The Old Stage Show…

September 30, 2016

A blast from the past from a number of years ago, when Tony Lavorgna and I were on the card with Alkahest Artists.

Richie Kaye and Tony LaVorga
When Richie Kaye and Tony LaVorgna were on the card with Alkahest Artists

The LOVE Guitar at Sugarhill Studios

September 26, 2016

Another still from the recording session this month (Sept. 2016) at Sugarhill Studios in Houston, this time with the LOVE guitar that Kevin Muiderman made for me to my specifications (yes, there is only one of them).   The camera (of which you can see the viewfinder) is a Sony EX-3 HD.   (Photo: Sam Kuslan)

Richie Kaye at Sugarhill Studios
Richie Kaye Through a Sony EX-3 at Sugarhill Studios


Another Still from the Sugarhill Recording Session

September 21, 2016


Another still from the upcoming video. I’ve picked up the solid-body electric once again after many years, for additional variety in my solo show. Isn’t this the change of pace? I think you’ll be enthusiastic about it when you hear it.
I’ve been open to working on electric music with Houston/Austin players and though I’ve not yet met them, I’m sure they’re out there and at some point, we’ll meet.  (Photo: Sam Kuslan)
Richie Kaye at Sugarhill Studios playing a Don Grosh Electrajet
Richie Kaye at Sugarhill Studios playing a Don Grosh Electrajet

More New Songs Added to the Solo Show Repetoire

September 19, 2016
New tunes added to the solo show repetoire:
A Sunday Kind of Woman (Charlie Rich)
One Note Samba (yes, there are lyrics!)
Heaven (Bryan Adams)
I’ve Heard That Song Before (everybody under the sun)
Lean Baby (Frank)
And coming soon:
Danke Schoen (Wayne Newton)
My Sugar is So Refined (Nat Cole)
Funny, Familiar, Forgotten Feelings (Don Gibson)
Life is Just a Bowl of Cherries (Judy)

Recording at Sugarhill Studios, Take 1

Last week, I visited Sugarhill Studios in Houston to lay down a few tracks with a film crew for an upcoming video. Here’s a preview image from the session.   (Photo: Sam Kuslan)

Richie Kaye at Sugarhill Studios
Richie Kaye at Sugarhill Studios


Something Fine to Listen to: Rita Lee, Aqui, Ali, Em Qualquer Lugar (2001)

September 12, 2016
It’s been a long time since anything rock ‘n roll-ish has excited my ears as once it did. It’s funny because I keep getting younger, so you’d think the opposite.
But then I heard Rita Lee‘s “Aqui, Ali, Em Qualquer Lugar,” a Brasilian re-imagining of Beatles songs, sung in Portuguese and English. There is something intelligently “new” and mature and inventive about these tracks that I thought I ought to share.
Voice is gorgeous; the guitars are just awesome support for her (not to mention the rest of the band and the engineer who mixed it). Just listen to the first track and you’ll get a sense of it.
Very helpful to me, this album, I think about the next album, which will be all original music, to be recorded in 2017.

And this vital, exotic and intimate re-imagining of Lucy in the Sky with Diamonds.

Can’t Help Singing (Abbey Lincoln/Hank Jones), 1944

September 5, 2016
I’d seen the movie Can’t Help Singing (1944) with Deana Durbin and Robert Paige a very long time ago, featuring the song of the same name by Jerome Kern. If you’ve seen the film (a Western), you’ll know Miss Durbin sang it with an orchestra very much an up-tempo number almost as one might imagine a Gilbert & Sullivan operetta, if set in the American west.
I never really took to the song until the other day, searching for gems to add to my repetoire, I heard Abbey Lincoln and Hank Jones. Almost couldn’t believe it was the same song. What a mighty expression that woman was capable of, and so fetchingly. I’ve transcribed it and it’s going right into the repertoire. Listen to this wonderful version.

“So Far” from Allegro (1947)

September 1, 2016
“So Far,” another number I’ve dusted off and brought back into my repetoire after many years. It originated in the long forgotten musical, Allegro (Richard Rodgers/Oscar Hammerstein II), which premiered in New York in 1947. Here sung brilliantly and beautifully by Billy Eckstine, also largely forgotten.
I never cease to be in awe of American performers of the 40s and 50s for the quality of their work, in idea, in form and in execution. This tradition we have — yes, it is an American tradition of song — is so wealthy and fertile that it can be readily mined for gold like this.

On a Wonderful Day Like Today

August 31, 2016
I added “My Kind of Girl” to the repetoire (you’ll know the Basie/Sinatra version) and learned to my surprise Leslie Bricusse wrote it.
Then I thought of that great show “The Roar of the Greasepaint, The Smell of the Crowd” and the marquees on Broadway declaring in a huge font ANTHONY NEWLEY I saw as a toddler in ’65 or ’66.
I’d forgotten about this wonderful song from the show — “On a Wonderful Day Like Today — also by Bricusse (and Newley), which I promptly put back in the repetoire.  It’s the first song he sings in this video.

A New Recording by Tony LaVorgna, My Long-time Colleague

August 8, 2016

More of the fine work my long-time colleague, Tony LaVorgna, has recently recorded. This waltz, which I recall with lyrics under another title, is in this version an instrumental with Tony playing all the parts. At the time he wrote it, Tony was studying with Bill Finnegan, who arranged (among many others) Glenn Miller’s Little Brown Jug. Recorded at Norman Johnson‘s studio, Manor Recording.

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