Max Morath Review - October 6, 1988

Review titled "Morath's Music Brings Back Memories In Academy Concert"

Well, they did it again - The Friends Of The Academy of Music did it again. Last evening, Max Morath appeared on the stage of the lovely old Academy Theater to present a marvelous recital before an estimated 250 delighted people.

Working with an old Edison Talking Machine, magic lantern slides, and a player-piano attachment, Morath took the audience with him into a time machine trip back into the late 1890s, and from there to about 1925, roughly in history covering the first 50 years or so of the Academy's life.

Morath opened the show with an old number, "Living A Rag Time Life," which was followed by an outstanding "Maple Leaf Rag." During this portion, Morath explained that ragtime was really the first type of American popular music that had gone "national" in popularity.

After a rousing "Grace And Beauty" by Kansas City composer James Scott, composed in 1909, Morath played and sang a "tender love song," "Saloon," composed by Ernest Ball in 1920.

Then came a highlight, "Willie The Weeper," made famous later by both Louis Armstrong and Cab Calloway, among others, which featured Morath's fine vocal and some bluesy fills on his piano.

The first act closed with Eubie Blake's "Charleston Rag," originally composed by Blake in 1899 but not copy-writed until 1925.

After a short intermission, Act II commenced with a Bert Williams specialty, "When It's All Goin' Out And Nothin' Comin' In." Williams, the first really successful black vaudeville star, was said to be, by fellow comedian W. C. Fields, "the funniest and the saddest man I ever knew."

Morath then explained that when he, Morath, was 11, he composed a piano piece titled "Cat On The Keys," only to be told by his piano teacher that a composer named Confrey had already copywrited something called "Kitten On The Keys." Morath then played an excellent version of this Zez Confrey number.

Morath explained that each of the black ragtime composers had a sound and style of his own, then played an exquisite "Solace," composed by Scott Joplin, including the seldom-heard verse of the composition.

Another high point followed, two versions of "Bill Bailey, Won't You Please Come Home?" One version showed the woman's point of view, the other version, titled "Ain't That A Shame?" showing the man's.

A litte bit of George M. Cohan followed, which led to a duet between Morath on the regular piano keys, and the player-piano. Simply outstanding.

Again, the superb acoustics of the Academy came into play, since Morath worked without a mic during the whole performance.

The lighting was another high point. The use of fade-out and complete black-out was effective, and during the Cohan number Morath, with the use of lighting only, aged
25 years right before your eyes.

Max Morath treated the audience to an evening of outstanding American music. His piano work is facile, he knows his material, and it is apparent he puts much time and research into his programs. His vocals suit the material admirably, and he has a commanding stage presence.

If vaudeville is ever to make a come-back, Morath will probably be the one to do it.

Thanks to the Frinds Of The Academy Of Music for an evening of fine music.