Oh, Brother! Oh, Sister! Oh, Baby!

No more than 26 people can annually enter the main competition at the World Championship Old-Time Piano Playing Contest and Festival...and that means the Old-Time Music Preservation Association (the group that puts on the C&F) cuts the preliminary competition off at sixteen Regular Division contestants and ten Junior Division (seventeen and younger) combatants.

This time around, we had seven JDers and eleven RDers.

And the seven who competed for five Junior Division cash prizes came out of five families.  

Speaking of families...births lightened the 2014 OTPP field. First of all, Martin Spitznagel (the contest's 2011 Reg champ) stayed home with his wife so that they could enjoy their first child.

And the reigning Regular Division titleholder, Russell Wilson (from the same Washington, DC area the Spitznagels now live and work in), couldn't come to the Embassy Suites East Peoria (IL) because his wife was due during OTPP Weekend with their first child. 

So there we were...all eighteen of us gathered in the Green Room of the Conference Center portion of the Embassy Suites East Peoria at 7:30 AM (Central time) on Saturday, 5-24-2014. We'd gathered to draw numbers to determine playing order.

And, as things turned out...Washington's (America's 42nd State, not America's capitol city) Damit Senanayake became the first 2014 OTPP contestant...and the first Regular Division pianist to try and take Russell's 2013 title away. 

Damit's got a pleasant, sedate, stately style...and he brought that style to Irene Giblin's most famous rag, "Chicken Chowder," as well as to Vincent Youmans' "Without a Song."

Then came Isaac Smith, the seventeen-year-old Iowan out to make it two Junior Division championships in a row.

Isaac made a strong bid by playing "Kitten on the Keys" and a very interesting version of "She'll Be Comin' 'Round the Mountain." (In Isaac's version, the "she" in the tune had to get six new horses!) 

The audience assembled at the Conference Center's combined River E and F Rooms would soon find out that Isaac was the older half of a brother act (stay tuned).

It was back to the RD battles...and the next performer to get in the ring was Pennsylvanian Michael J. Winstanley, who brought his stompin' style to Scott Joplin's "Stoptime Rag" as well as to "Kansas City Stomp."

Michael J. gave way to the other Smith Brother in the competition, eleven-year-old Eli.

Isaac's 2013 success gave Eli plenty of reasons to see if he could get himself that Junior Division crown. Eli's two selections were "Twelfth Street Rag" and "Champagne Rag."

After meeting the younger half of a brother act, the OTPP enthusiasts then met the younger half of a sister act: North Carolinian Miasol Yara (Mia for short).

By the way...you pronounce Mia's first name "MEE uh," not "MY uh."

Mia turned in a really bluesy set, and it consisted of "Ma (He's Making Eyes at Me)" and an abbreviated "Rhapsody in Blue."

One thing about the JD competition...the younger performers have to prepare just two songs while the older ones have to get six tunes ready. That way, OMPA crowns the Junior champion that Saturday afternoon of OTPP Weekend.

Then it was back to the Regulars...with Virginian-turned-Minnesotan David Cavalari taking to the 1883 Weber upright (the piano better known as "Moby Dink").

David had a couple of interesting selections this round: "Ragtime Chimes" and "Tico Tico." (That's right, that "Tico Tico," the one made famous by organist Ethel Smith.) 

So glad that Samuel Schalla made the trip from his native Tubingen, Germany this year. He's got a stately style of playing, too, and the 20-year-old Regular Division contestant brought that style of his to "Texas Fox Trot" and "Some of These Days," the Shelton Brooks number made famous by Sophie Tucker.

William McNally (he'd just won the New Rag competition the night before- the fourth time he's snagged that contest's "Remarkably Small Trophy") was looking to add this year's RD title to his collection. Bill likes to load his sets with very interesting tunes...stuff off the beaten path; in this year's prelims, the Pennsylvanian-turned-New Yorker brought home "Piano Puzzle" and something called "Chopinata." (I hope I got that name right!) 

The next pianist in competition was a JDer from Illinois, Leo Volker.

Leo was having a great time up there as he delivered two Scott Joplin pieces: "Magnetic Rag" and "Reflection Rag." 

Around 11:30 AM, we all took a lunch break (and took advantage of all the fine restaurant choices in and surrounding the hotel).

Then... 

21-year-old Michigander William Bennett was the next performer to step up...and he didn't disappoint the crowd, either, with George Gershwin's "Rialto Ripples" and Irving Caesar's "Just a Gigolo."   

I couldn't join that crowd at the moment, because I had to practice up for my own first-round set. And as a result, I didn't get to hear what "Perfessor" Bill Edwards (that Californian-turned-Coloradan-turned-Washington, DCer-turned-Virginian) brought to the first round. (Can somebody tell me what "Perfessor" Bill played?) 

I had a good feeling about going up there for 2014; I wanted to show that I'd been taking the messages brought forth in "The Entertainers" to heart (messages like: "When you're playing a song, you're telling a story!")...and I wanted to have fun.

So...this time, I did "Hello Ma Baby" and followed that up with a 1925 number written by Billy Rose, Al Dubin, and Joseph Meyer: "A Cup of Coffee, a Sandwich, and You." (Really had a lot of fun with the latter tune!)

When I was done, I hurried back and found a seat in the audience...and caught Ethan Uslan's two first-round tunes: "Dardanelle" and the durable "Limehouse Blues."  

When he's not tickling those keys all around the world, New Jerseyite-turned-North Carolinian Ethan also teaches others to tickle those 88s. Some of his students include his eight-year-old son Ben and...the Yara Sisters (one of whom we've already met).  

Glad to see Pennsylvanian (and RD contestant) Domingo Mancuello come back to get another crack at the Ted Lemen Traveling Trophy. Domingo's one of the most passionate performers in all of old-time piano, and in the prelims, he showed just why...doing "When You're Smiling" and a rag called "Chickenfoot Bob."

Then one of the steadiest performers in old-time piano, Michigan's John Remmers, stepped up to the plate. I really enjoyed his version of "Where the River Shannon Flows," which the one-time college math professor followed with "Under the Southern Moon."  

The Junior Division provided the 2014 OTPP competition with the last three performers...starting with Miasol's thirteen-year-old sister, Madeline. 

Maddy brought a bluesy style of her own to "Dolly Dimples" and to Mabel Wayne's "In a Little Spanish Town." 

By the way...Maddy and Mia really do have a sister act going: When they're not playing old-time piano, the Two Yaras make up half a local (Charlotte area) rock band, the Control Freax. In the Control Freax, Mia and Savanah play guitars (Savanah also plays keyboards), Maddy plays the bass, and Maureen rounds out the act on drums.

The Freax really have it going on, and if you'd like to find out for yourself, just log on to www.youtube.com and type in "Maureen's band" or "The Control Freax." (I like what the band did with "Roll Over Beethoven.") 

An Illinoisan named Reed Phillips rounded out the newcomers in the 2014 OTPP field. And he let 'em know that he was after Isaac's JD title, too. Reed (as did Leo) turned to the King of Ragtime to make his bid, selecting "Peacherine Rag" and the second "Stoptime Rag" heard in the prelims.  

All through the competition, Ted and fellow emcee Adam Swanson (that's right, that Adam Swanson) showed the audience just what makes old-time piano so infectuous. (One of their most memorable interludes featured Ted- the man behind OTPP- playing a tune like "Happy Birthday to You" in the conventional way...only to see Adam- the most decorated pianist in contest history- turn the number into a rag.)  

Yep...2014 not only was a year without Martin or Russell competing, it also was a year without Morgan Siever, the sole 2005 JD newcomer to not only come back for 2006...but also keep competing at the C&F into the 2010s. 

Morgan's two-year reign atop the Junior Division (2010 and 2011) was ended by the last contestant to tackle Moby Dink for 2014: Fellow Illinoisan Daniel Souvigny. 

And thirteen-year-old Daniel let EVERYBODY know he wanted that JD championship back. Big time.  

Daniel came out roaring, putting over killer versions of "King Chanticleer" and "Tiger Rag." (To prepare for "Tiger Rag," Daniel even turned his vest inside out...to reveal tiger stripes!)

Well, with the competing over for the day, contest judges Brian Holland (the 1997-99 RD champ), Terry Parrish, and Patrick Holland got together to tally up scores...and, along the way, they found out the Smith Brothers outdid the Yara Sisters.  

And as things turned out, Reed won fifth place (and $40), Eli got fourth place (and was able to pocket $60), and Madeline earned $100 for finishing third.

Isaac settled for second place and its $125 prize. (And 2014 started to look like 2008 in the JD competition; that year, the previous year's Junior Division kingpin, Missourian Wesley Reznicek, surrendered his title to the last pianist to compete: Cassidy Gephart from neighboring Kentucky.)

Eli's older brother surrendered his JD crown to...the last 2014 pianist to compete.

And that's how Daniel was able to go home $250 richer (and with his second JD trophy).

After the Saturday smoke cleared, it was time to find out which ten Regular Division contestants would do their thing at the hotel's River E and F rooms the next day.

Yep...according to the rules, one RDer would have to be sidelined.

And when I come back, I'll tell you who got sidelined.

Sussex 235

This record debuted on Billboard's Pop chart and R&B chart next week in 1972 (its R&B chart debut was 4-29-1972).

It spent 19 weeks on this country's Billboard Pop chart and left the magazine's Rhythm & Blues chart (then known as "Hot Soul Singles") after spending 17 weeks on it.  

On 6-24-1972, the song displaced Bobby Womack's "Woman's Gotta Have It" at the top of this country's R&B chart, staying that chart's leader for an entire week...and did even better as a pop song, making it to Number One on said survey on 7-8-1972, the day it kicked Neil Diamond's "Song Sung Blue" out of the Hot 100's driver's seat (and enjoyed a three-week run as the most popular single on Billboard's Pop list).  

This song proved so durable that the 1980s dance/disco group Club Nouveau put its own spin on it (Warner Bros. 28430)...and in early 1987, Club Nouveau made it a smash all over again- bringing the number to the top spot on the Pop chart and to Number Two on the Billboard R&B survey.

It's been a staple at contemporary worship services ever since at churches everywhere.

It's the song its composer (Bill Withers, the man who had the original recording, on Sussex Records) is most associated with.  

The ditty's message is timeless and universal.  

And until very recently, I've had so many doubts about whether that timeless message has ever had any REAL meaning for me.  

You see, at the time "Lean on Me" came out, I was still in my teenage years and fighting to survive life with an alcoholic mother...the exact same fight my younger brother was engaged in.

One thing about it, after being told by Mom that "I WISH YOU'D NEVER BEEN BORN!" I just couldn't count on coming to her for any sort of support for any reason.

I didn't dare seek support from any adult relative. (A cousin telling me I'd have to learn to cope with this or that situation was the closest I could come to receiving any support from kin at the time.) 

Had better luck at school...but even then, I had to be very, very careful about who to tell my troubles to. 

Lately, however, I've been giving "Lean on Me" another chance in my life...and fighting the temptation to go back to saying: "I don't need anybody!"

Way down inside, we DO need each other.

So Nice, I Had to Do It Twice

Well, there it was...Saturday, 9-7-2013. 

The day started out with me playing at the Ambassador Omaha, a nursing home at 72nd and Seward (not far from Crossroads Mall).

After getting done playing there at just after 11:00 AM and going home after that to grab a bite to eat, I headed back out to Village Pointe to play some more at the Omaha/Council Bluffs/Bellevue area's busiest shopping center...and hopefully, to meet up with the artist who painted the center's "Play Me, I'm Yours" piano, Lisa Schlotfeld.

I met Lisa when the local arm of Luke Jerram's claim to fame kicked off on 8-23-2013...and I'd been itching ever since to make it up to her for not being able to try out that colorfully-painted Marshall & Wendell upright (from the 1910s) at the 8-25-2013 reception the Omaha Creative Institute and the crew from "PMIY" threw at The Pointe.

Got to the shopping center at 1:28 PM...28 minutes later than I'd hoped. (It was all because I'd started out late in the first place, ran into a traffic jam on West Maple Road, and then, when I finally arrived at Village Pointe, I had trouble finding a parking space. But I found one nevertheless.)

Once I made it to Village Pointe's Center Court, two little boys- Raymond and Rowe (could be Roe or Ro instead)- were showing what they could do on this century-old piano.

Not long after that, I got a chance to follow Rowe and Raymond...and the first thing I did when I got to the piano was take its music rack off.

And I launched into a song William Gray wrote in 1898, "She's More to Be Pitied Than Censured," one of the many treacly, sentimental ballads the 1890s were known for.

That is...I launched into the tune when a family walked over to the piano and heard the music and saw who was coaxing said music out of the 88s.

And so, I cut "Pitied/Censured" short and invited siblings Rebecca,

Kristian,

Josh,

and Andrew

to play.

Had a ball watching the foursome tickle the keys. 

I liked how Andrew was cutting up; in addition, I loved Rebecca's version of "Fur Elise," which she followed up with something old-timey. Rebecca also showed Josh how to play "The Knuckle Song" and, earlier than that, showed Raymond how to do "Heart and Soul." 

Eventually, I ended up trading places and going back to ol' Marshall & Wendell to play "Pitied/Censured" in its entirety. Some other songs ensued- including some rags I'd written during the 1999-2005 period (like "Split Brains," "Ragtime Meadowlark," and "I Wanna Shout")- when a man who actually did make it to the VP reception (and tore it inside out, with the proof on YouTube!) came back to play those keys.

That's right...none other than Jim "The Music Man" Snyder.  

And we ended up spending the next hour or so trading musical sets. (And the crowd ate it up...especially the elder Jim's music!)

Jim Snyder's music included "Move It on Over," "Loving You," and even two Bob Seger numbers: "Katmandu" and that all-time favorite, "Old Time Rock and Roll."

I got the message.

When I got back to ol' Marshall & Wendell, I dusted off a 1956 R&B hit by the El Dorados, "At My Front Door." Then, I followed it up with Little Richard's "Long Tall Sally." I also answered "Loving You" with two of its fellow Elvis Presley tunes: "(Let Me Be Your) Teddy Bear" and the one that put him on the map to begin with, "Heartbreak Hotel." 

The whole thing attracted the attention of quite a few passersby...including a woman named Beth, who's a professor at the University of Nebraska-Lincoln. (The Village Pointe exhibition got Beth to the point where she came away interested in making Lincoln the 37th State's next street-piano city!)

By then, The Jim and Jim Show came to an end...and it spun off into the Jim Plus Somebody Else Show.

With me the only Jim left, I still was hoping Lisa Schlotfeld could still make it to the shopping center so that she could once again hear her contribution in action. 

And just in case Lisa couldn't make the trip back to The Pointe, I knew I had to record myself and get it on YouTube (so that Lisa and others could see it).

And I knew I had to do better than the day before.

That's why I turned to a tune Lisa and others heard me do at Memorial Park at the very beginning of "PMIY," Omaha style: Good ol' "Do Re Mi," from "The Sound of Music." 

Worked out much, much better than my attempt the previous day to serve up "Aida's" most famous piece...that time as if Del Wood, and not Giuseppe Verdi, wrote it.

Speaking of workout...really glad that two young pianists came along to prevent the last segment of a fine, fine afternoon from turning into the Just Jim Show.

Charles came over and turned in something jazzy.

Not long after that, it was Emily's turn...and she came up with something classical.

Well, the clock was getting to the point where it would approach 5:00 PM...and it was time to wrap it up and stick the music rack back on this century-old upright. Time to go home. 

Or was it?

By this time, a Douglas County Post-Gazette reporter named Emily Heinzen strolled by and offered me the chance to get in that particular newspaper.

I got in...and knocked off my version of one of the first R&B hits to find favor with both Black and White audiences, Lloyd Price's 1952 landmark, "Lawdy Miss Claudy."

All in all, despite my not getting the chance to hook back up with Lisa, it was still a great, great outing.

Turned out to be one of the many, many reasons I'll never, ever forget Luke Jerram's most famous contribution coming to the Omaha/Council Bluffs/Bellevue area.