocated to the U.S. in the early 1980s to
acquire and develop music and non-music related businesses.
Ian is currently Senior Vice President/General Manager of Manhattan Records, a division of Blue Note/Angel
Records/Manhattan Records which are EMI owned companies. Artists signed by these labels include: Bernadette Peters,
Cassandra Wilson, Dianne Reeves, Norah Jones, Sarah Brightman, and Linda Eder; and Cast Albums include: ANNIE GET YOUR
GUN, CRAZY FOR YOU, MISS SAIGON, COMPANY, FUNNY GIRL, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, and
PASSION.
Ian's many years of experience prior to his current position include: President/CEO MGM Records Europe where he was
responsible for establishing and developing MGM's European and International music companies; President/CEO WarnerReprise Records UK where he established and developed WB's international record companies; Chairman/CEO WEA UK where
he developed the UK base for the combined Warner Bros. Atlantic & Elektra labels, which led to the roll out of the WEA
International network of companies throughout Europe; Chairman/CEO ABC Records UK (known in the UK as Anchor Records)
where he developed an A&R base, marketing and sales company for the ABC group of companies. This led to the development
of ABC's music and record interests worldwide; Chairman/Owner Shelter Records in New York. Shelter artists included: Tom
Petty, Leon Russell, Phoebe Snow, Freddie King, Gap Band, Dwight Twilley and the Grease Band. Throughout his career, he's
signed many well-known talents, including: Fleetwood Mac, Rod Stewart, America, Alice Cooper, YES, Chrissy Hynde, and ACE.
As manager to Anthony Newley, Ian was involved in the Broadway productions of STOP THE WORLD, I WANT TO GET OFF and
ROAR OF THE GREASEPAINT, SMELL OF THE CROWD. He also has music publishing experience and was responsible for starting
Warner Bros. first independent music publishing company in the UK. He also managed and developed MGM's publishing
companies in Europe, working with movie producers and directors placing music for soundtracks. He created ABC's music
publishing company in the UK and developed their music interests throughout Europe. And, he owned Shelter music publishing
companies, Skyhill Music and Tarka Music. These companies owned copyrights by: Tom Petty, Leon Russell, Phoebe Snow, Eric
Clapton, and Bob Marley.
In addition to being a skilled businessman, Ian has a big heart and has used some of his influence to make the world a better
place. He serves as the President of the Nordoff-Robbins Music Therapy Foundation, a foundation he formed with Ahmet
Ertegun to raise funds to support a clinic in New York based at New York University. The clinic works with autistic and severely
handicapped children, using music as the method of communication and therapy. Ian has developed a support group for this
venture including: Pete Townshend, Phil Collins, Eric Clapton, Aerosmith, John Mellencamp, and others.
A Chat With Ettore Stratta…
Ettore Stratta is a multi-talented conductor, composer, arranger and producer. His work touches many musical bases —
Classical, Pop and Jazz, and sometimes combines these genres in unique recording and concert projects. He's worked with
many world-renowned artists, including Judy Garland. This, combined with his incredible talent and wealth of experience,
made him the perfect person to produce BY MYSELF: THE SONGS OF JUDY GARLAND. Here, Ettore talks about Linda, the
album and Judy Garland.
VOICE: How did you meet Linda Eder?
ETTORE: I knew Linda because I had seen her at Carnegie Hall. I first met
with her professionally at Ian's office, where we discussed the idea of
recording a Judy Garland album.
VOICE: You had the extraordinary honor of working with Judy Garland.
Would you please tell us a little about that experience?
ETTORE: I recorded the last album of her life, JUDY: JUNE 1969 LONDON,
when she was performing at the Talk of the Town. We were making a live
recording only to make her feel comfortable that she could record again.
She was feeling pretty good about it, but it never came about because she
died. So, eventually we decided to release the record. This was the last
recording of Judy Garland.
VOICE: You have worked with two of Linda's three greatest influences —
Barbra Streisand and Judy Garland. What similarities between Linda and
the other ladies do you find?
ETTORE: Having worked with Barbra and Judy, the similarities are that all
three are the greatest singers in this genre. They are emotionally fantastic
givers… they have those kind of qualities. But nobody has touched the
songs in the way that Linda has on this album… nobody could. They didn't
have the power of the voice and the emotional quality to do that.
VOICE: How did your work with Judy Garland and Barbra Streisand
influence the way you approached producing BY MYSELF?
Linda and Ettore Stratta
ETTORE: It influenced me only for the fact that I work with great singers and as a producer, it is about great material — great
songs. People like Judy, Barbra and Linda are great and the songs are great. Speaking as a producer, musician, arranger and
conductor, we had a fabulous band and one of the greatest orchestras in the world. You can dress it up any way you want, but
it is the interpretation and delivery that make the difference in the end. Linda was very open to suggestions and ideas. She
displayed a great deal of respect for the engineers and musicians, and everybody responded to her terrifically, which comes
across on the CD.
VOICE: What is your favorite song on the CD?
ETTORE: "It Never Was You." Judy sang and recorded this song more intimately with just a piano. It is one of the greatest
songs that Cole Porter wrote… in fact, one of the great songs, period. I love the rest of the album, but this song is a little bit
different and special. I chose this song among the others to say to Linda, "I think you are going to sing it great, but let's put in
the orchestra as a complement to your voice." The London Symphony Orchestra was an important aspect of this recording. It
was easy to choose the most famous songs. Linda Eder didn't take the easy route, and I think this distinguishes her from all
other singers.
VOICE: Speaking of the lesser-known songs, how did you think to introduce John Meyer to Linda? What was that meeting like?
ETTORE: I thought of John Meyer because I was the publisher of the two songs he wrote for Judy, "It's All For You" (which
didn't make this CD) and "I'd Love To Hate Myself In The Morning." John played the piano at my apartment and Linda flipped,
so we wound up recording them. John is such a musical person. He knew the beauty of Linda's voice immediately, so he knew
this was going to be great!
VOICE: What do you think Judy Garland would say about this record if she could hear it?
ETTORE: It's difficult to say… I can only guess. I think she would understand and approve, definitely, because without copying
her, Linda created the same aura. That unique quality is something very special that only a few people in the world have, and
Linda has it.
THE SONGS...
BY MYSELF
(Howard Dietz/Arthur Schwartz for Broadway's BETWEEN THE DEVIL, 1937)
Originally recorded by Judy in 1957 as a lighter ballad, the Garland arrangement Linda echoes here
was reconfigured in a much more bravura vocal style (by Saul Chaplin) and orchestration (by Mort
Lindsey) in 1962 for what would prove to be Judy's final film, I COULD GO ON SINGING. It was
Garland's self-declared "favorite of all time" in terms of her musical repertoire — and one of her
three favorite songs, along with Noel Coward's "If Love Were All" and (supremely) the Vincent
Youmans/Edward Heyman "Through The Years." Judy later sang this version of "By Myself" on five
television programs and in countless concerts.
ALMOST LIKE BEING IN LOVE/THIS CAN'T BE LOVE
(Alan Jay Lerner/Frederick Loewe for Broadway's BRIGADOON, 1947/Lorenz
Hart/Richard Rodgers for Broadway's THE BOYS FROM SYRACUSE, 1938)
Judy singing "By Myself"
This vocal arrangement was assembled for Judy by her M-G-M coach,
in I COULD GO ON
accompanist, composer, lyricist, mentor, and surrogate father, Roger Edens.
SINGING (1963).
He tied together the two tunes as a new addition to her repertoire for the
1959 "Opera House" tour (see biography timeline); she subsequently sang the chart on numerous
television shows and in her concert programs into 1968.
ME AND MY SHADOW
(Billy Rose/Dave Dreyer & Al Jolson, 1927)
Judy singing "Almost
Like Being In
Love/This Can't be
Love" in her 1963
CBS-TV special.
Hauntingly orchestrated for Garland by Gordon Jenkins, this song was a
highlight of her moody Capitol concept album ALONE in 1957; it was a
concert staple for the rest of that season as well.
I'D LIKE TO HATE MYSELF IN THE MORNING
(John Meyer, 1968)
Dynamically introduced by Judy in one of her final United States
Album cover of ALONE
(1957) on which Judy
television appearances (on "The Merv Griffin Show" in December
recorded "Me And My
1968), "Hate Myself" was charted by Mort Lindsey and included
Shadow."
by Garland in all her 1969 concert appearances. Meyer himself
taught her the song and accompanied her in impromptu renditions of it in New York and
Boston cabarets prior to its television debut.
John Meyer comments... "I think it was in Casey's, a little bistro on West 10th Street. I
was drinking Chassagne Montrachet with my pal Fred, and we'd had a little too much
(didn't we always?). That's the trouble with these white Burgundies — when you hit a good
one, restraint goes out the window. At some point, Fred turned to me and said, 'I'm not
stopping, but we're gonna hate ourselves in the morning.'
The next morning his phrase was still buzzing around in my head (along with a few other
things) — and I thought… hang on, there's a great song idea here. When I'm lucky with an
idea, the melody rises up in my subconscious along with the words... and that happened
this time. I went to the piano and worked out the first sixteen bars — music and lyric — in
about forty minutes. The lyrics are always easier. I must be a left-brain person… I can
construct fitting words with much less effort than it takes to come up with original music.
Judy with Margaret Hamilton
(original Wicked Witch of the
West) on The Merv Griffin Show in
1968. Judy once performed John
Meyer's "I'd Like To Hate Myself In
The Morning" live on the show.
I was introduced to Judy Garland because of this song, 'I'd Like To Hate Myself In The
Morning.' One of the customers heard me playing it at the little bar where I entertained,
and he introduced the two of us. Judy liked the song, and when she was booked on The
Merv Griffin Show, her ex-conductor, Mort Lindsey, wrote the orchestration (the 'chart').
Because he was familiar with Judy's style, he knew just how to arrange the tune to
showcase her vocal to maximum effect.
This past May, Michael Feinstein told me he'd forwarded Mort's original chart to Byron
Olson, Linda's arranger. Byron was able to expand on and enlarge Mort's arrangement. It
really swings now."
IT NEVER WAS YOU
(Maxwell Anderson/Kurt Weill for Broadway's KNICKERBOCKER HOLIDAY, 1938)
Recorded for Capitol by Judy in 1960, she purportedly added it to her repertoire at the
behest of good friend, British actor Dirk Bogarde, as it was his favorite song. In August that
year, she brought him up on stage at The London Palladium when she sang the number
publicly for the first time; he sat at her feet as she crooned the lyric to a simple piano
accompaniment. It was one of five songs she went on to perform two years later in her
final screen appearance, I COULD GO ON SINGING; therein, she was filmed at Britain's
Shepperton Studios on a mockup of the Palladium stage, with David Lee at the piano. The
entire sequence was shot in a single fluid "take" and sung "live" by Garland, rather than
prerecorded and lip-synched as in most film musical situations.
ZING! WENT THE STRINGS OF MY HEART/THE TROLLEY SONG
(James F. Hanley, for the revue THUMBS UP, 1935/Hugh Martin & Ralph Blane, for the film
MEET ME IN ST. LOUIS, 1944)
Dirk Bogarde and Judy Garland in I
COULD GO ON SINGING (1963),
Judy's final film in which she
performed "It Never Was You."
The first of these titles was Judy's vaudeville and
audition piece throughout her 1935 appearances and was one of the numbers she sang
when called to be heard by executives at M-G-M that year. It was later added to her
repertoire for the 1938 film, LISTEN, DARLING. Her concert arrangement, restructured here
for Linda, was orchestrated by Nelson Riddle for the 1958 Capitol album, JUDY IN LOVE;
she sang it everywhere for the next decade. The second song in the grouping was written
for Garland for one of her four greatest motion pictures; it was an Academy Award nominee
as Best Song and an ever-after concert, television, radio, and recording success for her.
THE RAINBOW'S END
(Jack Murphy, 2005)
Title lobby card for LISTEN,
DARLING (1938) in which Judy
sings "Zing! Went The Strings Of
My Heart."
"The Rainbow's End" is the only original song on BY MYSELF: THE SONGS OF JUDY
GARLAND. It was written for Linda by Lyricist/Composer and friend Jack Murphy as a
tribute song to Judy. Learn more about the song in a detailed interview with Jack Murphy
below.
THE BOY NEXT DOOR/YOU MADE ME LOVE YOU
(Hugh Martin & Ralph Blane for the film MEET ME IN ST. LOUIS, 1944/Joseph McCarthy/Jimmy
Monaco, 1913)
The former grew slowly to become standard after its debut in MEET ME IN ST. LOUIS, written for
Judy's character, Esther Smith, in her declaration of affection from the window of her home at
"5135 Kensington Avenue" for the young man who lived "at 5133." "You Made Me Love You" was
already a standard when Judy reprised it as a celebration of her fan-madness for M-G-M's "King
of the Lot" in 1937, book-ended by Roger Edens' exemplary special material, "Dear Mr. Gable."
It became her first Decca record hit, and she sang it for the rest of her life in virtually every
medium.
DO IT AGAIN
(Buddy DeSylva/George Gershwin, for Broadway's THE FRENCH DOLL, 1922)
Judy Garland (second from
right) with the cast of
First done by Garland as a bouncy, saucy uptune on the Capitol album, JUDY IN LOVE (1958),
BROADWAY MELODY OF
"Do It Again" was almost immediately turned around to become instead a haunting, sensuous,
1938, in which she sang "You
innocence-abandoned ballad for her concerts later that same year. Both versions were
Made Me Love You."
orchestrated by Nelson Riddle, and she made a studio recording of the more languid
arrangement in London in 1960, as well as performing it "live" on the following season's Carnegie Hall album.
ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY
(Sam Lewis & Joe Young/Jean Schwartz, 1918)
Judy debuted her arrangement of this standard on Bing Crosby's radio show in December 1950, offering unspoken homage to
entertainer Al Jolson who had died the preceding October
23rd. It was an immediate show-stopper for her, even over
the airwaves, and it became a permanent part of her
repertoire when she returned to live stage work the
following April at The London Palladium. Judy was soon
regarded as one of the few singers who could repopularize
the Jolson standards and make them her own. (Tune
detectives will note a clever orchestral bridge that utilizes
another Garland/Jolson number — "Swanee" — for the
accompaniment of Linda's new treatment of "Rock-A-Bye"
on the BY MYSELF CD.)
I'M ALWAYS CHASING RAINBOWS/OVER THE
RAINBOW
(Joseph McCarthy/Harry Carroll, 1918)/E. Y. "Yip"
Harburg/Harold Arlen, for the film THE WIZARD OF OZ,
1939)
Opening night at the Cocoanut
Grove, July 23, 1958, where Judy
sang "Rock-A-Bye Your Baby With
A Dixie Melody."
With its main melody based on a classical (and classic) Chopin refrain, "I'm Always Chasing
Rainbows" was one of many standard tunes repopularized in her films by Judy during the M-GPoster for Judy's 1961 concert M era. This one provided a highlight of 1941's ZIEGFELD GIRL, wherein her soulful rendition
at Carnegie Hall, which was
won her a solo spot in the famous Florenz FOLLIES. As far as "Over The Rainbow" is concerned,
recorded live and included the it's pointless to recap its history here; suffice it to say that, in recorded time, there's never
song "Do It Again."
been a more perfect marriage of material and singer. It's unlikely that any other song and
vocalist combination will ever be more firmly and timelessly assured of an ongoing position in the consciousness and affection
of a cross-generational public.
Judy Garland poses with the other famous characters of Oz in 1938.
"Over The Rainbow" would become her trademark and most-loved
song.
Source and Photos: Judy Garland: World's Greatest Entertainer (Henry Holt and Company, 1992), and Judy Garland: A Portrait
in Art & Anecdote (Bulfinch Press, 2003), both by John Fricke.
Lyricist/Composer Jack Murphy discusses "The Rainbow's End"...
VOICE: Could you tell us more about the song "The Rainbow's End?"
JACK: Linda was doing a demo of a song our mutual friend, Chris Hajian,
had written for a TV show that he had done the film score for — he's a very
talented composer. Chris asked me to write a lyric for the main theme and
Linda sang the demo of it. Anyway, while walking back to the car for the
ride home, she stopped in the middle of the street and sort of out of the
blue asked, "Do you think you could write a tribute song for Judy Garland
that I could sing?" I thought about it for a second while dodging taxis and
said, "Sure, I'd love to." Anyway, when I started writing it, I realized that
musically it would need to have a certain vocabulary that would send the
listener back in time. This informed the "kind of song" it wanted to be. I
called Linda and told her I don't think it could be a "pop" song, for want of a
better word. She said she never imagined it would be, which was a relief. It
seemed that we were on the same page, so I forged ahead.
VOICE: Did you write the lyrics or music first? Did you have input from
Linda as you worked on the song?
JACK: I wrote the music first, or at least the main theme. I then played it
for Linda who seemed to like it a lot, so I started writing the lyric and
refining the music at the same time. I played a finished version for Linda
and she had a couple of comments, so I did a rewrite of the third verse and
a new chorus section. So I guess the answer to the question is: yes, Linda
had input into what the song became.
VOICE: What was your inspiration for the song? Did anything from Judy or
Linda's life inspire you?
JACK: I've always been a big Judy Garland fan, so that part was easy. The
hard part for me was conveying the rather troubled life the lady led while at
the same time celebrating her enormous talent. Linda and I both agreed
that the song should be a tribute to Judy Garland without ever saying her
name in the lyric.
VOICE: What was Linda's reaction when she heard the finished song?
JACK: I think she really liked it. At least that's the impression I got from
her. I've written things for her in the past and I have a sense for when she
likes something or not — she's pretty up front about it. There's a little smile
that plays across her face and a look that shines out of her eyes... she had
that when I played her the song.
VOICE: What went through your mind the first time you heard Linda sing
"The Rainbow's End?"
JACK: First of all, this is Linda Eder we're talking about. One of a handful of
singers on the planet possessed of such an incredible instrument, so it's a
little like asking, "What went through your mind the first time you heard
Frank Sinatra sing one of your songs?" Having said that, I feel I can say the
first time I heard her sing it was in the Studio doing a guide vocal for the
big band track that was being laid down. She'll be the first to admit that she
didn't yet really know the melody and was faking it through the verses —
still, this is Linda Eder faking, so it's good anyway, with flashes of brilliance
to the point where you know it's gonna be great when it's finished. Now the
first time I heard the finished, mixed product, I was totally blown away. She
makes me sound smarter than I am.
Friends and Fans of Linda and Judy say...
"Up till now, I've considered Judy's rendition of 'I'd Like To Hate Myself In The Morning' to be my
most prized possession... but I've changed my mind after hearing Linda. Yes, Judy had a style all
her own. She was smart, musical, and sensitive, and she had incredible concentration.
But Linda has all these, and more. Linda inhabits the song. The music and lyrics become part of
the fabric of her being. In addition, Linda has something extra: the most giving sensibility. You
can hear it between the lines… you can feel it. That quality simply draws us in and makes us
hang on every sound, every syllable. There is a warmth there, a caring and compassion that
shines through every note. I haven't stopped listening to it. I hope Linda finds the time to do
many more songs of mine."
— John Meyer, composer/lyricist
"The finished album is sonically the best record Linda's ever made. Period. This is the finest
interpretation of American popular music of the mid-twentieth century since Sinatra or Streisand
or, dare I say, even Judy Garland."
— Jack Murphy, composer/lyricist
"It was a great pleasure to work on Linda's latest album (as always!) and I think this is some of
her best work yet! I really like the fact that besides some of the well-known Judy Garland songs,
she chose some very obscure songs plus one brand new gem with music and lyrics by Jack
Murphy that fits in perfectly with the rest of the material. I like it even better that I got to
arrange and orchestrate those songs including the title track "By Myself!" David Finck put
together a totally killer big band in NYC for my songs, and I wish I could've been there to hear
the London strings at Abbey Road Studios. It was really wonderful working with legendary
producer Ettore Stratta, EMI executive producer Ian Ralfini, and getting to know co-producer and
fellow arranger Byron Olson. Check out his intricate and tasteful harmonies on some of these
classic songs!
I've worked with Linda for years now and it always amazes me how she raises things up to a new
level on each recording, and this one is no exception! I think her loyal fans are going to love it
and she'll gain a lot of new fans — happy listening!"
— Kim Scharnberg, arranger
"It was a thrill to be the one to put together a band of New York's finest musicians to record
these great arrangements by Kim Scharnberg, Jeremy Roberts and Byron Olson. Ettore Stratta
was wonderful and Linda was amazing. I know that the players enjoyed it as well because
everyone left the studio smiling — that doesn't always happen on recording sessions!"
— David Finck, musician
Volume 6- Edition 1
Summer/Fall 2005
Judy Garland was an American singer/entertainer who is considered by most to be the greatest female musical star of
Hollywood's Golden Era. Perhaps best known and loved for the magic she brought to stage, screen, television, and recordings,
her intense acting ability, singular communicative power, humor, and powerful singing voice were — and still are today —
considered nearly unequaled.
The Beginning
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Judy (christened Frances Ethel Gumm and nicknamed "Baby") was born on June 10, 1922, in Grand Rapids, Minnesota.
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She was the third daughter of Frank Avent Gumm and Ethel Marion (Milne) Gumm.
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Judy performed with her family at their theatre, the New Grand, in Grand Rapids, with her sisters Mary Jane (nicknamed
"Susie") and Dorothy Jane ("Jimmie"). They called their act "The Gumm Sisters."
Judy's stage debut came on December 26, 1924, at the New Grand. She sang and danced with her sisters and soloed on
"Jingle Bells" — the latter repeatedly until her grandmother (or father, depending on which story one believes) had to
walk on and carry her off.
In autumn 1926, the Gumm family moved to California, ultimately settling the next year in Lancaster, some 80 miles
north of Los Angeles. The sisters continued to perform and to take dancing and acting lessons.
In 1929, Judy made her film debut with her sisters in the two-reel short, THE BIG REVUE.
"Baby Gumm" 1924.
"The Gumm Sisters" (L to R:
Susie, Jimmie and Baby) 1925.
"Baby Gumm" 1925.
"Baby Gumm" in her first film
THE BIG REVUE, 1929.
The 1930s
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In 1933, the Gumm family moved to Silver Lake, a suburb of Los Angeles, where Judy and Jimmie attended Lawlor's
Hollywood Professional School.
On October 21, 1933, Judy and Mickey Rooney appeared in a Lawlor recital together; it was their first professional
association... and they'd go on to be co-billed in ten Metro-Goldwyn-Mayer feature films (between 1937 and 1948), to
share the premiere taping of her 1963 CBS-TV series, and to share countless benefit, radio, and personal appearances.
In 1934, the Gumm sisters traveled to Chicago where they appeared at The Oriental Theatre. George Jessel, who
headlined and emceed the bill, decided to change their stage names to "The Garland Sisters" because the audience
laughed when he introduced them as "The Gumm Sisters."
To get away from the nickname "Baby," Frances chose to change her own first name in the summer of 1935, taking the
title of the Hoagy Carmichael/Sammy Lerner song, "Judy," in its stead.
In 1935, The Gumm Sisters' act broke up when Susie got married.
In September 1935, when Judy was 13, she auditioned for M-G-M, singing "Zing! Went The Strings Of My Heart." She
was signed immediately to a seven year contract.
Also in 1935, Judy made her network radio debut on the "Shell Chateau Hour."
On June 12, 1936, just two days after her 14th birthday, she recorded "Stompin' At The Savoy"/"Swing Mr. Charlie" with
Bob Crosby and His Orchestra for Decca in New York. This was the first Judy Garland record to be released. In 1937,
Decca signed her to a long-term recording contract.
In 1936, after the one-reel M-G-M short EVERY SUNDAY (with Deanna Durbin), Judy made her feature film acting debut
in PIGSKIN PARADE.
In February 1937, Judy was asked to perform at an onset birthday party for Clark Gable. She sang "Dear Mr. Gable"
which led into the song "You Made Me Love You." Her rendition created such a sensation, it was written into her part in
the already-scripted BROADWAY MELODY OF 1938 (in which she played the daughter of the great Sophie Tucker).
In 1937, she made her first film appearance with Mickey Rooney in THOROUGHBREDS DON'T CRY. They re-teamed
months later for LOVE FINDS ANDY HARDY; earlier in 1938, she also duetted with the legendary Fanny Brice in
EVERYBODY SING.
In the late 1930s, Judy was a radio regular, singing on scores of shows and assuming her status as the favorite of
millions at that time.
She topped off the decade with the release of THE WIZARD OF OZ in August 1939, followed by BABES IN ARMS in
October. As a result, she placed in the top ten box office stars for 1940 — a position she held again in 1941 and 1945.
On October 10, 1939, Judy placed her hand and footprints in cement at Grauman's Chinese Theatre with Mickey Rooney
in attendance.
1934 publicity shot.
Performing as "The Garland
Sisters" in Chicago (L to R:
Susie, Jimmie and Baby) 1934.
Publicity portrait for THE
WIZARD OF OZ, 1938.
Mickey Rooney and Judy at
Grauman's Chinese Theatre,
1939.
The 1940s
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In February 1940, Judy won a special Juvenile Oscar for her role as Dorothy Gale in THE WIZARD OF OZ. She referred to
the miniature statuette as her "Munchkin Award."
Judy married composer and orchestra leader David Rose on July 28, 1941; they would divorce four years later.
In July 1943, Judy made her solo concert debut in Philadelphia, breaking all attendance records at The Robin Hood Dell:
15,000 patrons jammed into an amphitheatre designed for 6,500; another 15,000 gathered on nearby hillsides to hear
the show, and thousands more were turned away.
In 1944, one of her most successful films, MEET ME IN ST. LOUIS, introduced three standards: "The Trolley Song," "The
Boy Next Door" and "Have Yourself A Merry Little Christmas."
Other stellar Garland vehicles of the 1940s include: STRIKE UP THE BAND (1940), FOR ME AND MY GAL (1942; Gene
Kelly's film debut), GIRL CRAZY (1943), THE HARVEY GIRLS (1946), THE PIRATE (1948), EASTER PARADE (1948; Fred
Astaire came out of retirement to dance with her in this picture), IN THE GOOD OLD SUMMERTIME (1949), and SUMMER
STOCK (1950). She actually appeared in 20 feature films during the decade, as well as cutting scores of sides for Decca,
participating in well over one hundred radio broadcasts, and performing in numerous benefits, and three separate camp
tours for U.S. servicemen and women.
On June 15, 1945, she married legendary director Vincente Minnelli (divorced 1951). They had one child, Liza Minnelli.
Costume test for "Esther
Smith" and MEET ME IN ST.
LOUIS, November 1943.
Newspaper supplement ad art
for MEET ME IN ST. LOUIS,
1944.
Judy stars as "Ginger Gray" in
GIRL CRAZY, 1943.
Judy stars as " Hannah Brown"
in EASTER PARADE, 1948.
The 1950s
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On September 29, 1950, Judy Garland was released from her M-G-M contract.
On April 9, 1951, Judy began a series of legendary live appearances at The London Palladium, later touring the provinces
for two months.
From 1951 to 1952, she played New York's Palace Theatre for a record-breaking nineteen weeks, receiving a special
Tony Award for her revival of vaudeville-styled entertainment.
On June 8, 1952, Judy married producer Sid Luft (divorced 1965). They had two children, Lorna and Joey.
In 1954, after a four year absence, she returned to films in A STAR IS BORN, which is considered by many to be her best
dramatic performance, and for which she received a Best Actress Academy Award nomination.
In 1955, the best selling album, MISS SHOW BUSINESS, was the first release of her ten-year association with Capitol
Records.
Other albums released in the '50s included: JUDY (1956), ALONE (1957), JUDY IN LOVE (1958), GARLAND AT THE
GROVE (1959), and THE LETTER (1959).
Also in 1955, Judy made her television debut as the star of "Four Star Jubilee," which won the highest ratings to that
date for a special on CBS.
Judy made her Las Vegas debut in July 1956 at The New Frontier at the highest salary ever paid to a star in the desert
up until that time.
On September 26, 1956, Judy reclaimed the Palace Theatre for a 17-week Broadway engagement.
Her other 1950s theatrical engagements included a return to London for a four-week season at The Dominion and a
Royal Variety Show at The Palladium; stints at The Greek Theatre and Cocoanut Grove in Los Angeles; and further
triumphs in Las Vegas, and cross-country from Dallas to Detroit, Chicago, and Miami, among other cities.
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In an unprecedented one-week stand in 1959, Judy Garland was the first American popular singer to appear at New
York's Metropolitan Opera House. Her elaborate revue also toured to Baltimore, Chicago, San Francisco, and Los
Angeles.
Poster for Judy's debut at The
London Palladium, April 9,
1951.
Facade and marquee of New
York's Palace Theatre for
Judy's first engagement there,
1951 to 1952.
Publicity shot for A STAR IS
BORN, 1954.
Judy performing "Swanee" at
the Metropolitan Opera House
in 1959.
The 1960s
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Judy returned to the screen in 1961 playing a cameo role in JUDGMENT AT NUREMBERG, for which she received an
Academy Award nomination as Best Supporting Actress.
On April 23, 1961, Judy triumphed at Carnegie Hall. Many would call her appearance there the "greatest single night in
show business history." The double-album live recording made of the concert was a best seller (certified gold), charting
for over 90 weeks in Billboard — 13 weeks at number one — and winning five Grammy Awards, including Album of the
Year and Best Female Vocal Performance. Judy duplicated the Carnegie Hall concert "live" over 60 times between August
1960 and December 1961, from London, Paris, and Amsterdam to the Newport Jazz Festival and The Hollywood Bowl.
(At the latter show, a record-breaking crowd of 18,000 sat outside in a steady rain for 2.5 hours; after four encores,
they refused to let Judy leave the stage and, when she'd run out of orchestrations, made her repeat a song from earlier
in the concert.)
Her "comeback" to television in a 1962 special with Frank Sinatra and Dean Martin won CBS a new high in audience
ratings and virtually unanimous raves. It garnered four Emmy nominations and was repeated by popular demand.
Judy's final starring films were released in 1963: A CHILD IS WAITING and I COULD GO ON SINGING.
In 1963, CBS offered Judy a $24 million, four-year deal to produce a weekly television series, "The Judy Garland Show."
Although critically acclaimed, the series lasted only one season and went off the air in 1964 after 26 episodes. However,
the show won four Emmy nominations.
In 1964, Judy appeared twice at The London Palladium with her daughter Liza, and gave more than 80 solo shows as
well between 1964 and 1966.
On November 14, 1965, she married actor Mark Herron (divorced 1967).
In the summer of 1967, Judy made a final, four-week appearance at the Palace Theatre, working 27 consecutive
evenings — during which she broke her own box office record. Additionally, there were over 50 other concerts during her
1967 tour.
On July 20, 1968, Judy gave her last U.S. concert in Philadelphia.
From late December 1968 until early February 1969, she fulfilled a five-week engagement at London's Talk of the Town
nightclub. Though frail and increasingly ill, she missed only three shows during the 30-performance schedule.
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On March 15, 1969, she married nightclub owner Mickey Deans.
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In March 1969, she gave her final concert in Copenhagen, Denmark.
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Album releases in the '60s included: JUDY: THAT'S ENTERTAINMENT! (1960), JUDY AT CARNEGIE HALL (1961), THE
GARLAND TOUCH (1962), JUST FOR OPENERS (1964; soundtracks from her TV series), JUDY AND LIZA LIVE AT THE
LONDON PALLADIUM (1965), and JUDY: AT HOME AT THE PALACE (1967).
During the 1960s, Judy also appeared as a special guest on more than 20 television programs, including "The Hollywood
Palace," "Perry Como's Kraft Music Hall," the Jack Paar, Sammy Davis, Jr., Ed Sullivan, and Andy Williams shows, among
others.
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Judy Garland died in London on June 22, 1969, at the age of 47.
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In 1997, Judy Garland was posthumously awarded the Grammy Lifetime Achievement Award.
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JUDY AT CARNEGIE HALL was inducted into the Grammy Hall of Fame in 1998; "Over The Rainbow" (1939) and her cast
album of MEET ME IN ST. LOUIS (1944) have also received that Grammy distinction.
"Over The Rainbow" has since been voted Song of the Century as well as the No. 1 film song of all-time.
Judy on stage at Carnegie Hall,
April 23, 1961.
Judy in the role of "Irene
Hoffman" in JUDGMENT AT
NUREMBERG, 1961.
Judy in the 1962 CBS
television special.
Original poster art for I COULD
GO ON SINGING, 1963.
TRIVIA — things you probably never knew but will now...
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Judy has a special variety of rose named after her. The petals are yellow (she adored yellow roses) and the
tips are bright red. At the behest of the officers and members of her London-based
international fan club, a British rose developer spent several years in their quest to find a
bloom that all felt worthy of the Garland name. After its success in England, U.S. firms began
to stock the rose in 1991. Several Judy Garland rose bushes are planted outside of her
mausoleum in Hartsdale, New York, as well as on the grounds of the Judy Garland Museum in
Grand Rapids.
Judy had songs written for her by Irving Berlin, Cole Porter, Harold Arlen, Ira Gershwin, E.Y.
Harburg, Burton Lane, Harry Warren, Hugh Martin, Ralph Blane, and Johnny Mercer. Jerry
Herman (HELLO, DOLLY!, MAME, MACK AND MABEL, LA CAGE AUX FOLLES) and Lionel Bart
(OLIVER!) credited Judy as their inspirational muse when composing and writing lyrics.
Judy Garland Rose
Johnny Mercer also wrote the words to "That Old Black Magic," "I Remember You," and "This Time, The Dream's On Me"
in recognition of his love for Judy.
Among those who orchestrated and/or arranged for Judy Garland were: Mort Lindsey, Nelson Riddle, Conrad Salinger,
Gordon Jenkins, Billy May, Buddy Bregman, Saul Chaplin, Skip Martin, Mel Torme, Ray Heindorf, Kay Thompson, and the
incomparable Roger Edens.
"Quiet Please, There's A Lady On Stage" was begun by Peter Allen in honor of cabaret star Julie Wilson, but it evolved
into a paean to all great singing ladies — especially Judy.
Groucho Marx called her loss of the Oscar for A STAR IS BORN "the biggest robbery since Brink's." Hedda Hopper later
reported that the 1955 voting for Best Actress was the closest to that time that didn't end in a tie... and Grace Kelly won
for THE COUNTRY GIRL by just six votes. (Ironically, history has provided Judy with far more attention for missing out
on the Academy Award than Kelly ever received for winning it...)
The day Judy died, there were tornadoes in Kansas.
Source and Photos: Judy Garland: World's Greatest Entertainer (Henry Holt and Company, 1992), and Judy Garland: A Portrait
in Art & Anecdote (Bulfinch Press, 2003), both by John Fricke.
How does one capture the essence of a legend as large as Judy Garland? That task is about
as easy as cramming an elephant into a bottle… or at least that's how it felt when we set
out to summarize the life of this celebrated woman for the readers of THE VOICE. We
weren't sure where to begin. And then, like the tornado that plucked Dorothy from Kansas
and delivered her to Oz, John Fricke came along to put us on the right path. He helped us
navigate the yellow brick road of Judy's life, and deliver her story to you. We'd like to
introduce him to you now…
VOICE: How did you become a Judy Garland expert?
JOHN: Well, it's something that just happened, I guess... although it's not a noun I use to
describe myself. "Author/historian" and/or "archivist"… "producer" — somehow, those seem
a bit more legitimate and less maniacally focused [smiles]. I figuratively fell in love with
Judy when I was five; from then on, I wanted to know anything I could about her —
especially in terms of her career and achievement and repertoire and the backstory
attendant to the concerts and movies and TV shows and radio appearances and recordings.
I guess I have (what I've since heard applied to others as) a "writer's memory." And so
much of the masses of journalistic material I ingested over the years stayed with me... and
John Fricke
has come in inordinately handy when it came time to write books and essays and liner
notes and articles — and to advise, consult, produce product about her. The fact that it's Judy Garland material that I'm putting
forth makes my job the easiest in the world. To give it an artistic allusion: all I do is try to create a suitable framework and fit it
around a masterpiece. Then I get out of the way — and SHE does all the "work" [smiles].
VOICE: Did you ever meet Judy Garland? If so, what was she like?
JOHN: I met Judy at 2 a.m. in the Pump Room restaurant at the Ambassador East Hotel in Chicago; this was the night/early
morning of September 14/15, 1967. I was 16 and had seen her in concert that evening for the second time, this go-round at
the Opera House. (I attended my first Garland show two years earlier, also in Chicago, at the Arie Crown Theatre on May 7,
1965 — and my third the evening after we met.) She was as welcoming, warm, funny, convivial, and quietly sincere and
appreciative as I always knew she'd be... and as I had no right to expect her to be after she'd completed a 90 minute show and
was in a comparatively private, post-performance "unwind" mode. What was remarkable in retrospect about our brief
conversation is that neither of us could know then that I would end up being responsible for the preservation and presentation
of so much of her legacy in the decades ahead. But how very grateful and (hopefully pardonably) proud I am to have been
entrusted with that amazing artistic history... and to have the memory of her kindness and attention and humor and charm on
that (to me!) historic occasion in 1967.
VOICE: When and how were you introduced to Linda's work?
JOHN: I've known of Linda for a long time... I used to hear her CDs played at Sam's theatrical hangout/restaurant on West
45th Street here in New York when I'd go in there for dinner; it's right across the street from where I've lived lo! these 31
years. And even as purported background music, her voice couldn't help but garner attention and interest. I think the first time
I heard her in person came on the opening night of JEKYLL & HYDE; I knew one of the producers, so we were all out in support
and enthusiasm on that occasion. And if I'd been an admirer prior to that, I became a fan as of that evening.
VOICE: Did you have a role in the background preparation of BY MYSELF? If so, could you tell us about it?
JOHN: No, I really didn't, in any way, shape, or form. I had heard — via the Garland grapevine — that Linda was in London,
doing the sessions. And I was aware that she'd spoken about Judy with the former editor-in-chief of the International Judy
Garland Club magazine around the same time as the recordings were being made. But my "connection" is a very minor, postperformance one; Jill Siegel and I have a mutual friend here in New York, who brought us together to "talk Judy/Linda" — and
that's how I was asked to spread the word and provide a conduit to the Garland factions.
VOICE: Do you have a favorite song from BY MYSELF?
JOHN: Because of Linda's obvious emotional commitment to every melody and lyric, it's difficult to pick and choose. But I've
always loved "It Never Was You" as a song — and I think she's especially tender and "introspectively communicative"... is that
possible!? [laughs], on that one. And I have the same enthusiasm for "I'd Like To Hate Myself In The Morning" and the whoopdee-do ride she gives it. I'm a major John Meyer fan, and I love hearing his words and music get the all-out, orchestral and
vocal star treatment they warrant. I'd like to hear Linda take a flyer on his "It's All For You" (which Judy sang on "The Tonight
Show" just months before her passing) and "When Do The Words Come True?" — which is a song John wrote after Judy died
and which summarizes the life of a bravura entertainer who's given her all (and more) to her work.
VOICE: Thank you so much for taking the time to answer our questions, and of course for all your help in preparing this issue
of THE VOICE!
All about John Fricke...
Widely acknowledged as the preeminent Judy Garland and WIZARD OF OZ historian/author,
John Fricke received a 2004 Emmy Award as co-producer of the two-hour, PBS-TV
"American Masters" program, "Judy Garland: By Myself." This was his second recognition
by the Academy of Television Arts & Sciences; he won similar honors in 1997 as coproducer and co-writer of the A&E "Biography" special, "Judy: Beyond the Rainbow," which
was based on his acclaimed book, Judy Garland: World's Greatest Entertainer (Henry Holt,
1992).
Currently, John serves as consultant for the new, deluxe DVD sets of M-G-M's THE WIZARD
OF OZ, to be released by Warner Home Video in October 2005. He selected the repertoire
and wrote the liner notes for THAT OLD FEELING/CLASSIC BALLADS from "The Judy
Garland Show," the Savoy Music compact disc which hit stores on June 14, 2005; his
second Savoy CD is comprised of numbers Judy sang on her TV series with her guests —
JUDY GARLAND AND FRIENDS: DUETS appeared in stores in August and includes
performances with Barbra Streisand, Tony Bennett, Lena Horne, Vic Damone, Mickey
Rooney, Count Basie, Mel Torme, Martha Raye, Liza Minnelli, and others. John's 6,500-word
profile about the career association of Garland and OZ/A STAR IS BORN composer Harold
Arlen appeared in the April 2005 issue of The Cue Sheet/Quarterly Journal of The Film
Music Society.
Judy Garland: World's Greatest
His most recent book, Judy Garland: A Portrait in Art and Anecdote, was published in 2003
Entertainer by John Fricke
by Bulfinch Press and includes a foreword by Garland's daughter, Lorna Luft. It was the first
such participation in any author's treatise on their mother by one of Judy's children. John's other books include The Wizard of
Oz: The Official 50th Anniversary Pictorial History (Warner Books, 1989) and 100 Years of Oz (Stewart, Tabori & Chang, 1999).
Total sales for his four titles now approaches two hundred fifty thousand copies.
John received a Grammy Award nomination for Best Album Notes for the
compact disc, JUDY GARLAND: 25TH ANNIVERSARY RETROSPECTIVE
(1996), which he produced for Capitol Records. In 2004, he served as DVD
on-camera host for Warner Home Video, writing and delivering
introductions to three classic Garland films (LOVE FINDS ANDY HARDY,
ZIEGFELD GIRL, IN THE GOOD OLD SUMMERTIME); he also recorded
complete historical commentary for the alternate audio tracks of two of
other Garland titles in their DVD debut, MEET ME IN ST. LOUIS and FOR ME
AND MY GAL, and is similarly heard throughout EASTER PARADE, which
was released on DVD in March 2005. Earlier, he was co-producer of the
highly acclaimed laser disc box sets, THE ULTIMATE OZ (1993) and JUDY
GARLAND: THE GOLDEN YEARS AT M-G-M (1995).
Between 1995 and 2002, he wrote the extensive booklets for the Turner
Classic Movie Music/Rhino Movie Music series of Garland Metro-GoldwynMayer soundtrack compact discs, thus providing detailed histories of THE
WIZARD OF OZ, BABES IN ARMS, STRIKE UP THE BAND, BABES ON
BROADWAY, FOR ME AND MY GAL, GIRL CRAZY, THE HARVEY GIRLS, THE
PIRATE, EASTER PARADE, IN THE GOOD OLD SUMMERTIME, and SUMMER
STOCK. John provided similar notes for the 2004 Sony compact disc of
Garland's A STAR IS BORN.
Judy Garland: A Portrait in Art and Anecdote
by John Fricke
Associate producer and writer for the two sold-out 1998 concerts, Carnegie
Hall Celebrates the Music of Judy Garland, John also co-produced the 1992
Garland exhibition at The New York Public Library for the Performing Arts at
Lincoln Center. That ten-week display drew the largest crowds for any such retrospective in the history of the venue.
John was, respectively, associate producer and creative consultant for the CBS-TV documentary, "The Wizard of Oz: The
Making of A Movie Classic" (1990) and the PBS-TV "Great Performances" program, "Judy Garland: The Concert Years" (1985),
both of which received Emmy Award nominations. He was consultant to virtually all production departments for LIFE WITH
JUDY GARLAND/ME AND MY SHADOWS (2001), the top-rated, multiple Emmy Award-winning ABC television motion picture. He
also wrote, hosted and co-directed the Telly Award-winning home video documentary, WE'RE OFF TO SEE THE MUNCHKINS in
1992.
He has discussed Garland, OZ, or both on literally hundreds of international radio and television programs, serving on many
occasions as spokesman for Warner Bros., Turner Entertainment, Rhino Records, Capitol Records, or M-G-M/UA Home Video.
Among many other TV appearances, John has been seen on "The Today Show," "Entertainment Tonight," "The Joan Rivers
Show," the A&E "Breakfast With the Arts," CNN's "Show Biz Today," and the syndicated "Instant Recall."
Over the years, John has served The International Wizard of Oz Club, Inc., as president, vice-president, member of its board of
directors, and as editor in chief and contributing editor of its magazine, The Baum Bugle. He is presently consultant to both The
Judy Garland Heirs Trust and The Land of Oz Preservation Company.
Songwriter and author John Meyer offers Judy Garland fans a rare glimpse into the life of
"the legendary lady." He played a special role in the twilight of her life… meeting her in
1968 and quickly becoming her friend, her business manager and her lover. His book,
Heartbreaker (Doubleday, 1983), chronicles their time together in the months before her
sad and untimely death.
Here, John gives Linda's fans some insight into the Judy Garland he knew and loved…
VOICE: What did Judy enjoy doing when not performing?
JOHN: No hobbies, unless you mean appropriating other people's belongings. She needed
to know that people would go to extremes to prove their love for her — she once asked a
lady to part with her eyeglasses. And the lady did. This was a game to Judy.
VOICE: Did she get nervous before a live performance?
JOHN: Very. So much so that she kept you up all night worrying. She always felt she had
to top herself, be better than she was last time out. She felt her public expected it. She
was a bundle of nerves.
VOICE: Do you know if Judy had a favorite venue where she performed?
John Meyer
JOHN: Judy liked smaller venues, like the Kleinhaus in Buffalo. Three thousand seats. She didn't like big arenas, big stadiums.
VOICE: Did Judy have a favorite song to sing? Perhaps even one she would hum to herself — not necessarily on stage?
JOHN: She loved "It Never Was You" by Kurt Weill... and my song, "Hate Myself," I'm proud to say.
VOICE: Did she ever accompany herself on the piano? Could she play?
JOHN: No. But she had a great sense of harmony, and real swing instincts. I have tape of us — it'll be included with the new
Heartbreaker (Citadel Press, 2006)— where she does a rhythmic riff that shows us a glimpse of her jazz sensibility.
VOICE: Did Judy Garland realize what a tremendous entertainer she was? Do you think she knew she would leave such a
legacy?
JOHN: She knew she was good. She knew A STAR IS BORN would live. And the Carnegie Hall concert album. She didn't think
much about the rest of her output. She took pride in her children.
VOICE: If you could sum up Judy Garland as you knew her in one word, what would it be?
JOHN: Volatile.
All about John Meyer...
John Meyer started writing nasty ditties about his teachers when he was in high school (Fieldston). Because he was getting
laughs from his classmates, he figured this was the best way to get attention (and maybe girls).
When he went to college (University of Chicago), they had a theatre department that specialized in dreary one acts by
Strindberg. John decided they needed a musical revue, so he wrote one: PHEASANT UNDER GLASS. It was a hit — and he was
hooked for good.
Back in New York, John wrote a comedy number called MR. CLEAN about a woman who fell in love with a detergent. The
publicity this number garnered at Julius Monk's revue club, Upstairs at the Downstairs, brought him commissions writing sly
songs for some notable performers: Lily Tomlin, Joan Rivers, Gloria DeHaven, Julie Wilson, Madeline Kahn, and Bob Goulet,
among others.
In 1968, John met Judy Garland and in addition to writing four songs for
her (including "I'd Like To Hate Myself In The Morning"), he attempted to
revitalize her career. He was partially successful, but then Judy died. John's
memoir of the painfully emotional time he spent with Judy was published in
1983. It's called Heartbreaker. A new edition is due next May with a CD of
John and Judy rehearsing at the piano. Also in line for off-Broadway is the
musical adaptation of Heartbreaker, timed to coincide with the book's
reissue.
With Paul Bartel, the director, John wrote an episode of THE AMAZING
STORIES for Steven Spielberg. Called GERSHWIN'S TRUNK, it featured
Carrie Fisher and Lainie Kazan (as Gershwin — don't ask!). John and Paul
also collaborated on a feature film, NOT FOR PUBLICATION, which starred
Nancy Allen. In addition, he did the scoring with orchestrator Larry
Hochman.
In 1998, John wrote book, music and lyrics for a musical at London's
Jermyn Street Theatre. It was a thriller called THE BETRAYAL OF NORA
BLAKE with songs about a woman with amnesia who has to clear herself of
the charge of murder. It received 12 rave reviews and is due for an offBroadway production.
Linda's recording of "I'd Like To Hate Myself In The Morning" caps a fine
year for John, as another of his songs, "After The Holidays," has been
recorded by Paula West.
John recently married Suzanne Cogan and lives in Manhattan where he is
pursuing his three great loves: musical theatre, Burgundy and Suzanne.
Heartbreaker by John Meyer will be reissued by
Citadel Press in 2006 (cover above).
Volume 6- Edition 1
Summer/Fall 2005
"Over the years as I have worked with different arrangements, I have
gained a real appreciation for the Trombone. My friend and arranger
Kim Scharnberg writes great parts for the "Bones," which is why I have
been so blessed to be working with Dan Levine. He is an amazing player
on an instrument that adds so much body to a horn section, and he also
plays beautiful, tasteful solos. It's a joy to sing with him and it's a
pleasure to be his friend."
Linda and Dan
In Dan's own words... "I was born in Brooklyn to a very musical family. My dad was my
first teacher. I spent much of my youth haunting my dad's music teaching studios in
Brooklyn, Long Island, and eventually, Columbia University. My mother still teaches
elementary school music, and all the kids in my family played instruments. I played drums,
piano, trumpet and baritone horn before settling on the trombone in high school.
Even though we grew up in the New York metropolitan area, strangely I didn't really catch
the full-blown music bug until we moved to a rural farming community (population 600!) in
Florida when I was 15-years-old. Suffice it to say the town was not a cultural mecca, but
there was, 20 miles up Route 17, Stetson University. The trombone teacher there was a
man named Donald Yaxley who was simply one of the best trombone teachers and players
ever. I'm pretty sure he reduced me to tears in the first lesson, but luckily things got better
from there. I made the Florida Allstate Band, and at age 16 did my first paying gig, which
was to blast trombone-quartet Christmas chorales from a bell-tower that was really a large
pigeon's nest for the other 364 days of the year. It paid $15 and if I recall, the check was
late and they took out taxes... welcome to the music business!
Dan Levine
My dad also ran a Big-Band, which did summer concerts at the Daytona Beach Bandshell.
There I met the great trumpeter Dave Trigg, who went on to be Natalie Cole's lead trumpet
player for many years. My brother also played sax in the band, and now he can be heard
nightly doing the solo clarinet work at the Broadway production of FIDDLER ON THE ROOF.
As interested as I was in music, I still didn't have a clear vision of a career in it, so I began my freshman year at the University
of Florida as a pre-med student. In that year, I realized that my fellow students loved calculus and bio-chem the way I loved
Miles Davis and John Coltrane. And I realized that whatever it was I was going to do, I'd better love it! So I transferred to the
University of Northern Colorado where I happily majored in music and studied with the incredible Buddy Baker.
During college, I began playing professionally in Denver and spent a
summer in Los Angeles playing in the "All American College Band" at
Disneyland, as well as a summer in the Rockies performing with the
Breckenridge Festival Orchestra. While in L.A., I was fortunate to study
with one of my idols, Ralph Sauer, the principal trombonist in the L.A.
Philharmonic.
In 1985, I hit the road with my first 'big gig.' I did a world tour with Ray
Charles. It took us all over the U.S., Europe and Scandinavia. To listen to
him sing every night was a major inspiration. In 1986, I settled in New
York City where I began freelancing, and still live there today with my wife
and 4-year-old daughter. When Art Baron left the Broadway show GRAND
HOTEL, I took over the trombone chair there. After that show closed, I did
the revivals of MY FAIR LADY and SHOWBOAT. I am currently in the pit at
THE PRODUCERS.
Dan with Wynton Marsalis, Natalie Cole and the
Lincoln Center Jazz Orchestra, rehearsing "Midnight
Sun," a tribute to Lionel Hampton (which Dan
arranged during an all-nighter!).
For an instrumentalist, having a Broadway pit gig is a terrific thing, and
one of the best things about it is that we can sub our chair out. It allows us
to stay in circulation. During the last 15 years, I've been fortunate to do
world tours and recordings with They Might Be Giants, Southside Johnny and The Asbury Jukes, Natalie Cole, and for four
years, Frank Sinatra. Other performance and recording credits include Celine Dion, The Essence Awards, Phoebe Snow, Michael
Bolton, John Pizzarelli, Cyndi Lauper, Hootie and The Blowfish, Paul Anka, Don Henley, Mel Torme, The Vanguard Jazz
Orchestra, Toshiko Akiyoshi, and Donald Fagen.
About 10 years ago, a filmmaker I knew asked me, 'Do you write music for films?' I
had never done such a thing in my life, but I said yes and somehow pulled it off.
That was 'Andy Warhol: A Life On The Edge' for A&E. Since then, I've been writing
and arranging music for various TV shows, films, bands, and radio. Credits include:
'Sesame Street,' 'Malcolm In The Middle,' Court TV, HBO, Natalie Cole, Disney
Films, NPR 'All Things Considered,' and the Lincoln Center Jazz Orchestra. Recently,
Dave Mann and I orchestrated and produced songs for Natalie Cole and Brooke
Sheilds for the film THE EASTER EGG ESCAPADE.
It's been my good fortune to perform with some of the greatest voices in music,
and now it's happening again as I not only get to perform with Linda Eder, but also
to absolutely marvel at her incredible vocal gifts every time we hit the stage. Frank
Sinatra said that he learned everything about breath control from watching the
trombonist Tommy Dorsey. I assure you that Linda has nothing to learn from me,
but I guarantee you I am doing my best to glean whatever I can from her!"
David Mann, Natalie Cole and Dan Levine.
Each of Linda's band members is incredibly talented and individually interesting in his own right. And Dan is no
exception! We hope you've enjoyed learning more about his life and career… read on for more details in this
exclusive VOICE interview!
VOICE: You mentioned that you played drums, piano, trumpet and baritone horn before concentrating on the trombone. How
old were you when you first played a musical instrument and which one was first?
DAN: I took my first drum lesson at age 6 from a drummer on Long Island named Joe Grayson, with whom my dad used to do
club dates in New York City and the Catskills.
VOICE: Being from a musical family, did you ever consider starting "The Levine Family Band?"
DAN: I never really considered it, although we did a lot of playing at our house,
especially when guests were over... Mom would play piano and sing, Dad played
bass, Uncle Julius played the violin, and I'd play the drums.
VOICE: What or who influenced you to concentrate on the trombone?
DAN: My father was always a huge fan of Tommy Dorsey, Urbie Green, and Jack
Teagarden, so I heard those records played around the house. I had braces on my
teeth in the 8th grade which made playing the trumpet quite difficult, so I switched
to baritone horn, and finally to trombone in high school.
Dan with his wife, Sara, and Jon Stewart of
Comedy Central's "The Daily Show" at the
rap party after "The Daily Show Millenium
Special." Dan's trombone can be heard
nightly on "The Daily Show."
VOICE: What was it like playing with your brother in the Big-Band your father ran?
DAN: We had a ball. He has great leadership and presentation skills as well as a
terrific rapport with the audience, and that influenced me. It was great to see my
little brother, who was just a kid, playing so well. We would play summer concerts
in the bandshell right on the boardwalk in Daytona Beach.
VOICE: Why did you choose to attend the University of Northern Colorado?
DAN: I met one of the low-brass teachers, Jack Robinson, when he was doing a clinic at Stetson University in Florida. He told
me about the school, and after a bit of research, I realized it was a good fit for me. The trombone teacher there, Buddy Baker,
was fantastic. He had a Big-Band and Jazz background as well as the Classical training, so the education was very wellrounded. And after all these years, I still can't play as well as him!
VOICE: How did you get involved with Ray Charles?
DAN: I was living in Los Angeles after my cruise-ship gig, and quite discouraged with the whole scene. By chance, I met the
great bass-trombonist Dana Hughes at a rehearsal, and he mentioned there would be a "cattle-call" audition for the Ray
Charles band the very next day. I was already in a bad mood about the music business, and then got a ticket on the way to
the audition, so I uncharacteristically bullied my way in front of what seemed to be 76 trombonists and played the audition
really loudly with a lot of anger. Little did I know this is what appealed to Ray!... So the rest is history!
VOICE: What were your favorite stops on the world tours you've done?
DAN: I have so many fond memories, but a few standouts would be Rome, Oslo,
London, Japan, San Sebastian Spain, Joe Cocker singing with Ray in Lyon, playing
a trombone solo with Jon Bon Jovi's band in front of about 25,000 people at an
outdoor show in Linzer, Frank at Madison Square Garden... Some of the greatest
experiences on the road are so unexpected, and for me they usually involve
meeting local folks who show you around and are just incredibly friendly.
VOICE: Can you tell us more about the experience of being a pit musician on
Broadway? What is the process of getting a chair? What has been your favorite
Broadway gig?
Jon Bon Jovi and Dan — dig the long hair,
Dan!
DAN: These days, playing in a pit orchestra has become a more coveted job than it
once was. That is because of the decline of the recording industry in New York, especially for people who play acoustic
instruments. Getting a chair most typically involves first subbing for other players who have a steady show. If you do it well
enough and for long enough, conductors and music contractors might remember you when it is time to put together an
orchestra for a new show. THE PRODUCERS has been by far my favorite pit gig. I work with fantastic players every night, and
after four years I still find something to laugh at on a nightly basis!
VOICE: What was it like performing with Frank Sinatra?
DAN: It was wonderful and I miss it. He was such a heavy-duty musician, and his presence was so powerful that you couldn't
help but to play your very best when you were on the stage with him. And, of course, he had all of those incomparable
arrangements. One of my favorites was "Street Of Dreams." He said all he needed to on just one page of music. Another was
the Johnny Mandel arrangement of "In The Still Of The Night." Masterful.
VOICE: If you weren't a musician, would we be calling you "Dr. Levine?" Or do you think there is another path you would have
taken?
DAN: Well, that was my original intention. But the luckiest people get to do what
they are really passionate about, and for me, that is music.
VOICE: What do you do for fun?
DAN: I try to go mountain biking whenever I can.
VOICE: Mountain biking in New York City could be a challenge!
DAN: Yes, mountain biking in the city is quite limited. When I was less busy as a
player and before parenthood, I would get out of the city quite often with a couple
of cohorts and do quite a bit of off-road riding in Jersey and upstate New York, and
the races were on the weekends. I would also travel with the bike. I had a threeweek job in Maui, and the bike came with me! Now I ride up in Rockland and
Ulster County when I can.
VOICE: How and when did you meet Linda?
Dan and Barry Danielian on stage at the
South Shore Music Circus in Cohasset,
Massachusetts, where Linda performed with
Michael Feinstein in August 2005. As seen
in this picture, the audience was on their
feet for a standing ovation even before
Linda finished singing "Almost Like Being In
Love/This Can't Be Love."
DAN: I met Linda for the first time when I was asked to fill in on the trombone
chair in October of 2004.
VOICE: What was your reaction the first time you heard her sing? What song was it?
DAN: My reaction was like that of most people: I was completely blown away. The
first time I performed with her was not with her band, but as a member of the
orchestra for "Broadway Under The Stars" a few years back. She sang "Impossible
Dream" and it was astounding.
VOICE: What is your favorite Linda song?
DAN: I really love when she sings standards, and she also really knocks me out
every time she sings "If I Had My Way."
VOICE: What is it like being "on the road" with Linda and the guys?
DAN: It's always a great time. Linda is terrific and each member of the band is
such a virtuoso on their instrument, so to hear them and make music with them is
"why I do this." It's also a very funny and politically aware group, so the
conversations are never dull. We have a ball out there.
VOICE: Do you have any funny stories from your time on the road that you'd like
to share?
DAN: What happens on the road stays on the road!! I could not imagine any other
business where I could have laughed so often and so much. I guess it attracts a lot
of characters.
Dan at a recording session
for Linda's new CD.
Volume 6- Edition 1
Summer/Fall 2005
"I felt very honored to be chosen by Alexander Frey to
sing the never before recorded songs from the long-lost
Leonard Bernstein's PETER PAN. It was a challenge and
a thrill that I won't soon forget."
A boy who would never grow up was born in 1902. Peter Pan, the product of famed
author J.M. Barrie's imagination, first appeared in the story "Peter Pan in
Kensington Gardens," and then in a book called Peter and Wendy, which later
became known simply as Peter Pan. An enduring classic, the story has been
adapted to stage and screen countless times, and has been modified and retold by
storytellers around the world for more than a century.
Leonard Bernstein, one of the greatest American composers to ever live, was
inspired by the story of Peter Pan and composed a full-length musical in 1950. The
score was lush, vibrant and swarming with colorful musical montages. But for
reasons that are still unclear and debated today, much of Bernstein's original music
was cut from the version of the musical that made its stage debut in 1950 at the
Imperial Theatre in New York City. The production, which was later moved to the
St. James Theatre, starred Jean Arthur as Peter Pan and Boris Karloff in duel roles
as Mr. Darling (Wendy's father) and the evil Captain Hook. It's been said that much
of Bernstein's music was cut because the songs were too difficult to sing. In 1954,
another musical version of PETER PAN, composed by Mark Charlap with additional
music by Jule Styne, would become more widely known and revived multiple times
— most recently in 1999 with Cathy Rigby in the lead role. Sadly, Bernstein's work
would vanish into obscurity. That is, until now!
Leonard Bernstein's PETER PAN, released
on Koch International Classics.
On June 21, 2005, PETER PAN was released in its entirety by Koch International
Linda Eder, the voice of "Wendy," with
Classics. Like buried treasure, the score was lovingly restored and brought back to
Conductor Alexander Frey.
life by conductor Alexander Frey. Only two characters have principal singing roles
in the recording — Wendy and Captain Hook — expertly voiced by Linda Eder and Daniel Narducci. Here, for the readers of
THE VOICE, Maestro Frey talks about the making of Leonard Bernstein's PETER PAN… a masterpiece that is at long-last able to
take flight.
A Chat With Alexander Frey...
VOICE: Would you tell us more about your work with Leonard Bernstein and how you came to know him?
ALEX: I first met Leonard Bernstein in 1985 following a concert I gave at Lincoln Center in New York City. Bernstein's manager
knew of my keen interest in his music, and organized a meeting for the maestro and me. I went over to Lenny's apartment in
the Dakota for drinks after my concert. It was just the two of us, and we talked long into the wee hours of the morning. Our
conversation ranged over a wide variety of subjects. He was very touched that I wanted to work on his music. After that, we
would meet up in various places and I would talk with him about whatever piece of his I was studying at the time. I
subsequently recorded his complete piano music for Koch International Classics and gave the world premiere live performances
of his Five Anniversaries and Thirteen Anniversaries for piano. And now we've done the world premiere recording of Bernstein's
PETER PAN.
VOICE: Would you tell us more about the "restoration" process of the
score? How did you even know where to begin? It seems like such a
massive undertaking. Was this the first time you've accomplished such a
task?
ALEX: In 1997, I read in a biography about Leonard Bernstein that in 1950
he had composed a musical setting of Sir J. M. Barrie's great classic, Peter
Pan, and that there was a song entitled "Dream With Me" that had been
cut from the original production. I knew some of the Bernstein songs from
this show already, but this new bit of information piqued my curiosity
completely. If there was one song cut from the original production, might
there be more music existing that may have met a similar fate? Thus
began a project that spanned 7 years.
I first talked about my idea of restoring and recording PETER PAN to Susan
Delgiorno, General Manager of Koch International Classics, the label for
which I record. Susan is a recording producer of great vision, and she
immediately saw the important musical value of bringing this music to the
public. She kept tabs on my progress throughout the whole process. I then
Alexander Frey, Susan Delgiorno and Linda Eder
started consulting with Craig Urquhart, Vice-President of the Leonard
Bernstein Office and a dear friend of mine. He sent me to the right people for assistance in obtaining all the manuscript
material. Two of those people were Garth Edwin Sunderland and Marie Carter who work in the Bernstein Office. They were two
of my angels and were a huge help in my assembling of the materials. Garth took on the task of orchestrating a couple of the
musical numbers, including the massive Captain Hook Soliloquy. He really did a superb job.
Anyway, I looked through all the material and discovered that Bernstein had actually composed an entire score consisting of
more songs, choruses and instrumental music, and I began putting together the entire thing. I restored almost an hour of
music, most of which was never heard before. Many of the musical numbers existed in piano/vocal manuscript and I had those
orchestrated. It was like a jigsaw puzzle with putting together all the bits and pieces. To describe all that I did to restore the
score would require a long essay in itself!
When the score was finally put together, Susan organized the whole
recording, which was a huge, complex task. She is also our amazing
producer of the CD, and did an absolutely brilliant job. I learned much
from observing her at work. And Susan, David Merrill and Silas Brown did a
fantastic job engineering and mixing the album.
PETER PAN was indeed a massive undertaking that took 7 years to
complete. I flew to New York whenever my schedule allowed to work on
restoring the score. I've worked on many big projects before, although
none this complicated. But I give my all to anything I believe in.
VOICE: Why did you choose Linda and Daniel as the soloists?
ALEX: I knew both Linda's and Daniel's singing and thought they were
ideal for the roles of Wendy and Captain Hook, respectively. Linda and I
have the same agent in Vienna, Michael Staringer, and I called him to ask
about her. At the time, Daniel and I also shared the same agent in New
York, George Martynuk, and I called to inquire about him. Both of my
Alexander and Linda participate in an interview for a
European TV station with Reporter Christian
Reichhold.
agents helped marvelously with the casting!
Linda's voice superbly portrayed the interesting duality found in Wendy: she is no longer a girl, but not yet quite a woman,
either, even though she has adult responsibilities. I asked Linda to sing very long phrases, sometimes even singing two
phrases together without any breath in between. She has superb control and was able to accomplish this with ease. And she
has a great sense of color in her voice. Her use of nuance is a great lesson for any singer.
Daniel was wonderful as Captain Hook, and he completely ate up the part! In the
original book by J. M. Barrie, Hook is definitely evil, brutally so. But Bernstein's
music, in addition to portraying him as a nasty rapscallion, also shows him to be a
lonely, frustrated character. This is particularly evident in the "Captain Hook's
Soliloquy." Daniel conveyed the inside of Hook's soul with depth and gorgeous
musicality. And he has a huge range. Those sustained high "F"s require a singer
with a voice of power and control. Daniel is that kind of a singer, and he's a
wonderful actor, too!
I had a great time working with Linda and Daniel. We had a lot of fun along the
way, and worked hard and dug very deeply into the music to bring out all of the
beauty in each song. Everyone was tremendously excited to be a part of this
recording — the artists, the agents, the production group, everyone. I'm so very
thankful for their enthusiasm and dedication.
Michael-Shawn Lewis (who performs
"Spring Will Come Again" with Linda on the
CD) and Linda share a laugh during a
recording session.
VOICE: Could you tell us more about the song "Spring Will Come Again" and why
you decided to include it on the PETER PAN album?
ALEX: "Spring Will Come Again" was a song intended for a musical version of
Thornton Wilder's THE SKIN OF OUR TEETH, which was never finished. Bernstein
used material from this piece later on in his "Chinchester Psalms." I found the song
and thought it would be a fitting conclusion to the CD. Michael-Shawn Lewis came
over from Broadway and sang the song beautifully with Linda.
VOICE: What was the most rewarding aspect of the project for you?
ALEX: For me, the most rewarding aspect of this project was that I could bring
some beauty to people's lives through this wonderful and touching music. And
through this experience, I think all of us involved in this recording discovered
something really lovely within ourselves. But that has always been my own goal
and reason for being an artist — to touch people's lives in a deep, meaningful way,
and to help bring some beauty into our troubled world through the miracle of
music.
All About Alexander Frey...
From the stages of the Hollywood Bowl to New York's Lincoln Center, from London's Wigmore Hall to Egypt's new Cairo Opera
House and major international music capitals on five continents, Alexander Frey has received unanimous critical acclaim for his
"breathtaking," "visionary," "intense," and "thrilling" performances (Leonard Bernstein once referred to him as "a wonderful
spirit"). An extraordinarily prolific artist, each year finds him conducting many major orchestras and opera companies as well
as performing as soloist in leading cultural centers. In great demand as one of the world's most versatile conductors, he has a
long list of artistic triumphs in the opera house and concert hall, as well as in the music of Hollywood and Broadway.
Alexander Frey is currently conductor of Prague's historic Karlin Theater where he conducts 50 performances per season. The
Karlin Theater, typical of most major European theaters, offers an eclectic mix of repertoire from CARMEN to WEST SIDE
STORY, DIE FLEDERMAUS to JEKYLL & HYDE. Maestro Frey was Principal Conductor of the Rome Philharmonic Orchestra from
1996-2001. From 1992-1996, he was Music Director of Germany's most renowned theater, the Berliner Ensemble, founded by
Bertolt Brecht, where he collaborated with the celebrated stage director Peter Zadek. He was the first American to hold a
position at the Berliner Ensemble, as well as being the theater's first non-German Music Director; his historic predecessors
include the composers Kurt Weill, Hanns Eisler and Paul Dessau.
Maestro Frey has also been Music Director for major productions at the Edinburgh International Festival (where he received a
Critics' Prize), the Vienna Festwochen (Theater an der Wien), Venice Festival (Teatro La Fenice), Holland Festival, Fifth
European Festival in Recklinghausen and the Heidelberg Festival. He was also Music Director of the Copenhagen Opera
Festival. His many recent guest conducting appearances in Europe, North America, Asia, Africa and South America include
performances with the Rio de Janeiro Philharmonic, Cairo Symphony Orchestra, Seoul Royal Symphony Orchestra, Sibelius
Symphony Orchestra, Philharmonia Orchestra of Berlin, Symphony Orchestra of
Sicily and the Brandenburg Chamber Orchestra, among others. He also conducted
Ensemble Europa (members of the Israel Philharmonic and Deutsche Oper
orchestras) in sold-out concerts in Jerusalem, Tel Aviv, Haifa and Berlin
commemorating the 50th anniversary of World War II and the liberation of the
concentration camps.
A highly honored recording artist, Maestro Frey has received the Deutsche
Schallplattenpreis (Germany's highest recording honor), Choice of the French Media
Critics, Best Recording of the Year (Fi Magazine), the Bronze World Medal of the
New York Festival, Record of the Month (MusicWeb in the UK), Best Instrumental
CD of the Month (Galaxie Magazine, Canada) and Best CD of the Month (Best New
Classics). June 2005 marks the release of a new CD of Maestro Frey conducting the
world premiere recording of Leonard Bernstein's PETER PAN, which he restored
from the composer's manuscripts. This historic recording features Broadway
superstar Linda Eder in the role of Wendy, and internationally acclaimed baritone
Daniel Narducci singing the role of Captain Hook. The CD debuted as #11 on the
Billboard Classical Music Chart.
In the studio for PETER PAN (front row seated L to
R) David Merrill (Sound Engineer), Susan Delgiorno
(Producer), Michael Staringer (Executive Producer);
(standing) Alexander Frey and Linda.
A meeting between Alexander Frey and
Leonard Bernstein.
In opera and musical theater, Maestro Frey's engagements have often
resulted in the most successful productions of the companies for which he
has conducted, largely due to his musical direction. His conducting of
Verdi's OTELLO in Cairo, which resulted in a 15-minute standing ovation
and ecstatic reviews, caused such a sensation that RAI, the national radio
of Italy, which covered and recorded the event, devoted two days of
special programming to it, praising Frey's conducting as both "absolutely
glorious" and "a miracle," and the performance as "one that will go into the
opera history books." Of his Canadian conducting debut leading a new
production of THE MERRY WIDOW, Stage Door Magazine wrote, "The
vitality that courses through the stage action is matched by the taut
conducting of the young American Alexander Frey. At every turn he
chooses the perfect tempo and leads the orchestra to play this familiar
music with such freshness that it sounds newly minted." Maestro Frey's
recent engagement conducting a new production of RAGTIME in Chicago
garnered unanimous praise for his conducting and the orchestra's playing,
and the show proved to be the most successful for its company. He was
music director for a new production of FIDDLER ON THE ROOF in New
Orleans, the most successful production of any musical theater work in
that city's history. Maestro Frey also worked with the German musical
theater star Ute Lemper on the production of the musical stage version of
the Marlene Dietrich film, DER BLAUE ENGEL (THE BLUE ANGEL).
As pianist and organist, Alexander Frey frequently performs with some of the world's leading symphony orchestras including
recent performances with the Berlin Philharmonic, San Francisco Symphony, Leipzig Gewandhaus, Munich Symphony,
Hollywood Bowl Orchestra, Austrian Radio Symphony, Berlin Radio Symphony and Deutsches Sinfonie orchestras, the
orchestra of the Teatro Regio di Torino (with which he performed the three opening gala concerts inaugurating the newly
restored opera house in Turin), and Orchestra Filarmonica Italiana under such conductors as John Mauceri, Claudio Abbado and
Michael Tilson Thomas. He enjoys an ongoing musical partnership with the renowned tenor and four-time Grammy Award
winner Jerry Hadley. Maestro Frey's busy international schedule regularly includes annual worldwide recital tours. An hour-long
radio program about Alexander Frey's life and work, hosted by Pulitzer Prize-winning author Studs Terkel, was recently
broadcast in the United States.
A resident of Berlin, Germany, Alexander Frey has been frequently invited by the city's diplomatic community to perform for
many visiting heads of state, and he has given performances for President Clinton and the Dalai Lama, among others.
A Glimpse Into The Life Of A Master — Leonard Bernstein
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Leonard Bernstein was born on August 25, 1918, in Lawrence, Massachusetts.
He was born to Ukrainian immigrant parents, Samuel Joseph Bernstein and Jennie (Resnick) Bernstein. His father ran a
beauty-supply store and hoped that Leonard would take over the business one day. When Leonard announced he would
make music his life's work, his father refused to pay for music lessons. Samuel never approved of his son's career.
Bernstein took his first piano lessons with Frieda Karp in 1928, but received most of his early piano training from Helen
Coates starting in October 1932. Helen later became his personal secretary.
On May 14, 1934, Bernstein played in his first piano recital at Roxbury Memorial High School in Roxbury, Massachusetts.
Bernstein began composing while attending the W.L.Garrison Grammar School in Roxbury and the Boston Latin School.
In 1939, he earned his undergraduate degree from Harvard University, where he made his first informal conducting
debut, leading his own incidental score to THE BIRDS.
After Harvard, he attended the Curtis Institute of Music in Philadelphia where he studied under Fritz Reiner, conductor of
the Chicago Symphony Orchestra.
In 1940, he began working with his mentor, Serge Koussevitzky, conductor of the Boston Symphony Orchestra.
On November 14, 1943, at the age of 25, Bernstein made his historic conducting debut with the New York PhilharmonicSymphony Orchestra at Carnegie Hall. He had been the Assistant Conductor when the guest conductor, Bruno Walter,
became ill. He received a last minute call, put on his best suit, stepped onto the podium and made history. The concert
was broadcast nationally on radio and brought nearly instant praise, which also led to invitations to conduct orchestras
all over the world.
The year 1943 brought another landmark for Leonard Bernstein as a composer. He completed Symphony No. 1:
Jeremiah and conducted its world premiere with the Pittsburgh Symphony Orchestra in 1944. The symphony won him
the New York Music Critics Award. He went on to compose two more symphonies.
In 1944, Bernstein created his first Broadway hit, ON THE TOWN, collaborating with Jerome Robbins, Betty Comden and
Adolph Green. This was the beginning of other shows to come including: PETER PAN (1950), WONDERFUL TOWN
(1953), CANDIDE (1956), WEST SIDE STORY (1957), and 1600 PENNSYLVANIA AVENUE (1976).
During the late 1940s and the 1950s, Bernstein taught at Brandeis University and was a guest conductor in New York,
Milan and Tel Aviv. He was the first American-born conductor to achieve international fame.
Bernstein was also the first conductor to break with tradition by conducting informally dressed orchestras on Thursday
nights. He strove to bring audiences closer to the music and its composer. He was always ready to give a piano concert.
He was known to have frequent public performances — usually conducting the orchestra from the piano seat.
In 1958, he began a series of "Young People's Concerts" for television to teach American children about music by
listening to him explain his work.
The scope of Bernstein's compositions is astounding. His music still "lives" on Broadway and in concert halls all over the
world. For half a century, he brought his extraordinary talent to all the great orchestras around the world. His legacy still
endures; he is responsible for over 500 recordings and filmed performances.
In 1985, he received a Lifetime Achievement Grammy Award for his body of work.
On Christmas Day, 1989, Bernstein conducted Beethoven's Symphony No.9 to celebrate the fall of the Berlin Wall. The
concert was broadcast live in more than 20 countries to an estimated audience of 100 million people.
Leonard Bernstein passed away on October 14, 1990, at the age of 72.
Leonard Bernstein pictured early and late in life.
He dedicated his entire life to the art of music.
Source for Leonard Bernstein biography: Extraordinary Jewish Americans by Philip Brooks, Childrens Press, 1998; and Jacket
to 33 1/3 RPM LEONARD BERNSTEIN CONDUCTS GERSHWIN: AN AMERICAN IN PARIS, "Copland Billy The Kid - Ballet Suite"
with the RCA Victor Symphony Orchestra, CAL-439.
Get To Know "Captain Hook" — American Baritone Daniel Narducci
Renowned for his versatility as a performer, American baritone Daniel Narducci is equally at home on the operatic, musical
theatre and concert stages. Since his professional debut with the Cincinnati Pops Orchestra under the direction of Erich Kunzel,
Daniel has appeared with many of the world's most prestigious orchestras in a variety of programs, ranging from the music of
Rodgers and Hammerstein to Rossini. The Boston Pops, Philadelphia Orchestra, Naples Philharmonic, Chicago, Rochester,
Baltimore, New World, Toronto, Indianapolis, Houston, and Detroit Symphonies are just some of the orchestras with which he
has performed. Daniel has appeared regularly as a guest artist at many popular summer music venues throughout North
America, including the Wolf Trap, Ravinia, Blossom, Saratoga, and Bravo! Vail Valley Music Festivals.
Daniel's face is becoming familiar to television audiences around the world. He was seen as a featured soloist in the BBC
television documentary "Kurt Weill in America: I'm a Stranger Here Myself." He also starred with Frederica von Stade and the
Naples Philharmonic Orchestra in a program broadcast worldwide by PBS entitled "Pops at the Phil: A Century of Broadway"
with Erich Kunzel conducting.
On the operatic stage, Daniel Narducci has portrayed Count Almaviva in LE NOZZE DI FIGARO, Marcello in LA BOHÈME,
Escamillo in CARMEN, Figaro in IL BARBIERE DI SIVIGLIA, Guglielmo in COSÌ FAN TUTTE, and Belcore in L'ELISIR D'AMORE.
He has appeared in these principal roles with the opera companies of Washington, New Orleans, Central City, Palm Beach,
Kentucky, Nashville, Fresno, Indianapolis, Columbus, and Hawaii.
Daniel Narducci's combined talents have been seen on operetta and musical theatre stages throughout North America and
Europe. He played the role of Lancelot during two national tours of CAMELOT, most notably opposite Robert Goulet's King
Arthur, and portrayed Old Deuteronomy in the 10th anniversary production of CATS in Hamburg, Germany. Daniel's operetta
credits include Jim Kenyon in ROSE MARIE with the Central City Opera, Count Danilo in THE MERRY WIDOW with the
Chautauqua Opera, and Strephon in Cleveland Opera's production of IOLANTHE.
Check out Daniel's Web Site at www.danielnarducci.com.
Daniel Narducci in the studio recording the role of Captain Hook.
The Story of Peter Pan — A Synopsis
Peter Pan is a young boy who ran away from home to a magical place called "Neverland." Neverland is the place between sleep
and awake, where dreams are born! Most importantly, in Neverland, no one grows old. Because it is a place of dreams,
Neverland is inhabited by mystical and mysterious creatures and people — fairies, pirates, mermaids, Indians and more.
Peter is the leader of "The Lost Boys," who are really orphans or children who ran away from home to live in Neverland, just
like him. Peter has a magic fairy named Tinkerbell, also known as "Tink," whose fairy dust allows people — who believe they
can — to fly.
One night, Peter finds his way to the Darling home in England. He listens as Mrs. Darling tells bedtime stories to her children
— Wendy, John and Michael. The stories are about him! The Darling children secretly believe in Peter. Somehow, Peter's
shadow gets shut in the Darling children's nursery and he gets discovered by Wendy and her brothers. Peter befriends them
and convinces them to come to Neverland with him. He teaches them to fly (they must believe that they can and "think lovely
thoughts"). The four fly off to Neverland where many adventures follow.
In Neverland, Peter has an enemy named Captain Hook. The evil Captain is the leader of the pirates, and he is out to get Peter
because Peter cut off his hand and fed it to a crocodile (the Captain replaced his hand with a hook, thus his name). His mission
in life is to hunt down Peter Pan… however, Captain Hook is also being hunted — by the crocodile! The Croc thought the
Captain's hand was so tasty that it is searching for the rest of him. Luckily for Captain Hook, the crocodile once swallowed a
clock so it makes a ticking sound, always warning the Captain that it is near!
Wendy becomes like a mother to The Lost Boys and she also develops a crush on Peter, of which Tinkerbell becomes very
jealous — for Tink herself is in love with Peter. She loves Peter so much that she drinks deadly poison that Captain Hook has
intended for Peter. However, Tink doesn't die because all of the children believe in fairies and the power of their belief is a
magic antidote that makes her stronger. Tink saves Peter and she lives!
Meanwhile, the Indians who live in Neverland are in a feud with The Lost Boys because the boys are always stealing from them
(after all, they have had no motherly guidance in Neverland until now). However, when Tiger Lily, who is the leader of the
Indian tribe, is kidnapped by Captain Hook, Peter rescues her and ends the feud. The Indians and The Lost Boys learn to live in
harmony.
In a grand effort to capture Peter at long-last, Captain Hook hatches a scheme to kidnap Wendy and her brothers. Peter and
The Lost Boys go to rescue them and a huge swashbuckling battle takes place aboard the pirate ship, The Jolly Roger. In the
end, Peter and The Lost Boys win, Captain Hook meets his fate at the jaws of the Croc, and Wendy and her brothers are set
free.
Although Peter and The Lost Boys don't want Wendy, John and Michael to leave Neverland, the siblings decide their place is at
home. They remain together only in dreams, but in dreams where they will forever be happy and forever be young.
Volume 6- Edition 1
Summer/Fall 2005
Anyone who's seen Linda Eder perform during the past 6 or so years, may
have noticed something a little unusual on stage — quarters! Lots and lots
of shiny silver quarters lining the lip of the stage.
The "tradition" of fans placing quarters on stage at Linda's concerts began
as a joke. Initially, it was meant as a playful reminder of something funny
that once happened to Linda; but then the quarters started to multiply,
and soon a substantial amount of money was starting to amass.
Linda decided the money should go to a good cause, and then realized that
even one quarter could go a long way in the life of a homeless animal. The
money, she decided, would go to Pets Alive, a "no kill" animal shelter in
New York that takes in every animal they have room for, and is one of the
few places that takes the carriage horses from New York City! And from
that moment on, the quarters came in piles, and even transformed to
dollars! Linda's fans, so enamored by the story and Linda's purpose for the
money, opened their hearts and their change-purses.
And then something even more amazing happened! Linda met and became
friends with Maureen Smith, the Executive Vice President of the Discovery
Channel's Animal Planet Network [on which Linda's new show, "Trail Mix,"
will begin airing in January 2006]. And Animal Planet agreed to add $5,000
to the donation the fans had made in quarters. On Monday, July 24, on
behalf of her fans, Linda and Animal Planet presented Pets Alive with a
check for $11,898.75! That's a lot of quarters and a lot of love!
Congratulations everyone!
For anyone who has yet to hear the quarter story,
here it is in Linda's own words…
[Linda spots some quarters on the lip of the stage]… "There are some quarters on stage! For those of you who have seen me
before, you may know this story, but for those of you who haven't seen me and may be wondering what these quarters are all
about, I'll tell the story now…
Ever since I played the Shubert Theatre in New Haven, Connecticut, for the first time, quarters have followed me around.
Anyway, I came out at sound check and right in the middle of the stage — right on the lip of the stage — there was a quarter.
And it was shiny and a little distracting and I thought, 'I should pick that up because it will distract somebody,' but then I
forgot...
So later, during the first half of the show, I noticed it again and it was sort of distracting — and in case you haven't noticed,
I'm a little laid back up here — so I thought, 'Let me just tell everyone what's going on.' I went over to the edge of the stage
and I worked my way down from my 5 foot 10 ½ inch height, in my low cut dress… I worked my way down very carefully to
pick that quarter up… and it was NAILED TO THE STAGE! [audience laughter]
…And I just knew someone in that building, a stage hand, was just laughing his a** off at me! [more laughter]
… The quarter was supposed to be there. It was marking center stage! But showbiz "newbie" that I was, I had no idea at the
time… and ever since that day, quarters have followed me!"
ABOUT PETS ALIVE...
Pets Alive is a no-kill animal shelter, located in the foothills of the Catskill Mountains, about 1 1/2 hours from New York City.
Their mission is to rescue, rehabilitate, and place animals in need with loving, safe and secure families. Many of the animals
taken in by Pets Alive are victims of neglect, abuse, and violence, or have special needs and have been rejected by other
organizations. But this doesn't mean they should be given up on — Pets Alive believes that with proper love and care, these
animals can once again flourish.
Learn more about Pets Alive and how you can help "their critters" at their Web site,
www.petsalive.com.
On behalf of her fans, Linda presents Pets Alive with a very generous donation! Pictured
L to R: Maureen Smith, Linda Eder, Sara Whalen (of Pets Alive), Rob and Marisol Thomas.
Volume 6- Edition 1
Summer/Fall 2005
"It's so easy to talk about doing something and so much
harder to get it done. I'm so thrilled that Michael and I
finally put together the show that we had been talking
about for years. It's filled with fun and famous duets,
and I have just had a ball singing them with Michael.
His voice is beautiful and he is a performing pro in every
way."
Michael Feinstein and Linda Eder following the
premiere performance of Two For The Road.
An Eder-tor's Review…
"Some enchanted evening… you will see a stranger, you will see a stranger across a crowded room… and somehow you'll
know, you'll know even then… that somewhere you'll see her again and again…"
And that is how perhaps one of the most entertaining evenings of my life began. It was Friday, August 5, 2005, and I was
witness to the premiere engagement weekend of Linda Eder and Michael Feinstein's Two For The Road concert tour at the
South Shore Music Circus in Cohasset, Massachusetts.
If I had to describe the show in under ten words, I'd say "out-of-this-world concert-comedy fusion." Linda was wonderful;
Michael was wonderful; but put them together and the stage ignited. Their voices, intertwined in glorious harmonies, cast a
spell on the audience. Smiles prevailed and gales of laughter swept through the tent. Hushed happy sighs of recognition and
delight sprinkled the evening as Linda and Michael performed duet after beloved duet. In a word, it was enchanting.
And so it was apropos that this concert, on a sweltering yet exhilarating night, began with the duo singing Rodgers and
Hammerstein's "Some Enchanted Evening" from the musical SOUTH PACIFIC. They
received thunderous applause and then paused to welcome the audience. The
comedic, light-hearted and fun mood of the evening was immediately set as
Michael commented, "For those of you expecting Steve and Eydie, my name's not
Steve, I'm Michael," with Linda adding, "and I'm not Eydie, I'm Eder!"
They went on to perform a jazzy duet
of "Teach Me Tonight," followed by a
medley of Stephen Sondheim's "Old
Friend" and Cy Coleman/Carolyn
Leigh's "I Wanna Be Yours," that
brought down the house. Next was a
show-stopping "torch song medley
duet" of Harold Arlen's "Stormy Weather" and "When The Sun Comes Out."
Linda excused herself so that Michael could perform a few solo numbers. Taking a
seat at the piano, Michael accompanied himself on an emotionally charged and
exquisitely sung version of Rodgers and Hart's "My Romance." The entire audience
grooved along with a rockin' performance of Jerry Lee Lewis' "Great Balls Of Fire"
that sent the Richter scale into overdrive.
With Michael still on the piano, Linda returned to the stage and took a seat on the piano bench next to him. They performed a
duet of Henry Mancini and Leslie Bricusse's "Two For The Road." It was a dulcet ballad sung with pristine clarity that touched
the heart.
Act I wrapped up with a fantastic marathon medley of famous duets, full of energy,
humor and fervent harmonies — "Side By Side/Wherever You Go/I Got You
Babe/The Beat Goes On/Where Is The Love/You're Just In Love/When I'm Calling
You/True Love/This Could Be The Start Of Something Big/Sisters/Something
Stupid/Mockingbird/I Wish I Were In Love Again/Side By Side."
The second portion of the show kicked-off with another wonderful duet medley,
"Me And My Shadow/If I Had You/Blue Skies," after which Linda and Michael
performed a mesmerizing rendition of Joni Mitchell's "Both Sides Now."
Then Michael announced it was time for his favorite part of the show, "a chance to
listen to Linda sing." With that the crowd went wild and Linda went on to perform
three solo numbers. The first was a medley off the new album, "Almost Like Being
In Love/This Can't Be Love." The new swing arrangement was dynamic and
spirited. The crowd was on their feet for a standing ovation before the song even
ended.
Next was Linda's version of the classic
Michel Legrand song "What Are You Doing The Rest Of Your Life." Here Linda's
voice exuded an effervescent quality — softly carrying the melody through the air
and sending tingles down my spine. Linda then sang "Don't Rain On My Parade"
with a voice of unmatched magnitude. Again a deafening standing ovation ensued.
Michael retuned to the stage and wished Linda, "Good luck with your career!" which
was met with a boisterous and knowing laugh from the audience. Another wellknown and loved Michel Legrand song, "How Do You Keep The Music Playing," was
next, and just when I was convinced the concert couldn't possibly get any better, it
did. A mind-blowing, sensational, so incredibly bliss-ridden duet medley of Judy
Garland and Frank Sinatra songs was the pièce de résistance. Linda and Michael
were luminesce as they frolicked through these legendary songs — "The Best Is Yet
To Come/Zing! Went The String Of My Heart/Come Fly With Me/Rock-A-Bye Your
Baby With A Dixie Melody/That's Life/The Trolley Song/I've Got You Under My
Skin/The Boy Next Door/I've Got A Crush On You/San Francisco/New York, New
York/Just In Time."
A stirring duet of "I'd Rather Leave While I'm In Love" topped this precious
evening, with "The Glory Of Love" as an encore performance. Fans leapt to their
feet, screaming, beaming… and no doubt left dreaming of the Two For The Road Show.
I left the tent that night with a new-found appreciation for the art of the "duet." Such a night of unadulterated entertainment is
rare now a' days… and I'm sure everyone who experienced Two For The Road, like
me, simply can't wait for Linda and Michael to "duet again."
The premiere engagement weekend of Linda
Eder and Michael Feinstein's Two For The Road
concert tour was three nights of musical bliss —
The Cape Cod Melody Tent in Hyannis,
Massachusetts (August 4), The South Shore
Music Circus in Cohasset, Massachusetts
(August 5) [both pictured], and The North Fork
Theatre at Westbury in Westbury (Long Island),
New York (August 6).
...You Simply Can't "Duet" Alone!
Michael Feinstein Talks With THE VOICE
Following the premiere of the Two For The Road concert tour, THE VOICE caught up with Michael Feinstein to
learn a little bit more about his career, how he met Linda, and how the concept of Two For The Road became a
reality. Here's what Michael had to say…
"My career has been dedicated to performing classic songs for a contemporary audience
and there has never been a better time to be a singer than now, especially since there is
so much interest in classic American popular songs. When I started performing while still in
my teens, I never dreamt that music would become my livelihood. It is truly a blessing to
be able to do the thing I most love all the time and get paid for it! My recent activities
have been preparation for the new season at my nightclub, Feinstein's At The Regency,
planning a new holiday show, the usual seasonal concert tour, and publicity for the release
of my new CD called HOPELESS ROMANTICS. The CD is a collaboration with the great jazz
pianist, George Shearing, and consists entirely of songs written by Harry Warren. He was a
three-time Oscar winner and is one of my favorite songwriters, and I am very proud of the
disc.
An answer to the question how did I meet Linda... I honestly cannot recall! Maybe she can,
but I feel like I have known her forever, but I have a feeling that most people who meet
her feel instantly comfortable and connected to her because she is such a warm and
Learn more about Michael online at
his official Web site
www.michaelfeinstein.com!
unpretentious person. I do vividly recall the first time we sang together, which was for her
album titled AND SO MUCH MORE. It was thrilling to sing with her because a voice like
Linda's is truly rare. While recording, we did several takes, and every time she sang a
chorus it always sounded perfect to my ears, yet Linda was not pleased and wanted to do
it again. It's certainly something I can relate to because she is a perfectionist, and first and
foremost we have to please ourselves before we please anyone else, at least in the vocal
department. Simply put, singing with Linda is exciting, inspiring and fulfilling.
One of my favorite songs of Linda's is 'Is This Any Way To Fall In Love.' The first time I
heard it, I played it over and over again. There are so many great ballads and love songs
that she sings that it's truly difficult to choose just one. 'What Kind Of Fool Am I' is
certainly another high point for me as a listener.
Our current collaboration is one that has been
exciting and challenging and I hope pleasing for
our audiences. I think I can speak for Linda
when I say that we love doing the show
together. Several years ago we toured and each
had separate segments in which we mainly
performed solo. We only sang one duet,
'Someone.' We both came away from that tour
wishing that we could have sung more duets.
Well this show certainly makes up for the
paucity of dual moments in the previous show
because the entire performance is integrated
and includes many different kinds of duets from
love songs, to a medley of Garland/Sinatra
standards, as well as a medley saluting famous
duet singers of the past. We particularly enjoy
that number because it gives us the chance to
pretend that we're Steve and Eydie, Sonny and
Cher, or Carly and James. Linda is a natural
comedienne and is very funny when she affects
the persona of other great ladies of song. She is
very generous on stage and makes me feel very
comfortable, a true professional. All in all, I
can't wait until we do our next series of shows!
We have already had a lot of humorous
experiences stemming from our shows, but
there is one that stands out in my mind. When
we were in Cohasset taking our curtain call, I
spotted a man to our right holding a big
bouquet of flowers. I whispered to Linda, 'He's
got flowers for you,' and walked with her as she
retrieved the armful of blossoms from him. Just
as she scooped them up in her arms he cried
out, 'No, they're for him!' Linda hesitated for a
moment and with a surprised expression
handed them over to me as we then exploded
into gales of laughter. The gentleman who gave
us the flowers was also laughing, as were
members of the audience who caught what was
going on. Off stage Linda said, 'That's the first
time THAT'S ever happened!' Sorry Linda, I'll
share mine if you share yours!"
Volume 6- Edition 1
Summer/Fall 2005
Have you ever seen the sparkle in Linda's eyes when she spots a child in the audience at one of her concerts? Or
seen the way she beams when she greets a young Eder-fan at the stage door? Linda's littlest fans hold a special
place in her heart, and she in theirs, as you will see in this tribute to Linda from her youngest of fans.
Hi! I'm Nicholas Golden and I am one of Linda Eder's "little fans." My Mommy and "Mimi" are fans too so it must
be a genetic thing. I met Linda for the first time when I was seven weeks old. Linda was very brave to hold me. I
was very good and didn't spit up on her! That would have been so embarrassing. Now I am almost four and I get
to go to more concerts.
When I am at my Mimi's house I ask her to play the Christmas Stays the Same DVD. Then I bring out all my
instruments and set up my little band in front of the TV. I always want to watch Clint and try to play my drums
just like him. He is really great!
My favorite songs are "One Bad Habit" and "Santa Claus Is Coming To Town." Mimi says when I go to school and
they teach us to sing "Santa Claus is Coming To Town," that I will think it should be sung just like Linda does it. Of
course... she is the best!
Now that I am going to be a big brother, I guess I will have to introduce the newest "Eder-fan" to Linda's music.
Linda with Little Eder-fan Nicholas Golden at 7 weeks old (left) and 3 years old.
Linda poses with Fan Gerry Cardwell and her
Granddaughters, young Eder-fans Alexa and
Abigail Zinser (right).
Linda Eder is an amazing singer. She is very inspiring. I've been to three of her concerts. I saw one with Teder
Bear and the other two with my mom and friends. When I saw her with Teder Bear I was able to go backstage
and meet her. She was very nice to me. She signed my CD cover and allowed us to take pictures with her. It is a
memory that I will always remember. I think that her music is for everyone - kids, teens and adults. A lot of
people admire her. I do.
-Allison Whitehouse, Age 11
I first heard Linda Eder because my mom was listening to her constantly. I liked almost all the songs right away,
but there were two that I especially enjoyed "Man of La Mancha" and "I Want More." My mom surprised me with
concert tickets and I went to see Linda at the Westbury Music Fair with my mom, a group of her friends and a
friend's daughter. It was really exciting because we had front row seats and were in charge of Teder Bear. The
concert was absolutely fantastic! I was able to meet Linda and have my picture taken with her. Then I got to see
her again when she came to my hometown, Union, New Jersey. It was another great show and I got my cousin
to come. She's now a Linda Eder fan too!
-Kelly Monaghan, Age 13
Young Eder-fans Kelly Monaghan (right)
and Allison Whitehouse pose for a picture
with Linda and "Teder Bear."
Little Eder-fan Grace DeNicola is 5 years old and already loves the Voice, Linda Eder! She was thrilled
to answer questions from her Mommy, Diane, about Linda and her music and to draw a portrait of
Linda.
MOMMY: Did you like seeing Linda Eder in concert with Mommy and Daddy last year?
GRACE: It felt really happy to see her. She was like the real, real one - not on a CD. The concert was great.
REEEEALY great!
MOMMY: Do you want to see Linda Eder again?
GRACE: I would love to see Linda Eder again because she is so beautiful.
MOMMY: Do you think Natalie [Grace's baby sister] would like seeing Linda?
GRACE: Well yea. I mean if I'm seeing her and you're seeing her and Daddy's seeing her then of course Natalie
would see her. She likes her best.
MOMMY: What did you think when you met Linda Eder?
GRACE: She was the beautifulest girl in my whole life I had ever met and I really liked her and I was happy to
get her autograph and Mom when are you going to get that off the fridge and into my room? [the signed ticket
stub is on the refrigerator] I like Linda Eder because she's the greatest singer I love.
MOMMY: What is your favorite song?
GRACE: Um - "Vienna" - DUH!
MOMMY: How do you feel when you hear "Vienna?"
GRACE: I feel great... and that's all I want to say Mom.
Little Eder-fan Grace DeNicola with her baby sister Natalie.
Young Eder-fan Gabriella Greco writes...
When I saw that you wanted stories and pictures of "Young Eder-fans" for the summer edition of THE VOICE, I
was a little apprehensive about writing in and sharing my story. After thinking it through, I decided to because I
want you, the fans, and most importantly Linda, to know how she has literally changed my young life forever.
You see, I was born 3 and 1/2 months premature weighing only 1 lb. 8oz. Due to my premature birth, I
developed a mild case of Cerebral Palsy, which has dominantly but very mildly affected my left leg, hip and
hand, as well as a little on the right. Because of the CP, I had to wear leg braces until I was 12 years old, and I
had to go through two painful surgeries to help strengthen my legs. To help increase the chances of my legs
becoming stronger, I got involved in gymnastics. I even went to gymnastics camp with my cast on. Even though
I was in for a long recovery process, I was determined to become stronger. Nothing was going to stand in my
way. Not even my stupid CP.
Unfortunately all good things have to come to an end. Reality hit me hard the day I had to quit gymnastics. I
was very depressed during that time. I felt like I was going to fail at everything because of my legs. Then one
day while mom and I were reminiscing about gymnastics and discussing other options, Mom suggested that I
take up singing lessons. I loved to sing and did it for fun, but I overlooked Mom's suggestion because gymnastics
was my life.
Then that following summer, which was the summer of 2000, I attended the concert that would change my
young life forever. I would be a witness to the most amazing singer of our time, my angel in disguise, Broadway
sensation Linda Eder. As I listened to this unfamiliar and astonishing voice, I found myself sitting in absolute
amazement while tears ran down my face. This may sound weird but as this amazing woman was singing, it was
like God was sending me a message through her letting me know that everything was going to be ok. I know it
sounds crazy, but it's how I truly felt. It was a total out of body experience. By the time the concert was over, I
knew what I was meant to do. I was meant to share my voice. As soon as I got home, I took up singing lessons.
As I became more and more involved in singing, sadly I began to forget the reason why I was doing this and
more importantly the person who had inspired me to do so.
Then one night after one of my recitals, I would be put back on track and brought back to the person who
inspired me. I went home and put in the VHS that my teacher gave me. She said it was a Christmas concert of
this singer that she thought that I would really enjoy. As I sat there and watched, I was like "where have I seen
her before?" It didn't register until the end of the show that "Linda Eder" was the woman whom I had seen two
years before in concert, the woman who had inspired me to sing. From that moment, I promised myself I never
would get off track again.
Two years later I had the opportunity to meet Linda. It was a meeting that neither Linda nor I will ever forget.
Ever since that first meeting, I cherish each time I have the opportunity to talk to Linda. Each time is as special
as the next. I enjoy the long-distance friendship that has evolved. I enjoy being able to talk to her so easily, and
through her guidance, I have found serenity in my life that helps me to live each day to the fullest and to reach
for all of my dreams.
Today I am 16 years old. I start and end my day with Linda and continue to be inspired by "The Voice." Linda,
Thank you! Thank you! Thank you!
Young Eder-fan Gabriella Greco with Linda after the
Palace Christmas shows in New York City in 2004.
Young Eder-fan Gabriella Greco meets Linda for the
first time in 2000.
Linda Eder: The Bonus Lady
By: Jo Blackhead aka FrissieCats
Yes, Linda Eder is known as "the Bonus Lady" to my students! This came about because of two events: the 2002
Winter Olympics special debut of "Gold" and I'm always looking for new ways to motivate my students to take
ownership of their grades. When the song aired, the announcers failed to give credit to Linda. The word went out
to call local NBC stations to ask who sang it. I could call the NBC affiliates in the bordering states but I thought
I'd offer it as an extra credit opportunity for my "little darlings" on an upcoming test.
I don't think we generated many calls BUT a silver lining came to light: my "little darlings" were fascinated that I
had a favorite singer AND that I knew so much about her. So we began a weekly Linda bonus question and my
students came to call her "the Bonus Lady."
I even put my shyness aside and asked Linda to sign a photo
to my students and to add "The Bonus Lady" to her
signature. Linda complied but I think she was expecting the
men in white coats to come claim me! (Thanks for the idea,
Judi!)
A few weeks into the new school year, I put the autographed
photo in a visible place but said nothing. It took a few
classes before someone noticed it. I heard a startled, "She
knows about us?" I assured them that I shared our bonus
question situation with Linda (I had posted it on the message
board). Like wildfire, word spread amongst the relatively
small student population and I had visits from many former
"little darlings" who wanted to see "the Bonus Lady's" note to
them. They were thrilled to say the least!
My name is Katie Phelan and I am 13 years old. I have been going to Linda Eder concerts for about as long as I
can remember. (A special note from Mom: Katie was 4 years old when she first heard Linda sing. Katie loved the
song "No One Knows Who I Am" from JEKYLL & HYDE and kept asking her mom, "Why doesn't she know who
she is?!"). In the first grade, I had my first picture taken with her at The Strand Theater in York, Pennsylvania. I
was happy to meet her, and I was very shy. I just stared at her in awe when she talked to me. I was thinking,
"Wow, the lady that was on stage is talking to me!" while looking at how pretty she was. The ladies who were
around us thought it was cute while I smiled and continued staring at her. I felt very special to have met her.
My mom loves Linda's music and I like to go to concerts with her. She often plays Linda's CDs around the house,
so that is what I grew up listening to! Whenever I bring friends home from school, they go home knowing about
Linda Eder and some of them end up buying the CD and get their entire family hooked. My friends and I love the
"Man of La Mancha" song and would try to sing the high notes. I have even taken some of my friends to
concerts. They all loved it and we listened to their favorite songs on the car ride home!
I have also met very nice people at Linda's concerts and enjoy talking to everyone around me. It is a great
experience and I always look forward to seeing Linda friends. It is fun to talk to others that love Linda like I do!
It is also amazing to learn about different people who have the same interests as you.
I have also been giving my teachers Linda CDs and I cannot even begin to count how many times they have
come up to me, thanked me, and told me how they listen to the CD in the car every day. I have even heard
some of them humming Linda tunes in class!
It makes me feel good to see a person's reaction when they first hear Linda's voice and I can compare myself to
them. My religion teacher loved her so much, she played the Christmas CD in class, and she very rarely plays
music in class. My friends thought it was cool to hear a Linda CD, since they've heard so much about her from
me. I do listen to other types of music, but because Linda is so good, I keep coming back to hers. She is the only
singer I have not stopped listening to. The other singers get old and boring after a while, but never Linda!
The Christmas Concert is really fun to go to. I think that Linda's Christmas CD is the best! I have heard other
Christmas CDs, but none compare to Linda! I always have a blast going to concerts and learning all the words to
her new songs! I am always smiling when a song is playing in my head, because I'm always happy! I always look
on the positive side of things, and Linda's songs never fail to brighten my day! I don't have a particular favorite
song because I just love all of them! Linda makes my life more fun and exciting! She is great and a fantastic
person. I really look up to her. I love you, Linda!
Young Eder-fan Katie Phelan and Linda in 2005.
The first meeting of Young Eder-fan Katie Phelan
(then 6 years old) and Linda.
"Linda Concert" by Katie Phelan at age 6.
Betsy Cutcliffe from Minnesota writes…
"Our son Ross has been coming with us to Linda's concerts for the past 7 years since he was 6 years old! When
we were at the Ordway Music Theatre a number of years ago, when Jake was just a baby, Linda brought Jake on
stage near the end of the show and Ross said "Wow, how exciting, Mom. Linda named her baby boy Jake, my
best friend's name!" A couple of years ago, Linda looked at Ross (we were in the front row of the pit) and said, "I
look at you and I think of my son and miss him."
Ross is now 14 years old and he says, "In the beginning when I was 6 years old, I remember Linda looking
at me in the first row and mentioning how nice it was that children would come and see her sing. Then after she
had Jake (who just happens to have the same name as my best friend), Linda would look at me the next few
years and say I reminded her that she missed her own little boy — I don't know if she recognizes me anymore,
but we are still in the front row each year and I will continue to come hear her sing, because her voice is so
beautiful. Especially, last year, on my 13th birthday, Linda was in concert here in Minneapolis and it was so
special for me, my mom and dad and my godfather! I hope to be able to enjoy Linda's concerts for many more
years to come!"
Young Eder-fan Jordan Van Horn and Linda meet for
the first time in 2005.
Young Eder-fan Jordan Van Horn first saw Linda perform at the Ocean Grove Auditorium in Ocean
Grove, New Jersey, on July 23, 2005. At the show, Linda told the "quarter story" and fans flocked to
the stage during "Havana" to make their donations. Jordan was so inspired by that moment, she
sketched these pictures! Way to go, Jordan!
Art by 14-year-old young Eder-fan Jodan Van Horn
Donna M. Richard from California writes…
My daughter, who is only 8 years old, is (along with me) a most devoted fan
of Linda. The concert at the Wadsworth Theater in Los Angeles was the first
time she saw her perform in person. It was a night to remember, and even
now, Ariana still talks about meeting her after the show and how beautiful
she is.
Young Eder-fan Ariana Richard
with her mom and Linda.
Linda with her little ray of sunshine, Jake,
backstage at the Palace Theatre, December 2004.
Volume 6- Edition 1
Summer/Fall 2005
You just can't find a more wholesome talent than Keith Lockhart and The
Boston Pops. Their musical sophistication far surpasses other symphony
orchestras of similar size. And while many may try to attain their level of
genius, this is a lofty and worthy goal that is rarely met. To see The Boston
Pops perform is to witness greatness. Now add Linda Eder into the mix,
and you have the precious formula for symphonic rapture beyond what you
ever dreamed possible.
This past Summer, Linda, Keith Lockhart and The Boston Pops delivered
once-in-a-lifetime performances to four lucky audiences along the East
Coast. They first thrilled fans in Philadelphia, then in Virginia, and then on
to Massachusetts for two shows — one on Nantucket Island and one at
Tanglewood, the "Summer home" of The Boston Pops. The show that
kicked-off the "mini-tour" took place at The Mann Center in Philadelphia on
Wednesday, August 10.
The first half of the show featured Keith Lockhart and The Boston Pops
performing a variety of songs largely from their latest recording AMERICA.
The Boston Pops made our hearts soar with magnificent arrangements from
the album — a musical celebration of the American patriotic spirit.
Keith Lockhart and Linda trying to cool off outside
before the Mann Center performance on August 10,
2005.
A special highlight of Act I was
Frances Botelho-Hoeg, winner of the POPSearch 2005 talent competition and an
elementary school principal in "real life," who possessed a voice as big as the sea!
Accompanied by The Pops, she delighted the audience with a punchy and sassy
version of "When You're Good To Mama" from the musical CHICAGO. However, she
wasn't the only person who sang with The Pops during the first half of the show…
intermission was preceded by a patriotic sing-along with such all-American tunes
as "You're A Grand Old Flag," "Yankee Doodle" and "God Bless America." The entire
audience raised their voices in song as a tribute to our great country. Keith faced
the crowd and sang along enthusiastically with the audience.
For the second portion of the evening, Linda Eder took the stage with Keith
Lockhart and The Boston Pops. They were joined by three of Linda's own talented
Keith Lockhart takes a bow at the end of Act musicians — long-time band members David Finck on Bass and Clint De Ganon on
II.
Drums, and John Oddo, an accomplished pianist, rounded out the trio as musical
director on the Piano.
Linda began by treating the audience to a Broadway medley that had been missing
from her repertoire for some time — "Come Rain Or Come Shine / On The Street
Where You Live / What Kind Of Fool Am I." The latter song brought the packed
house to its feet.
Linda commented that they would be performing three songs off the new album
[BY MYSELF: THE SONGS OF JUDY GARLAND] for the first time. A fresh swing
medley of "Almost Like Being In Love / This Can't Be Love" was the first new song
to thrill the audience. A beautifully orchestrated version of "Me And My Shadow"
was next. Linda's voice was sweet and lithe here, caressing every note so
masterfully played by The Boston Pops. "By Myself" completed the set of songs off
the new album. Linda's eyes seemed to twinkle as she belted this song — an
anthem of self-determination — out into the open-air theatre and the Philadelphia
skyline in the distance. Audience members were once again on their feet following
an astonishing final note that Linda held for what seemed like an eternity.
The Pops played the first few notes of "Don't Rain On My Parade" and applause
spread through the crowd like wildfire. Always a fan favorite, Linda's powerhouse
voice built with the music on this number, rocketing out of orbit among the stars
and beyond.
At the beseeching of Keith Lockhart to "please do a slow song now" [it was a hot
summer evening at an outdoor venue and the excitement generated by the
previous song had created more heat than was welcome!], Linda delighted the
audience with "Vienna." What followed was "Vienna" the way the song was
intended to be performed — with a full orchestra — and even better, an orchestra
as glorious as The Boston Pops! Linda's voice soared and danced with the music,
unfurling into a magnificent crescendo that left us breathless.
"The Impossible Dream," with a wonderful orchestration by Kim Scharnberg,
followed, showcasing Linda's ability to take a song that is considered a timehonored "classic" — one that you've heard perhaps a thousand times — and make
it seem brand new.
"If I Had My Way," performed as an encore, was an appropriate song to top the
evening. Because the song was written following 9/11, Linda paused to comment that the Mann Center was special to her, as it
was the first place she performed after that horrible day four years ago [the show was September 14, 2001, and featured
Linda with Marvin Hamlisch and symphony]. Many fans will never forget that night, or this special evening [August 10, 2005]
where Linda once again closed with "If I Had My Way" — leaving us all filled with the spirit of hopeful optimism and a sense of
renewed wonder for this sometimes frightening, yet beautiful world.
"My first time performing with Keith Lockhart and The Boston Pops was in Boston on
the 4th of July. It was an incredible night and we formed a friendship that has led to
many other performances together. It's an amazing feeling to stand on a stage with
them and sing — surrounded and lifted by all that lush sound."
A Conversation With Keith Lockhart...
VOICE: Who has been the most significant musical influence in your life?
KEITH: There have been so many significant musical influences in my life... it's really hard to name just one! If you had to pin
me down, though, I'd have to say Leonard Bernstein, even though our paths never crossed. He could do it all — a conductor,
composer of serious symphonic works and great Broadway shows, a pianist, an educator, and — most importantly — a great
advocate for the art of music. He could make anyone from any background respond to his enthusiastic love of the art form.
VOICE: As a conductor, you are standing in the place where some pretty famous conductors have stood before you. Is there
something special that you learned from your predecessors that has helped you during your tenure with the Boston Pops?
KEITH: Ah... the "big shoes" question. Well, I never met Arthur Fiedler, but John Williams, my illustrious immediate
predecessor, had great advice for me the night before I was appointed. He told me over dinner to remember that the Pops as
an institution was a greater and more lasting thing than anyone who had come before me to lead it. And, to concentrate on
shepherding its future with judgement and with love, and not to worry who had occupied the podium before me. I've never
forgotten that conversation.
VOICE: How and when did you meet Linda?
KEITH: I met Linda when we first worked together at the Pops. I believe it was July 4th, 2000. I had, of course, heard of her
great success in JEKYLL & HYDE, but I wasn't prepared for the enormity of her talent, her presence, and her voice.
VOICE: When was the first time you heard Linda sing? What song was it? What was your reaction?
KEITH: I'm afraid I can't remember what the first song I heard Linda sing was... we've done a lot of concerts together over
the last five or so years. As to my reaction, please see above... I was blown away!
VOICE: Do you have a favorite Linda song?
KEITH: This may sound like a cop-out, but I really love "Vienna." It's a favorite city of mine, to start off with (I lived there for
half a year), but the emotions that stir inside me when I hear her perform it... well, let's just say that it's a very special piece.
VOICE: What projects have you worked on with her?
KEITH: Linda has appeared twice with the Pops on our huge, nationally televised Fourth of July extravaganza. She was also
the soloist for the Pops debut at Radio City Music Hall a couple years ago. Most recently she was our special guest on our
annual summer tour. I've also worked with her in Salt Lake City, where I am Music Director of the Utah Symphony.
Everywhere she goes, it seems she has a huge fan base, and the people who have never heard of her are fans from that night
on.
VOICE: Would you please share an anecdotal story from your time working with Linda?
KEITH: Usually, those anecdotes are about when things go wrong, but we both are professionals who try very hard to NOT
have things go wrong. We've performed indoors, outdoors, in rain, in blistering heat... just about under all conditions, and it's
always been great working with Linda and her musicians (John Oddo, Clint De Ganon, and David Finck, these days). They're
fantastic! About the most exciting thing we do backstage is show each other pictures of our kids!
Linda Eder's Appearances With The Boston Pops at
Their Annual 4th of July Extravaganza
POPS GOES THE FOURTH
(Above televised on the A&E network, July 4, 2000 — Linda performed
"Someone Like You," "Vienna" and "Man Of La Mancha.")
(Above televised on the A&E network, July 4, 2002 — Linda performed "If I Had My Way.")
Volume 6- Edition 1
Summer/Fall 2005
"Linda concerts" aren't just concerts… they're experiences! In the last
issue of THE VOICE, we asked Linda's fans to help spread the word about
the greatest Voice known to man by dressing up their vehicle for a "Linda
experience!"
Congratulation to the three winning fans who decked out their wheels —
and surely turned more than a few heads — in honor of Linda coming to
town!
Congratulations and Thank you to Treia Krieger from Illinois!
Congratulations and Thank you to Shannon Kmet from New Jersey!
Congratulations and Thank you to Jordan Van Horn from Maryland!
LIFE IS A SONG…
Announcing THE VOICE Winter 2006 Contest
We've all been there. You're sitting, listening to Linda sing, when all of a sudden, like a flash of lightning, it hits you… you
think, "This song is all about me!"
Many of us, dare we say ALL of us, can in some way or another relate to a Linda song. For THE VOICE Winter 2006 Contest,
we're asking fans to write and tell us, "If your life were a Linda song, what would it be and why?" Winning entries will
be chosen at random and published in the Winter 2006 issue of THE VOICE. Winning fans will receive a special Linda prize!
Entries must have a minimum of 50 words and be submitted by Saturday, January 14, 2006.
Please send submissions to: THE VOICE, P.O. Box 20180, Baltimore, MD 21284-0180, or e-mail them to
[email protected].
Volume 6- Edition 1
Summer/Fall 2005
Lou Cabibi from New York writes…
Over the past year, I was fortunate enough to see you
at Westbury Music Fair [2004], then the Palace for
your fantastic Christmas show, then on to the Tilles
Center in Brookvale, and then the ultimate —
Mohegan Sun this past March 2005. The picture I took
with you there (at top right) actually has a history.
Just before this concert, I was told I would need major
spinal surgery. My first thought was, "What about the
show?" Lucky enough, I would be admitted into the
hospital just five days after this "Last Hurrah." I was
then put in a body brace for a minimum of four
My friend and I were numbers 5 and 6 waiting on line
at 3 p.m. for a 7 p.m. show so we were assured a
great seat. We had the best. Right up front at the
"noisy table" as you may recall. I finally got to meet
many
of the fans I speak to on the message board.
months.
Fan Lou Cabibi and Linda
What amazes me most about you, Linda, is that you
actually acknowledge your regular fans when you
appear on stage. It was an unbelievable event.
Although I was in a lot of pain, it was a concert I
would not have missed. After the show, as I
approached you for this picture, you actually thanked
ME for being so kind to you during your performance!
What other celebrity would say something so kind? No
other. This is why you are so wonderful. Your
compassion and graciousness go unmatched. Only
your heart is bigger than your voice.
Lou made it to the Westbury Show on August 6, 2005,
body brace and all!
Eileen Chmielewski from Illinois writes…
Robert MacLean-Wood from Florida writes...
Linda, I am a total fan through and through and as many
times as I have seen you, heard you and met you for your
autograph backstage, you are as kind and as gracious as can
be. It is with so much admiration for you, that I thank you
for taking the time to speak to us... your sometimes crazy,
lunatic fans. Just know that we appreciate every second that
you spend with us. There is NO ONE like you; you are a rare
gem and we are lucky to have found you!
Thank you Linda! This was my 33rd concert. I look
forward to my 34th, 35th, and as many more as possible
until the day you retire! But PLEASE don't! You were
gracious, kind, considerate, and 100 times more beautiful
in person. You are the most sincere and real celebrity I
have ever met. Thank you for making that evening, if I
may borrow a line from one of your songs, "The best time
of my life!"
Fan Robert MacLean-Wood and Linda
Fan Eileen Chmielewski and Linda
Virginia D. Zaiss from Arizona writes…
Susan and Tom Van Dalsen from California write…
I have never done this before but I must. Last night my husband
and I and friends of ours saw your performance at California
State University-Northridge and it was a FANTASTIC show.
My husband and I fell in love with you a few years ago when we
saw you on TV. I think the program was Ladies Sing Broadway
Tunes. Something to that effect. You sang "Man of La Mancha"
and it blew his mind. Needless to say I bought our first CD of
yours the very next day. Your music is always being played in
our house. I have a very hard time picking a favorite song of
yours, but to hear you sing "Vienna," "Gold" and "If I Had My
Way" in person was a real treat. Thank You. Your musicians are
amazing too.
This past year was a very challenging one for my husband. He
had to have chemotherapy and radiation treatments for more
than half of the year. He is fine now. I wanted to give him
something really special for Christmas and his birthday, which is
Dec. 26th, and I was having a hard time thinking of something.
When I saw the ad for your show at CSUN in the LA Times
Calendar Section, I knew what that gift would be. I called the
very next day and got the best tickets for your show. Keeping
the secret until Christmas was the hard part.
Thank you so much for your beautiful music. Your voice is truly
amazing. Your range is awesome. You are also very beautiful to
watch and your new hair color is great too. Last night was so
wonderful and my husband was in heaven. We are looking
forward to your new CD and anything else you will be doing.
Keep it up.
Our daughter lives in New York City and we go to visit a lot. If
you ever do another Broadway show, and we hope you do, you
can be sure we will be there.
Wishing you a wonderful year full of love and happiness.
After attending your concert in Las Vegas last
December (an 80th birthday present from my son), I
wanted to write to you about the joy your CDs bring me.
As all of us do, I have some big problems in my life
and when I need a little help getting through the day,
I play one of your albums and I'm on my way again. I
don't attend church any more, and I feel as though I
am in God's presence when I hear you sing —
particularly "Bridge Over Troubled Water." The first
concert I attended (another gift from John for
Christmas) was in California (February, 2004). I didn't
think it could be as good as my CDs, but I sat there
with tears in my eyes hearing your beautiful voice.
My computer was a gift from my two sons for this
past Christmas. Now I can look up people who
interest me — and write a fan letter to you.
Oh yes, one other connection between us — my
grandfather had a summer home near Gull Lake back
in the 1950s and I went fishing with him (he kept
even the little ones!).
Thank you again for the beautiful music you have
shared with me.
Alvaro G. Rosario from Florida writes…
It is my first time reading THE VOICE newsletter and I
must say it is great! I am a huge fan of Linda Eder
and I am looking forward to her new album. I am a
singer myself and I learn something new every time I
listen to Linda. Thank you for allowing me to be part
of Linda's life and career. Please tell Linda that she is
the best female singer out there. Listening to her sing
is like looking into the face of God. Thank you again.
Marcia Friedlander from Maryland
writes…
I think that Linda has one of the best voices
to ever grace this planet! She is absolutely
amazing! I now have all of her CDs as well as
the Christmas DVD. I listen to at least one
song every morning before coming to work…
a great way to start the day and put a smile
on my face.
Her concert at the Meyerhoff Hall in May was
beyond description. I was literally on the
edge of my seat and in tears from the sheer
magnificence of her voice. Not too many
things in this life leave me speechless; but
Linda Eder's voice does!
Eder fans party before a concert in Chicago!
Frank Eno from Connecticut writes…
Winnie and George Saranac from Maryland write…
If ever a concert begged for preservation on DVD/CD,
last night's performance at the Strathmore was it. Your
song selections were fabulous. Your voice was thrilling.
And you never looked better. My wife and I were in
tears after "Vienna" and "Over The Rainbow," and that
We missed your show in 2000 at the Oakdale venue in
thing you do with your voice in the higher register was
Wallingford, Connecticut. You were pregnant and you had to
there last night as we've never heard it before in your
cancel. I had quintuple by-pass heart surgery in August that
concerts (and we've attended at least six of them from
year and my daughter said they almost lost me, so I see life a Baltimore to Washington, to Florida and now at the
little differently now. Your show was expensive, but lady you're Strathmore).
worth it!
To start off, my daughter and I were in the front row at
Mohegan Sun on March 12. I was the little guy with the
goatee, and I stood and toasted you and you acknowledged us
with a salute. You probably don't recall this.
Always see life as a time to give back what we have taken as
we progress through the years. Your incredible voice is a gift
that few people have, so always give it your best as you did
Saturday evening. Judging from the program you haven't
stopped. It's a wondrous thing to do what you enjoy and make
a living as well.
We hope to see you in Connecticut again soon.
I beg you. Make that concert album soon. Hey! I wanna
buy it! And I don't have forever, ya' know! At 82, a
couple of years could be a lifetime.
Seriously, we thank you for a truly marvelous concert.
It really should have been recorded for posterity. That's
how great we thought it was and so did everyone with
us and with whom we chatted after the show.
Marissa Hochfield from Illinois writes…
I first discovered Linda when my parents took me to New York to
celebrate my high school graduation in 1997. I had sung "A New Life" for
my voice recital that year, so we decided to get tickets for JEKYLL &
HYDE. At the time, I didn't know about Linda and had no idea that this
would lead to me discovering my all-time favorite singer. Linda was
amazing, the music was amazing, her vocals were incredible (although I
don't need to tell you that!). When I got home, my first stop was the
music store where I bought IT'S TIME. I quickly learned every song on the
CD and soon after bought every CD that Linda had. I can now go on a 10hour car trip and have an Eder sing-a-long!
This February, after being a huge fan for eight years, I finally got the
opportunity to meet Linda after the Chicago Pops concert. It was so
amazing to stand outside the stage door with so many other fans. Linda
was so gracious and took photos with everyone. I'm pretty sure I said
something to her, but I think that I was too excited to make any sense.
Fan Marissa Hochfield and Linda
Linda, thank you so much for singing music that makes me smile. I look
forward to seeing you again the next time you are in Chicago!
Richard E. Behmer from California writes…
Angelica Mason from Oklahoma writes…
We just attended your concert down in San Diego last night.
We drove all the way from Victorville, California, and hit some
of the worst traffic we have ever seen, which held us up five
hours and almost made us late to your concert. I tell you this
because all the traffic and hassle was well worth the
experience of seeing you for the first time live, and
introducing you to two new fans, my wife and daughter. Your
concert was every bit as wonderful as I had expected and I
won't even go into what you already must know about your
talents and showmanship abilities; but I will tell you it was a
fantastic show! I did worry for a time about the seagulls
flying right over us, but they didn't leave any messages this
time, ha ha.
I very recently came across the R Family Vacation Web
site and have played the videos (with your songs in the
background) over and over again! I finally took the
opportunity to go to ITunes and download your Broadway
CD. I can't tell you how incredibly moving your voice is to
me.
I own every CD you have recorded, and am looking forward
to the Judy Garland release coming soon. I only wish that
there were more radio stations around that played your type
of music; it's what the world needs right now. Also, "Vienna"
actually brought tears to our eyes… thanks so much for
including it in your selections.
I have Fibromyalgia and there are days (like today)
where I wish all I had to do was go home and lay in my
bed. However, work, school, family and just life don't
allow me to do that. Instead, I push through… with the
sound of your sweet voice in my mind. Sometimes when
things are going bad, or I'm really pushing, I turn up the
speakers as loud as they can go and I sing. Your voice
still comes through loud and clear but every time it
brings a smile, and sometimes a tear to my eye.
Thank you for your gift. The talent that you have is truly
a healing spirit to those of us who need it.
John White-Barnett from California writes…
Eder-fans brave the bitter winter cold
at the stagedoor in Chicago! Pictured left to right are:
Fan Eileen Chmielewski, Fan Trish Cox (back), Fan
Charlene Tomlinson, Fan Gerry Cardwell,
and Fan Carol Blalock.
My name is John and I'm a pretty "new" Linda Eder fan. It's been
about a year. I guess I can't really say much that has not already
been said about Linda... she's beautiful, has a beautiful heart, and
well that voice... what can I say? When you're in the presence of
true greatness all you can do is be speechless. Since a friend
bought me the GOLD CD I was hooked... then came BROADWAY
MY WAY. There was no doubt in my mind after I had listened to
these two CDs that Linda was truly a "Voice" to be reckoned
with... again I was speechless. And yes, I liked Judy and Barbra
and Celine all before I had ever heard of Linda. And yes, Linda is
in the same "mix" as those talented ladies; but still all her own at
the same time. She's pure magic... similar yet totally original.
Shelley Callaway from Florida writes…
My daughter was in Marine boot camp at Parris Island this
summer. I played your song, "As The River Runs," every day
as it gave me inspiration to cope with what my little girl has
chosen to do with her life. The song was my strength every
day when I made my daily drive to the post office for those
long three months of boot camp. Letters were the only way to
communicate with her as no phone calls are allowed. Every
time I made the trip, my heart was heavy knowing what she
was going through. But when I put your album in my CD
player, my spirits lifted as your words reminded me that my
little girl was doing what she wanted to accomplish in her life.
Your voice said it all and also spoke to the feelings I had as a
mother experiencing it from another point of view. Please
keep my daughter and other Marine women in your prayers.
There are very few of them. Thank you for your lovely voice
and wonderful songs! I think of you every day as I listen to
that song.
Carol Hainlin from California writes…
I have been an Eder-fan since seeing your first show on
Star Search. I finally got the opportunity two years ago
to see you in San Diego. I didn't think I could love you
anymore than I already did; however, I was proven
wrong. This July, in San Diego again, I was thrilled to be
sitting in my seat at Humphry's watching you again. I
have never seen another singer come close to feeling the
music they sing the way that you do. I was thrilled to
hear my favorite song that you sing, "Man of La Mancha."
However, I was blown away and almost hopping out of
my seat when you started singing the song from THE
SOUND OF MUSIC. Loved it!!! I have never had the
chance to personally meet you, but I hope someday that
will change. Please remember us here in San Diego and
come back often. We missed you last year.
Fans Bob Isaacs and Theresa Vanderbeck with Linda
Fans Robert MacLean-Wood and Eddie Reeves with Linda
Linda Durnin from New York writes...
I always have fun meeting Linda... nerve racking but fun!
LOL! Just watching her sing, and meeting her, makes me
want to be a better person!
Fan-Family The Sterretts meet with Linda following a concert
in Saratoga, California. Pictured from left to right are: FanSiblings Isaiah and Emily, Linda and Fan-Mom Terri.
Fan Linda Durnin and Linda
Gail Andahazy from New Jersey writes...
Linda, meeting with you after the Hyannis concert was wonderful.
You were very gracious, as usual, and it is always a pleasure to have
the chance to speak with you for a few moments. You looked
radiantly happy and I think "driving your own bus" is agreeing with
you! The "Two for the Road" concert was an absolute joy to see. I
didn't know what to expect and the concert was so much fun. The
friendship you have with Michael Feinstein was evident. You seemed
to be having a great time and so were all of your fans. I can't wait to
see this concert again sometime soon. I loved hearing some of your
new songs and am really looking forward to your new CD. Good
luck, Linda, with all of your upcoming projects. You deserve the very
best!
Fan Gail Andahazy and Linda
A message to Linda from
The Eder-tors...
Congratulations on the release of BY MYSELF!
When you sang "By Myself" on stage for the
first time in front of an audience at The Mann
Center in Philadelphia, we knew for sure it
was the start of an amazing new time in your
career. We are just SO thrilled for you! The
new album is simply brilliant and you deserve
all the happiness and success in the world. As
you make your way across the country — and
around the world — we hope you'll enjoy
every moment and realize what an
inspiration and uplifting force you are for
your fans, both old and new. We love you,
Linda!
Fans Lori Phelan, Amanda Christensen and Ellen Jacobs with Linda
Volume 6- Edition 1
Summer/Fall 2005
FUTURE ISSUE
THE VOICE IS BY THE FANS FOR THE FANS!
The Winter 2006 issue of THE VOICE is due out in February 2006. As always, we look forward to your submissions and
feedback.
In addition to contest entries for the next issue, we're especially interested in fan photos, short messages to Linda and
suggestions for future articles. If you would like to be a contributing reporter to THE VOICE, we welcome your reviews
and fan stories for consideration.
We're also working on a few exciting features for upcoming issues of THE VOICE and WE NEED YOU!
Do you have a dog named "Lucy?"
Or a cat named "Camille?"
Does your hamster go haywire for "Havana?"
Does it dance and squeal?
Maybe your bird goes bonkers for "Bring On The Men?"
If you have "Linda Pets," we want to hear about them!
If you have a "Linda Pet" or a funny Linda-related animal tale, please tell us your stories/send us your photos!
Also, are you a performer or artist who has been influenced by Linda's talent in some way? Whether you're a singer who's
performed a Linda song or an artist who has drawn inspiration from her music, or more, we want to hear your story. Send us
pictures/tell us about your life as a performer/artist and how Linda is your muse.
Please send submissions electronically to [email protected]
Or mail to:
THE VOICE
P.O. BOX 20180
BALTIMORE, MD 21284-0180
The deadline for submissions is Wednesday, January 11, 2006.
Please keep an eye on the Linda Eder Message Board for further announcements.
We look forward to hearing from you!
Volume 6- Edition 1
Summer/Fall 2005
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THE VOICE is a non-profit publication that has been compiled by the fans of Linda Eder. Our sole purpose is to promote her
career, recordings, concert appearances, and to support and show appreciation for Linda Eder. By submitting materials to THE
VOICE, the submitter claims that materials are original works and are not otherwise copyrighted. The publisher reserves the
right to edit submitted materials. No part of this publication may be reproduced without prior permission of the publisher of
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