Review from: JazzWest.com: Celebrating the Best By by Phil Elwood
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| Posted on Thu, Nov. 21, 2002 McGovern makes any song hers By Pat Craig CONTRA COSTA TIMES Here's the bottom line: If you were a song, you'd give anything to be sung by Maureen McGovern. That's the long and the short of it. When it comes to singing the classic catalog of American popular songs, it just doesn't get any better than McGovern. She's got the range, the tone, the presence and the indefinable star quality necessary to make any song shine. Although probably best known as the queen of the disaster movie theme ("The Morning After," from "The Poseidon Adventure," and "We May Never Love Like This Again," from "The Towering Inferno," both recorded during McGovern's long-blond-haired folk-singer period), the entertainer has emerged as one of the top interpreters of Broadway music. As both an actress, with several Broadway and roadshow credits, and a recording star -- lauded for her interpretation of the Gershwin canon and praised for her skills as a jazz singer by Mel Torme -- McGovern has emerged as one of the finest singers going. I have been enamored with her ability to sing Gershwin songs since the first time I heard her CD, "Naughty Baby: McGovern Sings Gershwin," an album that has a nearly permanent place on my car CD player. But, as proved beyond a doubt Tuesday, opening night of her 12-day run at San Francisco's Plush Room, it's not the material that makes McGovern shine. It is that voice, that wonderful, chocolate-coated velvet voice that ranges unbelievably and makes the singer so wonderfully able to interpret the tunes of the masters. In her voice, you hear Ella Fitzgerald, some Torme, bits of Merman and even a little Audra McDonald as she makes just about any tune her own. Her current show is dedicated to the 100th anniversary of Richard Rodgers, highlighting the collaboration of both Rodgers and Hart and Rodgers and Hammerstein. Rodgers' two major partners were just about as diverse as they come -- Hart saw the glass as half-empty and Hammerstein saw it as half-full is how McGovern explains it. Just look at Hart's "I Wish I Were in Love Again," and Hammerstein's "Cockeyed Optimist," as polar opposite as you can get, yet Rodgers' music fits them both like designer jeans. And they both fit McGovern's style equally well. She has a way of infusing each song with her own personality, and making it feel as if it had been written for her, alone. You forget Mary Martin when you hear her sing "Cockeyed Optimist," or Julie Andrews when she moves gently into "Climb Ev'ry Mountain." Yet the tunes still evoke the shows from which they came. McGovern has a way of blending her tremendous acting ability with a sinewy but almost operatic voice to give songs a personal intensity. She makes each tune a brief emotional encounter, with an irresistible interpretation that makes it seem fresh and new no matter how many times you have heard it. The Plush Room is an ideal setting for McGovern's style of singing. Her interpretations of the different Rodgers songs unfold on a very intimate, personal basis, making the performance like a very personal encounter with McGovern. If you've been meaning to take in a show at the Plush Room, this one could be your best bet. They really don't get any better than this. |
| September 21, 2002 PERFECT with POPS Maureen McGovern's strong performance kicks off symphony series Jeffrey Kaczmarczyk, Grand Rapids Press Maureen McGovern has been called the Stradivarius of voice, but I'd prefer to call her a vocal chameleon. McGovern is to singing what Rich Little is to speaking. With a soft ballad, she sounds as refined as Julie Andrews. With a beat and a big orchestra there is a nasal hint of Barbara Streisand. She scats like Mel Torme and belts like Judy Garland. And yet, McGovern isn't an impersonator. She is an original who obviously learned from the best. . . . A consummate singer and actress, who has appeared on Broadway as Mabel in "Pirates of Penzance" and toured nationally as Anna in "The King and I," McGovern sells songs such as "This Can't Be Love" and "I Wish I were in Love Again" with a tilt of her head, a lift of her eyebrow and a shrug of her shoulder, putting her entire self into the performance. Even for the old standbys, such as "The Surrey with the Fringe on Top "You've Got to be Carefully Taught," she put on a fresh face, turning the former song from "Oklahoma!" into a swing tune and the latter from "South Pacific" into a contemporary pop number. . . . Whether imitating Jeanette Mac Donald singing while riding a horse or rattling off more than a dozen of Rodgers' best knows songs, from "Blue Moon" to "Sixteen Going on Seventeen," in a couple of minutes, McGovern entertained throughout the hour-long show. While poking fun at her age and her 30-year career, McGovern looked radiant. Yet it was the voice that made her show. Whether she plays the ingenue singing "Out of My Dreams" or the older and wiser woman with "Falling in Love With Love," McGovern captivated the audience with sheer singing. Not many entertainers could hold a stage all alone, but after a piano introduction, McGovern sang Rodgers and Heart's "My Funny Valentine" entirely unaccompanied and earned a big hand for her efforts. The musical arrangements, many by her musical director, Jeff Harris, were enjoyable, switching gears from big band swing to Broadway to contemporary pop. |
| December 14, 2001
U.S. Army Band presents 'A Holiday Festival' concert
Special to the Pentagram More than 10,000 people packed DAR Constitution Hall last weekend to see "A Holiday Festival" featuring Maureen McGovern and members of The U.S. Army Orchestra, Chorus, Chorale and Herald Trumpets. With a beautiful holiday setting each of the four performances was a showcase of the wide range of talent exhibited by the musicians of "Pershing's Own." "It's the best Christmas show in town," said one patron. "We come every year because the season isn't complete without this wonderful show." . . . Special guest star Maureen McGovern rounded out the second half of the performance singing several holiday favorites. McGovern, a 29-year veteran of show business and a Grammy nominee, took the stage stating "It's so great to be back onstage with this extraordinary band." McGovern was The U.S. Army Band's special guest for their 1999 "Holiday Festival." After coaxing the crowd to sing along with her on Irving Berlin's "White Christmas," she laughed and said, "you can all now put on your resumes that you've sung with Maureen McGovern." The house was stilled as McGovern read a favorite passage of hers entitled "One Solitary Life" from the book "Who is this Jesus?" to the piano accompaniment of "Away in a Manger." A special guest of McGovern's was her father who is retired and living in Northern Virginia. Mr. McGovern said his daughter's first exposure to music was a barbershop quartet that he and some buddies sang in when Maureen was a little girl. "She used to attend all of our rehearsals which we held at our home. One day I noticed she had memorized all four parts to many of our songs. The rest is history," he said. McGovern dedicated her performance to the men and women who serve both here and abroad. |
DSSO makes a comeback with McGovern's second-half singing BY SAMUEL BLACK The audience received two concerts for the price of one Saturday night, though the offerings in "Hurray for Hollywood'' were most unequal. The Duluth-Superior Symphony Orchestra launched its Pops Live! series with an able but perfunctory performance of several movie theme songs. Vocalist Maureen McGovern saved the second half. . . . McGovern's entrance changed everything, from the instruments on the stage to the color of the stage lights. Wearing a black suit with red satin cuffs and black shoes with red glittering heels, she picked up a microphone and mouthed, "Sing, Sing, Sing'' while the orchestra drowned her out. After finishing her opening number, she was greeted with shouts from the audience: "We can't hear you!'' Handed a microphone that worked, McGovern flippantly asked, "Do you want to hear that again?'' To a roar of assent, she turned to her pianist/director and nodded. The audience was hers for the rest of the evening. In the more than 15 songs that followed, McGovern showered an enlivened audience with her exceptional vocal range, her changes of mood, and her infectious love affair with the great popular music of the mid-20th century. "Fever'' was red and sultry, and she had the orchestra singing phrases in the colorful teasing of "A-Tiskit A-Taskit.'' As the lights turned blue, she offered an unaccompanied overview of some of her favorite tunes from the 1940s, followed by a rich piano/vocal arrangement of "White Cliffs of Dover.'' The orchestra returned for "I'll Be Seeing You,'' and the whole stage jumped to life with Duke Ellington's "Caravan'' and McGovern's signature version of the "Boogie-Woogie Bugle Boy,'' in which DSSO trumpeter Earl Salemink kept pace with her vocal gymnastics. Then the stage darkened, and in a single white spotlight McGovern quietly sang "Somewhere Over the Rainbow'' a cappella. McGovern proceeded through a medley of blues tunes, followed by a prayerful singing of "God Bless America'' in which she invited the audience to join her in a majestic repeat. Singing to the "resilience of the human spirit,'' her first encore was "The Morning After'' from "The Poseidon Adventure,'' the movie theme that launched her recording career in 1972. With the house on its feet, she returned for her second encore, a gentle rendition of Gershwin's "Our Love is Here to Stay.'' Along with her pianist/arranger/conductor Jeff Harris and the drum wizardry of Steve Houghton, McGovern made her first appearance in Duluth a warm and memorable one. |
| Pops concert showcases McGovern vocals Saturday, September 29, 2001 Her hour-long set of about 10 numbers featured music of the Big Band era, some evergreens, ballads from World War II, and concluded with her signature tune, "The Morning After," a pop hit from the early 1970s. Tremendous range is what was enjoyed here. Not just breadth of material handled deftly, or a variety of moods balanced nicely, but a truly spectacular voice with as much range as can be imagined. She also demonstrated great ease maneuvering about the stage, among the more difficult feats for a performer to truly master. McGovern clearly mastered this long ago. That showed. She felt at ease, her audience felt at ease. Up-tempo numbers raised the spirit while reflective ballads soothed the soul, something needed these days, right? "Sing, Sing, Sing" was followed by a stunning rendition of "Fever," a tune made famous by Peggy Lee. And it's fitting to mention Lee when talking about McGovern's act since she is obviously knowledgeable about the history preceding her, which likewise is apparent in her kinship for the great songwriters from whose books she draws so effortlessly. Ella (you know the one) made "A Tisket A Tasket" famous long ago. But, as she kept doing last night, McGovern brought the coquettish ditty to life her own way, without Fitzgerald's famous temper tantrum funnies and lots of other tricks instead. Superb! So too was McGovern's later excursion through the Harold Arlen songbook with a trio of torch songs: "The Man That Got Away," which Judy Garland turned to once Dorothy grew up; "Stormy Weather," that Lena Horne will always stun with in that dreamy window; and "The Blues In The Night," another of Ella's classics. The tunes bring to mind these great performers, but McGovern - and this isn't easy - relied not at all on shadowing. In her WWII tribute, she sang "I'll Be Seeing You" and a snazzy rendition of "Boogie Woogie Bugle Boy." But her "The White Cliffs Of Dover" was absolutely incredible. In a word, jaw-dropping. McGovern put aside the microphone she crooned with so skillfully upon tackling "God Bless America," perhaps to demonstrate her Broadway chops. Ethel Merman didn't need a mic, either. McGovern is deserving of such noble company in every way. Grant Cooper's pops orchestra supported McGovern and her men at every turn. And their opening first half of the concert was without flaw. . . . Only one quibble. We wanted more, since what was offered was as good as it gets. Read complete review: Syracuse, NY - The Post-Standard |
JAZZ REVIEW 'Sondheim and Jazz': Sidemen by Sidemen by Sondheim By STEPHEN HOLDEN When you consider the music of Stephen Sondheim with its melodic elegance and harmonic bravery, it's astonishing that so few jazz musicians have integrated it into their repertories the way they have the songs of Gershwin, Rodgers, Berlin and Porter. Among jazz vocalists, Sarah Vaughan's extravagantly lush embellishment of "Send in the Clowns," which she elevated into a late- career showstopper, stands as a singular and dazzling exception. But why should that be? Some reasons were suggested by "Sondheim and Jazz: Side by Side," a demure, often anemic concert potpourri of the composer's music presented by the JVC Jazz Festival on Monday evening at Carnegie Hall. For one thing, Mr. Sondheim, unlike his forerunners, grew up one generation removed from swing. As much as his songs may incorporate rhythmic experimentation, most don't obviously lend themselves to a jazz-ready, four-on-the-floor back beat. Many of Mr. Sondheim's greatest songs are waltzes, which unfairly or not, lend them a quaint European tinge in the minds of many American jazz musicians. Mr. Sondheim's lyrics are also problematic for jazz singers. With their psychological density and tricky internal rhymes, they have the integrity of finished poems and leave less space than simpler lyrics might for freewheeling personal interpretation. . . . The vast majority of the performances hovered closer to the pop end of the pop-jazz spectrum, while others brought out the composer's classical affinities. For creamy vocal beauty, Nnenna Freelon's carefully wrought renditions of "I Remember" and "Children Will Listen" and Maureen McGovern's pristine "Anyone Can Whistle" (a duet with the clarinetist Ken Peplowski) stood out. Kurt Elling's "Sunday," expanded with modernist harmonies (by his pianist and arranger Laurence Hobgood), coolly examined this impressionistic hymn to color as though turning it under a jeweler's Read review at : New York Times |
Jazz: Performers sing it and swing it in style
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McGovern, Pizzarelli jazz it up at By Peter Landsdowne Worcester Telegram & Gazette |
McGovern pays homage to masters Maureen McGovern and John Pizzarelli, Symphony Hall, Friday night. Mention Maureen McGovern and many people think you're speaking of the subject for a segment of VH1's "Where Are They Now?'' Yet this '70s pop star, best known for introducing ballads from movies ("The Morning After'' from "The Poseidon Adventure'' was her biggest hit), segued to a career as a superb song stylist equally at home in the theater, cabaret and the concert stage. But it was her jazzier side that she emphasized at Symphony Hall Friday night where she performed with guitarist/singer John Pizzarelli and a 15-piece swing band in a concert sponsored by the FleetBoston Celebrity Series. She opened with homages to two female jazz greats: Peggy Lee ("Fever'') and Ella Fitzgerald ("A Tisket, a Tasket''). Later, she scat-sang her way through a delightful take of Harold Arlen's "Ding Dong, the Witch Is Dead,'' as well as trumpeting through another Arlen standard, "Blues in the Night.'' Her success rests on how perfectly she balances her considerable vocal instrument, which at age 51 shows little sign of wear, and her interpretative skills as an actress. Nowhere was this better realized than in a segment devoted to the music of Richard Rodgers, whose centenary is to be celebrated next year. Noting that Rodgers worked with lyricists more diverse than Lorenz Hart and Oscar Hammerstein, she demonstrated their differences with a medley of Hart's tart observations on the foibles of romance, followed by a swinging version of Hammerstein's sentimental "My Favorite Things.'' The first half of the concert featured Pizzarelli, a genial, talented jazz guitarist who offered a set of familiar standards and lesser-known tunes. Pizzarelli, the son of jazz guitarist Bucky Pizzarelli, was joined by his brother Martin on bass, and jazz pianist Ray Kennedy |
| McGovern, Pizzarelli show why classic songs survive
By ANDREW McGINN Somebody tell K-Tel it has some competition. Maureen McGovern and John Pizzarelli are walking, talking, scatting compilation albums. During the first of a two-night stand Friday at the Clark State Performing Arts Center, the two showcased 70 years of vintage pop in just over two hours. From Gershwin to Rodgers, “Songs You Never Get Sick Of” was the night’s theme. Performing separately — Pizzarelli first, then McGovern with a big band — they each provoked the same thought: Where have all the good songwriters gone? Ain’t nobody scribing tunes like “Somewhere Over the Rainbow” these days. Period. Thankfully, we have these two to keep the great American songbook from dying. . . .McGovern, in her third appearance here, picked things up with the big band. Dig that jazzy rendition of “Ding, Dong the Witch is Dead” from “The Wizard of Oz” — it would have made any right-minded munchkin want to boogie. It was another “Oz” selection, though, that made the entire show — “Somewhere Over the Rainbow,” performed without the band and without a mike. P e r f e c t i o n. |
Music Review: Maureen McGovern From the syncopated scat of a radical reinterpretation of "Alice In Wonderland's" "I'm Late" to a sweetly sublime a capella of Broadway's "How Are Things In Glocca Mora," singer Maureen McGovern was the master of all she surveyed Friday night at the Carlsen Center's Yardley Hall. Though she burst onto the national consciousness nearly 30 years ago with her back-to-back Oscar-nominated songs from a pair of vintage disaster movies, the singer's richly melodic voice has matured as she graduated from self-described "disaster theme queen" to show tunes and jazz. Backed by a 15-piece band under the sure hand of musical director Ray Kennedy, McGovern moved from the distinctive jazz influences of Ella Fitzgerald in "A Tisket, A Tasket" to the more melodic strains of composer Richard Rodgers. Noting the disparity in temperament of Rodgers' writing partners, the singer segued from the brittle sophistication of the songs written with Larry Hart ("This Can't Be Love," "Wish I Were In Love Again") to the cockeyed optimism of his legendary pairing with lyricist Oscar Hammerstein. "They couldn't have been more dissimilar," McGovern noted of the hard-drinking Hart and the gentle family man Hammerstein. "For Larry, the glass was always half-empty, both literally and figuratively. But for Oscar, it was always half-full." The singer thoughtfully book-ended Rodgers and Hammerstein's scathing indictment of racial intolerance "You've Got To Be Carefully Taught" from the score of "South Pacific" with truncated phrases from Stephen Sondheim's cautionary "Children Will Listen" from "Into The Woods." It was an inspired juxtaposition that worked both musically and thematically. The musical theater tunes flowed on, with a glowing "Hello, Young Lovers" and an up-tempo, jazz-inflected "My Favorite Things," both demonstrating McGovern's ability to breathe new life into old material. A register-hopping version of "Ding-Dong, The Witch Is Dead" offered a new slant on the Munchkin victory march from "The Wizard of Oz," followed by a supremely visceral "Blues in the Night" -- both from the versatile hand of composer Harold Arlen. Guitarist John Pizzarelli, whose trio offered up a solid opening set of jazz tunes, returned at evening's end to join the headliner for "In the Cool, Cool, Cool of the Evening" and "Getting To Be A Habit With Me," providing a satisfying coda to an eminently enjoyable, stylistically diverse sojourn through some of the treasures to be rediscovered in the American songbook. |
Evening of jazz a treat at Emens MUNCIE - Entering Emens Auditorium on Tuesday evening, you could sense a special jazz ambiance as the lighting showed a dimly lighted blue stage with a deep purple tinge on the curtains. The John Pizzarelli Trio Ñ Pizzarelli (guitar); Ray Kennedy (piano), and Martin Pizzarelli (bass) entertained fantastically, featuring songs by Benny Goodman, Frank Sinatra, Nat King Cole and Irving Berlin. The guitarist continually acknowledged his audience throughout the performance. Pizzarelli joked, smiled and played as the rest of the trio's fingers flowed with flurry. ...After intermission, Maureen McGovern entered with plenty of energy. Most of her vocal numbers were either sexy and sultry or just plain fun. She sure could spit out those scat-improvised sections scattered throughout the scale. The youthful, versatile (all-male) Big Band Swing Orchestra complemented her well. ... |
Jazz singers McGovern, Pizzarelli fill evening with magic, By Paul Hyde Fine jazz singers are such a rarity these days that it was a sheer delight to hear two of the best Saturday evening at Greenville's Peace Center. Maureen McGovern and John Pizzarelli presented a concert of torch songs, Broadway tunes, smoky ballads and other old standards ÷ all delivered with style and aplomb. Backed by a 12-piece band, McGovern moved effortlessly from pop tunes to scat singing to mellow standards, emphasizing especially the songs of Richard Rodgers (with both Hart and Hammerstein) and Harold Arlen. She opened the show with a lively "I'm Late" from "Alice in Wonderland." Then came a sultry "Fever," with echoes of Peggy Lee. McGovern also offered a silvery "Hello Young Lovers" from "The King and I" and a poignant "You've Got to Be Carefully Taught" from "South Pacific." Throughout the show, McGovern displayed tremendous vocal and emotional range. Torch songs and ballads were balanced with some musical high jinks, as when McGovern and Pizzarelli engaged in a lively "scat duel" on the Ella Fitzgerald hit "Mr. Paganni." There was also at least one moment of pure vocal magic: Setting aside her microphone and with all lights dimmed, except for a spotlight, McGovern offered a heartfelt, a cappella rendition of "Over the Rainbow." McGovern also was an engaging conversationalist, noting her nickname of "Disaster Theme Queen." She earned the moniker as a result of her popular recordings of "The Morning After" (from "The Poseidon Adventure") and "We May Never Love Like This Again" (from the "Towering Inferno.") She sang a soaring "The Morning After," noting that its theme of hope seems even more relevant today than 33 years ago when it first jumped to the top of the pop charts. Read more at: The Greenville News. |
| McGovern, Pizzarelli know how to swing Saturday, March 10, 2001 BY JENNI JOHNSON Post and Courier Reviewer Charleston, SC Review Pizzarelli, tall, dark and youngish opened the evening with electrifying, jazzy guitar playing and a voice perfectly suited to songs from the popular American songbook such as Gershwin's 'I've Got Rhythm' (with Scat Singing not heard since the late Mel Torme), I'm in the Mood for Love' and one of his own songs, 'Da Vinci's Eyes,' that made you want His brother, Martin, and an exceptional Jazz pianist, Ray Kennedy, completed the Trio. John Pizzarelli is one cool cat and chats with the audience as easily and with as much skill as he plays his guitar. Maureen McGovern is in her prime. She can sing a sexy love song and make anyone young, or young at heart, wish everyone would just go away. When she sang 'My Mamma Done Told Me,' heads nodded and you just knew she McGovern and Pizzarelli came back for a great jam session to end this show of showy shows. |
Maureen McGovern enthralls Sumter crowd
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McGovern's concert offers variety, spice PALM COAST -- An enthusiastic audience at Flagler Auditorium heard everything from a jazz trio to orchestrated movie themes on Tuesday night. The highlight of the evening however, came when Maureen McGovern set aside the microphone and the orchestra their instruments. She moved to the apron of the stage for a stirring version of "Over the Rainbow." The audience was mesmerized as she projected her subtle shadings throughout the vast auditorium. ...The second half of the program began with Maureen McGovern singing a jazzy "I'm Late" from "Alice in Wonderland." This was a madcap version never imagined by the film's Mad Hatter. She was backed by the 12-piece Big Band Swing Orchestra, led by Kennedy of the Pizzarelli Trio. Her set was filled with great nostalgia and featured a number of songs by Rodgers and Hart, Rodgers and Hammerstein, and Harold Arlen. McGovern's program covered a wide variety of styles from the sultry "Fever" and a torchy "Blues in the Night" to an a cappella "Hello Young Lovers" and a poignant "You've Got To Be Carefully Taught" -- the latter interspersed with a few phrases from Stephen Sondheim's "Children Will Listen." Her anecdotes between songs were interesting as she related memories of her reign as "Disaster Theme Queen." She first came to the attention of the public when she sang "The Morning After," the theme song from the disaster film, "The Poseidon Adventure." Following her solo set, McGovern teamed up with Pizzarelli for a smooth rendition of "In the Cool, Cool, Cool of the Evening," and "You're Getting to be a Habit With Me." Next they treated the audience to a "scat-duel" with the Ella Fitzgerald hit, "Mr. Paganini." In this case it became "Mr. Pizzarelli." |
McGovern's concert offers variety, spice PALM COAST -- An enthusiastic audience at Flagler Auditorium heard everything from a jazz trio to orchestrated movie themes on Tuesday night. The highlight of the evening however, came when Maureen McGovern set aside the microphone and the orchestra their instruments. She moved to the apron of the stage for a stirring version of "Over the Rainbow." The audience was mesmerized as she projected her subtle shadings throughout the vast auditorium. ...The second half of the program began with Maureen McGovern singing a jazzy "I'm Late" from "Alice in Wonderland." This was a madcap version never imagined by the film's Mad Hatter. She was backed by the 12-piece Big Band Swing Orchestra, led by Kennedy of the Pizzarelli Trio. Her set was filled with great nostalgia and featured a number of songs by Rodgers and Hart, Rodgers and Hammerstein, and Harold Arlen. McGovern's program covered a wide variety of styles from the sultry "Fever" and a torchy "Blues in the Night" to an a cappella "Hello Young Lovers" and a poignant "You've Got To Be Carefully Taught" -- the latter interspersed with a few phrases from Stephen Sondheim's "Children Will Listen." Her anecdotes between songs were interesting as she related memories of her reign as "Disaster Theme Queen." She first came to the attention of the public when she sang "The Morning After," the theme song from the disaster film, "The Poseidon Adventure." Following her solo set, McGovern teamed up with Pizzarelli for a smooth rendition of "In the Cool, Cool, Cool of the Evening," and "You're Getting to be a Habit With Me." Next they treated the audience to a "scat-duel" with the Ella Fitzgerald hit, "Mr. Paganini." In this case it became "Mr. Pizzarelli." |
March 4, 2001 McGovern show softened Civic Center's ambience a bit
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Celebrity Songsters Belt Out Their Support for L.A. Music Center Social Circuits
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And Mike Stoller of the team Leiber & Stoller ("Hound Dog") brought down the house with one love ballad titled "Humphrey Bogart." Performers included Rosemary Clooney, Larry Gatlin, Sally Kellerman, Maureen McGovern, Helen Reddy and Dionne Warwick. |
Pop Singer, Comedian Are Offering a Valentine to Rodgers
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McGovern shows her octaves
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January 16, 2001 POP REVIEW Something to Remember Arthur Schwartz by: A Tribute by His Sons
When it comes to conjuring the essence of a past musical giant, nothing beats having had an intimate personal connection with the subject. That's one reason Lincoln Center's American Songbook tribute to the composer Arthur Schwartz on Friday and Saturday evenings transcended the stuffy hall of fame atmosphere that has shrouded several of the series' previous retrospectives.
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