February 1, 2011
AMERICAN MUSICIAN , MICHAEL FEINSTEIN
A Special Report on the Michael Feinstein Foundation for the Preservation of the Great American Songbook Presented by St.Vincent Health
stvincent.org
Helping the arts come alive in our community. St.Vincent Health is honored to be the presenting sponsor of the Gala and the inaugural season of the Palladium at the Center for the Performing Arts.
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Preserving America’s Popular Song in Carmel, Indiana With the official public opening of the Michael Feinstein Foundation for the Preservation of the Great American Songbook at Carmel’s Palladium concert hall, we are one step closer to reaching a vital goal – keeping the music of the American popular song alive and growing. It’s my great honor to bring our collection of rare recordings, sheet music, photographs, and even handwritten lyric sheets to form the genesis of our archive in Carmel.
20th Century American music offers a rare combination of melody and memorable lyrics – the songs that you whistled when leaving the theater or long after you heard them on the radio. From the turn of the century beginning of Broadway, to the incredible voices that flourished on our record players, I believe the preservation of this history to be both worthwhile and personally fulfilling. FEINSTEIN
Our dream is to create a center that will
be useful for both scholars and performers, and a resource to thousands of individuals who appreciate the rhyme of an Ira Gershwin lyric and the sweeping melodies of composers like Richard Rodgers, Cole Porter, and Harold Arlen. We welcome your support of our mission, and we hope to bring the incredible music of the Great American Songbook to life in the hearts of many in Central Indiana as well as to those who attend concerts at the Palladium concert hall itself. Warm regards, Michael Feinstein
celebrating all types of music I’m honored to welcome you to the Inaugural Season presented by St.Vincent Health. It has taken more than a decade of planning to bring us to this moment—including more than three years of construction work.
St.Vincent Health sponsored our inaugural season, their partnership extends to the grand opening gala, celebrations and the 2011-2012 season.
Without question, St.Vincent Health is guided by extraordinary community leaders. I’m impressed by their dedicaWe rejoice in launching a cultural retion to Indiana communities. We are source unlike any we’ve had before in proud of these new partnerships and our part of the country—a magnificent look forward to serving together. As we new facility that immediately ranks with libman prepare to enjoy a spectacular season, the most extraordinary in the United States. It is our goal to work hand-inwe cannot succeed without our dedihand to bring the very best to central Indiana. With cated arts supporters. partners like St. Vincent Health, we will reach our goal and set new milestones for many years ahead We look forward to sharing many memorable moments in the weeks, months and years to come. As we celebrate the opening, please join me in thanking St.Vincent Health for their unwavering support Steven B. Libman to the Center for the Performing Arts. Not only has President and CEO of the Center for the Performing Arts
The Michael Feinstein Foundation is now located on the fourth floor of the Palladium.
Content by Dave Arland and Margaret Sutherlin unless otherwise noted. 2
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ambassador of song
The music of the Songbook It’s not a book you can buy in the store, order up from Amazon for your Kindle, or something that you can go to a museum to find. The Great American Songbook refers instead to that most American of art forms – the American popular song that sprung from operetta and exploded into homes first with the publication of sheet music for the piano and then with the introduction of new mass media technologies like the gramophone, radio, movies, and television.
During the ribbon cutting of the centerpiece of Carmel, Indiana’s new Center for the Performing Arts, the Palladium, singer and songwriter, Michael Feinstein took to the stage to address the audience. As he spoke he was clear and consistent in his belief and passion for music. “The community wants and needs the Palladium. The arts really change lives,” said Feinstein. “You’ve created this place out of your hearts and imaginations and minds.”
From the Tin Pan Alley streets of New York, where songpluggers in the early 1900’s created hit after hit in popular sheet music form, to the footlights of the Broadway stage and the sophisticated recordings of jazz greats, the American popular song belies easy definition.
Now as the Center for the Performing Arts’ artistic director, Feinstein will help to select the music performed at the Palladium but also through his Foundation and public figure, share his enthusiasm for music education and the preservation of the Great American Songbook. Born and raised in Columbus, Ohio, Feinstein’s appreciation for the Great American Songbook, American music generally accepted as from the 1920s through 1960s, started early on through his parents, who played the music often and had it readily available for their son to listen to. “I responded to it differently than I did popular music of my time. I was so attracted to it even though I was at an age where I couldn’t understand necessarily the lyrics or what the songs were about,” Feinstein said. “I think that people, and children too, can have the same deeply emotional response to the score of West Side Story as any other kind of music.” After graduation from high school, Feinstein made his move to California, where he was introduced to Ira Gershwin, one of the most important contributors to the Songbook, and also music generally. For six years, Feinstein worked with Gershwin, cataloguing and learning the music of the genre. It was through Gershwin that Feinstein was truly able to understand and interpret the music he had always heard, in a way that he hadn’t been able to before. “Mr. Gershwin was a natural teacher. And he never had children so I was in a way the grandson he never had,” said Feinstein. “He helped me to interpret the songs and lyric seamlessly with the music. But he also taught me life lessons. I was 20 and he was 80 and I was able to observe him at a point in his life, where he would talk about regrets and the things he wished he’d done, and decisions that were not always healthy. But these are important lessons.” A performer and musician certainly, Feinstein’s passion for the Songbook music has placed him as a collector and, at times, rescuer, and historian and educator on the music of the genre. He has connected as much with the significance of the genre historically and culturally for America, as he has with the songs themselves.
Essentially, the “Great American Songbook” is American popular music from the first recordings in the early part of the century through the 1960’s.
FEINSTEIN At a time when America was revered and a leader on the world stage, the Great American Songbook was what Feinstein calls “America’s greatest export”. It influenced music globally, but also, allowed people around the world to connect with the America they saw as a leader, especially after two traumatic World Wars. The Michael Feinstein Foundation is one vehicle Feinstein uses to address old and new audiences, but also preserve music. While archiving and preserving are significant roles for the Foundation, it also exists to get the music in the public through performance, access to the pieces, and education. “The deprivation of arts education is now woefully apparent, and has left a great division in our society, where things now are left and right and we lack that connection to joy that existed in our lives and we lack the experiences of different kinds of art and music in our lives,” he said. Michael also speaks of music in general today, not just the Songbook, with the immediacy usually present the voice of an educator and passionate historian seeking not only to explain, but also rally others. “We live in a world where balance is essential for our emotional, spiritual and mental health; we have to have a variety of experiences. Technology deprives our soul of the food we need to survive. We need art, which opens our beings to love and creativity, and can truly affect our whole being,” he said. “Those varieties of experiences cannot be learned through technology, and with all the benefits we get with technology, it cannot solve all our problems.” -Margaret Sutherlin
Iconic songwriters such as Harold Arlen, Irving Berlin, Hoagy Carmichael, Betty Comden & Adolph Green, Duke Ellington, brothers Ira and George Gershwin, Jerry Herman, Oscar Hammerstein II, Burton Lane, Johnny Mercer, Cole Porter, Richard Rodgers, and Jule Styne wrote literally hundreds of songs that are considered the foundation of American popular song catalog. Singers like Tony Bennett, Rosemary Clooney, Nat King Cole, Bing Crosby, Ella Fitzgerald, Judy Garland, Lena Horne, Johnny Mathis, Frank Sinatra, Barbra Streisand, Mel Torme, and Sarah Vaughan became the storytellers, with the “big bands” from Count Basie, the Dorsey brothers, Benny Goodman, Glenn Miller, Artie Shaw, and Paul Whiteman performing and recording the music that today is collectively known as the “Great American Songbook.” “There is so much changing in our world and somehow, we need music – great music – more than ever. I’ve pretty much dedicated my life to that idea,” writes Michael Feinstein in the introduction of Ken Bloom’s “The American Songbook,” which is one volume that covers the singers and songwriters who comprise popular music. “The American popular song is our country’s invention and its great gift,” Feinstein says. “People all over the world have images and opinions of America that are filtered through thirty-two bars of such disparate songs as “White Christmas,” What the World Needs Now,” “Hooray for Hollywood,” and “Great Balls of Fire.” Feinstein has made preservation of this rich record of American history his passion, preserving and passing along the lyrics and melodies of decades of American music. As artistic director of the Carmel Performing Arts Center, Feinstein has a personal interest in seeking out and saving priceless musical rarities from destruction – including alternate lyrics, long-lost arrangements, and unreleased recordings. And his Foundation, now headquartered at The Palladium, has been established to help preserve that work for generations to come.
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Meet the Staff
Doris Anne sadler
Jill Dotts
Lisa Lobdell
Executive Director
Executive Vice President
Archivist
preserving america’s musical heritage Doris Anne Sadler may not be old enough to have enjoyed the first run performances of the Gershwin brothers’ collaborations on Broadway or the smart repartee of Cole Porter, but she nonetheless shares a passion for the American popular song with one of the music industry’s most prolific artists – Michael Feinstein. “I had my own collection of standards on CD long before I met Michael,” explains Sadler, whose offices have now moved to the fourth floor of the Palladium in Carmel. “Through business connections, I was introduced to Michael and it didn’t take long before we were both discussing what could be done to both preserve the legacy of the Great American Songbook and also pass along that heritage to our children and younger performers who may not be as familiar as many with the icons of American songwriting like Rodgers & Hammerstein, Irving Berlin, Johnny Mercer, and Hoosiers Hoagy Carmichael and Cole Porter.” Starting three years ago, attorney Sadler did the legal
work necessary to start the Michael Feinstein Foundation for the Preservation of the Great American Songbook. A board of directors was put into place, and Sadler was hired as Executive Director. “There really isn’t anything else like it in the world. Michael and I searched for similar organizations, but no one was devoted to the level of conservation, preservation, and promotion that we envision for the Feinstein Foundation. And because of Michael’s contacts within the music industry, and his many connections to collectors, we’ve been embraced with open arms by those who have been individually preserving pieces and parts of the Great American Songbook story. Collectors in New York, Maryland, California and elsewhere have all offered to send their material to Indiana to be part of the Feinstein Foundation’s archives, which we will inaugurate with the opening of our offices at the Palladium. I think that speaks volumes about their belief in what we’re doing.” In addition to the archival responsibilities, the Feinstein Foundation also coordinates an annual “Great
American Songbook High School Competition,” where talented high school singers get a chance to work with Michael Feinstein and other prominent music industry professionals to learn how to best present a classic American song. The competition winner gets a debut performance in Michael Feinstein’s Manhattan nightclub. The Michael Feinstein Foundation’s offices are located on the west side of the Palladium’s fourth floor, and will include a public display of memorabilia from Feinstein’s personal collection as well as other important information and artifacts coordinated by the Indiana Historical Society. “We welcome the support of individuals to make contributions of time and money to keep this new Central Indiana resource growing. It’s very rewarding, personally, to see everything come together for our opening of course. But we’ve got our eyes on a bigger prize – to become a global resource for information about and recordings of the great music that is the bedrock of the American popular song,” Sadler said.
Board of directors 4
Irwin Helford
Ron Shaw
Chairman
Secretary
Michael Feinstein Terrence Flannery Sara Carruthers Founding Member
Treasurer
Board Member
Mike Strunsky
Carolyn Anker
Board Member
Board Member
Music education in and out of the classroom Memories of elementary school field trips will be a lot more musical since the opening of the Center for the Performing Arts, and the arrival of the Michael Feinstein Foundation in Carmel. The Feinstein Foundation seeks not only to engage young listeners with the music of the Great American Songbook, but also to be a resource to educate adults. “Our educational programming is very important to us and we really plan to do even more with it now in our new space,” said executive director of the Feinstein Foundation, Doris Anne Sadler. One of the most significant educational events the Foundation hosts is an annual Academy and Competition where young high school musicians can learn not only the history of the Great American Songbook, but how to interpret the music of the era on stage. Not only do the intensive workshops help educate young musicians, but further spreads the music of the Great American Songbook through performance, and offers opportunities for young people to hear and connect with the music through their peers, not just from recordings. “I think that this opens new doors to this kind of music for young people today who might not know it,” said Julia Bonnett, the 2009, inaugural winner of the competition. “My friends didn’t know this music but came to the shows and wanted to borrow my CDs of the music.” The vocal competition is just the first part of a growing educational program for the Foundation, which are still only a few years old.
“We plan to have an education outreach director and coordinator who can really develop a curriculum further around the music and history for kids that visit the space,” said Sadler. Exposing children to the Great American Songbook isn’t just to allow them the chance to hear great American music and creations, but to also gain a deeper insight into American history and the role the Songbook music played globally. Rotating exhibits featuring different parts of the collection will offer a variety of opportunities for the public to engage new parts of the Songbook on a regular basis. Besides, free lesson plans online for teachers and access to recordings and images in the collection, the new space will allow for other interactive educational possibilities. While making sure children and adults have access to the music online and through the exhibit space, there are other ways the Foundation seeks to engage older generations. In addition to exhibits, the Michael Feinstein Foundation’s new offices will be equipped with listening and research stations for graduate students and those studying the Songbook. One of the most important parts of the educational programs for adults is through simple performance and getting the music into the hands of listeners. “Having more programming for adults and children, and displaying objects from the collection throughout the Palladium will really help people know we’re here, and raise awareness about the Songbook,” said Sadler.
young vocalists and the songbook It’s a rare opportunity for budding musicians to get to work with industry professionals, and even more unusual that those musicians are studying the music from the Great American Songbook. Since 2009, one of the most important events the Michael Feinstein Foundation has hosted has been the annual vocal competition for high school students, an event that is important not only to help performers develop but also to educate them. Finalists for the competition receive intensive workshops that help them learn how to perform the songs in the Great American Songbook, and how to interpret them to suit their own performance style and voice. For the 2009, inaugural winner and Carmel High School graduate, Julia Bonnett, the competition was a rare opportunity to grow in her music but also into her own self. “This competition was so educational for me. I’d studied voice before, but Michael was able to offer me his years of insight and experience as to how to connect with the Great American Songbook music, and also the audience,” said Bonnett. “The great thing Michael Feinstein taught me was to make the song your own.” Not only does the competition seek to help young musician on stage, but also spread the music and the message
Julia Bonnett, 2009 competition winner, performs at the opening of the palladium of preserving America’s musical heritage to new audiences. Bonnet said the experience has been helpful in her college experience at Indiana University studying business. “I think the competition taught me not to be afraid to be myself. I think learning about who you are as a performer and on stage was very important. I’m a creative person, and here I am surrounded by people who don’t necessarily want to do what I want to do with my business degree,” said Bonnett. “The competition helped me achieve a kind of peace with myself about what I want to do in life, and influenced my future plans because I do want to go into the business side of theater.” In 2011, the competition seeks to draw from even more areas across the country to offer talented musicians the opportunity to perform and learn about the Songbook.
andrews sisters
the andrews sisters The Andrews Sisters, the most popular all-female singing group of their era, are usually associated with World War II, but their songs have been covered by such artists as Bette Midler and Christina Aguilera. Born in Minneapolis, Minnesota, the Andrews Sisters began their music careers while still in their teens. LaVerne was the red-haired oldest sister who sang the contralto part. Maxene, the brunette middle sister, was a soprano. Patty, the blonde youngest sister, sang the lead mezzo-soprano part. In 1933 they began touring the Midwest with the Larry Rich vaudeville troupe. Their style included ballads of the swing era, South American dance songs and other novelty sounds. Their characteristic sweet and optimistic music became hugely popular with the troops they entertained during wartime. They often performed for servicemen both in America and abroad. Their unique vocal arrangements and tight harmonies quickly made them one of the most coveted musical acts in the country. In 1938, they recorded “Bei Mir Bist du Schoen,” a Yiddish tune, which became the first ever millionselling record for an all-female group. In 1940, they made their first of 17 film appearances in “Argentine Nights. They also appeared in such films as “In the Navy,” “How’s About It,” and “Always a Bridesmaid.” They produced a string of hit songs and had regular appearances on the radio and in films. After World War II, their popularity began to wane and they concentrated on performing duets with other popular music artists such as Bing Crosby, Danny Kaye and Carmen Miranda. Throughout their career they recorded over 700 songs and sold over 90 million records. -Ellen Funke
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hoagy carmichael: Indiana heritage, all-American music “Can’t get Indiana off my mind, That’s the place I long to see. Back in Indiana I will find All the folks so dear to me…” --Music by Hoagy Carmichael, Lyric by Robert De Leon (1940) Bloomington-born songwriter Hoagy carmichael Carmichael loved his Hoosier roots, writing often about yearning for the simpler pleasures of his youth with songs like “Can’t Get Indiana Off My Mind,” “Brown County in Autumn,” and “The Chimes of Indiana.” Carmichael started piano lessons with his mother, but in 1916 his family moved to Indianapolis and the teenager began taking lessons from jazz musician Reggie DuValle. By the 1920’s, Carmichael was back in Bloomington as a college student, and he started his first jazz band. Nicknamed “Hoagy” by a college girlfriend, at I.U. Carmichael met 19-year old cornet player Bix Beiderbecke (who had started a band called the Wolverines.) With encouragement from the influential Beiderbecke, Carmichael composed his first song (“Riverboat Shuffle”) and the Wolverines recorded it in a Richmond, Indiana recording studio in 1924. Not only was this Carmichael’s first composition, but it was also his first recording and first published piece of music. Three years later, Carmichael recorded “Star Dust” for the
first time. Carmichael’s friend Stuart Gorrell, later the lyricist and collaborator on “Georgia On My Mind,” came up with the title of the song, saying that the lilting melody reminded him of “dust from stars drifting down through the summer sky.” In 1928, Carmichael and Frank Loesser collaborated to write “Heart and Soul,” which nearly every child and beginning pianist seems to be able to coax from the keys of a piano. In 1936, RCA Records pressed “Star Dust” on both sides of a 78rpm record. Benny Goodman’s orchestra played the Carmichael hit on one side, with Tommy Dorsey’s band playing on the flipside. Graduating with a law degree, Carmichael tried law in Florida before moving to New York City to become a songwriter instead. In the 1930’s, Carmichael teamed with a struggling lyricist named Johnny Mercer, eventually collaborating on three dozen songs including “Skylark.” Late in the decade, he married a young model in New York and then joined Paramount Pictures as a staff songwriter. This led to several walk-on movie roles and even a serious dramatic role on the 1950’s TV western “Laramie.” In the early 1950’s, Carmichael finally won an Oscar for his movie work, when “In the Cool, Cool, Cool of the Evening (with lyricist Johnny Mercer) took home the Academy Award.
colE Porter: humor and spirit in the songbook While many of the great songwriters shared a Jewish heritage and grew up in Manhattan, Hoosier Cole Porter had little in common with his contemporaries. Peru, Indiana born Cole Porter generated a remarkable number of songs porter now regarded as “Great American Songbook” standards. His family’s wealth helped him to live the good life, and travel abroad. And it’s no surprise that his wealth is reflected the in lyrics to his songs, which are often spiced with witty repartee.
Yale-educated Porter wrote literally hundreds of songs while in college, playing a vital role in many musicals – including six full-scale productions. After Yale, Porter was sent to Harvard for training as a lawyers. But the arts won out. Like Hoagy Carmichael, Cole Porter also wrote songs for Hollywood studios. He was paralyzed by a horse riding accident in 1937 that fractured both of his legs. In “The American Songbook: The Singers, The Songwriters, and the Songs,” author Ken Bloom quotes several of Porter’s collaborators on how they remember the writer of such hits as “What Is This Thing Called Love?”, “Night and Day,” “Anything Goes,” and “Begin the Beguine.”
Porter learned piano and violin at age six. He became very good at both, but disliked the violin’s sound and so stayed with piano (practicing as much as two hours each day, according to biographer JX Bell.) Porter’s wealthy mother financed student orchestras to insure that her son got violin solos, and she subsidized the publishing of Cole’s early compositions.
Lyricist Alan Jay Lerner recalled that “the thing that was so unique about Cole…is that he seemed to spring from nowhere. When Jerome Kern led the break from the European operetta and so on, you could follow a progression from Jerome Kern and Dick Rodgers to Gershwin, but Cole seemed to spring like Jupiter from Minerva’s head – all made.”
Cole Porter’s earliest song, written when he was ten, is a piano piece called “Song of the Birds” that is dedicated to his mother.
“I particularly like Cole’s lyrics to sing because he made it fun to sing a song. He gave it a freshness,” said Frank Sinatra about the Hoosier composer.
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Among the recent acquisitions for the Feinstein Archives: >>Robert Boyer Collection: As a fan of the Andrews Sisters and Georgia Gibbs since childhood, Boyer amassed an authoritative collection of fan memorabilia including photos, posters, LP’s, 45’s, and music magazines which he donated to the Foundation in 2010. >>Michael Feinstein Collection: Mr. Feinstein’s personal collection encompasses thousands of pieces amassed over a lifetime of collecting. Currently, the Foundation holds a small portion consisting of more than 100 orchestrations arranged for Alice Faye. >>Will Friedwald Collection: Thousands of 78 and 33RPM recordings and some unique early stage transcriptions document the recording careers of Great American Songbook artists, donated by collector, author, and jazz columnist, Will Friedwald. >>Robert Grimes Collection: A love affair with music that’s gone on for more than 50 years resulted in this massive collection of more than 43,000 sheet music titles that made Robert Grimes the “go-to guy” for many musicians and singers in search of an obscure song. >>Gus Kahn Collection: As a lyricist on Tin Pan Alley and later for motion pictures, Gus Kahn wrote many memorable tunes including “It Had to Be You”, “Side by Side”, and “I’ll See You in My Dreams”. This collection consists of photo albums, scrapbooks, and personal papers from Kahn’s career donated by Margaret Kahn. >>Bob Kennedy Collection: This collection, donated by Kennedy’s daughter Karen, consists of hundreds of stock orchestrations, songbooks, and other music publications amassed during Bob’s career as a band leader. >>Margaret Sauter Collection: This small collection consists of sheet music gathered over a lifetime of amateur music performances by Detroit resident Sauter. >>Leida Snow Collection: Ms. Snow served as a theatre critic and amassed a large collection of Playbill magazines during her tenure, which she donated in November 2010. >>William Wilcox Collection: The Foundation’s most recent acquisition consists of theatrical ephemera such as a 1928 lobby card and accounting sheet, sheet music and programs. >>Hy Zaret Collection: Most widely known for the popular hit “Unchained Melody,” Zaret had a successful career as a lyricist. This collection documents Zaret’s career from the mid1930’s until his death in 2007 and remains the most extensive collection of a songwriter that the Foundation holds.
keeping music alive Music preservation isn’t as simple as finding funding to buy supplies to properly archive, and it isn’t as easy as hiring an archivist or expert. It is also a careful race against time: time to properly preserve, time to prevent priceless items from being mistakenly thrown out, and time to identify pieces that might need repair, or else be lost forever. With an ever-growing archive, and a collection policy that seeks to preserve as much as possible, the Michael Feinstein Foundation for the Preservation of the Great American Songbook literally has thousands of pieces of sheet music, records, and related artifacts that need careful attention and detailed cataloguing. Archivist Lisa Lobdell of Indianapolis is the woman to do it.
A 1941 Tommy Dorsey recording has been broken, and the two missing chips taped to the album. Once the recording is catalogued, it will be shipped to engineers who should be able to recover much of what is on the album and on the chips, though part of the recording will be missing forever.
“It’s an expensive process to properly archive: to have the right supplies and equipment, the expertise and the time,” said Lobdell. “But it has to be done too.” And while it is highly expensive to preserve a box of papers and sheet music ($150 to purchase supplies alone, to preserve one box worth of sheet music), time is also a major component of the preservation process. Besides detailing what the archives has in it and developing an archival system, a lengthy process in itself, Lobdell must also make important choices to help preserve pieces in the collection that might be in questionable condition. Disintegrating chemicals used in the manufacturing process and age jeopardize some of the albums and reel-to-reel recordings. Sensitive reel-to-reels, which record on film or tape, can literally turn to dust if not properly restored or cared for, and recordings after awhile begin to delaminate, a term that refers to the actual layers of the recording separating. “Eventually we’ll have to look at what we have and go off
This transcription disc is an example of an early kind of public service announcement played by particular organizations to raise awareness. There are handwritten notes as to when the disc is to be played on the label, and it is an unusual example of a recording.
the list of what needs preservation and restoration first, and move quickly from there,” said Lobdell. Fortunately for the foundation, a large and well equipped new archive will help to keep artifacts carefully climate
This Universal disc’s lacquer is starting to break down and disintegrate the recording. The chemicals used in the recording process, specifically those made from a tree root, come to the surface of the album and cause what is technically called, palmitic exudation and delamination. This chemical reaction destroys the recording.
This album from Ash records has started crazing, a precursor to delamination. If the recording is allowed to sit in its current state, it will eventually delaminate and be ruined.
controlled and safe until they can be catalogued and pieces in need of repair identified. Moreover, it will allow the administrators of the nonprofit to continue to rescue the music of the Great American Songbook and bring it to audiences in performances and education.
Feinstein foundation welcomes gifts of time, contributions to preserve America’s musical heritage While the high-profile support of Michael Feinstein and many other prominent collectors has helped the Feinstein Foundation to begin its mission, the ongoing preservation of America’s unique contributions to musical history can only continue with the support of many more individuals and organizations. The Foundation has now moved its offices and archive collection to the fourth floor of the Palladium in Carmel, and the work of raising money and cataloging the archives continues.
Support the Foundation’s Effort with a Mouse Click “The easiest way to support our efforts is to make a financial contribution through the new web site that
we’ve created,” said Doris Anne Sadler, Executive Director of the Feinstein Foundation for the Preservation of the Great American Songbook. “Just go to www.MichaelFeinsteinFoundation.org to learn more about our programs, and you can make a secure donation right from the web site that is built on the same platform used by many universities and other nonprofit institutions.
Keep Your Sheet Music and Records Donations of sheet music or old records are not needed, according to Sadler. “We’ve been blessed to acquire enormous collections of popular music. Frequent Wall Street Journal music critic Will Friedwald donated his collection of thou-
sands of 78rpm and 33rpm records, amassed over the many years that both he and his father have written about popular music. We brought an entire truckload of records from Manhattan to Carmel for the archives,” explains Sadler. “And in terms of sheet music, we’ve acquired the prodigious collection of sheet music from San Francisco’s Bob Grimes. There are more than 43,000 individually published songs that are part of the Grimes collection. Grimes himself is considered a national treasure by dozens of cabaret artists, because of his vast knowledge of the American popular song. And in addition to the sheet music, we’ve also acquired more than 70,000 notecards created by Grimes with information about individual titles.”
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