Transcript: Trudy Desmond | Sep 27, 1998

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of an assistant fixing Richard Ouzounian’s guest’s microphone: Trudy Desmond. Singer.

Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing oversized glasses, a black suit, and a purple shirt.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
I LIKE A GERSHWIN
TUNE, HOW ABOUT YOU?
WELL, OF COURSE, YOU DO.
ESPECIALLY THIS WEEK BECAUSE
WE'RE CELEBRATING THE 100th
BIRTHDAY OF THE GREAT
COMPOSER'S LIFE.
SO, WHAT BETTER PERSON TO GET
TOGETHER WITH THAN A WONDERFUL
ARTIST AND GREAT LADY
WHO'S PUT TOGETHER A WHOLE
COLLECTION OF GERSHWIN
MATERIAL JUST FOR THE CENTENARY.

He displays a CD album with a cover picture in black and white of a young woman.

He continues IT'S CALLED
MY ONE AND ONLY
AND THIS DIALOGUE IS WITH
TRUDY DESMOND.

Trudy and Richard sit on pink couches in a living room decorated with plants and china objects. Trudy is in her thirties, with very short blond hair. She’s wearing a yellow shirt.

Richard continues SO, TRUDY, GERSHWIN,
WE ALL LOVE HIM.
LET'S START THERE.
WHY?
WHY DO PEOPLE LOVE
GEORGE GERSHWIN SO MUCH?

A caption appears on screen. It reads "Trudy Desmond. Singer."

Trudy says I'VE BEEN ASKED THAT BEFORE,
AND THERE IS SOMETHING ABOUT
THE WAY HE WRITES HIS
MUSIC, OR WROTE HIS MUSIC,
THAT MAKES PEOPLE FEEL GOOD.
IT JUST SEEMS TO BE THAT.
I ACTUALLY DIDN'T WANT TO
HAVE TO ANALYZE IT BECAUSE
SOMETIMES WHEN YOU JUST LIKE
SOMETHING YOU DON'T WANT TO
HAVE TO BREAK IT
DOWN TOO MUCH?

Richard says RIGHT, RIGHT.

Trudy says BUT OBVIOUSLY, BECAUSE OF
THE RECORDING, I'M BEING
INTERVIEWED, AND THAT SEEMS TO
BE THE UNIVERSAL QUESTION, AND
THE TRUTH IS, IS THAT HE IS
SO UNIVERSALLY APPEALING.
AND I WAS DOING SOME
RESEARCH, AND ONE OF THE
THINGS THAT I FOUND WAS THE
FACT THAT A LOT OF THE MUSIC,
CERTAINLY NOT
PORGY
AND BESS, IS WRITTEN
IN THE MAJOR KEY.

Richard says RIGHT.

Trudy says AND THEN HE WOULD SLIP INTO
SOME MINOR, YOU KNOW, KEYS --
NOT KEYS BUT, YOU KNOW,
BEND THE NOTE, HAVE A BLUE
NOTE, BUT MAYBE SUBCONSCIOUSLY
THAT HAS SOMETHING TO DO WITH
PEOPLE FEELING GOOD.
I DON'T KNOW HOW THAT PLAYS ON
THE SUBCONSCIOUS, BUT I THINK
ALSO IT'S THE -- I THINK IT'S
THE THEMES THAT HE PICKS, AND
THE FACT THAT SO MUCH OF
HIS MUSIC REFLECTS THE TIME
THAT HE WROTE IN.
SO THAT IF HE WROTE A SONG IN
1918 AND, YOU KNOW, THE REAL
AMERICAN FOLK SONG WAS A RAG.

Richard says A RAG, RIGHT.

Trudy says YOU KNOW?
THEN YOU REALLY GOT THE
FEELING OF RAG AND STRIDE
IN THAT TIME PERIOD.
AND THEN YOU MOVE ON LATER AND
SO MANY -- MUCH OF THE STUFF
REMINDS YOU AND MAKES YOU
REALLY FEEL THE ENERGY AND THE
PULSE OF NEW YORK
CITY, FOR EXAMPLE.

Richard says RIGHT, OR LIKE HIS SCORE
FOR
OH, KAY!
IS SO TWENTIES.
YOU SAY, WHAT'S A TWENTIES'
SCORE, THAT'S IT, RIGHT?

Trudy says RIGHT AND THAT'S THE ONE.
BUT I DON'T KNOW.
I MEAN, DO YOU?
I'M REALLY CURIOUS.
I MEAN, I DON'T WANT TO FLIP
IT AROUND AND INTERVIEW,
BUT I'M CURIOUS, WHAT YOU --

Richard says WELL, IT'S INTERESTING
BECAUSE THERE'S THREE THINGS,
AND I THINK YOU HIT ON ONE
WE'LL COME TO IN A MINUTE,
WHICH IS THE HAPPINESS.
BUT THERE'S THE
RHYTHM AND THE MELODY.
NOW, A LOT OF PEOPLE WERE
GREAT MELODISTS LIKE KERN WHO
WAS A GREAT MELODIST.

Trudy says MM-HMM.

Richard says AND ROGERS WROTE THOSE GREAT
MELODIES, YOU KNOW, YOU COULD
HUM AROUND, BUT A GERSHWIN
MELODY IS A GOOD MELODY, TOO,
BUT HE'S ALSO GOT THAT BEAT.

Trudy says A RHYTHMIC FEEL?

Richard says YEAH, AND YOU WANT -- IT
DOESN'T JUST MAKE YOU WANT
TO SING IT, IT MAKES
YOU WANT TO HUM IT.
IT MAKES YOU WANT
TO TOE TAP IT.

Trudy says YEAH, AND IT ALSO ALLOWS
FOR IMPROVISING IF THAT'S
THE WAY YOU GO WITH THE
MUSIC, YOU KNOW, AS FAR AS
JAZZ INFLUENCED OR WHATEVER.
I THINK THERE'S SOMETHING IN
THE RHYTHMIC STRUCTURE OF THE
MUSIC THAT ALLOWS FOR YOU TO
SORT OF BRING IT INTO A MORE
CONTEMPORARY FEEL.

Richard says RIGHT.

Trudy says IF YOU CHOOSE TO WITHOUT
TAKING AWAY FROM THE ORIGINAL
INTENT OF THE WAY
HE WROTE THE MUSIC.

Richard says I MEAN, THAT'S INTERESTING
BECAUSE YOU KNOW THEY TRIED TO
DO THAT WITH A
LOT OF COMPOSERS.
THEY JUST RECENTLY RELEASED A
NOEL COWARD ALBUM WHERE ALL
THE ROCK STARS TRY TO
REINTERPRET NOEL COWARD,
AND I SAID ALL IT SOUNDS LIKE
IS COWARD KARAOKE NIGHT
AT A BAD DISCO.

Trudy says WELL, I TEND TO FEEL THAT
WAY ABOUT A LOT OF THE ROCK
ARTISTS TAKING ON A LOT OF
THE GREAT AMERICAN SONGBOOK
COMPOSERS, IN GENERAL.

Richard says RIGHT.

Trudy says I REALIZE THAT IT'S SORT OF
LIKE EVERYBODY WANTS TO SING
COLE PORTER, GERSHWIN.

Richard says RIGHT.

Trudy says OR WHOMEVER AND, WITHOUT
NAMING NAMES, I MEAN, THERE IS
A GERSHWIN CD OUT WITH --
WHERE IT IS A LOT OF ROCK
ARTISTS, AND IT'S LIKE, TO
SING CERTAIN MATERIAL FROM A
CERTAIN ERA, I JUST THINK YOU
HAVE TO HAVE A PARTICULAR FEEL
AND APPROACH TO THE
RHYTHMIC FEEL OF THE TUNE,
AND I DON'T KNOW, MAYBE
IT'S -- I DON'T KNOW
IF IT'S THE SAME THING AS
WHAT YOU'RE SAYING BUT, YOU
KNOW, THE KARAOKE KIND OF
THING WHERE ALL OF A SUDDEN
IT JUST SOUNDS LIKE
SOMEBODY'S IN THE WRONG
PLACE AT THE WRONG TIME.

Richard says RIGHT.

Trudy says BUT IT'S THAT
UNIVERSAL APPEAL.
THEY STILL WANT TO DO IT,
BUT I'M NOT SURE IT WORKS.

Richard says I WANT TO COME BACK
TO GERSHWIN IN A BIT,
BUT I WANT US TO TALK
ABOUT TRUDY DESMOND.

Trudy says TRUDY WHO?

They both chuckle.

Richard says YEAH.
YOU, THIS GIRL
SITTING OPPOSITE ME.

Trudy says OKAY.

Richard says THE KIND OF SONGS YOU LOVE TO
DO, THE KIND OF CAREER YOU'VE
HAD, IT'S BECOMING
BACK IN FAVOUR.
YOU KNOW PEOPLE ARE SUDDENLY
GOING, OH, CABARET SONGS.
CABARET SINGERS.
JAZZ.
WE LOVE THIS.
WE LOVE ALL THAT.
BUT YOU WERE BEING BRAVE IN
GOING OUT THERE WHEN IT WASN'T
AS BIG A TREND.
AND WHAT I'M CURIOUS ABOUT IS
HOW YOU GOT TO LOVE
ALL THIS STUFF.
LIKE, WHEN YOU WERE A LITTLE
GIRL, WHAT MADE YOU NOT BE
DOING JAILHOUSE ROCK?

Trudy says WELL, I MEAN I WAS JUST --
OH, THAT'S A PART OF MY LIFE
I DON'T DISCUSS.

Richard says OH, ALL RIGHT.

[laughing]

Trudy says NO, THE TRUTH IS THAT
I'M SINGING THE MUSIC
I LISTENED TO
WHEN I WAS GROWING UP.
IT'S JUST THAT SIMPLE.
I LISTENED TO -- AND YOU'LL
KNOW IT, W -- LENNY W.
BECAUSE MY DAD LISTEN
TO IT, YOU KNOW.

Richard says RIGHT.

Trudy says SO I WENT TO SCHOOL HEARING
HIS ALARM GOING OFF AND THE
MUSIC WAS, YOU KNOW,
IT WAS KAY STARR.
IT WAS PERRY COMO.
IT WAS THE BIG BANDS.
IT WAS ALL THE SWING ERA.

Richard says SHOW CALLED THE MAKE
BELIEVE BALLROOM.

Trudy says MAKE -- THAT'S RIGHT, WITH
WILLIAM B. WILLIAMS AND,
YOU KNOW, AND THE CHAIRMAN
OF THE BOARD, YOU KNOW.

Richard says RIGHT.

Trudy says SINATRA.
SO I MEAN, I WAS LISTENING
TO THAT STUFF, AND IT JUST
MADE SENSE TO ME.
DON'T ASK ME WHY, BUT IT DID,
AND THAT WAS THE MUSIC THAT
I STARTED TO SING.
NOW, I DID LISTEN
TO ROCK AND ROLL.
IN FACT, TODAY MY MUSIC
THAT'S IN MY MUSIC LIBRARY IS
EVERYTHING, FROM K.D. LANG, TO
ANNIE LENNOX, TO THE BEATLES,
TO EVERYTHING.
I LOVE LISTENING AND REMAINING
OPEN TO ALL THE STYLES OF
MUSIC BECAUSE I THINK, YOU
KNOW, THEY'RE ALL GOOD.
WELL, SOME OF IT
IS PHENOMENAL.
BUT WHAT I PERSONALLY FEEL
ABSOLUTELY LIKE I CAN JUST
TAKE A NICE BREATH OF AIR AND
RELAX AND IS SO NATURAL IS
THE MUSIC FROM THE GREAT
AMERICAN SONGBOOK.

Richard says THE GERSHWIN, THE
KERN, THE PORTER.

Trudy says COLE PORTER IS
JUST PHENOMENAL.

Richard says HE HAD HIS CENTENARY.
WE'LL GO BACK --

Trudy says WELL, I MEAN, IT'S YOU KNOW
IT'S JUST WONDERFUL TO FEEL
THAT AT HOME WITHIN A
CERTAIN, YOU KNOW, GROUP OF
COMPOSERS, BUT ALSO THERE'S
SOMETHING TO ME THAT IS
VERY IMPORTANT, WHICH IS,
TO KEEP THE TRADITION ALIVE.
AND YOU KNOW, I JUST --
IT'S A DYING ART FORM.
I KNOW YOU'RE SAYING THAT
IT'S COMING BACK IN FAVOUR --

Richard says BUT NOT AS BIG, NO.

Trudy says WELL, IF YOU LOOK AROUND, I
MEAN, WHERE ARE THE SUPPER
CLUBS THAT USED TO BE?
WHERE'S TELEVISION VARIETY
THAT USED TO BE -- THE WAY IT
USED TO BE?

Richard says RIGHT.

Trudy says I MEAN, THE PUBLIC IS NOT
GETTING TO SEE MUSICAL VARIETY
THE WAY THEY USED TO, SO THE
EXPOSURE IS MORE THE --
THE ROCK, THE POP, AND THAT'S
THE FRAME OF REFERENCE.
SO YOU KNOW, TO SEE THE
CABARET -- WELL, IN CANADA,
THERE IS NO CABARET COMMUNITY.

Richard says NO.
NOW, A GOOD SEGUE
YOU JUST GAVE ME.

Trudy says THANK YOU, MY PLEASURE.

Richard says BECAUSE THE FIRST TIME I
ENCOUNTERED YOU, OF COURSE,
WAS AS A CABARET PERFORMER.
TORONTO HAD THIS --

Trudy says IN THE CLUB THAT I HAD.

Richard says THIS THRIVING SCENE GOING ON.

Trudy says WELL, FIRST OF ALL, I WAS
JUST FILLING A GAP BECAUSE
THERE WAS NO PLACE FOR SINGERS
TO GO, AND SO THERE WAS THIS
WONDERFUL LITTLE CLUB, YOU
KNOW, AND I REALLY MADE IT
INTO, YOU KNOW, LIKE A LITTLE
NEW YORK CABARET ROOM WHERE
YOU COULD COME IN SING ANY
STYLE OF MUSIC THAT YOU WANTED
TO SING AS LONG AS -- I
MEAN, MY PREREQUISITE
AS THE BOOKER WAS TO MAKE
SURE THAT THE AUDIENCE WAS
GETTING A GOOD SHOW.
THAT'S ALL I ASKED FOR.

Richard says RIGHT.

Trudy says AND I'D LIKE TO DO IT AGAIN.

Richard says WERE THERE ENOUGH PEOPLE OUT
THERE IN YOUR OPINION TO KEEP
THE PLACE GOING?

Trudy says ONCE I FIGURED OUT HOW
TO DO IT FROM A BUSINESS
STANDPOINT BECAUSE, YOU KNOW,
YOU HAVE TO KNOW HOW TO GET TO
THE PUBLIC, AND GET THEM TO
COME IN SO THAT EVENTUALLY
THEY ARE NO LONGER FOLLOWING
THE ARTIST TO THE CLUB.

Richard says RIGHT.

Trudy says THEY ARE FOLLOWING THE CLUB,
BECAUSE THEY KNOW THAT IF THEY
GO TO THIS CLUB THEY'RE
ALWAYS GOING TO HEAR GOOD MUSIC.
AND THAT STARTED TO HAPPEN
WITHIN -- BUT IT TOOK A COUPLE
OF YEARS.
AND IT ALSO HELPED THAT THE
RESTAURANT DOWNSTAIRS WAS GOOD.
I HAVE A PLACE IN MIND, AND
GOD KNOWS I DON'T -- GOD KNOWS
I DON'T NEED THIS, BUT THE
TRUTH IS, IS THAT I REALLY
WANT TO DO IT BECAUSE, YOU
KNOW, I SPEND MOST OF MY TIME
IN NEW YORK AND THEN
I COME BACK HERE.
AND THE AMOUNT OF CABARET
SPACE IS, AS YOU WELL KNOW, IN
NEW YORK WHERE YOU CAN SEE
SUCH TERRIFIC ARTISTS.

Richard says MM-HMM.

Trudy says HERE, THE ARTISTS
ARE EVERYWHERE.
THEY ARE OUT THERE.
THEY JUST HAVE NO PLACE TO GO.

Richard says BACK TO NEW YORK, AGAIN,
THERE ARE PEOPLE WHO TAKE UP
LONG-TIME RESIDENCE LIKE
BOBBY SHORT, YOU KNOW,
AT THE CARLISLE.

Trudy says WELL, YEAH.

Richard says IT'S A DIFFERENT
KIND OF THING.
BUT BACK IN THE '50s, YOU KNOW,
LIKE MABEL MERCER WOULD STAY
AT A ROOM FOR YEARS.
DO YOU THINK WE COULD EVER
COME BACK TO THAT, THAT YOU
KNOW LET'S GO TO CLUB X, TRUDY
IS THERE, AND YOU KNOW THAT
THAT'S TRUDY DESMOND'S
PLACE FOREVER?

Trudy says WOULDN'T THAT BE NICE BUT, I
MEAN, WHEN -- YOU KNOW WHEN
MABEL MERCER HAD THAT ROOM,
THERE WERE ALSO WHO KNOWS HOW
MANY OTHER ROOMS.
IT WASN'T JUST HER ROOM.
SO I THINK JUST THE
ECONOMY WAS DIFFERENT.
I MEAN NOWADAYS EVEN THE JAZZ
CLUBS -- I MEAN, IF ANYBODY --
THERE WAS A BIG JAZZ
EDUCATORS' CONVENTION, AS
THERE IS EVERY YEAR, AND THIS
PAST YEAR IT WAS IN NEW YORK,
AND THEY GAVE THE
STATISTICS AND THE NUMBERS
OF THE JAZZ CLUBS THAT ARE
DIMINISHING AROUND THE COUNTRY.
IT WAS SCARY, BECAUSE THE CLUB
OWNERS WANT TO SEE PEOPLE COME
IN AND IMMEDIATELY DO WELL.

Richard says YUP.

Trudy says YOU HAVE TO JUST, YOU KNOW,
NOBODY WANTS TO DEVELOP
ARTISTS ANYMORE, AND SO, IT'S
THIS HORRIBLE CATCH-22 WHERE
YOU END UP NEEDING, YOU
KNOW, THE AGENCIES...
IT'S EVERYTHING.
IT'S THE AGENTS, THE IMPORTANT
AGENTS WANT TO SEE -- AND I'M
SPEAKING NOW OF THE STATES.

Richard says RIGHT.

Trudy says YOU KNOW, THEY WANT TO SEE
YOU WITH A MAJOR LABEL.
THE MAJOR LABELS ARE VERY FEW
AND FAR BETWEEN AND VERY FEW
PEOPLE ARE GOING TO GET
THE KIND OF SUPPORT.
BUT THOSE BIG LABELS HAVE THE
MONEY TO SUPPORT THE ARTISTS
AS THEY ARE COMING UP
THROUGH THE RANKS.
BECAUSE NOBODY WANTS TO
TAKE A CHANCE ANYMORE.
SO IT'S THIS VICIOUS CYCLE
THAT KEEPS GOING, AND IT ENDS
UP BEING SO MUCH ABOUT
BUSINESS AND NOT ABOUT MUSIC.
IT'S LIKE WHO CAN GET OUT
THERE AND SUPPORT THE ARTISTS
TO GIVE THEM HALF A CHANCE?
BECAUSE NOBODY -- IT'S LIKE
NOBODY CAN AFFORD TO TAKE THE
CHANCE ANYMORE.
YOU KNOW, UNLESS YOU HAVE,
LET'S SAY, A MANAGER -- A GOOD
MANAGER HAS A STABLE OF A
COUPLE OF PEOPLE THAT ARE
DOING REALLY WELL AND THEN
MAYBE THEY'LL TAKE ON AN
ARTIST THAT'S NOT SO WELL KNOWN
BUT ONE NURTURES THE OTHER.
AND THAT'S WHAT HAPPENS WITH
RECORD LABELS, YOU KNOW.
THE ONE OR TWO BIG, BIG
ARTISTS NURTURE -- YOU KNOW,
THEIR BIG SALES HELP THE ONES
THAT CAN'T DO WELL, AND IT IS
KIND OF DEPRESSING.

Richard says WHAT ABOUT -- YOU KNOW WHAT I
ALWAYS FIND ODD IS THAT IF YOU
LOOK AT, AS THE BOOMER
GENERATION IS GETTING OLDER,
AND WE ARE, WE HAVE TO ADMIT
IT NOW AND THEN WHETHER WE
LIKE TO.

Trudy says OH, NO, NOT ME, I'M SORRY.
I'M NOT INVOLVED.

Richard says BUT THESE ARE PEOPLE WHO
WOULD BE READY TO LISTEN TO
SOME NICE GERSHWIN, SOME NICE
PORTER, SOME NICE KERN, BUT
WHEN THEY'RE IN THEIR CAR OR
AT HOME, THEY CANNOT GET IT
ON THE RADIO ON
ANY REGULAR BASIS.
YOU KNOW, THERE'S -- CBC
PLAYS A LITTLE NOW AND THEN.
THERE'S SOME JAZZ STATIONS
THAT DO TO A BIT NOW AND THEN.

Trudy says MM-HMM.

Richard says BUT IN BETWEEN YOU GOT TO
GO EITHER TO CLASSICAL OR,
YOU KNOW, EASY ROCK
OR GOLDEN OLDIES.
DO YOU THINK IF THEY HAD -- IF
WE HAD A HOME ON THE RADIO,
PEOPLE MIGHT GO MORE?

Trudy says WELL, SURE.
I MEAN, THAT'S WHAT I WAS
REFERRING TO EARLIER, WHICH IS
THE FACT THAT, YOU KNOW, YOU
CAN'T GO TO YOUR TV THE WAY
YOU USED TO.
YOU CERTAINLY -- AND I
JUST LEFT OFF THE RADIO.
YOU CAN'T GO TO YOUR RADIO
ANYMORE, THE WAY YOU COULD, TO
GET THAT POINT OF REFERENCE.
IT'S SORT OF UP TO AN
INCREDIBLE -- AND, AGAIN,
NOW, THIS IS MY
PERCEPTION OF IT.
I SHOULD SORT OF SAY THAT
THIS IS THE WAY I SEE IT.
BUT WHEN A LABEL COMES ALONG,
FOR EXAMPLE, THAT HAS THE
MONEY, AND THEY THROW A
CAMPAIGN ON, SO SUDDENLY EVERY
TIME YOU OPEN A NEWSPAPER,
YOU OPEN A TRADE MAGAZINE,
OR YOU SEE AN AD SOMEWHERE
ON, YOU KNOW, LET'S SAY BRAVO,
FOR EXAMPLE.

Richard says RIGHT.

Trudy says OR WHEREVER IT MAY BE, IT'S
BECAUSE THEY HAVE SAID, WE'RE
GOING TO PUT MONEY BEHIND
THIS ARTIST, AND SUDDENLY
JOE PUBLIC BECOMES
AWARE OF THIS PERSON.

Richard says RIGHT.

Trudy says BUT THAT'S THE EXTREME.
THAT'S LIKE ONE COMPLETE
OTHER END OF THE SPECTRUM.
WHAT ABOUT, AS YOU SAY, THE
EVERYDAY THING WHERE WE GET
TO HEAR THIS STUFF?

Richard says YEAH.

Trudy says ON A MORE REGULAR BASIS AND
IT DOESN'T JUST DEPEND ON
THOSE SPECIALTY SHOWS.

Richard says DO YOU THINK LOVING THESE
GREAT COMPOSERS, THE
GERSHWINS, ARLENS, PORTERS,
KERNS, IS IT ELITIST TASTE?
OR IS IT -- BECAUSE IT USED
TO BE THE POPULAR TASTE,
BUT WHY IS ELITIST NOW?

Trudy says OH, OBVIOUSLY, I DON'T
THINK IT'S AN ELITIST TASTE.
I MEAN, I THINK THAT IT'S
THE WAY IT SHOULD BE.
I THINK THAT WHEN YOU HAVE
SOMETHING THAT IS HARD TO
FIND, AND YOU ARE PUSHED
INTO THIS KIND OF LIMITED
ACCESSIBILITY IN A SENSE, THEN
YOU START TO FEEL THAT WAY
ONLY BECAUSE THAT SEEMS
TO BE THE WAY THE MARKET
MAKES YOU FEEL.
LISTEN, FIRST OF ALL, THE
LABELLING -- THIS IS A SLIGHT --
I'M MOVING AWAY FOR A SECOND,
BUT IT'S TO MAKE A POINT.
BUT IT'S LIKE, YOU
KNOW, JAZZ SINGER.
LABELLING ME AS
A JAZZ SINGER.

Richard says RIGHT.

Trudy says FIRST OF ALL, I COULDN'T CARE
LESS ABOUT THE LABEL, AND IT
BOTHERS ME VERY MUCH BECAUSE
I FIND THAT IT RESTRICTS MY
ACCESSIBILITY FOR BOOKINGS.

Richard says MM-HMM.

Trudy says AND ONE OF THE THINGS THAT
HAS REALLY OPENED THE DOOR FOR
ME RIGHT NOW, FOR SOFT CEDARS
AND A DIFFERENT MARKETPLACE,
IS THE FACT THAT
I'M DOING GERSHWIN.
AND THEN, YOU KNOW, IT ENDS
UP BEING THAT PEOPLE HEAR MY
SHOW, AND THIS HAS HAPPENED
TO ME, YOU KNOW, BASICALLY
THROUGH THE YEARS, THEY HEAR
WHAT I DO, WHETHER IT'S
GERSHWIN OR NOT, AND THEY
GO, OH, IS THAT JAZZ REALLY?
OH, GEE, IT DIDN'T -- WE
DIDN'T THINK -- YOU KNOW, SO
THE GENERAL PUBLIC, BECAUSE OF
MISINFORMATION, THINKS THAT
JAZZ IS GOING TO BE WEIRD.
SOMETHING SORT OF
ATONAL AND STRANGE.
SO IT'S LIKE ANYTHING.
JAZZ HAS THIS HUGE
SPECTRUM OF POSSIBILITIES.

Richard says SURE.

Trudy says MINE IS EXTREMELY MAINSTREAM
AND PROBABLY CROSSES OVER FOR
THOSE PURISTS, YOU KNOW, THAT
WANT ME TO SCAT SING AND BE
KIND OF LESS
PRESENTATIONAL YOU KNOW?
I'M DEFINITELY IN THAT
JAZZ CABARET CATEGORY.
SO I DON'T KNOW, MAYBE IT'S
THE SAME THING, YOU KNOW, THE
ACCESSIBILITY OF MUSIC AND
WHAT PEOPLE END UP KNOWING
BECAUSE OF THE INFORMATION
THEY ARE GIVEN.
YOU KNOW.
I MEAN MAYBE
THAT'S WHAT IT IS.

Richard says SOMETHING ELSE INTERESTING
ABOUT ALL THESE COMPOSERS
WE'VE BEEN DISCUSSING, THEY
WROTE FOR THE THEATRE.

Trudy says MM-HMM.

Richard says THEY DIDN'T SET
OUT -- OR FILMS.
THEY DIDN'T SET OUT TO WRITE
JUST POP SONGS MOST OF THE TIME.

Trudy says WELL, THEY SORT OF
WROTE FOR FILM, THEATRE,
AND SOME POP TUNES.

Richard says RIGHT.
BUT LIKE A LOT OF THE GREAT
GERSHWIN SONGS YOU DO IN
YOUR ALBUM WERE ORIGINALLY
FROM SHOWS OR MOVIES.

Trudy says FROM SHOWS OR
MOVIES, FOR SURE, YEAH.

Richard says AND IF YOU LOOK AT THE
GREAT KERN STUFF, AGAIN,
LARGELY SHOWS, MOVIES.
TODAY WE HAVE STEPHEN
SONDHEIM WRITING FOR SHOWS.
BLESS HIS HEART, WE ALL LOVE
HIM, BUT IF THERE'S MORE THAN
FIVE SONGS YOU COULD SING IN
A CABARET, YOU'D BE SEARCHING
FOR IT, RIGHT?

Trudy says WELL, I MEAN, THAT'S PROBABLY
HOW YOU FEEL ABOUT SONDHEIM
AND HOW I -- WELL, ANYWAY,
THAT'S A TOPIC WE PROBABLY
SHOULDN'T GO NEAR.
BUT I MEAN, YOU'RE RIGHT ABOUT
THAT, AND IT'S JUST, WE'RE
TALKING ABOUT A WHOLE
OTHER WORLD OF WRITING,
AS WELL YOU KNOW.
I MEAN, YOU ARE SO WELL VERSED
IN IT, WAY MORE THAN I AM.
I MEAN, I FOUND THAT THIS
GERSHWIN PROJECT, FIRST THERE
WAS THE CD, WHICH HAD A
CERTAIN LEANING BECAUSE IT WAS
GOING TO BE ON A JAZZ
LABEL AND IT WENT
IN A CERTAIN DIRECTION.
AND THEN, WHEN I STARTED
WORKING ON THE ACTUAL SHOW --
NOW I WORK WITH A CABARET
DIRECTOR IN NEW YORK, WHO IS
ALSO A LYRICIST AND A
COMPOSER, AND HE HAS TAUGHT ME
MORE THAN I CAN SAY, BECAUSE
I REALLY DIDN'T KNOW A LOT OF
THE SONGBOOK BEYOND
A CERTAIN POINT.

Richard says RIGHT.

Trudy says I WAS A FAN LIKE EVERYBODY
ELSE BUT, YOU KNOW, OUR LOVE
IS HERE TO STAY, I KNEW, AND
HAD ALWAYS SUNG IT, GOD SAVE
ME, AS AN UP-TEMPO SONG, AS
SORT OF A FILLER IN A JAZZ
GIG, YOU KNOW.

Richard says RIGHT.

Trudy says AND NOW, YOU KNOW, AS I LEARN
MORE ABOUT THE SONG, THAT THE
VERSE WAS WRITTEN --

Richard says WELL, IT WAS HIS
LAST SONG, WASN'T IT?

Trudy says IT WAS HIS LAST SONG, AND
WHEN THEY HAD TO CONTINUE
DOING GOLDEN FOLLIES, THEY
BROUGHT IN VERNON DUKE, AND
VERNON DUKE -- AND IRA WANTED
TO, AS A TRIBUTE TO GEORGE'S
MEMORY, ADD VERSE TO
OUR
LOVE IS HERE TO STAY.
AND SO, VERNON DUKE WROTE
THE MUSIC AND IRA, YOU KNOW,
WROTE THE LYRIC.
AND SO, WHEN YOU HAVE THAT
INFORMATION, AND ALSO, BY THE
WAY, FOR ANYBODY THAT
KNOWS THEIR MUSIC, YOU CAN
HEAR THE DIFFERENCE.
THE MUSIC OF THE VERSE IS VERY
DIFFERENT FROM GERSHWIN'S
MUSIC OF THE BODY OF THE SONG.
BUT THEN SUDDENLY, YOU KNOW,
YOU HEAR THE SETUP, YOU KNOW,
OF HOW THE SONG GOES, AND
YOU HAVE A WHOLE DIFFERENT
REALITY ABOUT THE MUSIC.
SO THIS IS ALL THE THINGS THAT
I'VE BEEN LEARNING AS I WAS
RESEARCHING AND FINDING THE
MATERIAL THAT REALLY WORKS
IN A SHOW THAT I
COULDN'T DO ON THE CD.
SO I HAVE TO ADMIT THAT I
STARTED OFF ON THIS PROJECT
BEING A FAN.

Richard says RIGHT.

Trudy says BUT NOT AN ARDENT FAN.
IT WAS SORT OF LIKE I HAD TO
BE SOLD ON GERSHWIN EVEN THOUGH
I TOOK THE PROJECT ON.

Richard says NOW HOW -- LET'S
EXPLORE THAT.

Trudy says I CAN SAY THAT.

Richard says THAT'S COOL, BECAUSE WE NOW
KNOW YOU ARE A MEMBER OF THE
FAMILY, BUT WHAT MADE YOU NOT
GO ALL THE WAY WITH GERSHWIN?
WHY DID YOU NOT LOVE HIM
AS MUCH AS YOU DO NOW?

Trudy says IT'S INTERESTING.
I'VE THOUGHT ABOUT IT.
FIRST OF ALL, PEOPLE MAY NOT
UNDERSTAND -- THERE ARE A LOT
OF MUSICIANS -- NOT A LOT, BUT
THERE ARE CERTAIN MUSICIANS
THAT SAY, AH, GERSHWIN.
NOW MAYBE IT'S IN
THE JAZZ WORLD.
I DON'T KNOW.

Richard says REALLY?

Trudy says MAYBE.
I HAVE BEEN VERY, VERY
SURPRISED, BUT THERE SEEMS TO
BE CERTAIN MUSICIANS THAT I
KNOW THAT HAVE FOUND IT EASIER
TO WORK WITH OTHER COMPOSERS.
YOU KNOW, WE'RE ALL, YOU KNOW,
GUILTY OF WHAT IS AROUND US
AND WHAT OUR INFLUENCES ARE,
AND, AS I SAID, YOU KNOW --
WELL I NOW THINK THAT WHILE I
HAVE GROWN UP IN THE WORLD OF
JAZZ AND I DO HAVE A THEATRE
BACKGROUND AND ALL THAT,
BUT THAT'S ALWAYS
BEEN MY FIRST LOVE.
I THINK THAT THE WORLD OF JAZZ
IS INCREDIBLY TUNNELED VISION
AND FILLED WITH A
LOT OF SNOBBISM.
AND SO, I THINK THAT, YOU
KNOW, THERE IS THIS APPROACH.

Richard says MM-HMM.

Trudy says AND AS YOU TAKE THE BLINDERS
DOWN AND SORT OF REALLY PAY
ATTENTION TO ALL THE DIFFERENT
THINGS THAT ARE POSSIBLE,
SUDDENLY YOU'RE NOT SORT
OF GOING IN WITH A BIT OF
PREJUDICE AGAINST, LET'S SAY,
A SONG FROM A GERSHWIN SHOW
THAT MAY BE COMEDIC AND MORE
PRESENTATIONAL, AS OPPOSED TO
SOME HIP JAZZ TUNE.
AND THERE IS SOMETHING ABOUT
THAT, AND IT SEEMS TO ME THAT
THE JAZZ WORLD GETS VERY
NERVOUS WHEN YOU DO
ANYTHING PRESENTATIONAL.

Richard says THEY DON'T WANT YOU
TO BE THEATRICAL.

Trudy says OH NO, NOT AT ALL.
ABSOLUTELY NOT AT ALL.

Richard says DID YOU HAVE A PARTICULAR
MOMENT, SOMETHING YOU REALLY
LOVE DISCOVERING ABOUT
GERSHWIN, LIKE A NUMBER THAT --
BECAUSE YOU'VE HINTED
AT THINGS LIKE THAT.

Trudy says YEAH, I KNOW.
IT REALLY HAS BEEN AN
INCREDIBLE KIND OF SLOWLY
PULLING A LAYER BACK HERE AND
A LAY-- AND SUDDENLY FINDING...
AND I DON'T KNOW WHY I
WASN'T PAYING ATTENTION, AND
I'M THE FIRST TO ADMIT THAT
I REALLY HAVE BEEN LEARNING
AS I'M GOING ALONG, IS
THAT, FIRST OF ALL,
I DIDN'T REALLY REALIZE HOW
PHENOMENAL IRA'S WRITING IS.
I MEAN, I KNOW WE'RE TALKING
ABOUT GEORGE, BUT IRA'S
WRITING, HIS INTERNAL RHYMES
ARE JUST SO ASTOUNDING AND,
YOU KNOW, WHEN YOU'RE LEARNING
NEW MATERIAL, AND MY DIRECTOR
POINTS OUT, NOW,
WAIT A MINUTE.
PAY ATTENTION TO WHY
THIS NEXT LINE HAPPENS.
YOU CAN'T SING THAT BECAUSE
YOU HAVE TO PAY ATTENTION TO
THE RHYME THAT HE
ALREADY SET UP.
SO THERE'S THIS INCREDIBLE
LOGIC TO HOW IT'S ALL GOING,
AND THERE IS SOMETHING, AS I
SAID, ABOUT SUDDENLY SLIPPING
IN THAT LITTLE BLUE NOTE OR
THAT LITTLE KIND OF FEEL.
GERSHWIN'S MUSIC IS -- YOU
KNOW, THERE WAS A LINE I'M
TRYING TO THINK --
MY ONE AND
ONLY
WHICH IS THE TITLE SONG,
YOU KNOW, I TOOK IT
AND DID IT VERY SLOWLY.
AND I WAS READING IN A HISTORY
BOOK, SOMEBODY SAID, HE STARTED
THAT SONG OFF YIDDISH
AND HE ENDED UP BLACK.
I MEAN, AND THE TRUTH IS
THAT SO MUCH OF THE INFLUENCES
THAT GEORGE GERSHWIN HAS IN
HIS MUSIC IS VERY JEWISH.

Richard says RIGHT.

Trudy says AND DEFINITELY GETS INTO,
YOU KNOW, BLACK AMERICA.
AND HE WAS ONE OF THE FEW --
HE AND HAROLD ARLEN, REALLY,
WERE THE FIRST COMPOSERS OF
THAT PERIOD TO REALLY BRING
THOSE INFLUENCES INTO THE
POPULAR MUSIC OF THAT TIME.

Richard says YOU KNOW, A WHILE AGO YOU
ASKED, WHY IS GERSHWIN'S MUSIC
SO HAPPY, AND I THINK
YOU ANSWERED WITH --

Trudy says YOU ASKED.

Richard says I ASKED.

Trudy says YOU ASKED IT.
I WAS NOT GUILTY
OF THAT QUESTION.

Richard says YOU SAID, WHY DOES
IT MAKE YOU FEEL GOOD.
IRA.
THE LYRICS ARE ALL SO SUNNY,
SO CHEEKY, COLLOQUIAL,
YOU KNOW, EMBRACE ME, YOU
SWEET EMBRACEABLE YOU.
YOU IRREPLACEABLE YOU.

Trudy says OH, HE JUST BLOWS ME AWAY.

Richard says COME TO PAPA,
PAPA DO, YOU KNOW?
IT'S GREAT STUFF, BUT IT ALSO
MAKES THE MUSIC MEMORABLE.

Trudy says WELL, THEY REALLY
WERE SUCH A GREAT TEAM.
I MEAN, THEY REALLY, IN
EVERY SENSE OF THE WORD.
AND IT'S INTERESTING BECAUSE,
YOU KNOW, I'M WORKING A LOT,
DOING THIS OVER AND OVER AGAIN,
AND ONE OF THE THINGS YOU
THINK ABOUT, OF COURSE, WHEN YOU
TAKE ON A PROJECT SUCH AS --
YOU WANT TO MAKE SURE THAT IF
YOU GOING TO DO, LET'S SAY,
IN THIS CASE A GERSHWIN
TRIBUTE CD, IF YOU'RE GOING TO
GET THE WORK, YOU BETTER LOVE
WHAT YOU'VE JUST RECORDED
BECAUSE YOU HAVE TO SUPPORT
THE RECORDING, WHICH MEANS
YOU HAVE TO GO OUT.
WELL, THIS IS JUST... I MEAN,
THIS IS A PIECE A CAKE.
I MEAN, FIRST OF ALL, THERE
WAS SO MUCH TO DO, AND WE CAN
GO FROM GOSPEL, TO JAZZ,
TO A LITTLE KIND OF BLUES,
A LITTLE STRIDE.
WE CAN GO ALL OVER THE MAP, TO
THEATRE, YOU KNOW, A LITTLE --
AND THE CLASSICAL.
I MEAN WE ARE COVERING
EVERYTHING IN THE SHOW, YOU
KNOW, WHICH IS NOT COVERED
COMPLETELY ON THE CD.
AND I DON'T KNOW OF ANY
COMPOSER, YOU KNOW, REALLY,
THAT YOU CAN GO ALL
OVER THE MAP THAT WAY.

Richard says DO YOU GO INTO GERSHWIN'S
LIFE MUCH, BECAUSE --
AND USE THAT?
YOU TALKED ABOUT, FOR EXAMPLE,
HOW ONCE YOU KNOW THAT
OUR LOVE WAS HERE TO STAY
WAS
HIS LAST SONG, IT MEANT MORE
TO YOU TO DO IT.

Trudy says WELL, ALSO -- BUT MORE
IMPORTANTLY FOR ME, IT WAS THE
FACT THAT THE -- BECAUSE I HAD
A LOT OF TROUBLE LEARNING
THE VERSE.
IT WAS LIKE, WHY
IS THIS VERSE?
IT'S SO WEIRD.
AND THEN, WHEN I FOUND OUT IT
WAS VERNON DUKE'S WRITING,
IT MADE SENSE.
IT WAS LIKE, NOT THE WRITING
THAT GEORGE WOULD'VE -- AND
THEN --
THEN
TO CONTINUE ON
AND FIND OUT THAT IRA HAD
WRITTEN IT AS A TRIBUTE TO HIS
BROTHER'S MEMORY, THEN ALL OF
A SUDDEN IT GAVE
ME GOOSEBUMPS.

Richard says YEAH.
BUT WHAT ABOUT THE -- DO YOU,
I MEAN, DO YOU SIT BACK AND
THINK ABOUT THE REST?

Trudy says I'VE DONE A BIT OF RESEARCH,
YOU KNOW, AND REALLY TO BE
HONEST, I MEAN, IT REALLY HAS
BEEN SORT OF AFTER FINDING
IT -- IF I'M LOOKING FOR A SONG
OR TRYING TO GET TO FIND OUT
MORE ABOUT A PIECE OF
MATERIAL, I'VE INADVERTENTLY
FOUND OUT MORE ABOUT THE TIME
PERIOD, OR THE SHOW THAT THEY
WROTE FOR, OR
SOMETHING IN HIS LIFE.

Richard says I ALWAYS THINK ABOUT THE FACT
THAT GERSHWIN WAS HORRIBLY ILL
FOR THE LAST PART OF HIS LIFE
WITH A BRAIN TUMOR THEY DIDN'T
DIAGNOSE UNTIL TOO LATE AND,
OF COURSE, THE FACT THAT HE
THEN DIED SO YOUNG.

Trudy says WELL I DON'T THINK HE -- I
DON'T KNOW HOW LONG HE WAS SICK.
I DON'T KNOW THAT IT
WAS THAT MANY YEARS.
I THINK THAT HE WAS HAVING
HEADACHES AND PROBLEMS AND,
UNFORTUNATELY, YOU KNOW,
PROBABLY IGNORED A LOT OF
WHAT HAPPENED.
AND THEN, WHEN YOU REALIZE
THAT HE WAS 37 WHEN HE DIED,
WHICH MEANS THAT, IF YOU PUT
IT INTO A REALITY THING, YOU
KNOW, THAT BODY OF WORK WAS
WRITTEN BEFORE HE EVEN REACHED
MIDDLE AGE, WHICH
JUST BOGGLES THE MIND.

Richard says AND IT LOOKED LIKE HE WASN'T
IN DECLINE -- SOME PEOPLE
DECLINE EARLY, BUT HE HAD DONE
PORGY AND BESS
AND THEN HE WAS
WRITING THESE BEAUTIFUL LONG
LINE MELODIES FOR THE MOVIES.

Trudy says I MEAN, MAYBE I'M WRONG.
I MEAN, I DON'T KNOW, BUT MY
IMPRESSION IS THAT IT HAPPENED
QUICKLY, AND THEN ALL OF A
SUDDEN, WHEN YOU KNOW HE JUST
WENT INTO A COMA AND IT REALLY
WAS TOO LATE, IT'S SORT OF
LIKE, YOU KIND OF WANT ROLL
THE WHOLE TAPE BACK IN A SENSE.

Richard says LISTEN, DO YOU REMEMBER JOHN
O'HARA'S WAS GREAT LINE
ABOUT IT ALL?

Trudy says WHAT WAS THAT?

Richard says WHEN HE HEARD THE NEWS HE
WROTE IN THE
NEW YORKER
MAGAZINE, GEORGE GERSHWIN DIED
YESTERDAY, BUT I DON'T HAVE TO
BELIEVE IT IF I DON'T WANT TO.

Trudy says YEAH, I MEAN I THINK IT
WAS JUST TOO ASTOUNDING FOR
EVERYONE THAT, YOU KNOW, THAT
KIND OF TALENT DIED SO EARLY
AND SO ABRUPTLY, YOU KNOW.

Richard says HAVING DIPPED INTO HIS MUSIC
AND GOTTEN USED TO GERSHWIN
AGAIN, DO YOU WANT TO CONTINUE
TO EXPLORE WITH LIKE A
PARTICULAR COMPOSER AND GO ON
THAT WAY, OR JUST KEEPING A
BROAD BASE?

Trudy says YOU MEAN, AS FAR AS THE
NEXT PROJECT KIND OF THING?

Richard says YEAH.

Trudy says WELL I MEAN, YOU KNOW, IT'S
DONE ALL THE TIME IN THE
CABARET WORLD BECAUSE -- AND
ALSO, YOU KNOW THERE'S ALWAYS
THIS SORT OF PRESSURE PUT ON
YOU ALSO BY RECORD LABELS
TO HAVE A HOOK.
SO YOU KNOW YOU'RE SORT FORCED,
ALRIGHT, WHAT'S THE HOOK
GOING TO BE, YOU KNOW?
YOU KNOW, I'M GOING TO SING
THE SONGS THAT EVERY TRUMPET
PLAYER EVER RECORDED.
I MEAN, WHATEVER... YOU KNOW,
ALL SONGS THAT HAVE 'MOON'
IN THE TITLE.
I MEAN, IT ENDS UP...
SO I MEAN, THAT BECOMES A
PROBLEM WHERE YOU KNOW WHEN
THE PRESSURE IS ON YOU TO DO
THAT, YOU END UP, I THINK,
STARTING TO MAKE CHOICES THAT
ARE NOT NECESSARILY MOTIVATED
BY WHAT YOU JUST REALLY
WANT TO DO.

Richard says RIGHT.

Trudy says SO, IF YOU CAN FIND A WAY TO
COMBINE BOTH, WHICH IS HARD,
THAT'S THE WAY TO GO.
I HAVE A PROJECT IN MIND, BUT
I'M GOING TO WAIT A COUPLE OF
YEARS, OR A YEAR -- AT LEAST A
YEAR, BECAUSE I ALSO FIND THAT
THE WHOLE IDEA OF LIKE YOU
HAVE TO GET A RECORD OUT
EVERY YEAR.

Richard says RIGHT.

Trudy says I THINK THAT'S NOT
NECESSARY, YOU KNOW?
I'D RATHER HAVE --
LESS IS BEST.
I'D RATHER PUT -- I MEAN MY
LAST CD WAS, WHAT, ABOUT THREE,
THREE AND A HALF YEARS AGO.

Richard says RIGHT.

Trudy says AND I'M SO HAPPY WITH THIS
PROJECT THAT IT WAS WORTH
WAITING FOR AND I DON'T
SEE THE NEED TO RUSH.
SURE, THERE -- I'LL TELL YOU
WHAT I WOULD LOVE TO DO.
I WOULD LOVE TO DO JUST THE
MUSIC OF ARTHUR SCHWARTZ.

Richard says MM-HMM.

Trudy says NOT SCHWARTZ AND DIETZ.
NOT DIETZ AND SCHWARTZ.
NOT ARTHUR SCHWARTZ.
WAIT A MINUTE.
YES, RIGHT.

Richard says YEAH, ARTHUR SCHWARTZ.

Trudy says HELLO, HELLO.

Richard says BUT NOT JUST THE STUFF
HE WROTE WITH DIETZ.

Trudy says BECAUSE IF YOU THINK ABOUT IT,
NOT TOO MANY PEOPLE HAVE EVER
DONE JUST ARTHUR.

Richard says RIGHT.

Trudy says IT'S ALWAYS DIETZ and SCHWARTZ.
BUT YOU KNOW, IT'S LIKE,
WHO REALLY IS GOING TO --
WHO THE HELL'S GOING TO
KNOW THE DIFFERENCE?

Richard says WELL, HIS SON JONATHAN
WOULD BUY THE ALBUM.

Trudy says JONATHAN, GOD BLESS
HIM, HE WOULD BUY IT.
NO, BUT I MEAN, YOU KNOW, I
DON'T KNOW THAT ANYBODY WOULD,
YOU KNOW, EXCEPT THE -- YOU
KNOW THE HISTORIANS WOULD.
IT WOULD -- BECAUSE THE BOTTOM
LINE IS, NO MATTER WHAT YOUR
HOOK IS, IT HAS TO BE GOOD.

Richard says YUP.

Trudy says I MEAN, SO TO DO IT JUST FOR
THE SAKE OF DOING IT, YOU KNOW,
THE QUALITY
HAS TO BE THERE.

Richard says ONCE UPON A TIME, TWENTY
SOMETHING YEARS AGO,
I WON'T GET TOO SPECIFIC.

Trudy says UH-OH.

Richard says I FIRST SAW YOU ON A STAGE.

Trudy says WOO-HOO.

Richard says AND YOU WERE IN THE OTHER
KIND OF CABARET, THE SINGING
AND DANCING CABARET WITH MARTY
SHORT AND ANDREA MARTIN AND
DOING WHAT'S A NICE
COUNTRY LIKE YOU DOING
IN A STATE LIKE THIS?

Trudy says SO MUCH FUN.

Richard says BACK WHEN TORONTO USED
TO HAVE THOSE THEATRES.

Trudy says YEAH.

Richard says DO YOU EVER HAVE AN ITCH TO
GET UP ON THE STAGE WITH
LIKE OTHER PEOPLE, AND DO
THAT KIND OF SKETCH SINGY,
QUIRKY HUMOUR AGAIN?

Trudy says I VANT TO BE ALONE.

Richard says SO YOU LIKE BEING ALONE?

Trudy says ABSOLUTELY.
THOSE WERE GOOD
EXPERIENCES, YOU KNOW?
I MEAN, I LEARNED A LOT FROM
DOING THE THEATRE-CABARET LIFE.
AND EVEN WAY BEFORE THAT, I
WAS A MEMBER, FOR ANYBODY WHO
REMEMBERS, A ROCK GOSPEL
GROUP CALLED DOCTOR MUSIC.
I WAS ONE OF THE
ORIGINAL MEMBERS.
YOU KNOW, THERE WERE EIGHT
SINGERS, AND THOSE WERE ALL
TERRIFIC LEARNING EXPERIENCES
BUT, YOU KNOW, I QUIT THE
BUSINESS AND RETURNED.

Richard says RIGHT.

Trudy says ABOUT, OH, EIGHT, NINE YEARS
AGO, AND WHAT I'M DOING NOW IS
EXACTLY WHAT I
WANT TO BE DOING.
AND I SOMETIMES FEEL I WAS
BORN AT THE WRONG TIME.
I SHOULD'VE BEEN SINGING IN
SUPPER CLUBS IN THE '50s.

Richard says NO, YOU WERE BORN
AT THE RIGHT TIME.

Trudy says AT THE RIGHT TIME?

Richard says BECAUSE YOU'RE SINGING FOR
US NOW, AND YOU'RE SINGING
TO HELP CELEBRATE GEORGE
GERSHWIN'S 100th BIRTHDAY.

They both chuckle.

Trudy says OH, YOU SWEET TALKER!
I LOVE IT.

Richard says TRUDY DESMOND, KEEP
SINGING THE SONGS.
WE'LL KEEP LISTENING.

Trudy says YOU GOT IT.

Richard says THANKS A LOT.

Trudy says OKAY.

Richard faces the screen and says
FOR DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1998, The Ontario Educational Communications Authority.

Watch: Trudy Desmond