DIARY

I've been very lethargic for the past few days. Haven't been able to muster the energy to do more on Ozimandias. Very tired. I wonder if I'm feeling the pressure of the next few weeks: Jury duty, LA, Ruth's surgery. It's been great having Robin here. But it's been a couple of days of nothing. Although, of course, I've still been hustling.

We had some time at Janice's and played with the buddah. Fun enough. And making "horrible" plans with Myles.

I went to the bookstore to see Leonard's suggestions for a sequal to the Bunny. Nothing yet. I saw a couple but nothing triggered the emotion that RB did. I'll keep looking.

DIARY:

Had a great night Wednesday PM at the party for the Chelsea Arts Club NYC branch. It was at the great restaurant, in Chelsea of course, Bottino. It turns out that I was there before; i went with Chris Parker after the Cheap Trick rehearsal. Robin had been there tons with Harvey. We both figured it might be tough, but we had fun. We actually talked to people, Dudley was very warm and welcoming. At dinner, which was DELICIOUS, we sat next to nice people. One person, Kiki, turns out to know Chris Parker and Steve Gadd; she had an affair with SG and she booked the bands in the 70s. And Carol, a water-colorist, sat on my other side. Of course, people were interested in me and the person who sat across from Robin came to Carnegie. She was much too perky and "english" for me. A surprisingly good time.

Myles had come over both days and that was fun. Myles was very friendly to Robin and we all noticed how much more interactive he was. I'm sure that's because we kept R very much in his mind during the times he was away. We played Hide and Hide, his favorite game.

Glenn 7 came over to sing and Robin was very impressed. We didn't work on Michael's letter, he has the only copy and didn't bring it, but we did alot on Shakespeare and he's getting amazing. I was nervous R wouldn't think his voice was legit enough, but he passed with flying colors! Yeah. And he sang through Small and Prince and I think really liked them.

Haven't written much since R is back, but I started Ozymandias today. Hopefully that will be done before I leave for LA. Which I'm not looking forward to. But oh well. I need the $.

Now R is sick. I'm just about over it. I hope. But still so tired, tired, tired.

I had a nice lunch today with Leonard Marcus. He's great and hopefully can help me get the Oliver rights. He knows all the people in the Children's book world. In fact I got an e-mail from the head of the museum toeday who wanted to do an excerpt from Oliver next year. I told her I didn't have the rights.

I finished 4 blasters for 100 Stories/100 Words. They are fun to write. They also published the John Miller piece.

DIARY: Robin is back

FINALLY!!! I went to the airport this morning with Rafael and Robin came through. A bit late. But HERE! Yeah! Looking great. I'm so happy that he's back. We went back to the apt. and he unpacked and puttered. Thank goodness for Fresh Direct. All delivered and waiting at the door.
Myles came over and we playd his peculiar game of hide and seek where we ALL hide! Then he calls out who goes to find whom. (He's also told us where exactly to hide so it's a bit existential.)
But R is here and we're in bed watching TV. Poifect.

On Monday I finished proofing the Wordsworth. Then I had a lovely dinner with Greg Jbara. Lots of fun. I want Greg to be the first article in my 100Stories/100 Words for B'wayworld.com. I recorded a couple of songs but of course, I opted for the dirty one. Greg invited Robin and me to the run through of BE. Fine.

So I went home after the dinner and wrote up the piece. It was fun. I also wrote up one on Michael Jenkins. So I'll be one ahead. It was a challenge getting them down to 100 words. But the shorter they get, the better they get. So I did lots of work, sent 'em to LW and today sent them in to Robert. He said they were going to do a nice layout. I have a feeling this will be something I can enjoy.

And Robin!

DIARY: Still sick

Still sick. Thought is all better but it seemed a bit worse today. Then better, then worse. Ugh. I really want it better for R and of course for Jury Duty and LA. Had weird, weird dreams. About doing Norman at Bard, about driving some sort of bus to Barrytown and Phyllis Newman was there, and Jack DiPalma was at Bard. And I was meeting all the professors there. Weird, as I said.

So today was spent mostly in bed. Although I did some of the Song Cycle. Boy is this one a good tune.

Myles came over and we had a few hide and seeks. Then I walked up to Janice to get Robin's xx and played bouncy bouncy with Zack. Who is BIG!!!

Also spoke to Maria who is going through it with her poor doggy. I finally played her Michael's message and she was happy with that. I also told her that I wrote a letter to Boorman with her email in it. One more day until R returns. Yeah.

diary: Dumbo

I woke up late, thankfully, 10:55 and sprang out of bed thinking Benjy was coming over today. That's next week. So I was a bit discombobulated. Very.

Steve called and told me he was going to DUMBO today to an art gallery, after he visited his mom in the hospital, so I said, what the fuck, I'll go.

It was kind of a revelation. It was truly wonderful walking around down there. The art show was terrific as well: lots of sexy, hunky beary type guys. Really well shot. But the area was the star. It was interesting because it wasn't an area that had a resident population that was eased out as the richies came in. Nothing was there before the artists. Lots of new, hip buildings. Lots of cool restaurants, shops. Tons of babies in strollers. We had a nice lunch next to the gallery.

Honestly, I think I could live there. In a way I couldn't leave in Harlem or the East End. It could be loud, though. The bridge is right there, of course. That's why it's called the District UNDER THE MANHATTAN BRIDGE!! But I stopped a woman on the street and she said the glass keps out the noise. It would be interesting to move the whole family there. Especially if Myles goes to Paker or St. Ann's. But that's all unlikely of course. Because one, the prices are outrageous. And I can't get out of bed, how am I going to move.

Mentally, not sure. I go up and down. Not too down until very late at night. I have to stay up till 2 so I can fall asleep naturally. The Michael high has worn off, as to be expected. Wouldn't it be amazing if we can sign the deal and go.

It's seems a bit much of a struggle when I went through this whole rights thing years ago. And now I have to go through it again. IT'S UNFAIR! HA HA HA HA!!!!!

Diary: NY PHIL

Went to the NY PHIL today with Ruth. I changed our subscription tickets very easily on line. It was wonderful, actually. A new Stucky piece, which was nice. (and short!) Then Rach 3 played by Brofman. Avery Fisher should be knocked down. Could hardly hear the piano. Imagine not being able to hear the Piano in that piece. Played by E B! Second part was Ravel Mother Goose and Mandarian. After the Ravel, I heard a girl behind me Bravo for Glenn D. I turned around and asked if she knew him. She said it was her daughter. So...obviously the conversation turned to RunBun.

And speaking of RunBun: Right before I left for the concert, I got an e-mail from the St. Louis Symphony wanted a perusal score. Wow. Let's hope. Wouldn't that be great. Obviously, it's because of the air play on the radio station. Maybe even the article!

I don't think I wrote that Robin is coming home on Tuesday. The Belgium Consulate felt he couldn't approve the application but R didn't seem upset because the lawyer said they would fix the application and it would get approved in Canada. So, he's coming home. Yeah! I really hope he can cope in NYC! Wouldn't it be great to be together.

I had my pity dinner with Mark. Which was very pleasant. He has a major new apartment. In the same building as Chris Keller/Stabler. Wow! Lots of views. Lots of spaces. Lots of show biz stuff. I told him that I had a sketch of Alvin's. He said that was unusual because much to his friends sadness (Alvin's friends) gave all of his stuff to the library. So I wrote him today telling him I wanted to give him my sketch. He really deserves it! (And I considered selling it on Ebay.) So it's his.

We had a discussion about my alienation of friends. We both thought it was because I don't stop it when people want too much and ask for too much. And I internalize it until I can't take it any more. Good point. So he suggested I nip it in the bud a little earlier. I'll try next time it happens. If it does. Which it will.

I saw the Hudson Valley Shakespeare on TV last night. (I'm LOOOVING my DVR!) I recorded it. It seems like a magical place. And the Shakespeare isn't too bad. Actually about on the same level as The Tempest the other night. So i wrote the artistic director about Mozart. Again. Crazy idea. But I'm trying.

Glenn sang through some of Michael's Letter on Thursday. It's a good piece. And he's a great singer. It was great to hear it. I wrote it in Kentish Town!!!!!!!! Life!!!!!

DIARY: Musicians/Michael Jenkins/Sendroff/John Miller

What the heck is galway wearing!!!! (Jesus!)

Anyway, just back from a sensational time at John Miller's CD release party. It was at Carroll's studio. I have never been to the new place. Probably isn't new at all, but new for me. It's on 56th Street. Same loft building as Pace/Wilderstein. Wow.

I don't think there are a bunch of people I'd rather hang out with than musicians. Dave Spinozza was there, of course. He co-produced the album. We talked about Wynn! And Chris Parker. And Charlie Alterman, a young pianist/conductor. Plus some of the guys from the Cheap Trick gig.

John talked about the Cd. And was really wonderful. I met his wife for the first time and she was very complimentary about the article I wrote. Met the press people too. Nice enough.

But it was all about side-men. My favorite.

Today was also a red letter day, I hope. Yesterday I called Michael Jenkins. I was at the gym when he returned the call. Amazing. He said he closed the deal with the Brolly kids. That's fantastic. One down, one to go. He said the Seuss people were being the Seuss people but he said we couldn't panic or push them because then they just back away. I'm hoping this is good news and we just persevere. In a weekend letter I also suggested he think about NORMAN because of all the floods. He said it was a great idea. He told me he was producing or presenting 23 shows (michael!!!) but he would try and fit it in. I guess I heard enthusiasm in his voice. So...

And today was also the end of an era. Anna, our housekeeper of 25 years, maybe more!, is going back to Poland to see her grand kids (adults!) whom she's never met. She's been so great to us. But as is the way with life, a hug and then move on.



Glenn is coming over tomorrow to work on the Armistead piece and the Shakespeare. I've finished 4 pieces now.

I did some more work (tweaking) on the Opera Aria. I spoke to Irwin Fisch and I'm going to record some tracks over at his place. I sent him the Finale file as a Midi file and it went through just fine. Arianne said she couldn't work on it until November. I'll see if I can wait. I'll be out most of of October so it will probably time out just fine.

I emailed Chris Craker today and told him about the idea. I hope he's interested in helping. He's someone who actually came through.

Ittai sent Mark Sendroff papers yesterday, threatening to sue. I mean. Honestly!!! Then when I saw Max at John's party, Max said he was hustling him. Max sensed something was wrong. Max didn't really want to deal with him and asked me what to do. I said, do whatever you want, but you can always say I only talk to the guy who's paying me. He really has to understand he can't just get everything for nothing.

And more Bunny, I wrote to HarperCollins today introducing them to the Animation people. Susan Katz wrote back within 20 minutes. I couldn't believe that. So I called the Animation people and said, it's all connected. Go get 'em.

I think I'm having dinner with Mark Sendroff tomorrow. He feels sorry for me. He asked what happened with me and Ittai? I said, it went south just like all my relationships do. Except for him and Robin. So he wants me to have dinner with him. Well, it's true I guess. I try not to, but I guess when I'm doing the stuff i REALLY care about, I get to emotionally involved. But the list of people I don't like much is rather long. Sad really. Or not.

DIARY: Like a beacon

Finished another one. Despite being sick.

Like a Beacon

In London
every now and then
I get this craving
for my mother's food
I leave art galleries
in search of plaintains
saltfish/sweet potatoes

I need this link

I need this touch
of home
swinging in my bag
like a beacon
against the cold
Grace Nichols (b. 1950)

DIARY: CHRIS ROCK

Chris Rock was simply magnificent. He did about 90 minutes straight out. No prompter. Really amazing. And funny. For black and white.

I had never been to the Apollo before. And it had the same magic of Capitol Studios. So much history. It almost takes your breath away.

Sadly, I had to admit I was a bit scared getting there. Getting off at 125th Street was okay but the walk down to the theater was just uncomfortable. So I got on a bus for a bit.

Keith arranged for me to meet the head of production of HBO who has a house in Rhinebeck. I hope we get together to talk about the old country.

I just spoke to Scott about calling up HBO and pitching Bunny there for a live concert for TV. We'll see.

I slept A LOT! Too much, but I needed it, I guess. I'm fighting off a cold so maybe that's why I needed the sleep.

I got up and bought some new lovely Lucky Jeans and then came home to play with Myles. Lots of hide and seek.

I also worked on the Plum Poem today. It will be finished tomorrow.

This Is Just To Say
I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast.

Forgive me
they were delicious
so sweet
and so cold.

-- William Carlos

DIARY: Finshed the MILTON

I finished the Milton Poem today. That's three down. And as I've said before, it's going well. I'm anxious for Glenn to sing them. It's very atonal and the next one I attempt should be more simple. And shorter. I haven't decided which one to do, but it will be a short one. Maybe the Wallace one.

This morning Keith Winnikoff came over to tweak the TV. It was pretty good with standard factory setting but he did a bit. And he offered 2 tickets to Chris Rock tomorrow, the HBO taping. So I will.

Then I got a call from Glen 7 who had a minor operation. He didn't' realize that he couldn't leave the doctors without some help. So he called me to help him home. Glad he thought of me as a friend and someone to help him. God knows I'm good at taking drugged friends back home for the Hospital.

DIARY

Seven years ago today, as I saw the Towers tumble, I knew Dr. T was not going to happen. But it's been seven years, maybe seven biblical lean years, and perhaps it's time for seven fat years.

The show is better now with Maria's script and Ian would have been a disaster. So, I'm hoping it's all for the best.

However, I'll never forget the meeting at Tony Waltons with Frank Scardino saying, This show is happening, the rehearsals at Paul Epstein's with Jim Dale. etc. etc.

But I'll never forget that feeling: the show is off.

I know, I know, I know it's unfathomably selfish of me to equate this National Disaster with my personal show biz ridiculousness, but there it is.

DIARY: Broken Heart

Went to the cardiologist today to see if my shortness of breath wsa because of a broken heart. Segal (who is dreamy) did all the tests and I was able to see my heart pump. They showed me each and every ventricle. Amazing!

I'll be back in two weeks for a stress test. 

In the morning I did some more grooming on a Figaro PV. Yesterday I also did some work on the Milton.

Dats it.

DIARY: Dickie Frank and Writing

Just back from the Tempest at CSC. Really great. Although Mandy can destroy a song with his weird vocal stuff and over the top acting, he can't destroy Shakespeare with his "commitment." In fact, it actually works. It was a wonderful production. Great set. Some great actors. And a fantastic space. Loved it. So I wrote to the artistic director about doing Figaro. It would be fantastic there.

Glenn came over again on Monday. Another exciting session. We worked on a couple more of the songs. Did the Richard II, maybe my favorite. It really is wonderful. And he's a great singer!!

Very inspiring.

In light of the rights situation, I looked at the Oliver Button sketch. I forgot that I had actually written the entire opening number. I had no idea that I had done that. And that's ALSO wonderful. I'm sorry to be so enthusiastic about my own work, but I'm discovering a whole forgotten world of my stuff.

I've been playing through the ARIA for the new opera. I sent it to Ariana Zuckerman. I hope to record it with her. I'm not quite done with it but getting really good as well.

Ruth went into the hospital and had her test. All is as expected. They don't have to do anything else. She was her usual self until they drugged her and she came out. Then she said I turned into a good son and I shouldn't have been a doctor. We were all shocked, Janice and I, and I asked the nurse for more drugs for her.

She was a piece of work this morning, but had almost calmed down by the time I picked her up.

Tomorrow I go to my heart doctor. And let's see if I have a broken heart.

Left a message for Jenkins. Nothing. No Maria. Still being punished. Oh well.

I pitched Gary Z three movie ideas. He's going to try and set up all three. So we'll see about that.

But I'm feeling creative again. Wow.

Diary: Finished the Aria

Title says it all.

Diary

Gary Zuckerbrod came in town this morning for a Bar Mitzvah. I'm so glad he comes to town and stays with me. I'm so insecure about being that perfect host. That's really his specialty, of course. But I'm glad that I did well enough for a repeat guest.

And then I had breakfast with Irwin Fisch. Part of my reunion plan. It was a lovely meal. And the two experiences that we had together, work related, were fantastic and highlights. And he still remains the only colleague musician who's EVER hired ME! He'd be the perfect person to orchestrate Dr. T. If that happens, of course. (I called Michael the other day. No response of course. But I didn't expect it. Just checking in. Ugh.)

Then Gary and I went to MOMA to see the PreFab design show. Not so interesting. Much more a historical show than an exhibit of the cool, hip new things. I've seen some new wonderful pre-fabs on TV. Seems like an interesting way to go.

As for the opera. Aria just about finished. I e-mailed Arianna Zuckerman and she'll come over. It good.

DIARY

Another day of writing. That's all I have to say.

Stage Door Johnny and the Quaalude Samba Folky Jazz Groove

STAGE DOOR JOHNNY
and the
QUAALUDE-SAMBA-FOLKY-JAZZ GROOVE
by Glen Roven

Stage Door Johnny is John Miller’s phenomenal new CD featuring Broadway Classics done in John’s inimitable style. Think James Taylor crossed with Lerner and Lowe. Think Doctor John riffing on Rodgers and Hammerstein. When he first sent me an advanced copy, I played it in my car and almost crashed it was so wonderful. The legendary composer, Marc Shaiman summed it up brilliantly, “I had a smile on my face ten seconds into the CD.”

John Miller is hardly a household name. Unless, of course, a member of that household happens to be a musician, and that household happens to be anywhere near New York City. Then, trust me, John Miller is very much a household name.

For John Miller is one of the premier Music Coordinators on Broadway, the man (there are no women that I know of) in charge of hiring musicians who play in the pit orchestras of Broadway musicals. Right now, John looks after Hairspray, Jersey Boys, Xanadu and Young Frankenstein. His list of past shows hovers around one hundered.

But this article is not about Johnny Miller, the Music Coordinator. It’s not about his kindness to fellow artists, his generosity of spirit, his dry sense of humor, or his integrity and honesty. This is about Stage Door Johnny, which will be released September 30th, on PS Classics. With this CD, John steps out of the pit and into the spotlight, Center Stage. This is about John Miller: producer, arranger, musician and most importantly, artist.

Johnny’ performing skills come as no surprise to us old folk who witnessed his amazing performance in the musical, I Love My Wife. In addition to the four star actors, the smaller parts and, of course, the music, were performed by the band. (Take that John Doyle; Joe Layton was doing it in the sixties.)

Johnny’s performance of the Act Two opening is indelibly imprinted in my mind. The curtain went up and there he was with his bass, about to launch into the jaunty Cy Coleman bass line for Hey There, Good Times. But as it was snowing (on stage), before he started, he looked up, gently flicked a snowflake off the bass, dried off his instrument, and then hurled headlong into the song. Jack Benny could have learned a few things from John’s impeccable timing. The audience roared and Act Two started with a bang. I remember watching a performance with Mark Bramble, Mike Stewart’s pal who wrote the book and lyrics. Mark exclaimed, “Now that’s how you open a second act.

GR: Would I be off the mark to say this is the Broadway album James Taylor could have made?

JM: Anytime anyone compares me to James, I’m unbelievably flattered! It’s like saying, I saw you on the basketball court and you have moves like Michael Jordon.”

GR: Which is highly unlikely. Neither of us crack 5’7.

JM: I’m talking metaphorically, of course. But I never try to sound like James. Or anyone, actually. That just seems to happen whenever I start to sing.

GR: Which is?

JM: I call it my Quaalude-samba-folky-jazz groove.

GR: I wonder if there’s a category for that at Barnes and Nobles?

JM: Do we have a shot?

GR: Tell me about the genesis of Stage Door Johnny, the album.

JM: I skillfully avoided doing this for a good 25 years. I used to sit around on the couch playing all these songs on the guitar, late at night. Not really knowing what I was doing on the guitar…

GR: Cause you’re a bass player.

JM: Correct. I didn’t even know the names of some of the chords I was making up. It reminded me of the time I played with Joni Mitchell. I looked over to Joni and asked her, “What’s that chord you’re playing?” And she said, “No idea.” I’d play my arrangements for guitar players and they’d say, “What the hell is that? What an interesting chord.” I guess ignorance is bliss.

I’d say fifteen years ago, I thought, hey, let me get a little home studio, work out the kinks, play around with the background vocals, the bass lines. I went with Bob Rose (another major NY musician) to Manny’s Music store and bought this Yamaha Eight track home studio. Bob came to my home, he set it up, put the speakers there, the wires, etc., and left. I looked at the manual and I realize I’m very, very good with the first sentence, which said, “Congratulations you just bought a Yamaha such and such home studio.” I realized very soon I wasn’t so good with the next 50 pages. I didn’t understand a thing. My spine started sweating. I became totally technophobic. So much so, that I couldn’t even go in the room! So I retreated to my couch and started strumming the guitar. I went back to playing the guitar on the couch for another ten of years.

Then, two or three years ago, I had a light bulb Zen moment of enlightenment. After so many years of playing these songs, I pretty much knew what I wanted to do. I said, let me by-pass the whole manual part. I realized I don’t have to learn all that stuff. At the same time, Connie, my wife said, “Enough already. It’s too depressing hearing you sing these songs for 12 years. Either do it or don’t. I don’t want to hear about it anymore.”

So, it was just time. And after such a long gestation period, I knew exactly who I wanted to co-produce it with me, I knew who I wanted to play on it with me, who would engineer it. And the next day, I put the team together, booked the studio and forged on.

GR: Tell me how the music came together?

JM: It was as organic as anything can be. The first song I did fifteen years ago was “Wouldn’t It Be Loverly?” I didn’t plan on doing it. I was just fooling around late at night, D9 Bm7 . Be gong, be, ba da, bi gong ging.

GR: (thinking) How the heck am I going to convey how cool it sounds having John Miller sing you a bass line?

JM: So I didn’t have a specific song in mind. I was just watching some Rambo movie late at night. Just grooving. And somewhere deep in my mind’s ear, without thinking of it, I came up with, ‘All I want is a room somewhere.’

GR: And that’s one of my favorite tracks. How did you pick the rest of the songs?

JM: In every single song the groove came first. I never looked at a list of songs. I never asked, “What song would I love to do?” There were all based on some guitar riff that I came up with. And the rest just flowed extremely naturally.

GR: Interesting. Because after hearing the album, I would swear it was just the opposite: that the song came first and then the accompanying groove. But it makes sense: you, being a bass player, would work out the song arrangement from the bottom up.

JM: Correct. Not only the songs, but the complete arrangements came from that late night musical sound.

GR: That Quaalude-samba-folky-jazz groove.

JM: Yup.

GR: I think this is the only Broadway compilation that I’d want to have sex to. You don’t want to have sex to Dear World.

JM: No comment. But, I think I’m somewhat limited by my guitar playing. Cause there’s only one thing I sort of do.

GR: In addition to being your biggest fan, I’m also a huge fan of your co-producer David Spinozza, the guitar player.

JM: My choosing Spinozza to be a partner in crime was not casual. I thought for a long, long time. I’ve worked with him as a guitarist for years, knowing his sensibilities, and his sense of what I call right-eousness, what is pure, when there is a need for nothing, a need for air.

One of the most flattering moments for me was when Warren Odze (the drummer) turned to Spinozza and said, “David, that sounds great.” Spinozza pointed to me and said, “It was Miller.”

GR: Another one of my favorite tracks is “Oh, What a Beautiful Morning.”

JM: I heard this tune as a “Brother Where Art Thou,” white gospel sound. I also heard an Aaron Copeland, Randy Newman Americana feel. I knew I wanted pedal steel. And again, I came up with my organic way of doing it.

GR: You’ve been around Broadway for 45 years! An amazing career. And you’ve heard a lot of music. Tell me. What makes a great Broadway song?

JM: I don’t know if I’m smart enough to answer that like a smart person would answer; but clearly, any time you go to a show and walk out humming a song you’ve never heard before, that has a profoundly deep effect.

GR: You and I are primarily behind the scenes guys. Occasionally we step out, but only when necessary. What’s it like for you being in the spotlight?

JM: My friends and I have made long careers out of being sidemen. One of my best sidemen stories is, I was working with this singer and she had written a waltz. She said, during a recording session, “I’d like this to be a reggae.” Now, she was smart enough not to ask any of us, “Do you think this is a good idea?”

GR: That might fly in LA because the musicians are so sweet out there. That would NOT fly in NYC!

JM: We are trained to say, “You got it.” We give them the best we can do and then leave. It’s their baby. They wrote it, their project. It should be exactly how they want it.

I’ve received many CDs from friends of mine who are sidemen and I’ve always been moved by what a courageous thing it is for them to do. They are, in effect saying, here is the music I feel in my soul, here is how I feel music.

So, this album is how I feel about music. And I’m very comfortable saying that. But it was an extraordinary experience to finally be the person who could tell these great musicians, I want my waltz to be a reggae.

GR: Has it been a pleasant experience?

JM: You bet. It’s a great luxury for a musician to be able to do their own project without any upfront deal. There are no restrictions other than your own imagination.

GR: And the goal?

JM: I had one goal only: for me to love every note of it. If other people dig it, that’s great. If some people don’t, none of that would take away from the joy we I had doing it. I have loved every minute. There isn’t any part of doing the music that hasn’t been a peak experience.

Glen Roven is an Emmy award winning composer who recently made his Carnegie Hall debut conducting his Violin Concert. The CD was released on SONY/BMG with the Royal Philharmonic Orchestra. He is hoping Stage Door Johnny will one day hire him.

Diary: Dickie Frank and Writing

Had Breakfast with a very old friend, Dickie Frank. I first discovered Dickie when he was the guitar player on all my favorite albums. We became friends around the B'way community and then lost contact for 30 years! God Bless Facebook. He seemed great! Married, two kids, although adopted, and still as dry and funny as ever. The NYC version of Ray Colcord. He's 62 now and has done music all his life. He's a one man band type performer and plays 250 gigs a year. Amazing. He was also pleased about Robin and the 26 years.

Speaking of Ray, Alex is in town who I used to buy with toys so he'd love me forever. Maddy Rottman didn't want Janice's job because of the money but maybe Alex will take it. That would be great.

But more about me. Fifty bars of the opening are done. Amazing!

Diary: Weird Dreams

I dreamed I was in a meeting and a hamburger like growth was growing on my chest. I was worried but I was easily able to pick it off. Fist the bun, the meat, then the bun.

I dreamed Liza was performing a new Latin act at some nightclub around the corner, but didn't go on by the time the club closed in the morning. And Christina was singing background.

I dreamed that David Geffen told me to come to LA for a meeting. I did. We had lunch. Then I went to Shirley MacClaine's house who actually was Michelle Lee. And then went back to NYC.

Weired and screwed up. Sad.

Diary: Sketchy

Just finished the Shield. I love that series way too much!

Had I weird weekend with the Holy Family at Woodloch Pines. I was so incredibly tired I slept 12 hours a day. That can't be good. I don't think it was depression. But it might be my heart so I finally made an appointment with the Cardiologist today. To fix my broken heart.

When I came back from Pennsylvania, I finished the John Miller article which I posted. I had fun writing that and re-arranging the interview. Good thing that didn't go out live because the best stuff was the middle and the end. He seemed happy with it today. Let's see what his PR people do with it.

I loved taping it on my treo. So easy!

And as for today:

I wrote. Wow.

I don't want to go into details, but I started the Opera and the first aria. I know how the Opera will start (with an aria for H) and how it will close (with an aria for H.) Both are texts that are written so now I'm setting them. And I have tons of music to pull from for the ENTIRE OPERA!

I played it for Robin and he loved it. Whew. But I knew it was good. And dramatic.
I wonder whom I can get to sing a little piano demo. If I can play it???!

I'll probably make that demo and send it to Poutney.

I also did 25 minutes on the bike today. Interesting that I can do cardio but I can't walk 9 blocks.

Janice, Myles, Zach, Avion and Mommy came over for dinner. Myles and I had a good time. And I made him eat at the table.

This entry is a little sketchy.