BW: I probably have more tunes that no one will ever know about and no one will ever play than maybe anybody walking around in this corner here. I was playing in 1960 in that year that I went to New York. I took a job for the winter down in Palm Beach with a society band leader by the name of Paul Sparr. He was a really nice guy, very nice guy and the band was all New York guys. I was the only Boston guy, but at that time I was a New York guy for awhile, 802. So we were playing at this hotel which featured on the weekends, shows. They brought in a vocalist and we accompanied this vocalist. Not I'm desperately trying to think of this guy's name, but I can't. This vocalist came in and he was a broadway, Russell Nipe was his name. And you can say, huh? I've never heard of him, ok. Well Russell Nipe had worked in Call Me Madame with... FB: Ethel Mermon? BW: Ethel Mermon, that's right. He was the second to Ethel Mermon. Now Ethel Mermon was like historically famous in broadway. Russell Nipe had appeared with her in Call Me Madame. So to these people that we were playing for, he was a big draw, they loved him. Well, I had seen in the 50's, Russell Nipe singing in a show called Goldy Locks which was written by Leeroy Anderson. FB: Whoa... that's a big name with a small book. BW: That's right. Leeroy Anderson had written this. I happened to have gone with my wife to the opening night, we went to opening night. In addition to going to the shows which we used to do and we'd listen to tunes, we used to get copies, musicians copies of music. They would want us to play these showtunes so when a show came in town, they would come over, I was working at the Statler which is now the Park Plaza, and they would come in and give us some lead sheets. They would give us piano, because they wanted us to play one. FB: Man, that would be like a musician today giving a critic a demo copy of his album to go review it. BW: Exactly, same idea. So I learned the tunes from Goldy Locks. Now people don't even remember the show Goldy Locks, let alone the tunes. So I saw Russell Nipe sitting at the table and I said to the leader of the band, Paul Sparr, I got the next chorus. I said to the bass player, we're going to the key of F, just play it by ear. And I played a tune for this guy called Shall I Take My Heart and Go? Now, you never heard the song, I can sit down and play it on the piano. And after I played it someone would say, so? It means nothing. I started playing this tune and Russell Nipe almost dropped, he was eating soup, he almost dropped his spoon. He got all red and he looked up at me and he waved at me. After that he was eating and looking up at me and like wide eyed okay. When I got through with the set, he waved me over, sit down, sit down, what's your name? FB: Nothing speaks to people like a tune that they know. BW: That's right. Why? Because he sang that in the show. He said to me, I would never expect you to play that tune. I said well, you sang it in the show. He said, you don't understand, you don't understand this. He said, nobody in the world would play this song. And I said, well why? He said because they cut it out of the show after the second performance and you learned the song. I said, well I saw you sing it on opening night. He said, yeah, but they cut it out of the performance, they never played it again. FB: Unbelievable. BW: After the second night he said, nobody in the world would know that. And it was like serendipity, or a serendipidous kind of a moment. Well anyway, he got such a kick out of that. That's what music means, we're getting on another subject, but that's what tunes mean to certain people. FB: Absolutely. BW: They start thinking about where they were when they heard the tune. You talk about this music business or what we do, or what we have done in the music business.