Perry Beekman,
vocals, guitar, and musical director;
Terry Blaine, vocals; Peter Tomlinson, piano;
Lou Pappas, bass

Saturday, July 28, 2012, 6:30 pm
Cole Porter in Paris


All words and music by Cole Porter (1891-1964)

Let’s Misbehave (1928) From Paris

Let’s Do It (1928) From Paris

Love for Sale (1930) From The New Yorkers

I Happen to Like New York (1930) From The New Yorkers

Night & Day (1932) From The Gay Divorcee

Miss Otis Regrets (1934)

Anything Goes (1934) From Anything Goes

I Get a Kick Out of You (1934) From Anything Goes

Just One of Those Things (1935) From Jubilee

It’s De-Lovely (1936) From Red, Hot & Blue

In the Still of the Night (1937) From the film Rosalie

My Heart Belongs to Daddy (1938) From Leave it to Me

What is this thing Called Love (1930)
From Wake Up and Dream

Give Him the Ooh-La-La (1939) From DuBarry was a Lady

So in Love (1948) From Kiss Me Kate

Always True To You In My Fashion (1948)
From Kiss Me Kate

I Love Paris (1953) From Can-Can


Sunday, July 29, 4 pm | Zuill Bailey, cello, and
Robert Koenig, piano
Music of Bach, Debussy, Franck, and others

next week

Saturday, August 4, 11 am | Young People's Concert
Elizabeth Mitchell and Family

Sunday, August 4, 4 pm | Amernet String Quartet
with Yizhak Schotten, viola; Robert deMaine, cello;
and Nancy Allen Lundy, soprano
Music of Debussy, Tchaikovsky, and
Russell Platt’s “Transport to Summer” for soprano and string sextet





Program Notes © 2012 by Miriam Villchur Berg*


Perry Beekman is a guitarist and vocalist deeply rooted in the classic tradition of jazz. Now based in Woodstock, NY, Perry has been playing in jazz clubs and at private and corporate events for the past twenty-five years. He has performed at the Palm Court at the Plaza Hotel, and the JVC and River to River Jazz Festivals in NYC. He writes: “My love of jazz began when I was fifteen and heard recordings of Charlie Christian playing jazz guitar, and Billie Holiday singing. I knew then that I wanted to be able to both sing and play jazz. Shortly thereafter, I began my studies in earnest, and over a period of almost two decades I had the privilege of studying with a number of jazz greats. They include the legendary pianist Lennie Tristano, and jazz guitarists Sal Salvador (a featured soloist with the Stan Kenton Orchestra in the 1950s), Remo Palmier (who began his career playing with Billie Holiday and Charlie Parker in the 1940s), and Bernard Addison, a guitarist for the Mills Brothers in the 1930s. I have studied voice with the acclaimed Jeanette LoVetri, and received my certification as a teacher of her Somatic Voicework™ method from the Vocal Pedagogy Institute at Shenandoah University.”

Jazz vocalist Terry Blaine has enjoyed a multi-faceted career that includes live performances, recordings, studio work, television and radio shows, musical composition, songwriting, and production. Her collaboration with classic jazz pianist Mark Shane began with a three-and-a-half year duo engagement at Café Society in Greenwich Village. Their CD Whose Honey Are You was a Jazz Journal International Record of the Year. Terry has performed at Michael’s Pub, Fat Tuesday’s, the Plaza Hotel, the Lakeland Jazz Festival, Sarasota Opera House, the Norris Center in Los Angeles, the Sacramento Jazz Jubilee, and other major venues. She has released four CDs since then, including Too Hot for Words, a tribute to the Great Ladies of Swing, taking them around the world and playing to packed houses from Germany to Cleveland. Terry lives in Woodstock with her husband, composer/producer Tom Desisto and their son, Michael. Their company, Two Pie Are Music, creates original music for TV, film, radio, recording and educational projects. Their original song, “In a Perfect World” (which features a vocal by Terry) was commissioned by the Devereux Foundation for the film Blaineproject that won an award at the 2002 Houston Film Festival.

Peter Tomlinson teaches jazz piano at Western Connecticut State University as well as Vassar College. He has recorded with Jimmy Cobb, Dave Douglas, and Dick Oates. His most recent album is with guitarist Peter Einhorn called For Evans’ Sake. He performed the piano accompaniments on Bar Scott’s 2007 release A Little Dream, a collection of songs from the Great American Songbook released in late 2007.

Lou Pappas is an Adjunct Artist in Music at Vassar College. He retired in the summer of 2006 as bassist with the United States Military Academy Band at West Point. He has performed at jazz festivals across the United States as a member of the Jazz Knights as well as with performers Byron Stripling, Clair Fischer, David Liebman, Michael Brecker, Steve Turre, James Williams, and fellow bassist John Clayton. Mr. Pappas regularly conducts workshops and master classes, including appearances at the 1996 IAJE convention, the International Society of Bassists conventions in 2001, 2003, and 2005, the New York State Music Teachers Convention, and many high school, college, and public school district teachers' workshops. He has performed with the Woodstock Chamber Orchestra, Chappaqua Chamber Orchestra, Hudson Valley Philharmonic, and Westchester Philharmonic, and is Principal Bass with the Greater Newburgh Symphony Orchestra. He is a former member of the Oklahoma City Symphony Orchestra and the Colorado Springs Symphony Orchestra. He received a Masters of Music from Colorado State University.





With this program, Maverick’s Music Director Alexander Platt presents another aspect of the season's celebration of French music—the works of the American popular songwriter, Cole Porter, who loved all things French and spent many years living the high life in Paris. Porter was classically trained, playing violin and piano from an early age, majoring in music at Harvard (after he found out he hated law), and studying briefly in Paris with Vincent d’Indy. He grew up in a well-to-do family in Indiana, and attended Yale, where he began his songwriting career by composing over three hundred songs for various musical clubs (he was one of the original Whiffenpoofs). In 1917, the year the US entered World War I, he moved to Paris, helping the war effort and establishing himself among the artistic elite.

In 1919, Porter married socialite Linda Lee Thomas. She was aware of Porter’s homosexuality, and although it was a marriage of convenience for both, the pair genuinely enjoyed each other’s company. Their grand living quarters and lavish parties were the toast of Parisian society. International musical celebrities, Italian nobility, and cross-dressers enjoyed the finest food, wine, and entertainment. It is said that sex and recreational drugs were often on the menu as well.

Porter’s first major hit was in 1928 with the musical Paris. Porter’s songs “Let’s Misbehave” and “Let’s Do It, Let’s Fall in Love” came from that production, and a string of successes (and some failures) followed in the early 1930s.

Two years later, Fred Astaire starred in The Gay Divorcée, which gave us Porter’s best-known song, “Night and Day” Other stars who appeared in his musicals include Jimmy Durante, Bob Hope, and Ethel Merman, whose inimitable brassy style made her Porter’s favorite singer. 1934 saw the production of Anything Goes—the first of five shows starring Merman—with the hits (in addition to the title song) “I Get a Kick out of You,” “All Through the Night,” and “You’re the Top.” Some of his shows were turned into films, and he wrote music for other films, with stars such as Bing Crosby, Grace Kelly, Betty Hutton, Danny Kaye, Rita Hayworth, Don Ameche, and Bert Lahr.

In 1937 Porter was injured on Long Island when the horse he was riding rolled over onto him. He was left without the use of both legs. He continued to work despite constant pain, but his next several shows were unsuccessful. Then in 1948 he produced one of his masterpieces, Kiss Me Kate, based on Shakespeare’s The Taming of the Shrew, including the songs “Another Opening, Another Show,” “Wunderbar,” “Too Darn Ho t” and “Always True to You, In My Fashion.” The show won the first Tony award ever presented for Best Musical, and Porter won for Best Composer and Lyricist.

Unlike most composers for Broadway, he wrote his own elegant and sophisticated texts. He used internal rhymes and uneven line length (“I’m sure that if I took even one sniff it would bore me terrifically too,” or “You can tell at a glance what a swell night this is for romance”). His lyrics were far from the sentimental and romantic style of his contemporaries George Gershwin, Richard Rogers, and Jerome Kern. He preferred urbane wit, double entendres, and risqué lyrics, which made him wildly popular with the public, but assured that some of his songs (such as “Love for Sale”) were banned in Boston and could not be broadcast on the radio.

The song “Miss Otis Regrets” is unique in Porter’s oeuvre, and indeed in the entire genre. Porter improvised it at a party for his close friend and Yale classmate, actor Monty Woolley. The story goes that Porter dared Woolley to come up with a title for which no song could be written, and Woolley came up with “Miss Otis regrets she’s unable to lunch today.” Porter immediately improvised the song. It tells a tale of jealousy, murder, and vengeance by lynch mob, all contrasted with the aloof and proper attitude of the servant who is explaining why Miss Otis will be unavailable.

Porter added complicated musical techniques to his songs, including chromatics (as in “What Is This Thing Called Love” and “I’ve Got You Under My Skin”) and Latin rhythms (as in “Begin the Beguine”) long before such styles were part of the Broadway songwriter’s repertoire. Throughout his career, he maintained a distinctive personal style. Cole Porter was unique among American songwriters, and left us a legacy of timeless standards.

All program notes are copyright Miriam Villchur Berg. It is permissible to quote short excerpts for reviews. For permission to quote more extensive portions, or to copy,  publish, or make other use of these program notes, please contact her at Program Notes © 2012 by Miriam Villchur Berg