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Does Show Tunes   Sound Samples:
Don't Cry For Me Argentina (MP3)
If I Loved You (MP3)
New York, New York (MP3)
USA

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SONGMUSIC/LYRICS
Don't Cry For Me Argentina: Sound Sample (Evita, 1978) Andrew Lloyd-Webber & Timothy Rice
If Ever I Would Leave You (Camelot, 1960) Alan Jay Lerner & Frederick Lowe
How Are Things In Glocca Morra? (Finian's Rainbow, 1947) Burton Lane & E.Y. Harburg
If I Loved You: Sound Sample (Carousel, 1949) Richard Rodgers & Oscar Hammerstein II
New York, New York: Sound Sample (New York, New York, 1977) John Kander & Fred Ebb
They Say It's Wonderful (Annie Get Your Gun, 1946) Irving Berlin
Anyone Can Whistle (Anyone Can Whistle, 1964) Stephen Sondheim
Send In The Clowns (A Little Night Music, 1973) Stephen Sondheim
Soon It's Gonna Rain / Try To Remember (The Fantasticks, 1960) Tom Jones & Harvey Schmidt
One (Singular Sensation) / What I Did For Love (A Chorus Line, 1975) Marvin Hamlisch & Edward Kleban
Sunrise, Sunset (Fiddler On The Roof, 1964) Jerry Bock & Sheldon Harnick
Music Of The Night (The Phantom of the Opera, 1986) Andrew Lloyd Webber, Charles Hart & Richard Stilgoe
All I Ask Of You (The Phantom of the Opera, 1986) Andrew Lloyd Webber, Charles Hart & Richard Stilgoe
Stranger In Paradise / Baubles, Bangles and Beads (Kismet, 1953) Robert Wright & George Forrest - Adapted from themes of Alexander Borodin
Ain't Misbehavin' / I've Got A Feeling I'm Falling / Honeysuckle Rose (Ain't Misbehavin', 1978) Thomas "Fats" Waller, Harry Brooks, & Andy Razaf

Jim Haskins continues to celebrate memorable melodies from the world's most gifted tunesmiths. This time he spotlights a selection of revered tunes first introduced in outstanding musical productions in New York, London, and Hollywood.

His uniquely appealing, soft and subtly sophisticated style was honed during the decades when "Broadway" and Hollywood" conjured the most glamorous and seductive images imaginable. While much of the show biz glitz of those days may have glorified superficialities, there emerged a core of great musicals that live on and on.

The masterpieces of musical theater are distinguished by an authenticity of feeling that is universal, recognizable and familiar to the average person. This feeling is established through the music—largely the songs—of the show. At the end of the day, the shows that are loved—and therefore live—are remembered by their songs, production spectacle notwithstanding.

Jim Haskins' show tune choices unfold with a characteristic resonance, rich and satisfying. He shapes a group of musically varied numbers into a seamless whole displaying a definitively civilized delivery—both reflective and relaxing. While most of the melodies have tender, romantic roots, all are stylish.

Numbers that may be big, bold, and brassy on stage slip smartly into the gentler, quieter cocktail piano mode. Interesting harmonic progressions refresh this dominantly melodic line. Never assertive, his lyrical and dreamy approach allows the music to waft its way through space and time, insinuating its pleasure—and its power—almost inperceptively. It readies a place for precious moments; it opens the place where memories are kept. Lean back, let go, allow the music to take you there....

—Mazeppa King Costa

FROM THE ARTIST
It is, I think, fitting to have a solo piano showing of great song hits of musical theater, because something rather like a parent/child relationship exists between the piano and show music. Almost inevitably, show tunes are born at the piano. It is the piano that affords the show tune its very first audience, usually some combination of the production family—composer, lyricist, producer, director, cast, choreographer, financial backers. From George Gershwin to Andrew Lloyd Webber, it has been traditional for composers to demonstrate new works at the piano. Typically, a group convenes in a highly charged atmosphere of suspenseful anticipation in a largely dark theater, where a rehearsal piano on a bare stage delivers the new-born music that may have the potential to make hearts sing for generations.

Tunes in this collection have passed the test. Each was born as a single but integral part of a full and complex, multi-number production of stage or screen. As such, each has had a smash-hit-quality life. Some have enjoyed revivals; others are still running after years on stage. And each—even as the newer ones—has moved well beyond the show that launched it, to achieve an independent life in the world of popular music, via a wide variety of media—tapes, compact discs, radio, television, video cassettes, video discs, sheet music, supper clubs, and cabaret performances—reaching millions internationally.

It is well to note that although each show tune here is from a New York, London, or Hollywood musical written for and performed by an orchestra plus one or more singers, the music itself is amply strong to stand alone, without lyrics, to work its magic as a piano solo.

I think you're going to find these show tunes an ideal match for cocktail piano.

—Jim Haskins

Try out the sound samples, order a copy, and plan your next party.

Cocktail Piano I

Cocktail Piano II

Cocktail Piano III

Cocktail Piano IV

Cocktail Piano V

Cocktail Piano VI

Cocktail Piano VII

"By Request" Cocktail Piano 8

"You Must Believe In Spring" Cocktail Piano 9

"Sentimental Journey" Cocktail Piano 10

"When October Goes" Cocktail Piano 11

"Four Seasons" Cocktail Piano 12

"A Time For Love" Cocktail Piano 13

“So Nice To Come To” Cocktail Piano 14

“NEW YORK, NEW YORK” Cocktail Piano 15"Our Newest"

Does Show Tunes

Remembers Songs of WWII

Christmas Piano

Goes to the Movies

Salutes the 70s

NEW Discount package for any 15 albums "The Greatest Generation Collection"


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