of songs written by Ruthie Ristich
Youve Got to Be Carefully Taught
Midnight Sun 
I Only Have Eyes for You
I Wish You Love 
Please Send Me Someone to Love
Easy to Love 
It's Nice Weather for Ducks
You Don't Know What Love Is
For All We Know 
Where is Love
Never Never Land
Luiz Bonfá -music
Evelyn Rosenthal-English lyrics
dear friend Evelyn Rosenthal
wrote these English lyrics in the spirit of the myth, as portrayed
in the film. Bill Brinkley came up with the rhythmic idea for
the coda then Alain re-harmonized it.
composers Luiz Bonfá and Antonio Carlos Jobim wrote the
music for the film "Black Orpheus" (in Portuguese,
Orfeu Negro). Directed by Marcel Camus, this 1959 Cannes Film
Festival Grand Prize winner (also Oscar's Best Foreign Film,
and Golden Globe winner) updated the Orpheus-Eurydice legend
against the colorful background of Carnival in Brazil. The film,
based on Vinícius de Moraes's musical play "Orfeu
da Conceição," not only showcased samba,
but also made Jobim and Bonfá international stars. From
the opening title scene, where favelistas burst through an ancient
frieze of Orpheus and Eurydice, to the climactic Carnival parade,
music pervades practically every moment of the film. "Samba
de Orfeo" is sung and played at the very end by children
who, in keeping with the myth of Orpheus, believe that the music
they play is beautiful enough to seduce the sun into rising.
lyrics by Evelyn Rosenthal]
Beyond the moon, above the stars
There is a music that the heart has heard before you
You hear the sound of soft guitars
Thats Orpheus singing out his love to wake the dawn
sun comes up begins the day
In all his softest summer light he will surround you
Though when it rains he goes away
Its only to hide his shining heart behind a cloud
your eyes and nights begun
Orpheus sings his lullaby to the sun
velvet sky, a golden moon
A thousand dreams to spend till night time ends in morning
The poet sings, and very soon
Another day has been awakened by his song
Got to Be Carefully Taught
Oscar Hammerstein II-lyrics
2 bar bass line motif popped into my head one day while driving.
I jotted it down at a red light, then kept the post-it with
this fragment on my piano for about 5 years. When I was thinking
of songs and arrangements for the CD I thought it might set
up an interesting minor groove for this story about racial prejudice.
The vocal harmony for the bass line followed, as well as the
7/4 meter and simple re-harmonization.
Pulitzer prize winning musical South Pacific was first produced
at the Majestic theater on April 7, 1949 (Mary Martin and Ezio
Pinza appeared in the stage production. Mitzi Gaynor and Ray
Walston appeared in the film version). The play was based on
several stories from James Micheners book Tales of
the South Pacific, specifically two that dealt with wartime
romances complicated by racial issues.
Lionel Hampton, Francis J. (Sonny) Burke-music
arrangement started out as a vocal/percussion duet medley with
Jun Saito back in 1982. I liked the 6/8 feel changing into a
double time samba feel during the bridge. Bassist Ira Coleman
picked out a west African melodic and rhythmic idea for the
first A section with Alain strumming the harmonics on the strings
of the Hamburg Steinway grand piano with his right hand, while
depressing the keys with his left. The lyrics are sung wistfully
and rather straight to reflect the mystery of attraction and
Only Have Eyes for You
re-harmonized this and set it in a lilting 3/4 time. Teese used
the harmony of the first four bars and wrote a sequence of open
fourths as an introduction for the piano that was used to bookend
the arrangement, too. It sets up a hauntingly moody feeling.
written in 1934 and featured in several films. Billie Holiday
covered it as well as Sinatra, Ella and many others. Popularly
revived by the doo-wop vocal group The Flamingos.
Wish You Love 
Charles Trenet-music (and original French lyrics)
Albert Beach-English lyrics
simple eighth note rhythm in the bass sets up the tempo between
the rubato verse and the chorus. The voice joins in singing
major seconds with the bass line into a medium swing feel. The
lyric is about someone who has been hurt making a big effort
to forget and forgive and move on.
Send Me Someone to Love
Friedland accompanies me on electric tenor bass (tuned up a
fourth). We made this in his living room studio.
always loved this song since hearing Nancy Wilsons recording.
I hope Percy made lots of money from this tune. He also wrote
Hit the Road Jack. Other artists whove recorded this song
include Dinah Washington, Sade, Nancy Wilson, Fiona Apple, Aretha,
Jeff Buckley, etc. Ive never heard anyone except Nancy
and Percy sing it.
to Love 
up tempo swing version. Solo voice at the beginning feels like
a slower time feel since the melody has so much space in between
notes. When the bass joins in there is an unexpected moment
as the quarter note is much faster than youd think. The
arrangement was inspired by a version Sarah Vaughan recorded
in 1961 with Mundell Lowe on guitar and George Duvivier on bass
called After Hours. She starts it with solo voice, snapping
her fingers on 2 and 4. This recording is my favorite in the
vocal jazz categoryhands down it has everything: swing,
soul, masterful playing, playfulnesschamber jazz at its
was featured in the musical film Born to Dance. It was also
used in Night and Day, a biopic about Cole with Cary Grant,
Mary Martin, and Alexis Smith.
in 1908 as Alexander Aberle this man became a long-haired wandering
mystic poet. Transplanted to sunny southern California he lived
as a homeless person under the Hollywood sign. Parking cars
for the likes of Nat King Cole enabled him to give a copy of
this song to Nat. It went to #1 in 1948. Once it was a big hit,
law suits followed as Nature Boy was very similar to Herman
Yablokoffs Yiddish song Schweig Mein Hartz
(Be Calm, My Heart) and a traditional black American spiritual,
Sweet Jesus Boy.
simple arrangement supports the timeless lyrical message.
Nice Weather for Ducks
this song from Irene Krals 1977 recording Kral Space.
Whats not to like? Its clever, fun and it swings
in a minor key! I cannot verify that the pianist on her recording,
Alan Broadbent, made up the clever bass line. I altered the
Dont Know What Love Is
Gene de Paul-music
written for a movie musical called Keep em Flying in the
I love the lyrics, the chords and the melody of this extraordinary
All We Know 
J. Fred Coots-music
first heard this poignant heartfelt ballad while singing with
the Dont Call Me Honey Big Band. I never heard the verse
until Billie Holiday sang her mournful version on Lady in Satin,
one of her last recordings. Teese wrote the bittersweet melodic
statement in the introduction, using the chords from the first
four bars of the tune. This is re-stated for the coda. I wanted
an open feeling for this ballad so I put it in a slow 3/4 time
(after the verse).
Bill Brinkley accompanies my voice using mostly harmonics on
his guitarwith an out of time feel. We recorded this then
forgot about it back in 1985. After finding it on a 1/4
reel 15 years later I still liked the feeling of it. Gaye Tolan
Hatfield suggested overdubbing some hand percussion to fill
it out a bit more.
in 1960 for the stage musical Oliver! The film version followed,
winning an Oscar for best picture. Lionel Bart sold off his
copyright to finance another show...too bad!
Adolf Green, Betty Comden-lyrics
arrangement is based on an Art Blakey recording from his album
Kyoto. I love the pattern the bass sets up that is answered
with a tense cluster of seconds by the keyboard.
Written in 1955 for a revised Broadway version of Peter Pan,
starring Mary Martin. Based on the play written in 1904 by J.M.