Rebecca Kilgore

Music Notes: Comings, goings, stayings

Year end round up of recent news and moves in Oregon classical and jazz music

Portland Opera has named Sue Dixon the company’s sixth general director, replacing Christopher Mattaliano, who departed in June after 16 years. She’s served the company in other capacities since 2014. PO also temporarily assigned Mattaliano’s artistic direction responsibilities to Palm Beach Opera’s Daniel Biaggi, who’ll serve as interim artistic director until a permanent AD is found. The opera recently announced its return to a September – May schedule, beginning with the 2020/2021 season, and a five-year strategic plan to modernize business practices, augment community engagement, and balance the company’s budget. 

Sue Dixon, Portland Opera's new general director. Photo by Gia Goodrich.
Sue Dixon, Portland Opera’s new general director. Photo by Gia Goodrich.

Portland Piano International has named renowned Russian-American pianist Vladimir Feltsman its next Guest Curator for the 2020 / 2021 season. He will also open the season, performing on October 3 & 4, 2020.

• The Oregon Symphony has appointed Brooklyn-based composer and singer-songwriter Gabriel Kahane to the newly-created post of Creative Chair. “In addition to writing and performing three substantial works over the next three seasons, Kahane will serve as an advisor for contemporary programming on the Classical series … and produce two new concert series: Open Music, a composer-driven chamber series held in smaller Portland venues, and an as yet unnamed indie concert series in which marquee pop artists will collaborate with dynamic composers and orchestrators,” the OSO press release announced.

Gabriel Kahane’s ‘emergency shelter intake form’ featured a “Chorus of Inconvenient Statistics.” From left: Holcombe Waller, Kahane, and Holland Andrews. Photo: Yi Yin.

Kahane’s emergency shelter intake form, co-commissioned by the orchestra, was a highlight of its previous season. In early December he presented the first of his new commissions (the world premiere of Pattern of the Rail, six orchestral settings from his 2018 album Book of Travelers, inspired by a cross country train trip through America following the contentious 2016 presidential election, and the premiere of the full orchestral version of “Empire Liquor Mart (9127 S. Figueroa St.)” from his moving 2014 album, The Ambassador).

• While artistic leaders come and go, the Eugene Symphony announced that its artistic director, Francesco Lecce-Chong, is staying, and has renewed his contract through 2023. In his two seasons at the helm, Lecce-Chong has undertaken a number of initiatives, the most promising being ESO’s First Symphony Project, co-commissioning (with his other orchestra, California’s Santa Rosa Symphony) four American orchestral works to be performed over the next four years, beginning with a new work from New York-based composer Matt Browne in March 2020.

Francesco Lecce-Chong conducting the Eugene Symphony Orchestra at the Hult Center.

• Eugene’s other major classical music institution, the Oregon Bach Festival, parted ways with its controversial executive director, Janelle McCoy, blaming the elimination of her position on university budget cuts. Earlier, the festival reversed her decision to replace the popular artistic director she reportedly chased away, Matthew Halls, with rotating curators and instead embarked on a search for an actual artistic director.

Oregon Mozart Players has appointed a new Executive Director, Daren Fuster. He comes to the Eugene chamber orchestra from Ohio’s Columbus Symphony. Kelly Kuo remains the organization’s Artistic Director.

Siletz Bay Music Festival has named Jain Sekuler, its stage manager and production coordinator for the last three years, as its new Executive Director. Yaacov Bergman continues as Artistic Director, a position he has held for ten years.

Resonance Ensemble board president Dinah Dodds died in September. The longtime Lewis & Clark College professor was a great friend to Oregon music. Resonance has set up the Dinah Dodds Fund for the Creation of New Art in her memory.

• Portland-based jazz legend Dave Frishberg is, happily, still with us, but the 86 year old composer/singer/pianist and his wife April need some help with medical issues, which you can provide here

• Frishberg was the first recipient of PDX Jazz‘s Portland Jazz Master award, in 2011. The organization just named the 2020 winner, the superb singer Rebecca Kilgore, who’s recorded with Frishberg and many other American jazz legends. Already a member of the Oregon Music Hall of Fame and Jazz Society of Oregon Hall of Fame, she’ll be honored during the PDX Jazz Festival’s February 27 event at The Old Church and perform with her trio the next day.

• Opera tenor Marcello Giordani, who made his American debut at Portland Opera in The Pearl Fishers and sang with the company several times under artistic director Robert Bailey before becoming a star at the Metropolitan Opera and Paris Operas and other major companies, has died in Sicily at age 56. 

• After 14 years running Central Oregon’s Sunriver Music Festival, executive director Pam Beezley is retiring at the end of the year, and the festival has launched a search to succeed her. 

•  Richard Lehnert, the respected longtime copyeditor of Stereophile, most recently at the magazine’s Ashland offices, has retired after 34 years, leaving behind a sweet reminiscence of his long tenure at one of the world’s leading music magazines.

Laurels & Shekels

Ethan Sperry conducts an Oregon Repertory Singers rehearsal at Portland State University. Photo by Paige Baker.
Ethan Sperry conducts an Oregon Repertory Singers rehearsal at Portland State University. Photo by Paige Baker.

•  Oregon Repertory Singers has won the 2019 American Prize in Choral Performance in the community chorus division. The major national performing arts prize is the latest earned by choirs directed by Ethan Sperry, the ORS artistic director who has also guided Portland State University’s choral singers to many national and international awards.

• Another Portland chorus, Sing Portland!, was the only adult choir from the US selected to perform at Carnegie Hall at a conference and three-day residency organized by Distinguished Concerts International New York that featured 500 singers from around the world. They’ll be returning in 2021. 

Sing Portland! at Distinguished Concerts International New York. Photo by Kristin Jacobson.
Sing Portland! at Distinguished Concerts International New York. Photo by Kristin Jacobson.

• The University of Oregon Chamber Choir won first place in the chamber choirs/vocal ensemble category at the Grand Prix of Nations in Gothenburg, Sweden, earlier this month, beating out 15 other choirs from around the world at one of Europe’s most prestigious choral competitions.

BRAVO Youth Orchestra trombonist Eric Acosta-Medina was among 100 students from around the country selected to perform in a July concert with the YOLA National Orchestra in Los Angeles’s Walt Disney Concert Hall conducted by Los Angeles Philharmonic Music Director Gustavo Dudamel. BRAVO is performing seven times around Portland in December.

• Portland’s Resonance Ensemble has been awarded a $100,000 grant from Oregon Community Foundation’s Creative Heights Initiative to help fund the world premiere of composer (and ArtsWatch contributor) Damien Geter’s An African American Requiem, which the choir commissioned and will perform with the Oregon Symphony on May 23 at Portland’s Arlene Schnitzer Concert Hall.

• Several music organizations received grants in the Oregon Cultural Trust’s 2020 grants:

Metropolitan Youth Symphony’s Music and Equity Program that addresses barriers to instrumental music for low-income youth;

Ethos Inc.’s rural outreach program Music Across Oregon;

My Voice Music’s artist mentorship after school programs for working families;

Phame Academy’s original rock opera;

Oregon Symphony’s programs for low income students (Kinderkonzerts, Young Peoples Concerts, Link Up, open rehearsals and Prelude Series);

Pacific Youth Choir’s expanded Neighborhood Choir for elementary school students;

Eugene Symphony’s youth music education programs;

Portland Youth Philharmonic’s touring program; 

Eugene-Springfield Youth Orchestras’ introductory strings classes;

Portland Jazz Composers Ensemble’s From Maxville to Vanport program;

Marilyn Keller with PJCE in ‘From Maxville to Vanport.’

Montavilla Jazz Festival’s program expansion;

Third Angle New Music’s upcoming Sanctuaries original chamber opera by Portland composer, arranger, educator and pianist Darrell Grant (last year’s winner of the Portland Jazz Master award that Becky Kilgore just won) with a libretto by two-time National Poetry Slam Champion Anis Mojgani and directed by Alexander Gedeon. Sanctuaries also scored a $25,000 from the New York-based MAP Fund, the only Oregon-based arts group to earn one of the 42 original live performance projects to receive that grant.

Chamber Music Northwest’s 50th anniversary season’s community outreach activities for resident ensembles;

Fear No Music’s “The F Word” concert;

In Mulieribus’s October concert commemorating the 400th anniversary of the birth of composer Barbara Strozzi;

and operational support for Portland Baroque Orchestra, Portland Columbia Symphony, Southern Oregon Repertory Singers, Eugene Opera, and Shedd Institute for the Arts.

Composer Jake Runestad discusses his new orchestral work World On Fire, commissioned by the Oregon Coast Music Festival, and inspired by the massive fires that swept over Oregon in 2017. It premiered in July at Coos Bay’s Marshfield High School Auditorium. 

Positive Developments

All Classical Portland announced a new Music Heals initiative, a comprehensive radio, web, and social media campaign designed to raise awareness of local organizations that are using music to heal and help connect community members to those resources. It follows on the public radio station’s 2017-18 Music Feeds campaign, which provided 53,538 meals to those in need in Oregon and SW Washington.

Portland’5 Centers for the Arts has partnered with KultureCity to make Arlene Schnitzer Concert Hall, Keller Auditorium, Newmark Theatre, Winningstad Theatre, and Brunish Theatre, and all of the programs and events that they host, to be sensory inclusive. Portland’5 staff received training and equipment to improve the listening experience for customers with autism, dementia, PTSD and other similar conditions.

Classical Music ain’t dead yet! If you have more news about Oregon music you’d like us to consider for these occasional roundups, or for other OAW coverage, please let us know at

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Seeing with fresh eyes

ArtsWatch’s Coast correspondent reflects on what she learned covering the arts in 2018

An editor once told me the best way to learn anything is to write about it. That lesson was driven home this year as I took on the beat covering arts on the Oregon Coast. Prior to that, I would have told you that, yes, the arts are alive and well on the edge of the Pacific. At other times, I could have been heard grumbling that there was nothing to do here. Then admitting, grudgingly, that even when there was, I didn’t do it. I might have said it was a case of “been there, done that.”

In truth, after so many years of covering breaking — often tragic — news, lightened by the occasional feature, and even then hamstrung by the rules of conventional journalism, I kind of forgot about art and just how much it encompasses. I forgot that art unites us, teaches us, makes us better people. That art brightens the world.

Newport’s Nye Beach neighborhood once hosted more rats than visitors.

And so, when the offer came to write this weekly column, I was sorely tempted to say no. Other than living here, I didn’t think I had the connections. But I thought about it and I wavered — yes, no, maybe, well OK, at least for now. I had this idea that it could be a chance to broaden my horizons, to move from that place of stagnation, and start growing again. It was an enticing thought, but really, I had no idea what I’d happened upon.

I soon learned that you can’t write about the arts in a place like the Oregon Coast — a place where one of the largest cities has roughly nine traffic lights — and not come away inspired. Again and again, I have been awed by what people in these small towns accomplish through sheer will, generosity of time and spirit, and the absolute refusal to give up.


Swinging into Nehalem

Jazz singer Rebecca Kilgore & Her Band bring the Great American Songbook -- and a few holiday tunes -- to the Oregon Coast

She’s been inducted into the Oregon Music Hall of Fame, the Jazz Society of Oregon’s Hall of Fame, and honored as a Jazz Legend at the San Diego Jazz Party. She’s played famed American jazz venues from New York to L.A., as well as performing in Holland, Germany, the United Kingdom, Switzerland, and Norway – not to mention on jazz cruises around the world.

And now, Rebecca Kilgore is coming to the Oregon Coast. On Saturday, Rebecca Kilgore & Her Band will take the stage at the NCRD Performing Arts Center in Nehalem to present a night of the music that’s earned Kilgore countless accolades, including “one of America’s leading song stylists … of the Great American Songbook.” Her discography numbers more than 50 recordings, her repertoire more than 1,000 songs.

Portland singer Rebecca Kilgore says she loves small venues for the intimacy they create with the audience.

In a phone interview days before her performance, Kilgore and I talked about music, performing and the highlights of her career. The interview has been edited for length and clarity.

Nehalem — I’m guessing this is a relatively small venue for you?

Rebecca Kilgore: Yes, and I love small venues. It’s intimate and you can really create a relationship with the audience. I am not one of those singers that emotes a lot. I really like to just have fun with the music because I love it so and I want to impart that to my audience.

What can audience members who haven’t seen you perform expect?

RK: If they’ve heard of Ella Fitzgerald or Nat King Cole, Billie Holiday, or any of the singers of the classic Great American Songbook, that is kind of my wheelhouse. I learned from them. Those are the people I was inspired by. I do a lot of jazz standards. I also tend to sing less-well-known things. That’s good in some ways and bad in some ways. If people are unfamiliar with the genre, they will be really unfamiliar with what I sing. I won’t do a lot, but I will throw in a few holiday songs.

You’ve also done shows performing songs from Marilyn Monroe and Judy Garland.

RK: Yes, but I don’t imitate them and I don’t dress up like them. I pick things from their repertoire and borrow their arrangements.

Does the size of the audience affect your performance?

RK: I’m planning my program this week. Sometimes when you are in a venue like that, you can tell what people are responding to. If they like a particular type of song, I may change things on the spot.


Cécile (McLorin Salvant) review: first-name basis

Rising jazz vocalist draws deep admiration and girl crushes from female Portland jazz singers


Ella and Bessie and Billie (and Cher and Pink and Prince and Madonna). But let’s stick to jazz.

Now there’s Cécile. She has two other names (McLorin Salvant) but she earns the first-name-only tag.

She is the It Girl among jazz vocalists. Her singing has it all: perfect pitch, a range from tenor to high soprano, precise articulation, full-on emotion, playfulness, varying timbres. As well as improvising on standards, Cécile composes and arranges many of her songs, distinguished by clever lyrics, a wry dark view of romance, an unflinching look at the pressures of female beauty standards and behavior, a funny dead-on assessment of male chauvinism, a lack of sentimentality, a timelessness.

Cécile performed at Portland’s Revolution Hall. Photo: Mark Fitton.

She sang at Portland’s Revolution Hall in late April with pianist Sullivan Fortner accompanying — and she was magnifique, as was the subtle touch of the ever-modest Fortner. These two should stick together on stage and in the recording studio; their chemistry works like magic, and they riff off of one another as if they’ve been performing together for decades rather than several years.

Cécile is fluent in French and studied in Aix-en-Provence. Her father, a physician, is Haitian, her mother French, so “magnifique” fits her versatile voice and her large expressive hands like a glove. She broke into big-time jazz as a teen-ager when she won the Thelonious Monk Competition. Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin and Al Jarreau chose her in 2010 for her “remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling statement.” The 28 year old has already won two Grammys for the best Vocal Jazz Album: 2016’s For One To Love and this year’s double CD Dreams and Daggers.

That CD supplied many of the tunes in Cécile’s hour and 45-minute Portland performance (“Nothing Like You,” “If a Girl Isn’t Pretty,” “J’etais Blanche”). She filled out the set with such oldies as “Lush Life,” “Stepsisters’ Lament” and the touching “John Lewis,” an a cappella encore. Wearing a satiny tent-like aquamarine dress, plain flat sandals, and large signature glasses that framed her restless, animated eyes, she stayed on task with little fanfare, a few jokes and no froufrou.

Instead of my celebrating Cécile alone, I asked several Portland jazz vocalists familiar with her to give me their takes on her singing.


News & Notes: We catch up and we fall behind

Some thoughts on Dave Frishberg and Rebecca Kilgore, "Song of the Dodo," Union Tanguera, and "Twist Your Dickens"

Last night I dropped by Ivories for a late supper with a few friends. On Wednesdays, Dave Frishberg and Rebecca Kilgore usually command the bandstand the lounge, and last night they were joined by Lee Wuthenow on tenor sax. Things were nice and informal, frequent collaborators getting together to share some old songs that hovered near the mainstream American Song Book without quite landing there. While I was listening, “Old Devil Moon” was probably the most central. The music they made was very smart, a little understated, and deeply proficient, and of course, I left with a smile on my face.

I also left thinking how many great experiences are available on any given night in Portland, even a Wednesday, and how any of them could sustain a long consideration (tonight at Ivories pianist Tom Grant continues his vocal showcase with Julie Collura and Heather Keizur). Anything involving these three certainly could, and I made a mental note to come back later with my reporter’s hat on and an empty notebook and pen in my pocket. But then I did the same thing, in a way, with Portland Experimental Theatre Ensemble’s “Song of the Dodo”: I promised to get back to it later.

Portland Experimental Theatre Ensemble's "Song of the Dodo"/Gary Norman

Portland Experimental Theatre Ensemble’s “Song of the Dodo”/Gary Norman

I brought it up in the context of Veterans Day and Joe Sacco’s new graphic book on the Battle of the Somme, hoping to light on it again. And now it’s entering its closing weekend, and I haven’t. Fortunately, others have reviewed it positively and in a more timely fashion, including the Mercury’s Alison Hallett who concludes her review this way:

For me, a big measure of the success of a non-narrative show—when there are no characters to assess, no storyline to follow—is how effectively the show engages my curiosity. Do I want to understand this cryptic piece of theater? Is there humor and rigor? Am I motivated to understand how the pieces fit together? In the case of Song of the Dodo, the answer is yes.

I didn’t find “Dodo” cryptic, exactly. The three sections are comprehensible, though very different, and though they aren’t explicitly connected, they echo, one in the other. The play is a pastiche of elements (interviews with Katharine Hepburn and Nicol Williamson, who died last year, Euripides’ “Hecuba,” and yes, the song and antics of the dodo bird), and the juxtaposition of elements generally strangers to each other leads us to a deeper encounter than any of them might have generated by themselves. And the performances are excellent, not uniformly excellent, each excellent in its own way.

So yes, I could go on…


Let’s see, what other reminders do we need to give ourselves?

Why yes, Claudia Codega and Esteban Moreno’s French-Argentinian tango company, Union Tanguera, performs “Nuit Blanche (Sleepless Night)” an inventive projection of the dance form into the 21st century through a story as old as tango itself—the flirtations, betrayals, and romance that can happen during one long night in Buenos Aires. Since Portland has a fairly large community of tango fans, the audience should be one of the attactions, too. White Bird is bringing them for three nights, Thursday-Saturday (Nov. 21-24), at the Newmark Theatre, 1111 SW Broadway. Cold nights sometimes require hot dancing.

"Twist Your Dickens," Portland Center Stage/ Patrick Weishampel

“Twist Your Dickens,” Portland Center Stage/ Patrick Weishampel

The Second City comedy team of Peter Gwinn and Bobby Mort have devised a zany (and R-rated) re-interpretation of “A Christmas Carol,” filled with comic sketches, improv and guest stars. The biggest star is Craig Cackowski (who plays “Officer Cackowski” on the TV sitcom “Community”) as Scrooge, though the cast is full of comedy veterans, including Second City’s Beth Melewski. “Twist Your Dickens” runs through December 22 at Portland Center Stage, 128 NW 11th Ave. Goodness knows what they’d do to “Great Expectations” (but honestly, I’d like to find out.)

At Chanteuse, old creatives rule the roost

Old pros Kilgore, Flower, Duffy Bishop and friends light up the night at Tony Starlight's

To Taylor Swift, Justin Bieber, and all of you teenage manufactured hopefuls on all of those manufactured television musical-contest shows: Take two shots of bourbon and call me in the morning. Thirty years from now.

No, I’m not trying to contribute to the delinquency of minors. Minors can do that very well on their own, although the Bieb seems to get a lot of help from his entourage. What I’m suggesting is that good pipes are a dime a dozen. It’s what you learn to do with them that counts. And learning it can take a good long time. It means not only learning how to use your pipes well technically (a singing voice is like a sports car: it responds best to those who’ve figured out how to drive it) but also getting some miles on the tires. Live a little. Hit the side roads. Forget about the arena shows and TV specials and giant paydays. Do some clubs and dives. Fall in and out of and back into love. Miss the rent. Be a short-order cook or a waitress in a diner. Check out some curious corners. Get bruised. Develop calluses. Dive deep inside yourself. Get out of your own head. Be more interested in making music than being famous. Listen and learn. Find out what you want to sing ABOUT.

Kilgore at the cabaret. Photo: Laura Grimes

Kilgore at the cabaret. Photo: Laura Grimes

The talent onstage Thursday night at Cabaret Chanteuse, the monthly gathering of club singers at Tony Starlight’s Supperclub & Lounge in Portland’s Hollywood district, had more collective miles on it than a tramp steamer in a Humphrey Bogart movie. And let’s just say, the old engine was chugging beautifully. Joining hosts Gretchen Rumbaugh and Darcy White was a powerhouse and deeply veteran lineup that included blues belter Duffy Bishop, jazz stylist Rebecca Kilgore (her ruefully comic version of Rodgers & Hammerstein’s uncharacteristically jazzy “The Gentleman Is a Dope” was a highlight of the evening), singer/guitarist Mary Flower, and big-band singer Claudia Knauer. Uncredited, but hovering like a guardian angel dispensing bawdy blessings, was the spirit of Mae West, with her winks and grinds and multiple entendres. How can a singer in her 60s be sultrier than a vamped-up 18-year-old doing the corporately calibrated music-industry grind? Easy. Suggestion, slyness, wit, knowing the territory.

This was an exceptionally good lineup of chantoozies (as Rumbaugh and White like to style their guests), exploring a broad range of Americana from Delta and Chicago blues to nightclub scorchers to Broadway tunes to mountain music and offbeat jazz standards. It was, all in all, a splendid rummage through the treasure chest of American popular song, mostly from the 1920s through the 1970s, borrowing and rearranging bits from the likes of Bessie Smith and Jo Stafford and even Storm Large (something academic about the geographical dimensions of anatomical objects, which inspired an unlikely audience singalong). The normally tight stage in the pie-wedge Tony Starlight’s was even more crowded than usual for Chanteuse nights, because pianist and musical director White was joined by the attentive and inventive rhythm section of drummer Sam Foulger and bassist Fletcher Nemeth. Sometimes the elegant electric guitarist Chris Carlson (Bishop’s husband and bandmate) would join the fray, or Flower would take a seat and play slack-key guitar. And sometimes a couple of these genuine headliners would squeeze in to do a little backup harmony for one of the other singers.

Rumbaugh and White. Photo: Kevin Paul Clark

Rumbaugh and White. Photo: Kevin Paul Clark

The astonishing thing was how well these very different singers meshed. Bishop can sing soft and throaty or blow the roof off the joint, and sometimes she stomps around the stage like she’s got an irregular army of ants in her pants. Flower is straightforward and restrained, paying attention to her six-string or her slack-key and letting her fingers and the music speak for themselves. Knauer is big and booming and bawdy, like a trombone soloist or the whole darned horn section. Kilgore, a frequent partner of the sophisticated-jazz pianist and songwriter Dave Frishberg, is wry and elegant and Champagne-y, a connoisseur’s delight. Partly they mesh because they fold naturally into the encompassing atmosphere nurtured by Rumbaugh and White, who are a crack comedy duo as well as being fine musicians. (At one point, White slipped deftly and delightfully into “Popsicle Toes,” teasing out the song’s sly and not-so-hidden double meanings.) And partly the singers mesh because, as different as their individual styles are, they share musical traits: wit, comfort, self-confidence, a willingness to step outside of ordinary bounds. They’re all storytellers, and they pay attention to lyrics, enunciating clearly and knowing what to stress for what effect. They like to play around with rhythm, pushing the beat or lazing around behind it before rushing to catch up, and generally upending the applecart of easy expectation. They’re all pros, and they’ve been at the game long enough to know what they do well. Bishop can shatter glass, metaphorically, and doesn’t care how much stemware she takes out. Kilgore’s voice isn’t big, but it’s nuanced and cultivated and perfectly calibrated, capable of little dips and dives and shifts and trailings and surprise landings.

The big talk these days in economic and artistic circles is about young creatives, and sure enough, some of them are shaping the future in bold and interesting ways. But if there’s no business like show business, there’s also no substitute for experience; and on this night, at least, the old creatives ruled the roost. No Biebers or Simon Cowells were in evidence, and who needed ’em? – this night was about music and life, not records and ratings. Check back in 2043, Justin. Let’s see what you’ve learned.


Tony Starlight’s features an eclectic-to-outrageous lineup of music, from Neil Diamond and Dean Martin tributes to big-band blowouts and ’70s pop nights. Coming up soon:

  •  Friday, Nov. 15: “The Tony Starlight Show.” Musical variety and parody with Tony and the Reece Marshburn Trio.
  •  Saturday, Nov. 16: “Tony Starlight’s AM Gold Show.” Elton John, Carol King, Neil Diamond, Jim Croce, and other soft-rock sounds from the ’70s.
  •  Monday, Nov. 18: An evening with musical-theater singer Chrisse Roccaro.
  • Tuesday, Nov. 19: Piano bar with Bo Ayars, who’s backed Elvis, Streisand, Bob Hope, and Bill Cosby, and played a dozen years in Liberace’s band.


Read more from Bob Hicks >>

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