Way back in 1980 in NYC, I was on tour with Christopher Cross. We were in NYC to play Radio City Music Hall (another story!!) We had played the night before, on The Tomorrow Show, with Tom Snyder. The Warner Brothers Rep took us all in limos to Elaine’s, the storied and excellent restaurant in the middle of the theatre district. Elaine’s was a New York City institution since opening in 1963 and remained one until it closed in 2011. Popular with celebrities and the social set, fans and photographers would frequently crowd the sides of the yellow awning just to sneak a peak at who was entering and exiting those signature wooden doors.

We were all seated at tables. I spotted James Garner and Lauren Bacall, seated at a table in the corner, and suggested to Chris to send them a note. I don’t know what was in the note, but James Garner came over right away, and talking to Chris, said he’d seen us on TV the night before. He said he’d been a big investor in Warner Brothers (soon to be Warner Communications) since his “Maverick” TV show. He suggested we all eat together. Elaine’s pushed several tables together. I remember making a beeline to sit next to Lauren Bacall. We must have chatted for 30 minutes! She was so gracious, and asked me all about my career. I told her how much a fan I was of hers. She and Garner were working on “The Fan”, a 1981 American psychological thriller film directed by Edward Bianchi, and starring Lauren Bacall, Michael Biehn, James Garner and Maureen Stapleton. They were eating before going to a Broadway show. They needed to get to the theatre, and I distinctly remember James Garner pulled a big roll of $100 dollar bills out of his pocket, wrapped in a rubber band. The Warner Brothers Rep grabbed the bill, but Garner tipped Elaine’s staff.  I remember how he peeled off $100s like he was a professional gambler. Just steps outside the famous wooden doors and awning of Elaine’s was a limo waiting for Garner and Bacall, doorman holding the doors open. They whisked off and were gone. A super NYC memory!!

I was interviewed for an upcoming book about the Paramount Theatre’s 100 year anniversary.

My father (yes! my father!) was born in 1889, and was musical director at the Paramount a century ago, 40 years before I was born.I have been a performer, arranger, and frequent guest at the Paramount since my college days. I saw Miles Davis there!
I was interviewed by Terri Schexnayder, who authored the 100 year anniversary history of the Paramount. We chatted about the following:
My dad was musical director, orchestra conductor, and principal violinist for silent movies and vaudeville at the Paramount (then called the Majestic) during its first years in existence. He contributed to the entertainment and culture of early Austin.
As his son, and performing artist/composer at the Paramount I have been arranger for the 2000 production of Jesus Christ Superstar, the Broadway shows “Nunsense 1 & 2” with Joe Ann Worley, and “Together Again” Sid Caesar and Imogene Coca. In 2014, I was principal pianist for Philip Glass’ “Icarus At The Edge Of Time” 33 piece orchestra w film. Notably, I performed in live orchestra performances of original scores to famous silent movies, with Gilian Anderson (not X-Files!) “Wings”, “Birth Of A Nation”, “Nosferatu”, and “Robin Hood”. These historic and great early movies were shown at the same time my father was conductor, and in the same Paramount Theatre I am performing nearly 100 years later!

And at the 100 year Centennial I was honored as a VIP. My son Milo and I attended.

Paramount Theatre holds amazing memories for me, and I am honored to be part of their rich history in Austin culture. I contributed the following to the book:

FULL CIRCLE
Every time I come to the Paramount, to attend an event, or working as a music professional, I feel a connection with the past, with my dad a hundred years ago, with Austin in its early days, and with all the great artistic endeavors and creativity that have been presented here. There is a spiritual delight and pleasure here. I feel it every time. It’s in every seat in the house!
I see my father here, 100 years ago, rehearsing the orchestra, walking backstage and downstairs to the green room, or under the bright lights onstage during showtime. He is conducting, performing, laughing, and living here, bringing music to life, 35 years before I was even born.
I hope when I perform at the Paramount, I connect today’s audiences with different times in Austin’s culture, in the way that only music does, bringing the old to new generations of ears…. FULL CIRCLE.

P.S.
I especially want to thank my friend, John Bernardoni, the Co-Founder that conceived the restoration and rejuvenation of the Paramount Theatre in Austin, Texas – a Texas Landmark and listed on the National Registry of Historic Places, and who served as director from 1975 to 1985. I played at his wedding! John loves jazz, and came out often to hear me at Sullivan’s.
Read about his early struggles to save the Paramount:
Dave Brubeck and Sons – Inaugural Show – February 1975 – Paramount Theatre – Austin
I went to this show!

This is a letter to my father, thanking him for his contributions to the culture and entertainment in Austin, from Majestic Theatre (now the Paramount) Executive Director Faulkner. Check the date!

for my students (and anybody else interested) this is a modern setup for a pit orchestra keyboardist at a live Broadway show. Obviously, besides being a solid pianist, and ensemble player (and jazzer, too!) you have be technically proficient on a number of other skills. This Show is “Beautiful – The Carol King Musical” – full of 60’s and 70’s rock and ballads. I performed at — at Bass Concert Hall in Austin, TX.

The pit is below the stage, and all musicians have headphones, and video attached to their music stands. It’s a band, and an orchestra.

The app MainStage, runs on a MacBook Pro, and manages all the pedals, sounds, keyboard, volumes, basically everything.

Above the music stands (wide enough to open up to 8 pages) are 2 video monitors. One lets you see the live conductor, the other is a video feed from the stage for synchronizing to the actors and singers.

Smart Feet: You basically keep your left foot on the volume pedal, right foot between the Sustain and Patch forward. And occasionally to switch the Organ Leslie on/off. In case of error, you can Patch back (ex. if you press Patch forward accidentally)

Charts are very clear about exact volume levels, and when there are Patch Changes, and Leslie switches, and keytouches. Beside being a pianist and playing the music, you need to be a good navigator of all the extra-musical instructions.

Special setups for organ sounds to be dirty, glassy, tonal envelopes can be switched by touching a key. The very bottom key is orange, and acts as a Panic Key, if some notes gets stuck and you can’t stop anything, this key will clear all patches and stuck notes. (It happens!)

MainStage controls all keyboard sounds in a sequence for the show. Footpedals move forward or backwards one step at a time. Volume pedal goes from 0-127 on the right. Organ Leslie switches on/off. and Sustain pedal, all are connected.

Pre show for “Beautiful: The Carol King Musical” — with Eric Johnson, Paul Deemer, John Mills and Paul Baker at Bass Concert Hall. These musicians are 1st call in every town for these road shows. A national tour can go on for 2 or more years.