JOEL GREY LIVE
1973 Concert
The Waldorf Astoria Hotel, New York, NY
The Waldorf Astoria Hotel, New York, NY
Opening Date
|
February 20, 1973
|
JOEL GREY
with
CHARLES TURECAMO
and his
WALDORF-ASTORIA ORCHESTRA
Written by
FRED EBB
Conductor
EVERETT GORDON |
Arrangements by
PETER MATZ BILLY BYERS ALAN COPELAND |
Associate Producer
JOHN CORIGLIANO |
Directed by
FRED EBB
FRED EBB
ABOUT THE SHOW
"90 minutes of song, dance, and knock-'em-dead pizzazz"
© www.cabaret54.com
© www.cabaret54.com
Carnegie Hall was a venue that already loomed large in the family legend - it was, after all, where her mother Judy Garland made her triumphant comeback 18 years prior in what has become known by some as "the greatest night in show biz history". (The live album it spurred would go on to win 4 Grammys; both the first live album and the first album by a female performer ever to win the award.) Liza herself had only played Carnegie once before this run; as part of a benefit concert on January 10, 1965.
This run would be a landmark in her career: from September 4 - 14, 1979, she would hold not only the record for the longest-running consecutive number of performances by an artist in the history of Carnegie Hall (a venue typically famed for its one-night-only events), but every single show was sold out. (This record would later be broken by none other than herself in 1987, when she would perform for 3 straight weeks, also for all sold-out shows.)
The black & white ad first appeared in the Sunday New York Times. The announcement was concise: "Liza / In Concert / At Carnegie Hall." Tickets, starting at $7.50 and escalating to $25.00, would go on sale the next day at 10 A.M.The cover of the concert program was designed by Joe Eula, who had earlier done the advertising logo for Liza's Winter Garden show. Liza loved the Eula work so much that in 1983 she continued using this design to promote her "By Myself" tour.
Liza didn't want to come back to New York with the same nightclub act she'd already been doing for years. She wanted something new. With the help of her dedicated staff -- including Fred Ebb (who'd write, produce and direct the show), Wayne Cilento and Ron Lewis (who would choreograph), and Lawrence Miller (who would design the multi-tiered set) -- Liza set out to knock New York on its backside. She also hired Mark Gero as her production manager.
"I wanted to make my Carnegie Hall shows a piece of presentational theater," Liza recalls. "I wanted each song to be an acting piece; a complete character. I wanted Carnegie Hall to be my baby."
Well, Liza gave birth to that baby on September 4, 1979. She succeeded in her plan; the critics loved her.
After the Carnegie Hall opening night, there was a late supper dance at Studio 54, thrown by Halston. Vincente Minnelli and Lee Anderson (Liza's stepmother) had flown in from California and dined on lobster, along with guests including Truman Capote, Andy Warhol, Diana Vreeland, Joel Grey, Michael Bennett, Victor Hugo, Baby Jane Holzer, Margaux Hemingway, Diane Von Furstenberg, and the late author Anita Loos.
On September 10, 1979, in the New York Times, John Rockwell wrote an article analyzing the phenomenon of the superstar who attracts mass adulation. Interviewed by him in the Russian Tea Room, Liza said, "I really like people; otherwise it would scare me to death. You walk out and people roar at you."
Liza, asked by Rockwell why she thought she generated so much hysteria, answered, "Someone said to me after opening night, 'I think I know what it is. You give everybody hope.' It's everything positive that people want to hear. Momma and Piaf were very fragile and vulnerable. With me, it's like, 'Come on, let's go!' I think everybody likes to see people who enjoy what they're doing."
This run would be a landmark in her career: from September 4 - 14, 1979, she would hold not only the record for the longest-running consecutive number of performances by an artist in the history of Carnegie Hall (a venue typically famed for its one-night-only events), but every single show was sold out. (This record would later be broken by none other than herself in 1987, when she would perform for 3 straight weeks, also for all sold-out shows.)
The black & white ad first appeared in the Sunday New York Times. The announcement was concise: "Liza / In Concert / At Carnegie Hall." Tickets, starting at $7.50 and escalating to $25.00, would go on sale the next day at 10 A.M.The cover of the concert program was designed by Joe Eula, who had earlier done the advertising logo for Liza's Winter Garden show. Liza loved the Eula work so much that in 1983 she continued using this design to promote her "By Myself" tour.
Liza didn't want to come back to New York with the same nightclub act she'd already been doing for years. She wanted something new. With the help of her dedicated staff -- including Fred Ebb (who'd write, produce and direct the show), Wayne Cilento and Ron Lewis (who would choreograph), and Lawrence Miller (who would design the multi-tiered set) -- Liza set out to knock New York on its backside. She also hired Mark Gero as her production manager.
"I wanted to make my Carnegie Hall shows a piece of presentational theater," Liza recalls. "I wanted each song to be an acting piece; a complete character. I wanted Carnegie Hall to be my baby."
Well, Liza gave birth to that baby on September 4, 1979. She succeeded in her plan; the critics loved her.
After the Carnegie Hall opening night, there was a late supper dance at Studio 54, thrown by Halston. Vincente Minnelli and Lee Anderson (Liza's stepmother) had flown in from California and dined on lobster, along with guests including Truman Capote, Andy Warhol, Diana Vreeland, Joel Grey, Michael Bennett, Victor Hugo, Baby Jane Holzer, Margaux Hemingway, Diane Von Furstenberg, and the late author Anita Loos.
On September 10, 1979, in the New York Times, John Rockwell wrote an article analyzing the phenomenon of the superstar who attracts mass adulation. Interviewed by him in the Russian Tea Room, Liza said, "I really like people; otherwise it would scare me to death. You walk out and people roar at you."
Liza, asked by Rockwell why she thought she generated so much hysteria, answered, "Someone said to me after opening night, 'I think I know what it is. You give everybody hope.' It's everything positive that people want to hear. Momma and Piaf were very fragile and vulnerable. With me, it's like, 'Come on, let's go!' I think everybody likes to see people who enjoy what they're doing."
Musical Numbers
ACT I
OVERTURE KEEPING THE CUSTOMERS SATISFIED (Paul Simon) LOVE IS HERE TO STAY (George Gershwin, Ira Gershwin) RUMANIA, RUMANIA (A. Lebedeff) ANTHONY NEWLEY MEDLEY: ONCE IN A LIFETIME GONNA BUILD A MOUNTAIN LOOK AT THAT FACE SOMEONE NICE LIKE YOU WHAT KIND OF FOOL AM I? WHO CAN I TURN TO? GONNA BUILD A MOUNTAIN (Reprise) (Anthony Newley, Leslie Bricusse) GEORGE M. COHAN MEDLEY: GIVE MY REGARDS TO BROADWAY HARRIGAN YOU'RE A GRAND OLD FLAG YANKEE DOODLE BOY (George M. Cohan) |
ACT II
LEAN ON ME (Bill Withers) DOODLE DOO DOO (A. Kassel, M. Stitzel) HAPPINESS IS A THING CALLED JOE (Harold Arlen, E.Y. Harburg) "CABARET" MEDLEY: WILLKOMMEN THE MONEY SONG (John Kander, Fred Ebb) FOR ALL WE KNOW (A. James, F. Karlin, R. Wilson) FINAL BOWS: FOR ALL WE KNOW (A. James, F. Karlin, R. Wilson) |
Recordings
The album was recorded at Carnegie Hall, New York City, September, 1979. This 11-night concert appearance marked the longest running consecutive engagement for any one performer in the history of Carnegie Hall.
::::::
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JOEL GREY - JOEL GREY LIVE
(1973) Side One: 01. Overture 02. Keeping The Customers Satisfied 03. Love Is Here To Stay 04. Rumania, Rumania 05. Anthony Newley Medley: Once In A Lifetime Gonna Build A Mountain Look At That Face Someone Nice Like You What Kind Of Fool Am I? Who Can I Turn To? Gonna Build A Mountain (Reprise) 06. George M. Cohan Medley: Give My Regards To Broadway Harrigan You're A Grand Old Flag Yankee Doodle Boy Side Two: 01. Lean On Me 02. Doodle Doo Doo 03. Happiness Is A Thing Called Joe 04. "Cabaret" Medey Willkommen The Money Song 05. For All We Know 06. Final Bows: For All We Know |
As Liza wasn't currently under contract with any record label at the time of the performance, she saw to it personally to have the performances recorded for both posterity and so that her sales profits would be larger than if she went with a more commercial company. As Liza was at one of the vocal pinnacles of her career, she felt strongly enough to fight to get this album released, even though without a record label backing her, it took two years to succeed.
She begun selling the two-record set at her shows beginning at the Garden State Arts Center in Holmdel, New Jersey on August 19, 1981. Earlier at the end of June, the set had been shipped to her Houston, Texas concerts, but it was discovered that the Warhol painting on the cover was printed incorrectly; they'd printed Liza's skin as purple. The jackets were re-printed, and to date, the purple version is not known to have ever surfaced.
The album was only produced in very limited production, and while the album continued to be sold at her concerts throughout the autumn of 1981, there was only a very limited distribution to stores before it ceased production.
Liza eventually toured with her Carnegie Hall show. When she was in New Orleans she had her performance videotaped for cable television airplay.
She begun selling the two-record set at her shows beginning at the Garden State Arts Center in Holmdel, New Jersey on August 19, 1981. Earlier at the end of June, the set had been shipped to her Houston, Texas concerts, but it was discovered that the Warhol painting on the cover was printed incorrectly; they'd printed Liza's skin as purple. The jackets were re-printed, and to date, the purple version is not known to have ever surfaced.
The album was only produced in very limited production, and while the album continued to be sold at her concerts throughout the autumn of 1981, there was only a very limited distribution to stores before it ceased production.
Liza eventually toured with her Carnegie Hall show. When she was in New Orleans she had her performance videotaped for cable television airplay.
About the ALBUM
"…an unforgettable evening"
Reissue producer David Foil in the CD booklet of the re-release
Reissue producer David Foil in the CD booklet of the re-release
"Liza Minnelli - Live At Carnegie Hall" was the first of two Carnegie Hall albums that would be released by Minnelli; this one being from September of 1979, and the other from 1987. It was produced by Hank Cattaneo and Bill LaVorgna - the latter of which would also remain Liza's drummer and musical conductor for the next 30+ years until his sudden passing.
Although the performance was recorded in 1979, the general public would not see it for another two years - it wasn't released until August 1981 by Altel Sound Systems, Inc., 461 Park Avenue South, New York, New York 10016.
The album packaging was produced by Ash/LeDonne, Inc., and supervised by Scott H. Mauro. The cover of this album should be instantly recognizable to most as having been designed by the one and only Andy Warhol.
Although the performance was recorded in 1979, the general public would not see it for another two years - it wasn't released until August 1981 by Altel Sound Systems, Inc., 461 Park Avenue South, New York, New York 10016.
The album packaging was produced by Ash/LeDonne, Inc., and supervised by Scott H. Mauro. The cover of this album should be instantly recognizable to most as having been designed by the one and only Andy Warhol.
"Ring Them Bells: Liza Minnelli’s Triumphant 'Live at the Winter Garden' Expanded For CD Premiere"
www.theseconddisc.com
www.theseconddisc.com
Liza Minnelli turns 66 today, and could rightfully relax, look back and celebrate over six decades in show business. But the daughter of Judy Garland and Vincente Minnelli, who made her first onscreen appearance as a baby in 1949’s MGM extravaganza IN THE GOOD OLD SUMMERTIME, has never been one to rest on her considerable laurels. Minnelli is still touring, recording and doing what she does best: entertaining, whether on the big screen (SEX AND THE CITY 2), the small screen (ARRESTED DEVELOPMENT) or onstage. Masterworks Broadway will, on April 3, give the deluxe treatment to one of the few milestones in Minnelli’s career not previously revisited: "Live At The Winter Garden".
In 1974, the multi-hyphenate talent was riding high, having taken home a Best Actress Academy Award for her incendiary performance as Sally Bowles in Bob Fosse’s film version of CABARET, as well as an Emmy Award for Outstanding Single Program – Variety and Popular Music for LIZA WITH A "Z" also helmed by the visionary Fosse. So it was probably inevitable that Minnelli and Fosse would reteam in their natural habitat: onstage.
Liza Minnelli, just 27 years old and already a superstar, took the stage at Broadway’s Winter Garden Theatre (today the home of MAMMA MIA!) on January 6, 1974 for a series of 24 sold-out concerts, setting a house record at the venerable theatre. The concert itself, directed and co-choreographed by Fosse, was simply entitled LIZA, and there was no doubt of the surname. Columbia Records, to which Minnelli had recently been signed, was on hand to record the event. It boasted special material by longtime friends John Kander and Fred Ebb (CABARET, CHICAGO) and musical coordination by another Academy Award winner, Marvin Hamlisch. Columbia released the album in April when the shows were still fresh in fans’ minds, but the original LP was soon withdrawn due to legal wrangling with the rights holders to the CABARET soundtrack, unhappy that Minnelli’s famous songs from the film were now available on a competing release.
Now, "Live At The Winter Garden" is back, expanded with three live bonus tracks from the same concerts: Stevie Wonder’s “You And I,” as well as the classic standards “It Had To Be You” and “My Shining Hour.” […]
Chances are, many fans will too find it lovely to have the original Phil Ramone-engineered album finally remastered on CD. Minnelli’s eclectic repertoire for the LP includes Kander and Ebb favorites plus pop hits such as Johnny Nash’s “I Can See Clearly Now,” smoky Charles Aznavour chansons “And I In My Chair” and “There is a Time,” and even Gordon Lightfoot’s “If You Could Read My Mind.”
Liza with a “Z” was rewarded with a Special Tony Award for her LIZA concerts, awarded for “adding luster to the Broadway season.” That luster is captured on "Live At The Winter Garden". […] Happy Birthday, Miss Minnelli!
In 1974, the multi-hyphenate talent was riding high, having taken home a Best Actress Academy Award for her incendiary performance as Sally Bowles in Bob Fosse’s film version of CABARET, as well as an Emmy Award for Outstanding Single Program – Variety and Popular Music for LIZA WITH A "Z" also helmed by the visionary Fosse. So it was probably inevitable that Minnelli and Fosse would reteam in their natural habitat: onstage.
Liza Minnelli, just 27 years old and already a superstar, took the stage at Broadway’s Winter Garden Theatre (today the home of MAMMA MIA!) on January 6, 1974 for a series of 24 sold-out concerts, setting a house record at the venerable theatre. The concert itself, directed and co-choreographed by Fosse, was simply entitled LIZA, and there was no doubt of the surname. Columbia Records, to which Minnelli had recently been signed, was on hand to record the event. It boasted special material by longtime friends John Kander and Fred Ebb (CABARET, CHICAGO) and musical coordination by another Academy Award winner, Marvin Hamlisch. Columbia released the album in April when the shows were still fresh in fans’ minds, but the original LP was soon withdrawn due to legal wrangling with the rights holders to the CABARET soundtrack, unhappy that Minnelli’s famous songs from the film were now available on a competing release.
Now, "Live At The Winter Garden" is back, expanded with three live bonus tracks from the same concerts: Stevie Wonder’s “You And I,” as well as the classic standards “It Had To Be You” and “My Shining Hour.” […]
Chances are, many fans will too find it lovely to have the original Phil Ramone-engineered album finally remastered on CD. Minnelli’s eclectic repertoire for the LP includes Kander and Ebb favorites plus pop hits such as Johnny Nash’s “I Can See Clearly Now,” smoky Charles Aznavour chansons “And I In My Chair” and “There is a Time,” and even Gordon Lightfoot’s “If You Could Read My Mind.”
Liza with a “Z” was rewarded with a Special Tony Award for her LIZA concerts, awarded for “adding luster to the Broadway season.” That luster is captured on "Live At The Winter Garden". […] Happy Birthday, Miss Minnelli!
Press & Reviews
"Nightclubs are coming back …one good reason is the fast-footed singer-dancer Joel Grey"
Time Magazine
Time Magazine
"…if there were an Oscar or Tony for nightclub performances, Joel Grey would win hands down"
Cue Magazine
Cue Magazine
"…a complete entertainer..."
New York Times
New York Times
"…an entertainer par excellence, a powerhouse of talent and energy..."
Billboard
Billboard
"…the best pro..."
Earl Wilson
Earl Wilson
"…the standing ovation for Joel Grey, whose CABARET, 'George M. Cohan,' 'Anthony Newley,' 'Doodle Doo Doo,' and Bill Withers rock number 'Lean On Me,' caused fans to scream that he's the best pro..."
"…a standing ovation which was genuine and extended"
Bergen Record
Bergen Record
"It's the kind of act that blends the ingredients of the sweeping, highly entertaining vaudeville razzle-dazzle with a dash of modern music and memorable Broadway show tunes, a hunk of the sentimentality of the Gershwin music, and, of course a medley of the numbers he made unforgettable from CABARET"
"...a show-stopper …an impeccable professional and smashing performance"
Chicago Tribune
Chicago Tribune
"…electrifying …far and away the best nightclub act I've ever seen"
Newsday
Newsday
"…singing, clowning, strutting, tap dancing… this is showmanship in the tradition of Cohan, Jolson and Garland …quite simply the finest song and dance man going..."
"…a top song-and-dance man… a thoroughly coordinated, beautifully synchronized entertainer"
Los Angeles Times
Los Angeles Times
"…a bewitching, hypnotic artist… enchanting and charming"
L.A. Herald-Examiner
L.A. Herald-Examiner
"…a rarely gifted entertainer"
San Francisco Chronicle
San Francisco Chronicle
"…a breathtaking rush of singing and dancing interspersed with split-second costume changes - from George M. Cohan, always the show-stopper, to the matchless compere who made CABARET the great film it is.
Joel Grey makes the effect greater than the sum of its parts… it comes back to charm and the ability to make an audience care about you …he got exactly what he deserved: a standing ovation. A more graceful, enchanting, impeccably professional act simply does not exist."
Joel Grey makes the effect greater than the sum of its parts… it comes back to charm and the ability to make an audience care about you …he got exactly what he deserved: a standing ovation. A more graceful, enchanting, impeccably professional act simply does not exist."