Sedaka Comes to Town

Neil Sedaka

On Monday, September 12, Neil and Leba Sedaka will come to Bowling Green for the Kentucky premiere of his piano concerto, Manhattan Intermezzo. The concert will also include the world premiere of Charles W. Smith's The Morningstar Photos, Leonard Bernstein's Three Dance Episodes from On the Town, and crooner Steve Lippia, singing the Frank Sinatra songbook. I will discuss the latter compositions in a future blog. For tickets and more information, call (270) 846-2426 or visit our website.

I'll let Mr. Sedaka explain his composition:

"Manhattan Intermezzo is a journey through the musical diversity of Manhattan. As a lifelong New Yorker, I wanted the audience to feel the spirit of the city, exploring its melting pot of nationalities. I tried to incorporate the sounds of the city where I was born; Latin, Asian, Russian, Broadway, and the New York of today and yesterday. Having studied at the Juilliard School, I was exposed and inspired by many different composers. I wanted to write something that was clearly American, in style and feel, but still keeping it distinctively Neil Sedaka. Writing pop songs is one thing. But, composing a serious piece gave me much more creative freedom. I am very proud of this work.

"In addition to composing a piece, it takes a great artist's interpretation to bring it to musical fruition. I would like to acknowledge Jeffrey Biegel for his dedication to Manhattan Intermezzo. We share a unique bond, having both studied under Adele Marcus at The Julliard School of Music in New York. Mr. Biegel's impeccable performing of the piano part is in the tradition of the great Romantic concerti. Mr. Biegel’s adaptation of Manhattan Intermezzo not only enhances my composition, but also proves he understands my work and our roots." 

For more information on pianist Jeffrey Biegel, visit his website.

Presenting the Kentucky premiere of Sedaka's piece is quite an honor for Orchestra Kentucky. The history of Rock N’ Roll would be incomplete without the innumerable contributions of Neil Sedaka. For over fifty years, Neil has written, performed, produced, and inspired countless songs, and his canon of compositions will continue to stand the test of time.

Here is Sedaka's bio, courtesy of the artist:

"Neil Sedaka was born on March 13, 1939. Neil’s interest in music began at the young age of four, when he would listen to The Make-Believe Ballroom. But, it was not Rock and Roll, but Classical music that would shape Neil into the musician he is today. By the time he was eight years old, he had already begun his intensive classical piano training at the prestigious Julliard School of Music. At 16, Arthur Rubinstein voted Neil as one of the best New York High School pianists. Though Neil considered pursuing a Doctorate in music, Neil’s next choice became his chosen vocation.

Eager to gain acceptance from his peers at Abraham Lincoln High School, Neil began performing Rock N Roll outside of his classical training. At this time, he would form the Doo-Wop group The Tokens, in which they would record two singles that would go on to be regional hits. But, it was his introduction to his young neighbor Howard Greenfield, by Greenfield’s mother, that began one of the most prolific songwriting partnerships of the last half century that sold forty million records between 1959-1963.

Sedaka and Greenfield became one of the original creators of the “Brill Building” sound in the late fifties and early sixties when they were the first to sign with Don Kirshner and Al Nevins at Aldon Music. Aldon Music would go on to sign Neil Diamond, Carole King, and Paul Simon among many others, and they became the center of the pop world.

Sedaka catapulted into stardom after Connie Francis recorded his "Stupid Cupid." She then sang the theme song Neil and Howard had written for the 1960 MGM spring break classic, Where the Boys Are, which would be her biggest hit. Rhythm and blues stars Clyde McPhatter and LaVern Baker also scored hits with his songs. As a result of these hits, Sedaka was able to sign a contract with RCA as a writer and performer of his own material. Sedaka soon recorded chart toppers "The Diary," "Oh! Carol," " Stairway to Heaven," "Calendar Girl," "Little Devil," "Happy Birthday Sweet Sixteen," "Next Door To An Angel," and "Breaking Up Is Hard To Do," songs that have become a part of peoples' lives and can instantly take listeners back to special moments. His music became distinguished for a unique recording style involving multi-tracking his own voice to achieve a rich sound. This was merely the first act in a career that has not ceased to evolve and entertain.

In 1964, the direction of American music changed drastically when The Beatles launched The British Invasion. It became very hard for most male solo artists to continue to pursue their career in music. Due to his many talents as a songwriter, Neil was able to prevail, writing hit songs for such artists including Frank Sinatra (The Hungry Years), Elvis Presley (Solitaire),  Tom Jones (“Puppet Man”), The Monkees (When Love Comes Knocking At Your Door), and The Fifth Dimension (Workin’ on a Groovy Thing).

Neil’s journey continued in the UK with the release of his album “Emergence” in 1972. This was the first step of redefining himself as a solo artist. It was Elton John who decided to sign Neil to his up and coming record label Rocket Records and begin to re-introduce Neil to American audiences. The two albums he recorded for the Rocket label, Sedaka's Back in 1974 and The Hungry Years in 1975, both became top selling albums around the world. His comeback was further heralded by two of his songs co-written with Phil Cody, "Bad Blood" and the quintessential "Laughter in the Rain," both reaching the #1 position on the music charts. In Rolling Stone Magazine, Sedaka was hailed as "the new phenomenon." The song "Breaking Up Is Hard To Do" was re-released as a ballad in 1975, and made music history when it reached #1 on the charts, becoming the first song recorded in two different versions by the same artist to reach the Number One. During this time, Sedaka also helped to launch the career of the Captain and Tennille with their version of his "Love Will Keep Us Together," which won a Grammy Award for Record of the Year for this worldwide, number one hit.

The accolades showered on Neil Sedaka have been numerous. Among the honors he has received, Sedaka has been inducted into the Songwriter's Hall of Fame, has had a street named after him in his hometown of Brooklyn, and was given a star on the Hollywood Walk of Fame.

With a career spanning six decades, a rare feat in the entertainment world, Sedaka never ceases to amaze. He shows no signs of slowing down. Neil has appeared on FOX’s hit Television show American Idol, as a guest judge – in which Clay Aiken would perform Neil’s Solitaire, which saw an inevitable release, reaching #4 on the Hot 100 Singles chart, and was one of the Top Selling Singles of 2004.

On June 10 2004, he received the Sammy Cahn Lifetime Achievement Award from the National Academy of Popular Music / Songwriters Hall of Fame at the organization's 35th annual induction and awards ceremony in New York. Named for the former President of the Songwriters Hall of Fame, this award is given to individuals in recognition of their outstanding achievements in furthering the successes of songwriters.

In 2006, Neil concluded a 10 city tour of the United Kingdom, where he filmed a Live Concert at London’s Royal Albert Hall for PBS (which was released as Neil Sedaka: The Show Goes On – Live at the Royal Albert Hall). During this historical evening, Neil was presented with The Guinness Award for his song “(Is This the Way to) Amarillo”, as the best selling single of the 21^st century in the UK, a song that was originally performed by Tony Christie over thirty-five years ago.

On April 24, 2007, Neil released “The Definitive Collection”, a career-spanning retrospective released in honor of his 50^th Anniversary in show business. “The Definitive Collection” debuted at #22 on the Billboard Chart, marking the first time Neil has appeared on the chart since 1980.

On October 26, 2007, Neil was honored with a tribute at Avery Fisher Hall at New York’s Lincoln Center. “Neil Sedaka: 50 Years of Hits”, a benefit for The Elton John AIDS Foundation, showcased Neil’s songs, with performances by Connie Francis, Dion, Paul Shaffer, Natalie Cole, Clay Aiken, Renee Olstead, and Captain and Tennille. The evening was hosted by Cousin Brucie Morrow and David Foster. Sir Elton John and Barry Manilow sent video tributes in their absence.

Sedaka has been married for forty-eight years to his wife, Leba, and they have two children: daughter Dara is a recording artist and vocalist for television and radio commercials, and son Marc is a successful screenwriter in Los Angeles. He and his wife, Samantha, made Neil a grandfather, for the first time in 2003 with the birth of twins, Amanda and Charlotte, and for the second in 2005 with the birth of Michael Emerson.

Inspired by his grandchildren, Neil released “Waking Up is Hard to Do”, a collection of Neil Sedaka Hits that have been reinvented as children’s songs. “Waking Up is Hard to Do” was a family collaboration, in which Neil’s son Marc adapted four of his father’s classic songs, and Neil’s five year old grand-daughters made their recording debut as his backup vocalists.

In addition to his extensive tour schedule, Neil has just released “The Music of My Life”, a CD of brand new Sedaka material, including his first ever Salsa song, “Do You Remember”, produced by Grammy Award Winner David Foster. “This is my best collection of songs in 57 years of songwriting. It might be my last set of pop songs, as I feel I cannot top these”, said Neil.

In May 2010, Neil was awarded The Special International Award from The Ivors, honoring excellence in songwriting. On October 8^th, Neil was the Variety Club’s recipient of The Silver Heart Award, for his outstanding service to the music industry and his charitable work.

Neil has returned to his classical roots, composing his first symphonic piece “Joie De Vivre”, and his first piano concerto “Manhattan Intermezzo”. In October 2010, Neil recorded these two pieces with the London Philharmonic at the famed Air Studios in London.

“Laughter in the Rain”, the critically acclaimed musical that chronicles Neil’s rise, fall, and rise again, just concluded its tour through the United Kingdom. Produced by Bill Kenwright and Laurie Mansfield, “Laughter in the Rain” garnered exceptional reviews for Philip Norman’s book and Wayne Smith’s star-making performance as Neil. Neil is very hopeful it will be launched this year in The West End.

All of these ventures will no doubt add to his legend – that of a consummate musician, an extraordinary vocalist, and an ageless songwriting talent."

           

Piano Men-Part 4

Stevie Wonder

The last "piano man" featured in Orchestra Kentucky's Piano Men concert (Friday & Saturday, August 12 & 13), is Stevie Wonder. If you don't have tickets yet, visit http://www.OrchestraKentucky.com or call (270) 846-2426.

The thing that strikes me about Stevie Wonder is that his harmonic language is much more complex than other pop composers. His music is definitely influenced by the jazz world. The harmonic richness, coupled with great tunes, makes his songs some my favorites.

Now, let's get some background information on him, courtesy of wikipedia.com:

Stevland Hardaway Morris (previously Judkins; born May 13, 1950), known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind since shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.

Among Wonder's best known works are singles such as "Superstition", "Sir Duke", "I Wish" and "I Just Called to Say I Love You". Well known albums also include Talking Book, Innervisions and Songs in the Key of Life. He has recorded more than thirty U.S. top ten hits and received twenty-two Grammy Awards, the most ever awarded to a male solo artist. Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King, Jr.'s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace. In 2008, Billboard magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's fiftieth anniversary, with Wonder at number five.

Early Life

Stevie Wonder was born in Saginaw, Michigan in 1950, being the third of six children to Calvin Judkins and Lula Mae Hardaway. Owing to his being born six weeks premature, the blood vessels at the back of his eyes had not yet reached the front and their aborted growth caused the retinas to detach. The medical term for this condition is retinopathy of prematurity, or ROP, and while it may have been exacerbated by the oxygen pumped into his incubator, this was not the primary cause of his blindness.

When Stevie Wonder was four, his mother left his father and moved herself and her children to Detroit. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Morris has remained Stevie Wonder's legal name ever since. He began playing instruments at an early age, including piano, harmonica, drums and bass. During childhood he was active in his church choir.

Discovery and early Motown recordings

Ronnie White of The Miracles gives credit to his brother Gerald White for persistently nagging him to come to his friend's house in 1961 to check out Stevie Wonder. Afterward, White brought Wonder and his mother to Motown Records. Impressed by the young musician, Motown CEO Berry Gordy signed Wonder to Motown's Tamla label with the name Little Stevie Wonder. Before signing, producer Clarence Paul gave Wonder his trademark name after stating "we can't keep calling him the eighth wonder of the world". He then recorded the regional Detroit single, "I Call It Pretty Music, But the Old People Call It the Blues", which was released on Tamla in late 1961. Wonder released his first two albums, The Jazz Soul of Little Stevie and Tribute to Uncle Ray, in 1962, to little success.

Of course, all that changed....

Watch a live performance of Isn't She Lovely and Sunshine of My Life.

Piano Men-Part 3

Billy Joel

Today's article is about the Piano Man himself, Billy Joel. Not many artists have had his staying power. He has had hits for much of the last 40 years.

I saw him in concert a few years ago and was impressed with his pianistic abilities. He is no lightweight when it comes to "tickling the ivories". In fact, just explore his earliest albums, like Piano Man, and you will discover some of his best work (The Ballad of Billy the Kid is the first thing that comes to mind).

As usual, instead of reinventing the wheel, I'll let Wikipedia provide a short biography of Mr. Joel:

William Martin "Billy" Joel (born May 9, 1949) is an American musician and pianist, singer-songwriter, and classical composer. Since releasing his first hit song, Piano Man, in 1973, Joel has become the sixth best-selling recording artist and the third best-selling solo artist in the United States, according to the RIAA.

Joel had Top 40 hits in the 1970s, 1980s, and 1990s; achieving 33 Top 40 hits in the United States, all of which he wrote himself. He is also a six-time Grammy Award winner, a 23-time Grammy nominee and has sold over 150 million records worldwide. He was inducted into the Songwriter's Hall of Fame (1992), the Rock and Roll Hall of Fame (1999), the Long Island Music Hall of Fame (2006) and the Hit Parade Hall of Fame (2009). In 2008, Billboard magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's fiftieth anniversary, with Joel at number twenty-three. With the exception of the 2007 single All My Life, Joel discontinued recording new material after 1993's River of Dreams but continues to tour.

Listen to a music video of Piano Man from the '70s.

Piano Men-Part 2

Rather than continue with a discussion of Elton John, as promised, I decided that we should first look at the other artists whose music will be featured in our upcoming Piano Men concert. After that, we will look at some of their individual songs.

Today's featured artist is Carole King. I first discoverd her music, courtesy of my sister, who wore out King's Tapestry album. Here is a short bio and information on the album Tapestry, taken from www.wikipedia.com:

Carole King (born February 9, 1942) is an American singer, songwriter, and pianist. King and her former husband Gerry Goffin wrote more than two dozen chart hits for numerous artists during the 1960s, many of which have become standards. As a singer, King's album Tapestry topped the U.S. album chart for 15 weeks, in 1971, and remained on the charts for more than six years.

She was most successful as a performer in the first half of the 1970s, although she was a successful songwriter long before and long after. She had her first No. 1 hit as a songwriter in 1961, at age 18, with Will You Love Me Tomorrow, which she wrote with Gerry Goffin. In 1997, she co-wrote The Reason for Celine Dion.

In 2000, Joel Whitburn, a Billboard Magazine pop music researcher, named her the most successful female songwriter of 1955–99, because she wrote or co-wrote 118 pop hits on the Billboard Hot 100.

King has made 25 solo albums, the most successful being Tapestry. Her most recent non-compilation album is Live at the Troubadour, a collaboration with James Taylor, which reached No.4 on the charts in its first week, and has sold over 400,000 copies.

She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting. In 2009, Carole King was inducted into the "Hit Parade" Hall of Fame. She holds the record for the longest time for an album by a female to remain on the charts--306 weeks--and the longest time--15 consecutive weeks--for an album by a female to hold the No.1 position, both for Tapestry.
Tapestry features minimal production by Lou Adler. Tapestry has sold over 25 million copies worldwide and on July 17, 1995 was certified diamond in the United States by the RIAA for 10 million copies sold in the US. Additionally, out of all the albums by female artists to earn that distinction, it was the first released. In 1972 the album also garnered four Grammy Awards including Album of the Year, Best Female Pop Vocal Performance, Record of the Year (It's Too Late), and Song of the Year (You've Got a Friend). Three songs from the album, I Feel The Earth Move, It's Too Late, and You've Got A Friend, all reached #1 on the Billboard Hot 100 after Tapestry's release. Altogether, four songs on the album were at one point #1 hits, all of which were written or co-written by King. In 2003, the album was ranked number 36 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Production

King wrote or co-wrote all of the songs on the album, several of which had already been hits for other artists such as Aretha Franklin's (You Make Me Feel Like) A Natural Woman (in 1967) and The Shirelles' Will You Love Me Tomorrow (in 1960). Three songs were co-written with King's ex-husband Gerry Goffin. James Taylor, who encouraged King to sing her own songs, and who also played on Tapestry, would have a #1 hit with You've Got a Friend. Two songs were co-written with Toni Stern: It's Too Late and Where You Lead.

Reception

The album was well received by critics; Robert Christgau felt that her voice, raw and imperfect, free of "technical decorum", would liberate female singers; while Jon Landau in Rolling Stone felt that King was one of the most creative pop music figures and had created an album of "surpassing personal-intimacy and musical accomplishment".

In 2003, the album was ranked number 36 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2001, the VH1 TV network named Tapestry the 39th greatest album ever. In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.

Various artists combined to re-record all the original tracks for more than one tribute album; the first, released in 1995, entitled Tapestry Revisited: A Tribute to Carole King, which was certified gold, and the second, released in 2003, entitled A New Tapestry — Carole King Tribute.

Cover art

The picture used for the cover of Tapestry was taken in the living room of Carole King's house in Laurel Canyon, California. It shows her sitting near old Indian print curtains and holding a tapestry she hand stitched herself. Also in the picture is her cat Telemachus.


Listen to a live performance of King's Jazzman, one of the songs to be performed at Orchestra Kentucky's Piano Men concert on Friday and Saturday, August 12 & 13. Call (270) 846-2426 or visit www.OrchestraKentucky.com for tickets.

Piano Men-Part I

I know. It's been a long time since my last post. I wasn't sure if anyone was reading. I've discovered that there are at least two of you who are, so I will do my best to keep it up.

Today, I start a new series of posts relating to the newest concert in Orchestra Kentucky's Retro Series. Entitled Piano Men, the concert will feature some of the greatest hits of Elton John, Billy Joel, Carole King, and Stevie Wonder. As is the case with all Retro concerts, we will perform "record copies" of the songs, live on stage with vocalists, a rock band, and orchestra. The music of these pop-rockers is perfect for the orchestra because they used lots of orchestral instruments on their recordings. Those were the days.... Oh, the concerts are August 12th & 13th. As usual, visit www.OrchestraKentucky.com for more information and tickets.

First up is Elton John. I won't tell you which songs will be performed (that would give away the surprise). Let me just say that you won't be disappointed. To get some background, read the following short bio, courtesy of Wikipedia. tomorrow, we will look into some the Elton John songs that will be performed.

Sir Elton Hercules John, CBE (born Reginald Kenneth Dwight; 25 March 1947) is an English singer, composer and pianist. He has worked with lyricist Bernie Taupin as his songwriter partner since 1967; they have collaborated on more than 30 albums to date. John was named a CBE in 1996 and received a knighthood from HM Queen Elizabeth II for "services to music and charitable services" in 1998.

In his four-decade career John has sold more than 250 million records, making him one of the most successful artists of all time. His single Candle in the Wind 1997 has sold over 33 million copies worldwide, and is the best selling single in Billboard history. He has more than 50 Top 40 hits, including seven consecutive No. 1 US albums, 56 Top 40 singles, 16 Top 10, four No. 2 hits, and nine No. 1 hits. He has won six Grammy Awards, an Academy Award, a Golden Globe Award and a Tony Award. In 2004, Rolling Stone ranked him Number 49 on its list of the 100 greatest artists of all time.

John was inducted into the Rock and Roll Hall of Fame in 1994. He has been heavily involved in the fight against AIDS since the late 1980s, and In 1992, he established the Elton John AIDS Foundation and a year later began hosting the annual Academy Award Party, which has since become one of the most high-profile Oscar parties in the Hollywood film industry. Since its inception, the foundation has raised over $200 million. John entered into a civil partnership with David Furnish on 21 December 2005 and continues to be a champion for LGBT social movements. In 2008, Billboard magazine ranked him as the most successful male solo artist on "The Billboard Hot 100 Top All-Time Artists" (third overall, behind only The Beatles and Madonna).

Larnelle Sings Spirituals-Part III

Longfellow

By the shores of Gitche Gumee,
By the shining Big-Sea-Water,
Stood the wigwam of Nokomis,
Daughter of the Moon, Nokomis.
Dark behind it rose the forest,
Rose the black and gloomy pine-trees,
Rose the firs with cones upon them;
Bright before it beat the water,
Beat the clear and sunny water,
Beat the shining Big-Sea-Water.


These famous lines are from Henry Wadsworth Longfellow's epic poem, The Song of Hiawatha. I know what's going through your mind right now: "What in the world does this poem have to do with Larnelle Harris and spirituals? Nothing directly. The common link is Antonín Dvořák's New World Symphony, which appears on Monday night's concert.
 
As we have discussed over the past week, Dvořák's masterpiece was influenced by African American and Native American "folk" music. In attempting to create an American style of composition, Dvořák was led to explore plantation songs, which he did. However, an even bigger influence was Dvořák's idea of Native American culture.
 
How does one learn about the Native American culture in 1892, when Dvořák was composing the symphony? By reading a poem by Longfellow, of course.
 
Dvořák was familiar with the work in Czech translation. The 1855 poem was immensely popular throughout the world and Dvořák was a huge fan of the poem. In fact, it might have been a reason that he was willing to leave the comfort of Bohemia, travel across the Atlantic, and reside in a foreign city. You see, Dvořák suffered from agoraphobia, which is a fear of being in large, open places (that pretty much describes NYC). Of course, he may have overcome his fears to collect the $15,000 salary for heading the National Conservatory of Music (that was a sum that few people earned at the time). For whatever reason, Dvořák did travel to the "New World," where he composed the eponymous work.
 
Getting back on topic, "How exactly did Longfellow's poem influence Dvořák's symphony? In an article published in the New York Herald on December 15, 1893, Dvořák stated that the second movement of his Symphony No. 9, From the New World, was a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's Hiawatha" and that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance." (He never composed the cantata or opera.)
 
Let me be clear. Dvořák did not quote any Native American tunes. I doubt he knew many, if any. Unlike Henry Burleigh, the African American student who helped introduce him to spirituals, Dvořák did not have a Native American student at the conservatory. Besides The Song of Hiawatha, Dvořák 's only contact with "Indians" was Buffalo Bill's Wild West Show, which came through NYC and appeared at the Madison Square Gardens. And let's be honest, neither the poem or the show presented an accurate view of Native American culture. (Buffalo Bill's show presented a romanticized view of the Wild West, in order to make money. He wasn't on a crusade to teach white people about the Native American culture, although his show apparently wasn't that unfair.)

A day before the symphony's premiere, in an article published in the New York Herald on December 15, 1893, Dvořák explained how Native American music had been an influence on this symphony:


"I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour."

When you listen to the symphony, there is really only one place that "embodies the peculiarities" of "Indian" music. That's the second theme in the first movement. At that point, the flutes have a tune in g minor, accompanied by tom-tom-like cello fifths. It basically sounds like the score one might hear in a B movie from the '50s. Did Dvořák help create the "Indian" sound?

To be honest, the symphony is all Czech. If one doubts that assertion, one need only consider Dvořák's claim that "the music of the Negroes and of the Indians was practically identical," and some passages that suggest African-American spirituals to modern ears may have been intended by Dvořák to evoke a Native American ambiance. In other words, Dvořák had no accurate idea of what the Native America culture's music was really about. Nevertheless, we are left with one great piece of symphonic music.

Larnelle Sings Spirituals-Part II

Antonin Dvorak

In my last blog, I mentioned that the Czech composer, Antonin Dvorak, found inspiration in spirituals and Native American music. Today, I will explore just how that came about.

Upon his arrival in America, Dvorak stated:

"I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them."

When Dvorak took over the leadership of the National Conservatory, he quickly made the acquaintance of an African-American named Harry Burleigh. Burleigh's grandfather was a former slave who purchased his freedom. Harry learned the "plantation songs" from his grandfather when he helped him light oil street lamps each night. Apparently, Dvorak hired Burleigh to copy parts for him and sing spirituals, when requested. Dvorak would have learned songs like, Swing Low, Sweet Chariot from Burleigh. Why did Dvorak believe that spirituals were "the folk songs of America"?

According to wikipedia:

During slavery in the United States, there were systematic efforts to de-Africanize the captive Black workforce. Slaves were forbidden from speaking their native languages.

Because they were unable to express themselves freely in ways that were spiritually meaningful to them, enslaved Africans often held secret religious services. During these “bush meetings,” worshippers were free to engage in African religious rituals such as spiritual possession, speaking in tongues and shuffling in counterclockwise ring shouts to communal shouts and chants. It was there also that enslaved Africans further crafted the impromptu musical expression of field songs into the so-called "line singing" and intricate, multi-part harmonies of struggle and overcoming, faith, forbearance and hope that have come to be known as Negro spirituals.

"Folk music" has been defined as "as music transmitted by mouth, as music of the lower classes, and as music with unknown composers." This is exactly how spirituals were written and transmitted. No one knows who wrote Swing Low, but we know that later generations, including Dvorak, learned the songs by mouth, as opposed to by written music.

There are two obvious examples of how spirituals found their way into Dvorak's New World Symphony. The most obvious is the melody from the second, slow movement: the Largo. Most people know it as Goin' Home. What most people don't know is that it is not a spiritual. Words were add in the 1920s by another Dvorak student. Why the confusion? Because Dvorak captured the essence of spirituals with his tune. It conjures up the same type of feelings as a spiritual, like Deep River.

A less obvious example, is the third theme of the first movement. Known as the "Swing Low" theme, it is first played by the flute. The tune is almost a verbatum copy of the spiritual, Swing Low, Sweet Chariot. The notes corresponding to the words "Char-i-o-t" are the first four notes of the melody. After that, Dvorak uses the notes corresponding to the words "Coming for to carry me home", but changes them a bit.

In other words, Dvorak did exactly what he always did in his music. He found inspiration in folk music (usually Bohemian folk songs) and wrote this tunes. But he didn't quote them verbatum. He captured the essence of the tunes in his own original melodies.

So, Dvorak's New World Symphony was the first time the music of America was successfully "used" in a classical composition.

It would take time for composers to follow Dvorak's lead. George Gershwin's use of jazz (which came from spirituals) in Rhapsody in Blue and his opera, Porgy and Bess, are examples from the '20s and '30s. Aaron Copland used cowboy songs in his music from Rodeo  and Billy the Kid. Charles Ives used church hymns from New England in his music. American music was no longer second-rate German music. Composers had finally developed an American voice. Dvorak would be proud.

Larnelle Sings Spirituals

Larnelle Harris

Next Monday evening, Larnelle Harris will join Orchestra Kentucky in a concert, featuring Dvořák's New World Symphony and a group of spirituals from 19th century America.

You may wonder why I'm featuring Dvorak and plantation songs on the same program. There is a very good reason. Read on.

In 1884, Jeanette Thurber founded the National Conservatory of Music in New York, City. She was among the first major patrons of classical music in the US, having attended the Paris Conservatory. Fortunately for classical music, she married Francis Thurber, a millionaire who made his fortune as a grocery wholesaler. It was her ambition to found a uniquely American school of classical music composition, a national conservatory, federally funded and based in Washington DC with branches throughout the United States. In furtherance of her goal, in 1892, Thurber brought the Czech composer Antonín Dvořák to the United States to head her conservatory. Why Dvořák?

Thurber thought Dvořák was best suited for the task of building a new school of American composers. Up to that time, American's were writing mostly second-rate German music. Having studied in Paris, Thurber was well aware of the various nationalistic movements occurring in European countries. These movements came out of the desire to write music that was distinctly Russian or German, of what have you. The composers discovered that by incorporating folk music, they could create that sound.

Dvořák, for example, had great success with his Slavonic Dances. While Brahms' Hungarian Dances actually used Hungarian folk songs,  Dvořák's melodies were his own, based on the characteristics of Bohemian or Slavic folk music.

Thurber wanted Dvořák to do for American music what he had done for Czech music. So, she brought him to NYC to head the conservatory. She, and others, had the opinion that American composers would find inspiration in spirituals and Native-American music. She believed that this music was the folk music of American.

Soon after arriving, Dvořák set to work on his best-known work, his Symphony No. 9 in E minor, subtitled From the New World. This would be his example of how composers could find inspiration in African-American and Native-American songs.

Tomorrow, I will discuss spirituals and how Dvořák used them in his symphony.

Endless Love-Part XXI

This is the last blog in preparation for tonight's Endless Love concert. The song for today is from 1996. Who says I don't feature new music?!

Change the World is a song written by Tommy Sims, Gordon Kennedy and Wayne Kirkpatrick which was recorded by Eric Clapton with backing by Babyface for the soundtrack of the 1996 film Phenomenon. The song won Grammy Awards for Record of the Year, Song of the Year (for the songwriters), as well as Best Male Pop Vocal performance. The song was chosen by the RIAA as one of the Songs of the Century, ranked at #270.

The single peaked at #5 on the Billboard Hot 100 chart in the summer of 1996. It also spent 13 weeks at #1 on the adult contemporary chart and remained on that chart for over a year and a half (80 weeks), a feat which was extraordinarily rare at the time. Since then, however, certain songs have remained on the AC chart for extended periods of time, prompting the eventual creation af an Adult Contemporary recurrent chart for songs that have stayed on the chart for many weeks and fallen below a certain threshold.

Although Change the World is better known as an unplugged acoustic track, a rare electric performance of the song was featured on Babyface's 1997 live album Babyface MTV Unplugged NYC, with Clapton on co-lead vocals, playing his namesake signature Fender Stratocaster guitar. There was also another electric cover of this track, released the following year, with Nathan East on electric bass.

In the song, the performer expresses his desire to communicate his love to an unnamed woman. This love, he fears, will go unrequited without a drastic change in his life.

Previous to the release of Clapton's hit version, the song was recorded by country superstar Wynonna Judd for her album Revelations, released in February 1996. Wynonna, however, did not release her version as a single despite the popularity of Clapton's.

Watch Clapton's live performance of the song.

Endless Love-Part XX

Today's song will be sung by Bowling Green's very own Tyrone Dunn at this weekend's Endless Love concert.

Use ta Be My Girl was a hit song by R&B vocal group The O'Jays. Released from their hit 1978 album, So Full of Love, it became a huge crossover hit. The song spent five weeks at number one on the R&B singles chart. It also peaked at number four on the Billboard Hot 100 singles chart. Use ta Be My Girl became one of their biggest and most familiar hits by The O'Jays.

The O'Jays are a Canton, Ohio based soul and R&B group, originally consisting of Eddie Levert (b. June 16, 1942), Walter Williams (born August 25, 1942), William Powell (January 20, 1942–May 26, 1977), Bobby Massey and Bill Isles. The O'Jays were inducted into the Vocal Group Hall of Fame in 2004, and The Rock and Roll Hall of Fame in 2005. The O'Jays had their first hit with Lonely Drifter, in 1963. In spite of the record's success, the group was considering quitting the music business until Gamble & Huff, a team of producers and songwriters, took an interest in the group. With Gamble & Huff, the O'Jays (now a trio after the departure of Isles and Massey) emerged at the forefront of Philadelphia soul with Back Stabbers (1972), a pop hit, and topped the U.S. singles charts the following year with Love Train.

Watch a 2008 video of the O'Jays, singing their hit song.

Endless Love-Part IXX

Today's blog is about the title song for this weekend's Endless Love concert. Darla Day and Tryone Dunn will do the honors. Got your tickets?

Endless Love is a song originally recorded as a duet between soul singers Diana Ross and Lionel Richie, who wrote the song. In this ballad, the singers declare their "endless love" for one another. It was covered by soul singer Luther Vandross with R&B singer Mariah Carey and also by country music singer Kenny Rogers. The song also was featured in the movies Beethoven and Happy Gilmore.

Ross and Richie recorded the song for Motown, and it was used as the theme for the film Endless Love, starring Brooke Shields. Produced by Richie and arranged by Gene Page, it was released as a single from the film's soundtrack in 1981. While the film Endless Love was a success, the song became the second biggest-selling single of the year (first was Physical by Olivia Newton-John) in the U.S. and landed at number 1 on Billboard's Hot 100, where it stayed for nine weeks from August 9 to October 10, 1981. It also topped the Billboard R&B chart and the Adult Contemporary chart, and landed at number 7 in the UK.

The soulful composition became the biggest-selling single of Ross' career and her 18th career number-one single (including her work with The Supremes), while it was one of several hits for Richie as the 1980s progressed. Ross recorded a solo version of the song for her first RCA Records album, Why Do Fools Fall in Love?, but the famous version was her last hit on Motown. The song was nominated for an Academy Award for Best Original Song for Richie, and was the second song with which Ross was involved that was nominated for an Oscar. It also won a 1982 American Music Award for Favorite Pop/Rock Single.

Watch a video of Diana and Lionel singing the song.

Endless Love-Part XVIII

Today's song was written by the composer for his wife. What a great Valentine's Day gift.

Woman is a song written and performed by John Lennon from his 1980 album Double Fantasy. Written by Lennon, it is an ode to his wife Yoko Ono, which is introduced by Lennon whispering, "For the other half of the sky ...", a paraphrase of a Chinese proverb, once used by Mao Zedong.

In an interview for Rolling Stone magazine on 5 December 1980, Lennon said that Woman was a "grown-up version" of the Beatles song Girl.

Woman was the second single released from the Double Fantasy album, and the first Lennon single issued after his death on 8 December 1980. The B-side of the single is Ono's song Beautiful Boys. The single debuted at #3 in the UK, then moving to #2 and finally reaching #1, where it spent two weeks, knocking off the top spot his own re-released Imagine. In the US the single spent three weeks at #2. The single was also a commercial success in New Zealand where it spent five weeks at #1.

Watch a video, featuring the song Woman.

Endless Love-Part XVII

Today's blog topic comes from a 1985 film. The lead singer of the song has a cameo role in the film. Do you know the film title and the singer?

The Power of Love is the title of a 1985 single by Huey Lewis and the News written for and featured in the 1985 blockbuster film Back to the Future. It gave the band their first number-one hit on the U.S. Billboard Hot 100, their second number-one hit on the U.S. Top Rock Tracks chart, and was a top ten hit on the UK Singles Chart, where it appeared on UK editions of the band's fourth studio album, Fore!. The song was nominated for an Academy Award at the 58th Academy Awards.

The song appears early in Back to the Future as Marty McFly (Michael J. Fox) skateboards to school, then when he and his band played the song for a Battle of the Bands auditions (which a character played by Lewis himself is judging, and tells Marty's group that they are "just too darn loud"), and later when Marty returns to his neighborhood. In the sequel, Back to the Future Part II, the 2015 version of Marty attempts to play the song on his guitar just after being fired, but ends up playing it very poorly due to his damaged hand from his 1985 accident with a Rolls-Royce. Finally, it can be briefly heard playing in the car where Needles and his buddies are driving when Needles challenges Marty to the fate-determining car race near the end of Back to the Future Part III.

The music video shows the band playing in a nightclub with Dr. Emmett Brown (Christopher Lloyd) showing up in his DeLorean, apparently after time-traveling, and a couple stealing it for a joy ride.


Watch the music video.

Endless Love-Part XVI

Today's blog subject was voted one of the top 100 greatest songs of all time.

The Way We Were is the title song to the 1973 movie The Way We Were, starring Barbra Streisand and Robert Redford. The song was written by Alan Bergman and Marilyn Bergman, scored by Marvin Hamlisch and performed by Streisand. It won the Academy Award and Golden Globe for Best Song and also made AFI's list of Top 100 Songs from Film; it was ranked number eight.

The Way We Were topped the Billboard Hot 100 chart for one week in 1974 and was replaced by Love's Theme by The Love Unlimited Orchestra. It then returned to number one for two additional weeks. The song also spent two weeks atop the easy listening chart, Streisand's second single to reach the top of this chart (following 1964's People).

The 45 version of the song is a different vocal take than the version which appeared on the original movie soundtrack and subsequent greatest hits compilations. Both versions use the same music track. The difference in the vocals can most easily be heard on the line "Smiles we gave to one another" at approximately 1:15 into the song. The true 45 RPM single version has never appeared on CD. The soundtrack version of the song, a completely different take with alternate music track, appears on Just For the Record, Streisand's 4-CD box set collection released in 1991.

A bootleg of the recording sessions exists, featuring Streisand with composer Marvin Hamlisch in a recording studio as they perform various takes of the song. One segment reveals Streisand changing the first word of the song from "Daydreams" to "Memories."

Streisand's version was listed at #90 on Billboard's Greatest Songs of All Time.

Watch a video of film clips from The Way We Were, accompanied by Barbra Streisand's recording.

Endless Love-Part XV

The topic of today's blog is the song, 9 to 5, and I'm not talking about the one by Dolly Parton.

9 to 5 is also the title of a popular song recorded by Sheena Easton in 1980. It was her biggest hit. It peaked at number three in the United Kingdom in August 1980 and was released in the United States in February 1981, where it reached number one.

Easton had released one single prior to 9 to 5: Modern Girl. This had failed to chart highly, but after exposure on the BBC documentary, The Big Time, both 9 to 5 and Modern Girl were propelled into the top ten at the same time, making her the first female artist to achieve this feat. 9 to 5 became a top three hit and was one of the best-selling singles of the year.

Early in 1981, EMI Records decided to launch Easton in the US and released 9 to 5 as her debut single. The title of the song was changed to Morning Train (Nine to Five) to avoid confusion with the Dolly Parton song of the same name. Easton's song went to #1 on both the U.S. pop and adult contemporary charts; it remained at the top for two weeks on Billboard's pop chart.

The song is about a woman who waits at home all day for her man to come home from work. The music video was filmed on the Bluebell Railway, a heritage line running between East and West Sussex in England. The video stars London and South Western Railway No. 488, a preserved LSWR 0415 Class locomotive.

Watch the music video.

Endless Love-Part XIV

I remember her from the "Proud Mary" days. That's 1968 for you youngsters out there. Although Proud Mary would remain her signature hit, she would have to wait nearly 25 years for her biggest success.

What's Love Got to Do with It is the second single (after Let's Stay Together) released from Tina Turner's fifth solo album Private Dancer. In Europe it was the third single following Turner's cover of The Beatles' Help!. What's Love Got to Do with It became Turner's most successful single.

Turner had previously released two solo albums while still with her husband and musical partner, Ike Turner. She split from him in 1976 and divorced him in 1978. Following the divorce, she released two more solo albums, both of which failed on the charts. However, What's Love Got to Do with It, from her fifth solo album, reached the top five in both the US and UK. The music video was directed by Mark Robinson. The song ranked #309 on Rolling Stone magazine's list of The 500 Greatest Songs of All Time. It also ranked #38 on Songs of the Century. It was the 17th best-selling single of 1984 in the UK. The song was originally recorded by UK pop group Bucks Fizz, but unreleased until 2000. In 1993, the song's name was used as the title for What's Love Got to Do With It, a biographical film about Tina Turner's life.

Up until the release of What's Love Got to Do with It, Tina Turner had not had a top ten single since the early 1970s. The single went to #1 on the US Billboard Hot 100 and remained there for three weeks, becoming Turner's first and only solo number-one hit in America. It peaked at #3 on the UK singles chart. Tina Turner, along with then-husband Ike, first charted in the United States in 1960 with the single A Fool in Love. What's Love Got to Do with It went to number-one in the US on September 1, 1984, making it the longest span between an artist's first charted song and first number-one song (a difference of 24 years). Another notable fact is that Turner was 45-years-old when the song hit number one, making her the oldest solo female artist to place a number-one single on the US Hot 100. (Grace Slick, who is older than Turner by about one month, hit #1 in 1985 and 1987 with We Built This City and Nothing's Gonna Stop Us Now, respectively, but she was not a solo act on those recordings but instead a member of Starship). In 1999, Cher at age 53 became the oldest solo female to have a US number-one hit when Believe hit the top position in America.

The song received three awards at the 1985 Grammy Awards. The music video for the song claimed a prize at the MTV Video Music Awards in 1985 for "Best Female Video". The song received the following awards at the 1985 Grammy Awards: Record of the Year, Song of the Year, Best Female Pop Vocal Performance.

Watch Tina Turner perform her number one hit.

Endless Love-Part XIII

Perhaps the most romantic band of the '70s was the rock group, Bread. From Los Angeles, California, the band placed 13 songs on the Billboard Hot 100 chart between 1970 and 1977 and were a primary example of what later was labeled soft rock.

The band consisted of David Gates (vocals, guitar, bass, keyboards, violin, viola, percussion), Jimmy Griffin (vocals, guitar, keyboards, percussion), Robb Royer (bass, guitar, flute, keyboards, percussion, recorder, backing vocals), Mike Botts (drums; joined in 1970), and Larry Knechtel (bass, guitar, keyboards, harmonica; replaced Royer in 1971).

The group's number one single, Make It with You is a song written by David Gates. The song first appeared on Bread's 1970 album On the Waters. Released as a single in June 1970, it would become the group's first top ten and only number-one single on the Billboard Hot 100 singles chart in the U.S., spending the week of August 22, 1970, at the top spot. It was certified gold by the RIAA for sales of over one million copies.

The song was well-received by easy-listening stations at the beginning of the singer-songwriter driven soft-rock era, reaching number four on the Billboard Easy Listening Top 40. Aretha Franklin, Earth, Wind & Fire, Dusty Springfield, The Originals, The Main Ingredient, The Whispers, Marc Anthony, Teddy Pendergrass, Don Julian & The Larks, Let Loose, Dennis Brown, Andy Williams, and Marc Cohn are among those who have recorded cover versions of the song.

Watch this live performance from the 1977 telecast of the TV show, The Midnight Special. 

Endless Love-Part XII

The subject of today's blog is a song from a thirteen minute suite by the group, Chicago. I remember the first time I heard it. Needless to say, it blew me away.

The song, Make Me Smile, was written by band member/trombone player James Pankow. Part of Pankow's Ballet for a Girl in Buchannon song cycle/suite, it was recorded for their second album Chicago II (1970). Guitarist Terry Kath sang the lead vocal.

A radio-friendly edit of Make Me Smile (incorporating the end of Now More Than Ever, another track from the Ballet) was released as a single in March 1970, becoming the band's first Top 10 record, peaking at number nine on the U.S. Billboard Hot 100 chart.

Ballet for a Girl in Buchannon, is nearly thirteen-minutes long. It was the group's first attempt at a long-format multi-part work. Pankow got the inspiration to write the Ballet from his love of long classical music song cycles. The Buchannon in the title is actually a misspelling of Buckhannon, West Virginia. Ballet takes up three-quarters of side two of Chicago II and consists of seven tracks, three of which are instrumentals:

1.  Make Me Smile

2. So Much to Say, So Much to Give

3. Anxiety's Moment (instrumental)

4. West Virginia Fantasies (instrumental)

5. Colour My World

6. To Be Free (instrumental)

7. Now More Than Ever

The final track, Now More Than Ever, is a single-verse reprise of the suite's opening song, Make Me Smile. The vocal songs within the suite can be viewed as telling the story of a man searching for a far away lost love and attempting to rekindle the love they had shared. In addition to Make Me Smile (Now More Than Ever)(#9, 1970), Colour My World (#7, 1971)reached the top ten on the U.S. Billboard Hot 100.

Watch an early video of Chicago, performing Make Me Smile. The footage was filmed on July 21, 1970, only 3 months after the song hit the Top 10.  The concert was at Tanglewood in Lenox, MA.

Endless Love-Part XII

In yesterday's blog, we talked about how Berry Gordy of Motown fame, almost kept Stevie Wonder's For Once in My Life off of record shelves. Today's song subject was co-written by Gordy.

You've Made Me So Very Happy is a song that was written by Brenda Holloway, Patrice Holloway, Frank Wilson and Berry Gordy, and was released first as a single in 1967 by Brenda Holloway on the Tamla label. The song was later a huge hit for jazz-rock band Blood, Sweat & Tears in 1969.

By 1967, Brenda Holloway had been recording for Motown Records since 1964 and had struggled with Berry Gordy over control of her music, alleging that Gordy had forced her to sing Mary Wells' "leftover tracks" after the Motown singer left the label in 1964. Some of the songs in question included modest hits such as When I'm Gone and Operator. Holloway was planning to release her long-awaited second album, Hurtin' & Cryin, which had released Just Look What You've Done as the leading track, but for unknown reasons, the record was eventually shelved. Along with her sister Patrice, using music provided by Frank Wilson and with additional help from Gordy himself, Holloway co-wrote You've Made Me So Very Happy. Ironically, Holloway recorded the song after a breakup with a former boyfriend.

Reaction to the song was stronger than Holloway's previous offerings, rising to number 39 on the Billboard Hot 100 and becoming Holloway's third Top-40 pop single. The song also peaked at number 39 on the Billboard R&B singles chart. Shortly after the release of the song, Holloway left Motown and the song was eventually featured on the "second" Holloway album, The Artistry of Brenda Holloway. After two more years singing background for acts like Joe Cocker, Holloway retired to marry a preacher and have a family. Holloway would eventually return to music full time by the mid-1990s. Meanwhile, Holloway's song got a boost when the jazz-rock group Blood, Sweat & Tears covered it in 1969. The song became one of the group's biggest hits, reaching number 2 on the Billboard Hot 100 in the United States in April 1969 and number 35 in the United Kingdom in May of that year. The song was also covered by fellow Motown acts such as Edwin Starr and Blinky in 1969, The Temptations in 1970, The Miracles, also in 1970, and Diana Ross in 1994 on a Berry Gordy tribute album. Lou Rawls also covered the song. It also been covered by Pop international superstar Gloria Estefan. She included the song on her album Hold Me Thrill Me Kiss Me in 1994, which was a collection of covers who inspired her musical career.

Watch a 1993 performance of the song by BS&T.