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Some songs are just plain fun to play. I Won’t Dance is a great example of this. The easiest way for you to understand what I mean is to think of the feeling you get from watching a romantic comedy. It seems that there are films and TV shows for every generation that capture this
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In addition to Smoke Gets in Your Eyes (featured in my 6-22-10 post), Jerome Kern composed Yesterdays with lyricist/librettist Otto Harbach (1873-1963) for the 1933 operetta Roberta. As we found in the former standard, these collaborators created a song that left performers plent
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When I was 39 years old, I felt a strong urge to expand my musical horizons. This desire was the result of two major projects that had taken place during the first six months of 1988. First was the planning and recording of a solo piano album appropriately called I’m Beginning to
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When I was a student at Stepinac High School in White Plains, NY, my exposure to music increased tremendously due to my participation in the Glee Club. What a wonderful way for your sons and daughters to enjoy the thrill of performing some terrific material as part of their educa
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As I was preparing to write this blog post featuring Jerome Kern’s The Last Time I Saw Paris, all sorts of Parisian musical pieces came to mind: George Gershwin’s An American in Paris, Vernon Duke’s April in Paris, John Lewis’ (Modern Jazz Quartet) Afternoon in Paris and of cours
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It seems to me that the 1958 hit record by The Platters was the only version of Jerome Kern’s beautiful classic Smoke Gets in Your Eyes that played in my mind for many years. The Platters’ singing style was defined as Doo wop. You can see the influence of this genre every time yo
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This post begins my series featuring the music of composer Jerome Kern (1885-1945). Kern’s career spanned four decades and included a catalog of more than 700 songs, used in better than 100 musicals and films. Perhaps due in part to his musical training at the New York College of
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Between their first hit, Get Happy (1929), and two more sensational standards, Stormy Weather and Let’s Fall in Love (both from 1933), came yet another musical masterpiece. In 1932, the songwriting team of Harold Arlen and Ted Koehler provided the Cab Calloway Orchestra with I’ve
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One of the reasons that so many talented people ended up collaborating on standards for the American Popular Songbook was because they seemed to travel in the same circles. After all, who could have imagined that the author of In Cold Blood would have written a Broadway musical?
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Last week, I expressed my gratitude to my website consultant and musical collaborator David Summer for introducing me to When the Sun Comes Out. This terrific tune turned out to be a new favorite of mine (and yours as well, I hope). Well, today’s featured selection, My Shining Ho
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One of the reasons that I encourage a piano student to purchase a Fake Book is that it’s important to have a choice of songs to play. As you know by now, our central approach to teaching at the Ed Mascari Piano Studio (myself and Hudson Studio Faculty members Robin Cho, Karen Fah
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It never ceases to amaze me that Harold Arlen and Johnny Mercer could create Come Rain or Come Shine in only one evening of work together. “Not too shabby”, as they say. Perhaps there’s also a message here for piano students. It seems to me that when people find the partner who c
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Harold Arlen and Ted Koehler wrote Let’s Fall in Love in 1933, the same year as their hits Stormy Weather and It’s Only a Paper Moon (two songs featured in my recent blog posts). Several years ago, I realized that today’s featured standard, Let’s Fall in Love, would actually be a
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It seems particularly appropriate to include Stormy Weather in this Harold Arlen series of blog posts considering the amount of rain that we had in New England during the past few weeks. If you’re like me, you encountered several detours due to closed roads when you were driving
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If you’ve been following my posts on American Popular Songbook composers and lyricists during the past months, you may have noticed that many of these well-known creative artists adopted stage names. The two lyricists who collaborated with Harold Arlen (as you know, a stage name)
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The first time I played Get Happy was appropriately enough for the first of six annual jazz worship services that I directed at the Hartford Street Presbyterian Church in Natick, MA. Although I had led jazz worship services as a solo pianist many churches and colleges before, thi
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Recently, I wrote about how lyricist Johnny Mercer was inspired to write the first of his train-themed songs I Thought About You while on a train trip to Chicago. Less than two years after this brief collaboration with composer Jimmy Van Heusen, Mercer met Chaim (aka Hyman) Arloo
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When I was growing up there was a tradition among some of the local churches to present variety shows. This was a way to raise some money for the parish. However, it turned out to be both a way to build community as well as an opportunity for creative expression. Because of my ea
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The first time I came across Like Someone In Love in a Fake Book, I was immediately taken by its descending bass line, the line that the left hand plays that is created by the bottom notes of each chord (in this case: C-B-A-G-F#-F-E). The discovery of this great standard took pla
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Several years ago, a composer friend recommended that I read a book called Walking on Water, which he found helpful for understanding the creative process. The author was Madeleine L’Engle. Many of you may recognize the writer’s name because of her well-known books including A Wr
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When I’m teaching my piano students how to play one of the great standards, it’s easy for me to forget something very important. If you’re like most students, you probably have become familiar with songs, especially the standards from the American Popular Songbook, by hearing voc
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For a long time on my gigs, Here’s That Rainy Day was the only song by Jimmy Van Heusen that I played. When I decided to present this blog post series that features his compositions, I realized that even though I have played many of his great songs since my early years as a profe
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I’ll never forget the time that I found out Michael Landon’s real name. Years ago, many actors and actresses used a stage name rather than their real name as a way of helping their fans remember them. Can you imagine seeing the youngest of Ben Cartwright’s three sons on Bonanza ...
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Today marks the final chapter of my Cole Porter blog series. As I mentioned a while ago, this composer was far from being an overnight success. Although Love for Sale was featured in the revue called The New Yorkers, its lyrics were considered much too explicit for society in 1930. Nevertheless, ...
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When I was young, going to see a movie was a big deal. Unlike the availability of films on TV as well as on DVDs, the Internet and even hand held devices as we have today, the local cinema was the only place to experience Hollywood’s latest motion picture. The characters looked larger than ...
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A few months a year after beginning my 14 year stint as solo pianist at the Radisson Milford Hotel, I recorded a solo piano album entitled I’m Beginning to See the Light. Little did I know when I began the project, how prophetic the title of that recording would turn out to be. Although we ...
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When I was 30 I had come to a point of crisis in my career. I had already been teaching piano for a couple of years, but I knew that I needed more knowledge. At the same time, I was performing 3 to 6 nights per week as the keyboard player and leader of my commercial trio, Synergy. Although we had...
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Many people I know have said that they were glad to say goodbye to 2009. With the economy, the political situation and the general morale being less than upbeat, it certainly seems like the title of today’s selection That’s All is spoken with a tone of relief. When he wrote the words ...
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Ed Mascari Piano Studio Wishing all of you a wonderful time of rest, refreshment and re-creation at this holiday season. Wishing all of you a joyful, peaceful and prosperous 2010 filled with music! Conversations at the Piano Blog will return on January 5th. Ed
During my final year at Holy Cross College, my deepest desire had been to perform full-time as a jazz musician. However, due to my need to make a living, I pursued what I then thought was my secondary career, that of working as a music teacher. In order to continue performing with the Ed Mascari ...
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