by Peter Cates

Former New York Gov. Thomas Dewey

Thomas Dewey

Former New York Governor Thomas Dewey (1902-1971) has been pretty much tossed in the dumpster of 20th century ancient American history, except for brief mentions as the Re­pub­lican opponent of FDR – Franklin Delano Roosevelt – in 1944 and of Harry S Truman, in 1948, (the photo of smiling Harry holding the New York Times cover story, Dewey Beats Truman, when that News that’s Fit to Print institution called the race a bit too early, has reappeared zillions of times in history books as a quite telling example of “losers” getting the last laugh).

To Dewey’s credit, his work as a prosecutor during the 1930s smashed the Murder Incorporated crime syndicate and sent its leader Lepke Buchalter to the electric chair in 1944.

Dutch Schultz attempted to murder Dewey in 1935, despite orders not to from the mob leadership, which resulted in his own death soon after by a hit man while using the restroom in a Newark, New Jersey, bar .

Lucky Luciano was successfully prosecuted by Dewey for his prostitution rackets, later commenting how much he detested Dewey for “making him a gangster in the public’s eye.”

As a presidential candidate, Dewey campaigned on a carefully blended mix of “pay as you go liberalism and compassionate liberalism. ” During the 1950s, Dewey exerted powerful influence in the Republican party and his backing of Eisenhower helped much in the 1953 White House victory.

A quite interesting 1975 book, The Best Years 1945-1950, has a chapter, “The GOP: Dewey, Again, ” in which author Joseph C. Goulden casts a not so favorable light on his insufferable arrogance. Dewey divided people into two groups – those “who could help him politically; and the press, servants and lesser public.”

Goulden writes one paragraph that conveys just how despicable Dewey could be:

“Warren Moscow, a political writer for the New York Times who knew Dewey well, said of him, ‘Mr. Dewey is a strange character – or perhaps I might say, he’s a strange lack of character. ‘ According to Moscow, soon after Dewey became governor he received a report about an outbreak of amoebic dysentery at a state mental hospital. One patient had already died. A legislative leader asked Dewey privately what he intended to do. Dewey replied, ‘Oh, we’ll let it slide a bit, let it coast for a little while, and then we’ll make a bigger splurge when we clean it up.’ Seven deaths later Dewey acted, depicting the hospital situation as ‘typical of twenty years of dry rot and incompetence’ of preceding Democratic administrations. ‘In my opinion,’ Moscow said, ‘it boils down to seven people dying so that Mr. Dewey could get his name in bigger headlines.’ “

My first awareness of Thomas Dewey came via a 1960 Look magazine with a photo gallery on its front cover of six famous political leaders – FDR, Truman, Eisenhower, Nelson Rockefeller, then-Massachusetts Senator John Fitzgerald Kennedy and Dewey with his own beaming smile and little black mustache.

Marguerite Matzenauer
Pasquale Amato

M. Metzenauer

Donizetti: La Favorita – “Ah! L’alto armor (Oh, Love)”; Pasquale Amato, baritone, and Marguerite Matz­enauer, soprano; Victrola Red Seal 89062, one-sided 12-inch acoustic shellac disc, recorded 1912.

Soprano Matzenauer (1881-1963) was a native of Timisoara, Romania, and sung in a number of Italian and German operas at the Met during the World War I years. She also had a phenomenal memory and learned the very demanding role of Kundry for a production of Wagner’s opera Parsifal on short notice.

Italian baritone Amato (1878-1942) appeared at Milan’s La Scala in 1907 in several successful productions conducted by Arturo Toscanini and followed the Maestro to the Met when the latter became Music Director in 1908, Amato remaining there until 1921. During the mid-’30s, he landed a job teaching voice at Louisiana State University.

Both singers left a sizable number of recordings. Their 1912 collaboration in a love duet from Donizetti’s richly melodic opera La Favorita, despite the acoustic sound, is one very exquisite example of blended vocalism with each doing solo turns. This performance can be heard via YouTube and, for connoisseurs of fine operatic singing, is most highly recommended.

John Capodice

John Capodice

During season 8 of the series CSI, accessible without commercials on Hulu, character actor John Capodice (1941-2024) did a skilled performance in a recurring role as a Las Vegas mobster Gedda who has several police officers, prosecutors and judges on his payroll. Just the manner in which Gedda eyeballs different individuals with undesirable attention is something to watch.

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by Peter Cates

Al Jolson

Al Jolson – Tell That To The Marines (recorded September 10, 1918); Arthur Fields – You Can’t Beat Us (If It Takes Ten Million More, recorded September 19, 1918). Columbia A2657, ten-inch acoustic shellac disc.

Al Jolson

Born in Lithuania to a Jewish family, Asa Yoelson (1886-1950), better known as Al Jolson, was a singer who had extraordinary stage presence, vocal power and delivery, and would become extremely successful through stage, film, radio, records and touring.

His mid-’40s Decca 78s were my first exposure to him back during the early ‘60s, in particular his feisty renditions of George and Ira Gershwin’s classic song Swanee River, and Back In Your Own Backyard.

I also have memories of Jolson’s appearance in a 1939 biopic of songwriter Stephen Foster, also titled Swanee River, with Don Ameche.

Jolson starred in the 1927 film, Jazz Singer, which was the first talkie. His frequent appearances in blackface ironically generated respect from African-Americans, a controversy that will not be addressed here.

Tell That To The Marines was also written by Jolson and it is a very enjoyable example of World War I patriotic music, similar to George M. Cohan’s classic Over There.

After a grueling series of concerts entertaining troops overseas fighting in the Korean War, Al Jolson died of a massive heart attack while playing cards with friends at his New York City hotel suite. He was 64.

Side 2’s You Can’t Beat Us is also a stirring WWI ditty. Born Abraham Finkelstein in Philadelphia, baritone Arthur Fields (1884-1953) started recording in 1914 and was the first white singer to perform with an African-American band when he was hired ragtime pianist Ford Dabney.

After a generally successful career, Fields suffered a stroke in early 1953 and was living in a Florida nursing home, in Largo, Florida, where a fire broke out and he and several others perished.

Both selections are available on YouTube.

Christmas Music

Christmas Organ and Chimes – Merlin; Grand Prix KX-4, 12-inch LP, recorded circa 1960.

Usually a little bit of Christmas music on the pop organ and chimes goes a long way. This particular LP from well over 60 years ago and from one of the 87-cent dimestore labels has musicianship, character and intelligence, O Holy Night, Joy To The World and Come All Ye Faithful being given a nicely arranged exquisite treatment.

Information on the very good organist Merlin seems to be non-existent.

Joanna Cassidy

Joanna Cassidy

Still living at 79, actress Joanna Cassidy did good work in a recurring role as Mena Pride, mother of the lead investigator Dewayne Pride between 2019 and 2021, who is suffering from dementia. The range of detail Cassidy brought to her role, including ladylike poise, elegance, dignity, distress, anger and despair was one powerful example of how to craft a performance on film.

Maine Speaks

The anthology Maine Speaks has a poem, Aye! No Monuments, by Rita Joe (1932-2007) who was designated Poet Laureate of the native American Micmacs, who have over 1,500 members residing in Aroostook County (Miss Joe lived most of her life in Nova Scotia.).

It celebrates the wondrous majesty of the Maine and Eastern Canada landscape where so many of her ancestors lived and worked:

“Aye! no Monuments,
No literature,
No scrolls or canvas-drawn pictures
Relate the wonders of our yesterday.

How frustrated the searching
of the educators.

Let them find
Land names,
Titles of seas,
Rivers;
Wipe them not from memory.
These are our monuments.

Breathtaking views-
Waterfalls on a mountain,
Fast flowing rivers.
These are our sketches
Committed to our memory.
Scholars, you will find our art
In names and scenery,
Betrothed to the Indian
since time began.”

by Peter Cates

Fred Gaisberg

Fred Gaisberg

For collectors of the early shellac 78s, the 1999 biography, Sound Revolutions by Jerrold Northrop Moore is a fascinating biography of recording pioneer Fred Gaisberg (1873-1951) who, from 1894 when he landed employment at the Berliner Gramophone Company (later to become EMI) to his retirement in 1939, would develop a massive catalog of recordings of many of the world’s finest musicians and singers- Caruso, Chaliapin, Heifetz, Rubinstein, Paderewski, Kreisler etcs.

Prior to the 1930s, the artists were mainly recording short selections – operatic arias, piano and violin pieces and single movements from Symphonies and String Quartets.

Then Gaisberg started seeing the potential for complete Symphonies, Concertos, Sonatas if the right artists were matched to the repertoire and the financing provided through advance subscription from interested collectors.

Two notable projects were the Beethoven Society complete Sonatas and Concertos recorded by pianist Artur Schnabel and the Sibelius Society sets of all seven Symphonies of the Finnish composer.

In 1930, Bruno Walter (1876-1962) recommended that Sir Malcolm Sargent (1894-1967) engage Schnabel for a series of concerts in London. Prior to that, Schnabel was known mainly as a highly respected teacher at a Berlin Music School.

The pianist achieved success immediately and acquired a huge following as an interpreter of Beethoven’s 32 Sonatas and five Concertos.

A large number of Schnabel 78s and LP reissues here at the house reveal a pianist who played those Beethoven works like no other pianist, no matter how gifted otherwise. The sense of spirited freedom, rollicking rhythm, rapid playful tempos and an uncanny ability to gauge the emotions behind the notes could be heard in the Emperor Concerto’s first movement where Schnabel’s fingers were dancing on the keyboard.

Gaisberg wrote about his initial encounters with the pianist:

“It was given out that Schnabel would never stoop to recording as he considered it impossible for a mere machine to reproduce the dynamics of his playing faithfully. Therefore, when I interviewed him he was coy, but all the same prepared to put his theory to the test, though he would need a lot of convincing. At long last I was able to overcome all his prejudice. Tempted by a nice fat guarantee, he eventually agreed that it was possible to his ideals with machinery.”

Bruno Walter

The biography is loaded with other anecdotes. The inventor of the flat disc and owner of the Berliner Gramophone Company, Emile Berliner (1851-1929) was recorded around 1894 reciting the Lord’s Prayer and Twinkle, Twinkle Little Star in, as described by Gaisberg, “in his typically broken guttural English!”

Just before the Nazi takeovers of Czechoslovakia and Austria, Gaisberg produced two legendary recordings:

In April 1937, he was in Prague to record the Dvorak Cello Concerto with Pablo Casals (1876-1973) and George Szell (1897-1970) directing the Czech Philharmonic.

January 1938, had Gaisberg in Vienna to record a live concert featuring Bruno Walter conducting the Vienna Philharmonic in Mahler’s 9th Symphony.

A retirement banquet for Gaisberg at London’s Savoy Hotel on April 21, 1939, had an honor roll of almost 70 guests from the musical world including most of the ones listed above. He lived long enough to see the first releases of the LP in 1948 and of the 45 rpm in 1949.

Fred Gaisberg died in his sleep on September 2, 1951.

by Peter Cates

Palace Records

Grieg 2nd Peer Gynt Suite and Liszt 1st Piano Concerto; Kurt Baumann conducting the Viennese Symphonic Orchestra; Palace PST-610, 12-inch stereo LP released mid-1950s.

Palace was one of many record labels that came and went during the 1950s. The jacket had a list price of $4.98 which was the usual retail price for stereo releases on major labels – RCA, Columbia, Capitol , Atlantic, MGM, Decca etc. – and which listed the real names of artists, not pseudonyms such as the non-existent Kurt Baumann and the so-called Viennese Symphonic Orchestra, which were often the practices of the dime store record labels.

However, despite the lack of information on the conductor, the orchestra and, with respect to the Liszt Concerto, the pianist (not even a fake name), the performances of both works were very exciting and the recorded sound quite good.

Taj Mahal

Taj Mahal

Taj Mahal – Recycling the Blues and Other Related Stuff; Columbia KC 31605, t12-inch stereo LP, recorded 1972.

Still living at 82, Henry St. Claire Fredericks Jr., better known by the stage name of Taj Mahal, is a multi-talented instrumentalist, singer, songwriter, etc., who could be labeled a blues singer but such a categorization would be a mistake.

Mahal has always been inspired by world music from Hawaii, the South Pacific and Caribbean, India, Africa and elsewhere as well as jazz and gospel, having been exposed to these influences from an early age by his parents owning a shortwave radio, Mahal’s mother singing in the church choir and both of them hosting friends who were jazz singers and musicians, including the great Ella Fitzgerald.

The title of this 1972 album, Recycling the Blues and Other Related Stuff, hints at these eclectic influences while song titles – Ricochet, A Free Song (Rise Up Children Shake the Devil Out of Your Soul), Cakewalk into Town, Sweet Home Chicago – hint at something more positive than the usual focus of the blues on mere misery and despair.

Among the several instruments Mahal has mastered are the piano, banjo, organ, steel guitar and harmonica.

Backup singers on this album include the Pointer Sisters.

Traditional bluesmen who plied the genre without Mahal’s multi-cultural interests have included the gifted B.B. King, John Lee Hooker, Robert Johnson, Bessie Smith, Albert King and Muddy Waters. However, back during the ‘70s when I worked in Boston record stores, I noticed that the records of these blues artists were more frequently bought by whites whereas the soul albums of the Ohio Players, Al Green, Marvin Gaye, Stevie Wonder, the Supremes, Temptations, Earth Wind and Fire, Four Tops and Ojays were purchased by African-Americans.

I inquired of an African-American colleague the reason; she replied that the blues artists were considered Uncle Toms by younger people whereas the contemporary soul singers were upbeat, assertive and even confrontational against the racism and other social injustices that unfortunately continue to exist a half century later.

by Peter Cates

Louise Dickinson Rich

Louise Dickinson Rich

The Coast of Maine by Louise Dickinson Rich (1903-1991) was first published in 1956 and subsequently revised in 1962 and 1970. Dipping in it, I came across the following:

“Considering its present and past eminence as a seaport, which always connotes-perhaps unfairly – sailors celebrating shore leave by bending the festive elbow, I think it is a little odd that Rockland, over a hundred years ago, organized the first Total Abstinence Society in America. I’m not talking about temperance now, but complete abstinence, an unheard-of thing at the time.”

“The tourist trade had its inception around 1870, when Bar Harbor, which was then little more than a collection of fishing shacks, was ‘discovered ‘, along with the other now well-known resort towns of the coast.”

Finally Kennebunk has a Unitarian Church containing a bell in its steeple that was cast by Paul Revere.

Rich’s book has numerous other anecdotes about past and, as of 1970, present Maine along with a number of striking black and white photographs by Samuel Chamberlain. For me personally, it lends itself better to browsing than cover to cover reading.

Sir Laurence Olivier

Sir Laurence Olivier

Sir Laurence Olivier (1907-1989) wrote in his autobiography Confessions of an Actor, published in 1982, of being asked to fire British actress Dame Edith Evans from a production he had directed in which she had the leading role because she was messing up her movements on stage, not remembering her lines and generally looking spaced out.

Feeling incapable of firing a much admired colleague and friend, Olivier strolled to the actress’s dressing room “to bluster it out with Edith”:

“As I was doling out the bubbling greetings of an old colleague, I caught sight of a pair of unworn eyelashes beside her makeup tray and burst out, ‘Edith, dear, why on earth didn’t you wear those?’ ‘Well, dear,’ she said, ‘I didn’t want to think of it as a performance!’

Preparing to drop “the bloody but necessary axe” if Edith still messed up, Olivier was much relieved when the actress delivered a much better “performance”, approaching her role as a “performance” and wearing the necessary eyelashes, and Olivier kept her on for the play’s entire run.

Olivier himself delivered a very memorable performance as the sadistic Nazi dentist Szell working on Dustin Hoffman’s teeth in the 1976 Marathon Man.

Dame Edith Evan

Other memorable roles were the earlier film classics Wuthering Heights, the suspenseful Rebecca directed by Alfred Hitchcock, Richard the Third with actress Claire Bloom and the Boys from Brazil as the Nazi hunter Simon Wiesenthal opposite Gregory Peck as another Nazi doctor.

Olivier’s second ex-wife, Vivian Leigh, (1913-1967) performed exceptionally as Scarlet O’Hara in 1939’s Gone with the Wind with Clark Gable’s Rhett Butler and Olivia de Haviland’s lovely Melanie Hamilton.

Olivier’s third wife and widow Joan Plowright, still living at 95, delivered a sterling performance in the 2005 Mrs. Palfrey at the Claremont.

Olivier speaks of the challenges for memorizing lines when one is past 60: “When the brain is at its clearest, probably in the early morning, is the best time for learning; when you’re young, late at night is all right – well, any time’s all right for anything when golden youth is yours.”