Main Dish

McKethan's American Songbook Jazzes and Dazzles

December 7, 2016

Where can you find great jazz in the nation's capital? Donnie McKethan, renowned radio host and guardian angel of the "American Songbook," brings it to the radio each Sunday from 2:00 to 4:00 pm on WPFW 89.3 FM and online. A native Washingtonian, McKethan graduated from Dunbar High School before joining the Air Force and studying English and speech at UCLA. He returned to the area after a successful business career in Los Angeles in New York. We caught up with him recently at the WPFW studios on K Street

WFPW American Songbook host Donnie McKethan, who broadcasts every Sunday 2-4 pm on WPFW 89.3 FM (Photo by: The Georgetown Dish) WFPW American Songbook host Donnie McKethan, who broadcasts every Sunday 2-4 pm on WPFW 89.3 FM
How did you get interested in the American Songbook?

I got interested in listening to the radio, the stations my mother picked up. It was right here in Washington. Frank Sinatra, Buddy Clark, a whole retinue of people. As I got older, I started to look into who wrote the songs. Cole Porter, Duke Ellington. I got interested in the lyrics and what the lyrics conveyed. Then I got interested in the singers and how well they interpreted the lyrics. I've been listening ever since.

In every show you have a Frank Sinatra segment. What draws you to his music?

It's hard to explain. As a youngster I heard the young Sinatra, the crooner. Something struck me. His style. As I listened to him over the years, as his voice got heavier, I really liked that evolution.

How would you describe it?

The young Frank Sinatra, a crooner (Photo by: Wikipedia) The young Frank Sinatra, a crooner
He had a very soft melodic voice, and he had a way of conveying the lyric in such a way that he would make a dipthong out of a particular word in the lyric, he would drag it out. He copied it from Tommy Dorsey's trombone playing. As he became more mature, that “dipthong-izing” of words in song really got to me. He became more jazzy in the 50s, and I liked him even more. As he got older, there was a period where he had a downturn, but I never left him.

Let’s talk about raw talent vs. style among singers.

There are some singers who don’t have the greatest range, but they have great style. Take Steve Tyrell – he’s got good style but no range. Diana Krall – the same thing. She hasn’t got a whole lot of range but she has great style. You can hear her musicianship. The way she sings, the way she phrases. She's really a musician. Because she plays musical instruments she uses her voice with extra style. She is a very fine pianist…

Can you pinpoint why the American Songbook is so special?

Judy Garland and Johnny Mercer (Photo by: YouTube) Judy Garland and Johnny Mercer
Many of these songs were written in the 30s and 40s. Let’s take a song like Moonlight in Vermont, written by a guy named Jack Blackburn, and the lyric is by Karl Seussdorf. How many times have you heard that song? Many of the songs were written for Broadway musicals. Many of those tunes caught on and were played on the radio. Broadway was a big conveyer of music in the 30s. Many of the plays flopped but the music endured.

Diana Krall sings (Photo by: Verve Records) Diana Krall sings "I Remember You" on her album "The Look of Love"
I noticed that “I Remember You” came from a 1941 movie, The Fleet’s In.

That's a Johnny Mercer tune. It is said he wrote the lyrics for Judy Garland, that they had a long, long relationship, despite that they were married to others. If you listen, you can see the plausibility of that rumor, that they were lovers. It’s said he gave her that song the day after she was married to David Wood.

Judy Garland sings (Photo by: Metro-Goldwyn-Mayer) Judy Garland sings "Over the Rainbow" in The Wizard of Oz. The song was almost cut from the movie, says Donnie McKethan.
Another eternal song is “Over the Rainbow” by Harold Arlen, from the movie The Wizard of Oz. Could you talk about that?

I did hear that Arlen had a hard time writing that song and they almost trashed it. But the producer of the movie insisted it be included. Harold Arlen was something of a dude. He was a great dresser and was a fine dancer. He came out of Buffalo. My wife, who is also from there, gets angry when I repeat this, but it’s been said, “To commit suicide in Buffalo is redundant.”

Who is your favorite lyricist?

Harold Arlen (Photo by: Arlen family photo) Harold Arlen
Johnny Mercer. He was a fantastic poet. He could find ways to make things rhyme and make sense that I don't think any lyricist has ever done. For example, he rhymed “chalice” with “aurora borealis” in the song “Midnight Sun.” That's genius.

There's a song he wrote that was never published during his lifetime. After he died his widow asked Barry Manilow to put music to it. It’s called "When October Goes." If you listen you'll just be startled by the lyrics. It’s sheer poetry. Nancy Wilson sung it.

How do you write the playlist for each show?

I start with one tune and make a relationship with the next tune. If I'm struck by one tune I'll play several versions. (On my last show I played "I'll Be Around" sung by Billie Holiday, Arthur Prysock, and Frank Sinatra.) The show sort of evolves from there.

Let’s talk about Frank Sinatra and Tony Bennett. How would you characterize the difference?

Frank Sinatra feels the pain with a beer and cigarette, singing (Photo by: YouTube) Frank Sinatra feels the pain with a beer and cigarette, singing "One for My Baby" in Las Vegas
They were both great pop singers who had elements of jazz in their music. Tony Bennett -- who is 90 and still working -- was less of a swinger than Sinatra, even though both of them recorded with Count Basie. Sinatra more at home doing jazz than Tony Bennett. Bennett was more of a crooner, an interpreter. If you listen to “One for My Baby,” for example, I think Tony Bennett can do it, but when Sinatra does it, he is acting the lyric. The image is conveyed of a guy who is really strung out on some woman and is having a hard time.

How did your radio show, the America Songbook at WPFW, begin?

WPFW American Songbook host Donnie McKethan takes calls during the show (Photo by: The Georgetown Dish) WPFW American Songbook host Donnie McKethan takes calls during the show
I had done a radio show on WTNR in Silver Spring. It ended because the station went out of business. I met someone from WPFW and they told me I should volunteer at the station – answer phones and so forth. So I sent the station director a tape. When he heard the tape, he said, “I'll put you on at 3:00 in the morning.” I’ve been here 16 years.

You have a prime timeslot – Sunday afternoons from 2:00 to 4:00.

We don't have enough money to pay for ratings, but when we did, my show turned out to be the most listened to.

What do you like most about doing the show?

The feedback. I get lots of phone calls. I like playing music that people like.

What do you like least?

Probably that the show is only two hours. I'd like three... 

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Ella and Frank Secretly Seduce at The Riggsby

December 1, 2016

With five restaurants in Washington already, Boston-based James Beard Award-winning restauranteur/chef Michael Schlow is a star in the kitchen. But a great restaurant experience involves all five senses - sight, smell, touch, hearing and taste, Schlow says. After friends of The Dish noticed the remarkable jazz soundtrack playing on a recent Friday night, we caught up with Chef Michael at The Riggsby at the Kimpton Carlyle Hotel in Dupont Circle. 

Chef/restauranteur Michael Schlow and mixologist Alex Davin (Photo by: The Georgetown Dish) Chef/restauranteur Michael Schlow and mixologist Alex Davin
Why do your restaurants have specially-designed soundtracks?

I believe there is a connection between food and music. When I'm cooking, there's a song in my head. I also think that music, like scent, has this amazing ability to create a new memory or pull you back to another place or time. Music draws us in and makes us remember something or someone. There's a visceral, emotional reaction. Also, everything we do here is personal. My wife designed the wallpaper.

Does it affect the food?

If you're having a meal and I played five different types of music – you would have five different experiences.

Do people come in for the music?

I don’t know, but it helps create a certain energy and they stay for it. 

The bar at The Riggsby (Photo by: The Riggsby) The bar at The Riggsby
The soundtrack at The Riggsby is wonderful.

Thank you. The Riggsby is a specific concept. I wanted it to feel trapped in another time - but not a specific decade - a little bit of all of them. I wanted the soundtrack to feel like somebody had created the greatest juke box ever over a number of decades (the 20s, 30s, 40s etc.). I wanted it to be nostalgic, but not boring.

How did you put it together?

I use a technology called Five-Motion. If it was your birthday and I knew you loved Frank Sinatra, I could have him singing when you came in. It’s that specific. I'll put in nine hours of music for a two-hour timeslot. So you won’t hear the same songs. It depends on the time of day and what we're doing. I love working on it.

Why do you like jazz?

Life magazines, from an era of cocktail conversation (Photo by: The Riggsby) Life magazines, from an era of cocktail conversation
When I hear jazz, I hear glasses clinking. Everyone is having a good time, embracing life. There's something beautiful and romantic and lush about it. It's sexy. I associate with a time when there was more conversation and cocktails – conviviality. People would gather and listen to music and then talk and eat. Having dinner at 11 was totally OK. We long for those days - at least elements of them.

Is the soundtrack specifically for the evenings?

At breakfast, there is some jazz, but it could be next to a Bob Dylan. Or Neil Young. It's more eclectic. In the afternoon and evening it goes to all jazz.  

Do you play an instrument?

Chef Jeremy Waybright with restaurant creator and owner Michael Schlow. Artist Adrienne Schlow, married to Michael, created the wallpaper for the restaurant. (Photo by: The Georgetown Dish) Chef Jeremy Waybright with restaurant creator and owner Michael Schlow. Artist Adrienne Schlow, married to Michael, created the wallpaper for the restaurant.
I’ve taken piano, drums, guitar lessons. None of them can I actually play. But it's a secret passion I'd love to pursue.

You should.

Maybe I will. “Rock star chef.”  



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House of Cards Chief of Staff Gets Starbucks Fix

November 27, 2016

In the new reality TV show formerly known as "Washington," House of Cards Chief of Staff Doug Stamper (Michael Kelly) stopped by at Starbucks in Shaw at 8th and O Sts. NW Thanksgiving Day, chatting briefly with fans before heading off to Mar-a-Lago -- I mean, a turkey dinner somewhere.

Michael Kelly as White House Chief of Staff Doug Stamper in (Photo by: Netflix/David Giesbrecht) Michael Kelly as White House Chief of Staff Doug Stamper in "House of Cards"
While the show films in Baltimore, it draws extras from D.C., as well as the occasional star visit. In a March interview with Entertainment Weekly, actor Kelly talked about the bizarre "life imitates art" aspect of the campaign/show, now in its fourth season, as well as how he gets into character to play the hard-as-nails Stamper, who serves the same role for President Frank Underwood that Reince Priebus will perform for Presi....Preside...Pre... (just can't write that yet) Donald J. Trump.

EW: The Underwoods are obviously scary, but Doug is scary. He’s so emotionally stunted. How do you get into that mindset? He’s not exactly evil; he’s complicated. 
Michael Kelly: At its heart, it’s all about addiction. Frank, work, alcohol, Rachel, everything, you know? … Beau [Willimon, the showrunner] said to me before we ever started, “Don’t emote. At the end of season 1, I want everyone to say, ‘What the f— is up with that guy?” From that came Doug’s voice and the fact that he never smiles. Beau laid the groundwork for that character, and I just had to say the words.

Actually, it was Kelly's Stamper voice in Starbucks that first attracted the attention of this reporter. Even "I'll have a venti chestnut praline latte" can sound weirdly menacing, when spoken in "Stamper."

In a typical House of Cards storyline, the Chief of Staff gets physical and threatens to strangle the in-over-his-head White House press secretary. 

But we're not expecting under-qualified Cabinet officials (Ben Carson) or White House staff members, right?

They're all going to be terrific...

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