TrulySignificant.com presents Tiano...the extraordinary musical collaboration of Shimi Goodman (Tenor) and Chris Hamilton (Pianist). Together, they blend musical-theatre, opera, and crossover repertoire with originals.
Hailing from London's West End and international stages, their performances travel seamlessly from Italian arias to modern hits and intimate originals.
We first heard Shimi onboard Norwegian Cruise Lines, opening with Tonight from West Side Story. Shimi reprises the song, acapella, on today's show. Born in Tel Aviv, Israel, he made his West End debut in the musical Bombay Dreams. He was in the original cast of Dirty Dancing on West End and also starred in Evita.
About Chris, he started playing piano at the age of four. After studying law at Oxford University, he practiced as an attorney in London and New York City. Deciding to focus his career full time, he went to the Guilford School of Acting where he met Shimi.
Tiano will be performing in Las Vegas on October 8th at The Composers Room, and in Tucson, Arizona on October 11th at Arts Express Theatre (Mr. Bing's Starlight Room).
Visit www.shimigoodman.com to follow Tiano.
Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.
Hailing from London's West End and international stages, their performances travel seamlessly from Italian arias to modern hits and intimate originals.
We first heard Shimi onboard Norwegian Cruise Lines, opening with Tonight from West Side Story. Shimi reprises the song, acapella, on today's show. Born in Tel Aviv, Israel, he made his West End debut in the musical Bombay Dreams. He was in the original cast of Dirty Dancing on West End and also starred in Evita.
About Chris, he started playing piano at the age of four. After studying law at Oxford University, he practiced as an attorney in London and New York City. Deciding to focus his career full time, he went to the Guilford School of Acting where he met Shimi.
Tiano will be performing in Las Vegas on October 8th at The Composers Room, and in Tucson, Arizona on October 11th at Arts Express Theatre (Mr. Bing's Starlight Room).
Visit www.shimigoodman.com to follow Tiano.
Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:09):
Welcome back to Truly Significant dot com Presents. We have
got two great guests on today, Simmy Goodman and Chris
Hamilton that make up a team Tianna, the tenor and
piano duo that are on their way from London to Vegas.
(00:29):
And Guys, it is an honor to have you on
today's show and talk about your extraordinary music.
Speaker 2 (00:35):
Thank you for having us. We're excited to be part
of this.
Speaker 1 (00:38):
Yeah, years ago, Chris Arlan and I got to hear
Shemmy on board an NCL cruise. I know I heard
them about that, and we now we finally get to
connect with you and Hey for starters for those people
that didn't hear our previous show, Simmy and we want
(01:00):
to meet Chris tell us both of you. Tell us
about your backstory and how you met.
Speaker 3 (01:07):
Well, so you know about me, I'll remind the listeners
I am a singer, but my background is very much
grounded in the world of musical theater. I trained in
musical theater and got my degree in the Guilford School
of Acting in England. I'm originally from Tel Aviv in Israel,
(01:34):
but I moved here twenty six years ago to train
and then I was extremely lucky to become a west
End performer, which is the equivalent of Broadway performer in
the US, so over here all the Broadway shows are
called west End shows, and that's what I've done for many,
(01:55):
many years until I kind of came to a conclusion
that what I want to focus on is mainly the music.
And now all this time, when I was in Guildford
School of Acting, I met a young welsh Man who
is an extremely talented pianist called Chris Hamilton during my
(02:18):
second year.
Speaker 2 (02:19):
Yes, I was born in Wales and I started playing
the piano at quite a young age, at the age
of four. I had a classical training. I adore classical music,
and then I had a completely different direction in my journey,
if you like. I went to Oxford University and studied law,
(02:39):
still keeping music up and very much involved with the
classical piano musical scene at university. Then I practiced law
both in the city of London and New York, and
all the time the music was percolating and I was
doing a lot of gigs on the side. Until one
day I thought, how did I end up in this career?
(03:03):
I just sort of got swept along. It wasn't due
to my parents putting pressure on me to become an attorney,
not at all. They were actually quite disappointed when I
put music on one side for a while. So I thought,
before it gets too late, I'll leave the city, this
very high powered job, and to get myself out of
(03:24):
that city corporate mindset, I thought I'd go to Guilford
School of Acting and do a post graduate course in
musical theater. And if I'm being perfectly honest, I didn't
get too much out of that course. But if I
hadn't have gone, I wouldn't have met mister Shimmy Goodman,
and we wouldn't be sitting having this conversation with you
(03:44):
twenty five years later.
Speaker 1 (03:46):
Correight, I think that that story is an example of
some of two people that know their own creative town
so well that they move from whatever where are they deemed.
Speaker 4 (04:00):
Success over to significance.
Speaker 1 (04:03):
And it's almost like you two are the post your
child for this show of people should chase their passion,
get serious about it, and then evolve with that skill set.
Speaker 2 (04:16):
Absolutely, I mean, there's that wonderful saying find a job
you love and never work another day in your life
and I can honestly say comparing my life and lifestyle
today with how it was when I was a practicing attorney,
and I'm not knocking the profession. There were parts of
it I really enjoyed. I liked the intellectual rigor. I
(04:39):
didn't particularly like the long hours. So I can really
appreciate what this artistic journey, what it entails, and I
can really appreciate not to say that this our careers
now don't have their challenges. You have to self motivate
your working, necessarily on stage, at least generally speaking in
(05:00):
the evenings when everyone else is relaxing. There's a lot
of traveling involved, as I'm sure you discussed with Shimmi
last time. But to do what you actually love, it
doesn't feel like a job. You just love sharing your
music and your original compositions with as many people as
will listen.
Speaker 3 (05:17):
And a moment of humility. Thank you so much. Rick,
That's a very very kind thing to say, and we
really appreciate it. Yes, I appreciate it. Being able to to,
I guess, be some sort of example to other people
as you as you've stated, I think.
Speaker 1 (05:36):
Absolutely, and part part of this is to talk to
you guys about Tiano coming to Vegas and let's let's
kind of get into the weeds. Now, what makes this performance,
this series that you're doing there unique in the Las
Vegas context.
Speaker 2 (05:56):
Well, Vegas came as a result of an engagement we
already had secured, which was in Tucson, Arizona, at a
wonderful venue there. It's relatively new. It's called Mister Bing
Present in conjunction with Arts Express, so it's about a
two hundred and seventy seater. It's very elegant. I mean,
(06:17):
we haven't been to Twothon yet, so we're flying there tomorrow,
super excited about that. And as a result of getting
that engagement, we won't bore you with the whole journey
about getting the visa, which was incredibly arduous, long, difficult,
and expensive. But to maximize that visa we haven't expires
(06:38):
basically on Halloween, the thirty first of October this year,
so we had our contact in Tucson reached out to
certain venues in the hope that they might have a
spare spot a spot, and indeed they did, which was lucky.
So it's next Wednesday at a venue called the Composer's Room,
we haven't been there yet. We've been in touch with
(06:59):
the team. They're very supportive and helpful and we're looking
forward to it. So that's a bit of a that's
the wild card if you like, in Vegas. So we'd
encourage any listeners, Yes.
Speaker 3 (07:10):
Any listeners in Vegas or around do come and see
us eighth of October the Composer's.
Speaker 2 (07:16):
Room at seven pm, I mean the showing two song
a few days later on the eleventh. Remarkably, that's pretty
much sold out now. I think there's a couple of
tables at the back. That's an incredible result for two
British performers making their Tucson and Nevada babies. So it's
very gratifying and it's very rewarding audience.
Speaker 3 (07:37):
So we really hope that this will also generate some
more performances there.
Speaker 1 (07:43):
You you, of course it will, and of interest to
our musicians that listen to this show.
Speaker 4 (07:50):
Do you guys have this broad repertoire.
Speaker 1 (07:54):
What are you selecting for your opening song and your
closing song and how did you happen to select those
particular tunes?
Speaker 2 (08:03):
Well, good question, Rick, A fair secret with you. You
may or may not know this, but it's an ongoing
challenge picking the perfect opening song, the closing song. I
feel as if, I think people don't necessarily appreciate just
how much effort, thought and consideration goes into planning and
(08:27):
curating the perfect or as perfect as anything can be setlistes.
Speaker 3 (08:33):
We make it. We almost make it harder on ourselves
because we, as you said, we have such a broad
repertoire and so many we play so many different genres,
and so it's it's it makes it harder to choose
because you want the you know, the exact right vibe
to open the show that you know and to close
(08:54):
the show, and there's such a big pool of songs
and musical styles to choose from. So I haven't answer
to your question question.
Speaker 2 (09:04):
I mean the first the opening number on We're doing
the same one for both of these shows. It might
seem a little obvious, but it's that fantastic standard from
West Side Story Leonard Bernstein's West Side Story Tonight, and
we give it a bit of a piano spin. I
do an intro. I'm suggesting other songs from that, but
it sets the tone. I think that first number is crucial.
(09:28):
You want to relax your audience. You want them to
know that they're in safe hands. You want something not
too long because you well, we certainly will come on.
We won't say anything, as you can probably tell I
like to talk especially, but we'll launch into that opening number,
which we would like it to be between two and
a half to three minutes, and then you get to
(09:49):
the business of introducing yourself. However, for our second number,
we're not brave enough to start with this. We've got this.
I'm sure you know that wonderful Irving Berlin song Piano
I Love a Piano, that one. It's it's you don't
hear it so much about with Michael Feinstein, does e
Liza Minelli. Well, we have put it through the piano blender,
(10:11):
and so Shimmy will sing I Love a Piano. Now
Chris starts singing, and I start so I've written, and
then Shimmy is singing his high notes when I'm singing it.
It's very tongue in cheek. It's funny. And then at
the end is we spend O T I A N
O O. So you know, piano fits perfectly. And actually
(10:32):
there's one line I say, I'm such a big fan
of mister Goodman. So it's that fun. But I wouldn't
necessarily to an audience that doesn't know us start with that,
because I think they need something familiar. And then you
stand up, put them further at their ease, speak and
produce ourselves, and then we will go into that one,
and then you ask like the closing song for these shows. Currently,
(10:55):
we've really taken to a wonderful song from Man of
la Mancha, the musical Impossible Dream. I think it takes
so many boxes. It starts small, it's quite majestic, it's
quite heroic, and then by the end of it, we
changed key and we're singing in perfect harmony, hopefully, and
it's People.
Speaker 3 (11:15):
Seem to love the musicals, you know. We we as
I said, we do a little bit of classical music,
a bit of opera, a bit of jazz, a bit
of pop as well, which we combined with other classical pieces.
But whenever we play anything from a musical, people seem
to go wild. Yes, they do, especially our musical theater
medley which we which we which has songs starting from
(11:36):
the Phantom of the Opera. It's it's and people just
love it. Every week.
Speaker 2 (11:44):
We couldn't believe it. We actually did. We made officially
our US debut, so to speak, in Pittsfield. Massive this
It was Independence Day weekend in July and beautiful venue
called Barrington Stage. And the other day we listened back too.
We always record it on our phones. The performance and
the audience was so receptive. I'm not even joking. Nobody cough,
(12:08):
nobody shuffled. That was a ninety minute performance. But then
when it came to respond and show appreciation, my word,
they jumped to their feet, they clapped, and I just thought, gosh,
it's American audience a lot the best. I feel very
disloyal saying that as a British person, but they really
get invested in a performer. They love confidence, and they
(12:29):
respect good music and good entertainment. So if it's any
like that performance was, we are laughing. It's going to
be a great success.
Speaker 1 (12:37):
You will be you will enjoy even further success in
an embrace from your Western audiences. I can guarantee you.
I want to come in on a couple of things
that you guys said. When you're putting the songs in
a particular order, it sounds like to me that there's
almost an emotional arc the sequence of the songs and
(13:00):
there's joy and there's emotion.
Speaker 4 (13:03):
Comment on that.
Speaker 3 (13:04):
For me, Well, first of all, I have to state
that the responsibility for creating the set lists is granted
to mister Hamilton. Yeah, basically you take over.
Speaker 2 (13:20):
Don't you, well without without our own role. To me,
desired a fantastic fly which we just have printed out design.
Speaker 3 (13:31):
So anything to do with with flyers or any sort
of banners, online videos, videos that we have in the
you know, on the back of the stage, I'm I
do that, so video editing as well. And then Chris
is very good at creating set lists. I mean, he's
(13:52):
also extremely talented in he basically arranges everything that we
do musically.
Speaker 2 (14:01):
To me, I think it comes relatively easily to me.
I think, like anything though, it's a skill you can refine.
Over the years, I've seen many a very talented consumment musician, performer,
singer on stage not quite and I hate saying anything
(14:22):
disparaging about other performers, but not perhaps connecting with the audience.
And to me it seems obvious it's all about the
repertoire and the material for instance, So.
Speaker 3 (14:34):
What goes into it?
Speaker 2 (14:35):
Okay? I would we write original songs. We'll be performing
two of our originals in the shows next week. I've
written songs since as long as I can remember, so
I personally would never go out on stage to an
audience that doesn't know us and start with an original song,
because there's that old adage people like what they know,
(14:55):
and they know what they like. You have to earn
people's trust, so you will do that opening song which
everybody knows tonight from West Side Story, so they feel safe.
Then you can branch out, then you can do something
a little more. Not that anything we write is so
ofvan guard and challenging that they're very lyrical, easy to
(15:15):
listen to songs. I look at the program, I mean
I sing as well, and think we do duets, so
I'd like to spread those out. I like to spread
the quiet moments as tiano. We do something where we
can buy beautiful classical piano pieces which everybody knows, such
as Debuc's Cleddaloon with a popular song such as Moon River,
(15:38):
which I don't think anybody's done searching it. We do
that quite a bit. So that would come at a
moment in the program where we need a little bit
or the audience needs to sort of okay, go on
a reverie.
Speaker 3 (15:49):
So you think about ballad as an up tempos. You
don't want too many ballads and too many up tempos together.
You want to spread them out.
Speaker 2 (15:57):
You don't want too much sort of heightened mootional songs
which might get people a little bit, you know, teary eyed.
You have to mix it up. That's how we do
it anyway. I mean, I'm sure people might listen to
this and think, oh, they do it completely differently, but
it works for us. So you start with a strong
song they all know. You finish with the song they
all know, and you put in some originals and very
(16:23):
the mood, so you'll have people laughing. I think everything
we say between songs, I mean, we've got a good,
good dynamic. Shimmy and I I talk a lot, so
on stage we got this banta. We bring to the
table very different skill sets. Shimmy doesn't play piano, so
we're not fighting over that. I don't sing high tenor notes,
so we're not fighting over who's singing the high part.
(16:43):
It's a very good synergy. And in fact, somebody once
said individually, because we are soloists, as well, I mean,
I've just came off the cruise solo. So did Chimmy. Individually.
I'm not saying this myself, we're fantastic, but when we
join forces something a lot of people interesting because sometimes.
Speaker 3 (17:04):
Because well most of them, most of the times when
we travel them to perform on cruise ships, we would
do our own individual shows and then we would get
together and do our piano show. And so what people
get to see us as independent musicians, and then they
get to see us perform together and they get very
excited about this. And then the comment that they usually
(17:27):
say is what Chris said, there's.
Speaker 2 (17:29):
A certain magic which you know, we've been performing together
for twenty five years. I mean that's a quarter of
a century, so there's a synergy. I mean, I don't
I don't even necessarily need to look edge to me
to know how he's going to phrase a line in
a song. It's just imperceptible.
Speaker 3 (17:47):
And for me as a singer, I always feel extremely
safe when Chris is on the piano. It's a it's
almost it's almost a sort of you can feel cradled.
You know, you don't need to worry about for someone's
always going to catch you if you if you stumble,
it's yeah, it's a it's a really special, special sort
of relationship.
Speaker 2 (18:07):
Yes it is, and.
Speaker 1 (18:09):
It shows off in your in your sound and your
music and your compatibility, and the audience knows that they
sense it. And I wonder, after being together this long,
how you bring spontaneity forward Because in our band here
in Austin, the truly significant band, some of the best
(18:30):
sounds sometimes are when we improvise and we know each
other's moves so well, tell us about the spontaneity that
you've got with each other on stage.
Speaker 2 (18:40):
Well, there's definitely spontaneity. For we do a residency in London.
It's a wonderful probably the pre eminent cabaret venue called
Look Crazy Cocks, the Crazy Cocks Crazy Chickens in the
heart of London's West End Piccadilly, and we were invited
there several times a year. Now at that's show, we
(19:01):
will always will make it about seventy percent new, which
makes a rod for our backs because we constantly challenge ourselves.
But we know if we expect people to want to
keep returning, we can't keep doing the same material in
the same order each time. So for instance, every show
(19:21):
in London we learn for some reason it's eight minutes,
but an eight minute medley devoted to a genre, an
artist or a musical. So we've we've done such diverse
eight minute medley's of Madonna. Then we did the musical
Dirty Dancing, which Shimmy was in in the West End.
We've done Mula Rouge the film, and people absolutely love
(19:43):
that because we spend so long arranging it, rehearsing it
and then performing it just once and we never do
it again.
Speaker 3 (19:51):
I think it's important to say thank you to all
the people who keep coming back to Crazy Cocks, factly
because I think we are well I mean, and so
we probably one of the shows that sells out pretty
much every time. Our Christmas show which is in December
this year and the ninth time, yeah, sold out of
(20:12):
months ago, which is so award so gratifying, and we
just want to take a little moment to humility and
say thank you so much for the wonderful people who
have been coming to see us. It's very very gratifying
and flattering.
Speaker 2 (20:28):
Exactly, so those shows. To answer your question, Rick that
the spontaneity is there. We never think too carefully about
what we're going to say between each numbers, because that
generates something which is very real and authentic and spontaneous,
so people appreciate that. Having said all of that, the
two shows were doing in the coming week in Vegas
(20:49):
and Tucson. Because these people, for the most part, have
not heard us, either on at sea or on land.
We do have the luxury of being able to curate
the very finest of the piano repertoire. And again we're
not you know, on ships where you saw Shimmy perform,
it's always a forty five minute performance. These two engagements
(21:12):
are ninety minutes with no interval. Now that has its
own intrinsic challenges because you that's twice the lens if
you like, and especially for me, I don't have pauses.
I'm constantly playing the piano for every number. We don't
have a band, and although Shimmy does play the eggs,
he shakes his eggs, so that has a challenge. But
(21:34):
we didn't want to add that extra layer pressure on
either one of us by saying lessen a new song.
Everything we're doing next week we're very familiar with. We
might have played it only because times.
Speaker 3 (21:45):
Because we both come from the world of musical, the classical.
We're both extremely plasitive discipline musicians. We've been trained to
rehearse until, not until you you don't get it.
Speaker 2 (22:00):
I can't get it.
Speaker 3 (22:01):
That's until you can't get it wrong. You know, It's
it's one of those things. So what it creates, it
creates this very inherent sense of confidence in what you're
seeing and what you play, that you feel like you
can you can you have space to kind of play
around with it inside the perimeters music.
Speaker 2 (22:24):
I'm very honest about these things. I'd have to say
I'm probably quite difficult to work with, only because I
come from a position of you're never going to give
a perfect performance. Nobody could have a Rotti couldn't, Maria
Challis couldn't, whoever, they couldn't do it. But if you aim,
if that you're aim to reach for as good as
it could possibly be, then you can just actually enjoy
(22:47):
the performance. And I think we both discover that over
the years, and so we joke about it. Now. I'll
give shemmy hard time saying, oh, we need to do
that again. He said, Oh, We've done it enough, but
I want it to be so relaxed and if you'll
learn I'm I mean, as our last show in London,
I challenged myself, Shimmy is fluent in Italian. He sings
beautifully in Italian. You would have heard some of the
(23:08):
songs Spanish, Hebrew. I mean, I find it difficult sing
in English, to be honest, some of the time. So
I learned. We learned this duet in Italian, and I
have to say that gave me and you found admiration
for his skill set because it took me. I gave
myself six weeks to learn protally about maybe eighteen lines
of Italian quite fast, and I realised just how difficult
(23:30):
it was. But I knew myself I had to devote
that time. Otherwise I'd be on stage drying up or
resorting to looking at a piece of paper, which I
don't want to do.
Speaker 1 (23:41):
Precisely, we have heard Shimmy singing in all those languages.
And if I may provide you to a metaphor, your
music to us and your combination is similar to comfort food.
Speaker 2 (23:57):
I love it.
Speaker 4 (23:58):
I love it, and there you you are.
Speaker 1 (24:01):
You warm the heart and you warm the emotions. And
there is for those for those bands that are listening
today when he when they say sing something familiar from
and then start to mix in your originals.
Speaker 4 (24:18):
Listen to what these guys are saying.
Speaker 1 (24:20):
Because people know what they like, and they like what
they know, and you've got to play to the audience.
Speaker 4 (24:25):
The audience is the hero people.
Speaker 2 (24:32):
But even these massive stars like a girl like Billy
Joel like Elton John. I mean, they they've said quite
candidly in interviews. You know, they're very proud of then
you work and they may be developed as musicians and artists,
but people will often leave those auditoriums thinking, what about
piano man, Why didn't you think someone like you? Because
(24:52):
that's what people expect.
Speaker 3 (24:54):
So Barbara Streison, when I think she went to sing French,
who was that? I think it was Jacques Brell or something.
She went to see him and he didn't play one
of her favorite songs, like his biggest hit, Yeah, and
she was so annoyed by it and disappointment. She said,
from that moment she really understood why people always just
(25:16):
want her to sing memory or the way we were
you know, same, yeah, exactly, Agreen Evergreen. People give them
what they want, Give them what they want.
Speaker 1 (25:29):
Car I happened to see Julie Andrews in concert before
she had her throat surgery.
Speaker 2 (25:35):
Who just paid ninety I believe three days a game.
Speaker 1 (25:38):
Yeah, And so you know we go into that saying
you better open with the sound of music, yeah, yes,
and you're better finished with something from you know.
Speaker 4 (25:51):
Mary Poppins. So ye leave us happy.
Speaker 1 (25:55):
We came here to listen to the familiar and to
be fairly absolutely.
Speaker 2 (25:59):
I mean, I think sometimes people artists can be a
little pressures. You know, our job, it's a chain. We
want to make people forget gotten. Heaven knows, there's enough
strife in the world currently. We want people to forget
about all of it and just to coon them for
forty five minutes or ninety minutes.
Speaker 3 (26:17):
Also, I correct me if I'm wrong, but I think a
lot of us artists we feel like we need to
be special, unique, We need to bring something different, which
is it is true, you do have to do things,
you do have to stick stand out from the crowd.
But when it comes to that, when it comes to
a starting and finishing a show, I think it's it's
(26:40):
generally the it's the only way, really, it's the only
way exactly. I mean I don't know. Try try both
ways and see where it gets.
Speaker 1 (26:49):
You tell us where people can get tickets to the
Vegas show at the Composer's Room. We understand it's October
the eighth, and then in Tucson October the eleventh at
the Arts Express Theater. That's mister being Starlight Room. What
else would you like to learn our audience to.
Speaker 2 (27:12):
I think that's great.
Speaker 3 (27:15):
If anyone listens to your I mean, we will definitely
post the podcast here.
Speaker 2 (27:20):
I'm very excited, particularly because I come from Cardiff, Wales,
and we are making our Cardiff debut as Tiano at
the Wales Millennium Center on the seventeenth of October, So
we fly back from Ducson on the fourteenth and then
we're straight down to Cardiff. So that's very exciting.
Speaker 3 (27:38):
From October at the Wales Millennium Center, it's called Cardiff Cabaret.
It's a lovely small venue that they have at the
Wales Millennium Center.
Speaker 2 (27:47):
But just to recap so yes, you're quite right Rick.
To purchase tickets or just to check out more information,
just go to thecomposers Room dot com and put in
Tiano in the search engine and then it's mister Bings
Presents dot com. That's for the Tucson Show and the
Wales one is w MC dot org dot UK. And
(28:13):
again if you if you put in tiano, you'll see
our smiling, beaming faces in very colorful jackets.
Speaker 3 (28:18):
And another way to do all of this from from
one place is our website. So my website is Shimmy
Goodman dot com. Shimmy is one M S H I
M I Goodman gu w O D M A N
because I'm a good Man and it's my name dot
com and Shimmy Goodman dot com. You'll have all all
of our dates, all of our shows there, and even
(28:40):
our cruise dates as well are there, so you can
find it. Find it there with all the links that
you need, much easier, and you will.
Speaker 4 (28:49):
Be right back with Chris Hamilton and Shimmy Goodman up.
Speaker 5 (28:54):
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Speaker 1 (30:39):
We are back with a Shimmy Goodman and Chris Hamilton
of Tiana. They're going to be performing in Vegas October
the eighth at the Composer's Room and then in Tucson
October the eleventh at Arts Express Theater Mister Bean's Star Room.
Oh and I want to hear from both of you
on this What do you want a first time audience
(31:03):
in Vegas or Tucson to walk away from in terms
of a first impression when they get to hear Tiana.
Speaker 3 (31:12):
Joy in their hearts, I was going to say heartwarming something, yeah,
and just feel like they have been soothed and caressed
and had lots of fun. Lots of fun.
Speaker 2 (31:25):
Yeah. So my point of view, one of our songs,
A Better Day, has the line of music can heal,
and I think it certainly can without I know we
don't have time to get into the whole rehabilitating people with.
Speaker 3 (31:38):
I think this will be the song that will play
yes as well.
Speaker 2 (31:42):
A Better Day. So that's that's.
Speaker 3 (31:44):
A story actually about how we wrote it.
Speaker 4 (31:48):
M very good.
Speaker 1 (31:50):
I'm going to put a little challenge on the shemy
to close the show with one of your favorite lines
from tonight.
Speaker 3 (32:02):
Tonight. Well, I think the opening line would have to
be tonight, this is this is this a description of
our show in Vegas and Tucson and Cardiff Tonight Tonight
won't be just any night tonight. There will be no morning.
(32:25):
So that's the first line.
Speaker 8 (32:30):
Beautiful, beautiful, that's what you can expect people, And you
need to make sure and go listen to these two
guys and then tell a thousand people, a thousand of
your friends about it.
Speaker 4 (32:42):
Yes, they deserve to be heard.
Speaker 1 (32:44):
We need today, we need the music.
Speaker 3 (32:49):
Thank you so much for supporting artists and music so
appreciate it, and for making music yourself as well.
Speaker 1 (32:59):
Well. It's great to have to have heard from both
of you, and we want to hear from you again,
especially after your tour of the United States, to hear
about what you learned. But in the entrant folks enjoy
this closing song by the tiano, and we, as usual,
we wish you success on your way to significance.
Speaker 4 (33:18):
Have a great one.
Speaker 9 (33:29):
The lady I know.
Speaker 10 (33:33):
Keeps watching me cool.
Speaker 9 (33:38):
They thought I stood to She witnessed so much she
has died. She gave me the food, how the life
I've un fought to God h B.
Speaker 3 (33:56):
I think of the gift I've heard.
Speaker 10 (34:00):
So lucky to be hers.
Speaker 9 (34:06):
Her mother, so voice, with love in her eyes and
conditionally always there for me.
Speaker 11 (34:15):
She's given me everything she can't, A woman so proud,
who's always allowed me to follow the pathetched on.
Speaker 10 (34:31):
My heart, sacrificing HERNDI.
Speaker 9 (34:39):
I'm a fortunate man. Her love so you make.
Speaker 10 (34:50):
We don't need to speak, but she'll know when I'm lost,
and whatever the cost, she'll help me up. There won't
be a t I can ever.
Speaker 11 (35:09):
Refer every debt.
Speaker 10 (35:12):
I owe her so much and yet supports me.
Speaker 9 (35:17):
I know she.
Speaker 11 (35:21):
My mother's song, wise, with love in her.
Speaker 9 (35:24):
Eyes, unconditionally, always there for me. She's given me everything
she can't.
Speaker 2 (35:38):
A woman so proud.
Speaker 9 (35:40):
Who's always allowed me to follow the path that's on
my heart, sacrificing hunt. I'm a fortunate man. A kindness
succeeds on the things she could claim.
Speaker 3 (35:59):
If we ever love words, no doubt.
Speaker 9 (36:02):
I'm to blame, and when she is gone, things will
not be the same. A woman so proud who's always
(36:33):
allowed me to follow the part thatched on my word,
sacrificing her.
Speaker 10 (36:46):
I am a fortunate.
Speaker 9 (36:47):
Man, how grateful I am a fortunate
Welcome back to Truly Significant dot com Presents. We have
got two great guests on today, Simmy Goodman and Chris
Hamilton that make up a team Tianna, the tenor and
piano duo that are on their way from London to Vegas.
(00:29):
And Guys, it is an honor to have you on
today's show and talk about your extraordinary music.
Speaker 2 (00:35):
Thank you for having us. We're excited to be part
of this.
Speaker 1 (00:38):
Yeah, years ago, Chris Arlan and I got to hear
Shemmy on board an NCL cruise. I know I heard
them about that, and we now we finally get to
connect with you and Hey for starters for those people
that didn't hear our previous show, Simmy and we want
(01:00):
to meet Chris tell us both of you. Tell us
about your backstory and how you met.
Speaker 3 (01:07):
Well, so you know about me, I'll remind the listeners
I am a singer, but my background is very much
grounded in the world of musical theater. I trained in
musical theater and got my degree in the Guilford School
of Acting in England. I'm originally from Tel Aviv in Israel,
(01:34):
but I moved here twenty six years ago to train
and then I was extremely lucky to become a west
End performer, which is the equivalent of Broadway performer in
the US, so over here all the Broadway shows are
called west End shows, and that's what I've done for many,
(01:55):
many years until I kind of came to a conclusion
that what I want to focus on is mainly the music.
And now all this time, when I was in Guildford
School of Acting, I met a young welsh Man who
is an extremely talented pianist called Chris Hamilton during my
(02:18):
second year.
Speaker 2 (02:19):
Yes, I was born in Wales and I started playing
the piano at quite a young age, at the age
of four. I had a classical training. I adore classical music,
and then I had a completely different direction in my journey,
if you like. I went to Oxford University and studied law,
(02:39):
still keeping music up and very much involved with the
classical piano musical scene at university. Then I practiced law
both in the city of London and New York, and
all the time the music was percolating and I was
doing a lot of gigs on the side. Until one
day I thought, how did I end up in this career?
(03:03):
I just sort of got swept along. It wasn't due
to my parents putting pressure on me to become an attorney,
not at all. They were actually quite disappointed when I
put music on one side for a while. So I thought,
before it gets too late, I'll leave the city, this
very high powered job, and to get myself out of
(03:24):
that city corporate mindset, I thought I'd go to Guilford
School of Acting and do a post graduate course in
musical theater. And if I'm being perfectly honest, I didn't
get too much out of that course. But if I
hadn't have gone, I wouldn't have met mister Shimmy Goodman,
and we wouldn't be sitting having this conversation with you
(03:44):
twenty five years later.
Speaker 1 (03:46):
Correight, I think that that story is an example of
some of two people that know their own creative town
so well that they move from whatever where are they deemed.
Speaker 4 (04:00):
Success over to significance.
Speaker 1 (04:03):
And it's almost like you two are the post your
child for this show of people should chase their passion,
get serious about it, and then evolve with that skill set.
Speaker 2 (04:16):
Absolutely, I mean, there's that wonderful saying find a job
you love and never work another day in your life
and I can honestly say comparing my life and lifestyle
today with how it was when I was a practicing attorney,
and I'm not knocking the profession. There were parts of
it I really enjoyed. I liked the intellectual rigor. I
(04:39):
didn't particularly like the long hours. So I can really
appreciate what this artistic journey, what it entails, and I
can really appreciate not to say that this our careers
now don't have their challenges. You have to self motivate
your working, necessarily on stage, at least generally speaking in
(05:00):
the evenings when everyone else is relaxing. There's a lot
of traveling involved, as I'm sure you discussed with Shimmi
last time. But to do what you actually love, it
doesn't feel like a job. You just love sharing your
music and your original compositions with as many people as
will listen.
Speaker 3 (05:17):
And a moment of humility. Thank you so much. Rick,
That's a very very kind thing to say, and we
really appreciate it. Yes, I appreciate it. Being able to to,
I guess, be some sort of example to other people
as you as you've stated, I think.
Speaker 1 (05:36):
Absolutely, and part part of this is to talk to
you guys about Tiano coming to Vegas and let's let's
kind of get into the weeds. Now, what makes this performance,
this series that you're doing there unique in the Las
Vegas context.
Speaker 2 (05:56):
Well, Vegas came as a result of an engagement we
already had secured, which was in Tucson, Arizona, at a
wonderful venue there. It's relatively new. It's called Mister Bing
Present in conjunction with Arts Express, so it's about a
two hundred and seventy seater. It's very elegant. I mean,
(06:17):
we haven't been to Twothon yet, so we're flying there tomorrow,
super excited about that. And as a result of getting
that engagement, we won't bore you with the whole journey
about getting the visa, which was incredibly arduous, long, difficult,
and expensive. But to maximize that visa we haven't expires
(06:38):
basically on Halloween, the thirty first of October this year,
so we had our contact in Tucson reached out to
certain venues in the hope that they might have a
spare spot a spot, and indeed they did, which was lucky.
So it's next Wednesday at a venue called the Composer's Room,
we haven't been there yet. We've been in touch with
(06:59):
the team. They're very supportive and helpful and we're looking
forward to it. So that's a bit of a that's
the wild card if you like, in Vegas. So we'd
encourage any listeners, Yes.
Speaker 3 (07:10):
Any listeners in Vegas or around do come and see
us eighth of October the Composer's.
Speaker 2 (07:16):
Room at seven pm, I mean the showing two song
a few days later on the eleventh. Remarkably, that's pretty
much sold out now. I think there's a couple of
tables at the back. That's an incredible result for two
British performers making their Tucson and Nevada babies. So it's
very gratifying and it's very rewarding audience.
Speaker 3 (07:37):
So we really hope that this will also generate some
more performances there.
Speaker 1 (07:43):
You you, of course it will, and of interest to
our musicians that listen to this show.
Speaker 4 (07:50):
Do you guys have this broad repertoire.
Speaker 1 (07:54):
What are you selecting for your opening song and your
closing song and how did you happen to select those
particular tunes?
Speaker 2 (08:03):
Well, good question, Rick, A fair secret with you. You
may or may not know this, but it's an ongoing
challenge picking the perfect opening song, the closing song. I
feel as if, I think people don't necessarily appreciate just
how much effort, thought and consideration goes into planning and
(08:27):
curating the perfect or as perfect as anything can be setlistes.
Speaker 3 (08:33):
We make it. We almost make it harder on ourselves
because we, as you said, we have such a broad
repertoire and so many we play so many different genres,
and so it's it's it makes it harder to choose
because you want the you know, the exact right vibe
to open the show that you know and to close
(08:54):
the show, and there's such a big pool of songs
and musical styles to choose from. So I haven't answer
to your question question.
Speaker 2 (09:04):
I mean the first the opening number on We're doing
the same one for both of these shows. It might
seem a little obvious, but it's that fantastic standard from
West Side Story Leonard Bernstein's West Side Story Tonight, and
we give it a bit of a piano spin. I
do an intro. I'm suggesting other songs from that, but
it sets the tone. I think that first number is crucial.
(09:28):
You want to relax your audience. You want them to
know that they're in safe hands. You want something not
too long because you well, we certainly will come on.
We won't say anything, as you can probably tell I
like to talk especially, but we'll launch into that opening number,
which we would like it to be between two and
a half to three minutes, and then you get to
(09:49):
the business of introducing yourself. However, for our second number,
we're not brave enough to start with this. We've got this.
I'm sure you know that wonderful Irving Berlin song Piano
I Love a Piano, that one. It's it's you don't
hear it so much about with Michael Feinstein, does e
Liza Minelli. Well, we have put it through the piano blender,
(10:11):
and so Shimmy will sing I Love a Piano. Now
Chris starts singing, and I start so I've written, and
then Shimmy is singing his high notes when I'm singing it.
It's very tongue in cheek. It's funny. And then at
the end is we spend O T I A N
O O. So you know, piano fits perfectly. And actually
(10:32):
there's one line I say, I'm such a big fan
of mister Goodman. So it's that fun. But I wouldn't
necessarily to an audience that doesn't know us start with that,
because I think they need something familiar. And then you
stand up, put them further at their ease, speak and
produce ourselves, and then we will go into that one,
and then you ask like the closing song for these shows. Currently,
(10:55):
we've really taken to a wonderful song from Man of
la Mancha, the musical Impossible Dream. I think it takes
so many boxes. It starts small, it's quite majestic, it's
quite heroic, and then by the end of it, we
changed key and we're singing in perfect harmony, hopefully, and
it's People.
Speaker 3 (11:15):
Seem to love the musicals, you know. We we as
I said, we do a little bit of classical music,
a bit of opera, a bit of jazz, a bit
of pop as well, which we combined with other classical pieces.
But whenever we play anything from a musical, people seem
to go wild. Yes, they do, especially our musical theater
medley which we which we which has songs starting from
(11:36):
the Phantom of the Opera. It's it's and people just
love it. Every week.
Speaker 2 (11:44):
We couldn't believe it. We actually did. We made officially
our US debut, so to speak, in Pittsfield. Massive this
It was Independence Day weekend in July and beautiful venue
called Barrington Stage. And the other day we listened back too.
We always record it on our phones. The performance and
the audience was so receptive. I'm not even joking. Nobody cough,
(12:08):
nobody shuffled. That was a ninety minute performance. But then
when it came to respond and show appreciation, my word,
they jumped to their feet, they clapped, and I just thought, gosh,
it's American audience a lot the best. I feel very
disloyal saying that as a British person, but they really
get invested in a performer. They love confidence, and they
(12:29):
respect good music and good entertainment. So if it's any
like that performance was, we are laughing. It's going to
be a great success.
Speaker 1 (12:37):
You will be you will enjoy even further success in
an embrace from your Western audiences. I can guarantee you.
I want to come in on a couple of things
that you guys said. When you're putting the songs in
a particular order, it sounds like to me that there's
almost an emotional arc the sequence of the songs and
(13:00):
there's joy and there's emotion.
Speaker 4 (13:03):
Comment on that.
Speaker 3 (13:04):
For me, Well, first of all, I have to state
that the responsibility for creating the set lists is granted
to mister Hamilton. Yeah, basically you take over.
Speaker 2 (13:20):
Don't you, well without without our own role. To me,
desired a fantastic fly which we just have printed out design.
Speaker 3 (13:31):
So anything to do with with flyers or any sort
of banners, online videos, videos that we have in the
you know, on the back of the stage, I'm I
do that, so video editing as well. And then Chris
is very good at creating set lists. I mean, he's
(13:52):
also extremely talented in he basically arranges everything that we
do musically.
Speaker 2 (14:01):
To me, I think it comes relatively easily to me.
I think, like anything though, it's a skill you can refine.
Over the years, I've seen many a very talented consumment musician, performer,
singer on stage not quite and I hate saying anything
(14:22):
disparaging about other performers, but not perhaps connecting with the audience.
And to me it seems obvious it's all about the
repertoire and the material for instance, So.
Speaker 3 (14:34):
What goes into it?
Speaker 2 (14:35):
Okay? I would we write original songs. We'll be performing
two of our originals in the shows next week. I've
written songs since as long as I can remember, so
I personally would never go out on stage to an
audience that doesn't know us and start with an original song,
because there's that old adage people like what they know,
(14:55):
and they know what they like. You have to earn
people's trust, so you will do that opening song which
everybody knows tonight from West Side Story, so they feel safe.
Then you can branch out, then you can do something
a little more. Not that anything we write is so
ofvan guard and challenging that they're very lyrical, easy to
(15:15):
listen to songs. I look at the program, I mean
I sing as well, and think we do duets, so
I'd like to spread those out. I like to spread
the quiet moments as tiano. We do something where we
can buy beautiful classical piano pieces which everybody knows, such
as Debuc's Cleddaloon with a popular song such as Moon River,
(15:38):
which I don't think anybody's done searching it. We do
that quite a bit. So that would come at a
moment in the program where we need a little bit
or the audience needs to sort of okay, go on
a reverie.
Speaker 3 (15:49):
So you think about ballad as an up tempos. You
don't want too many ballads and too many up tempos together.
You want to spread them out.
Speaker 2 (15:57):
You don't want too much sort of heightened mootional songs
which might get people a little bit, you know, teary eyed.
You have to mix it up. That's how we do
it anyway. I mean, I'm sure people might listen to
this and think, oh, they do it completely differently, but
it works for us. So you start with a strong
song they all know. You finish with the song they
all know, and you put in some originals and very
(16:23):
the mood, so you'll have people laughing. I think everything
we say between songs, I mean, we've got a good,
good dynamic. Shimmy and I I talk a lot, so
on stage we got this banta. We bring to the
table very different skill sets. Shimmy doesn't play piano, so
we're not fighting over that. I don't sing high tenor notes,
so we're not fighting over who's singing the high part.
(16:43):
It's a very good synergy. And in fact, somebody once
said individually, because we are soloists, as well, I mean,
I've just came off the cruise solo. So did Chimmy. Individually.
I'm not saying this myself, we're fantastic, but when we
join forces something a lot of people interesting because sometimes.
Speaker 3 (17:04):
Because well most of them, most of the times when
we travel them to perform on cruise ships, we would
do our own individual shows and then we would get
together and do our piano show. And so what people
get to see us as independent musicians, and then they
get to see us perform together and they get very
excited about this. And then the comment that they usually
(17:27):
say is what Chris said, there's.
Speaker 2 (17:29):
A certain magic which you know, we've been performing together
for twenty five years. I mean that's a quarter of
a century, so there's a synergy. I mean, I don't
I don't even necessarily need to look edge to me
to know how he's going to phrase a line in
a song. It's just imperceptible.
Speaker 3 (17:47):
And for me as a singer, I always feel extremely
safe when Chris is on the piano. It's a it's
almost it's almost a sort of you can feel cradled.
You know, you don't need to worry about for someone's
always going to catch you if you if you stumble,
it's yeah, it's a it's a really special, special sort
of relationship.
Speaker 2 (18:07):
Yes it is, and.
Speaker 1 (18:09):
It shows off in your in your sound and your
music and your compatibility, and the audience knows that they
sense it. And I wonder, after being together this long,
how you bring spontaneity forward Because in our band here
in Austin, the truly significant band, some of the best
(18:30):
sounds sometimes are when we improvise and we know each
other's moves so well, tell us about the spontaneity that
you've got with each other on stage.
Speaker 2 (18:40):
Well, there's definitely spontaneity. For we do a residency in London.
It's a wonderful probably the pre eminent cabaret venue called
Look Crazy Cocks, the Crazy Cocks Crazy Chickens in the
heart of London's West End Piccadilly, and we were invited
there several times a year. Now at that's show, we
(19:01):
will always will make it about seventy percent new, which
makes a rod for our backs because we constantly challenge ourselves.
But we know if we expect people to want to
keep returning, we can't keep doing the same material in
the same order each time. So for instance, every show
(19:21):
in London we learn for some reason it's eight minutes,
but an eight minute medley devoted to a genre, an
artist or a musical. So we've we've done such diverse
eight minute medley's of Madonna. Then we did the musical
Dirty Dancing, which Shimmy was in in the West End.
We've done Mula Rouge the film, and people absolutely love
(19:43):
that because we spend so long arranging it, rehearsing it
and then performing it just once and we never do
it again.
Speaker 3 (19:51):
I think it's important to say thank you to all
the people who keep coming back to Crazy Cocks, factly
because I think we are well I mean, and so
we probably one of the shows that sells out pretty
much every time. Our Christmas show which is in December
this year and the ninth time, yeah, sold out of
(20:12):
months ago, which is so award so gratifying, and we
just want to take a little moment to humility and
say thank you so much for the wonderful people who
have been coming to see us. It's very very gratifying
and flattering.
Speaker 2 (20:28):
Exactly, so those shows. To answer your question, Rick that
the spontaneity is there. We never think too carefully about
what we're going to say between each numbers, because that
generates something which is very real and authentic and spontaneous,
so people appreciate that. Having said all of that, the
two shows were doing in the coming week in Vegas
(20:49):
and Tucson. Because these people, for the most part, have
not heard us, either on at sea or on land.
We do have the luxury of being able to curate
the very finest of the piano repertoire. And again we're
not you know, on ships where you saw Shimmy perform,
it's always a forty five minute performance. These two engagements
(21:12):
are ninety minutes with no interval. Now that has its
own intrinsic challenges because you that's twice the lens if
you like, and especially for me, I don't have pauses.
I'm constantly playing the piano for every number. We don't
have a band, and although Shimmy does play the eggs,
he shakes his eggs, so that has a challenge. But
(21:34):
we didn't want to add that extra layer pressure on
either one of us by saying lessen a new song.
Everything we're doing next week we're very familiar with. We
might have played it only because times.
Speaker 3 (21:45):
Because we both come from the world of musical, the classical.
We're both extremely plasitive discipline musicians. We've been trained to
rehearse until, not until you you don't get it.
Speaker 2 (22:00):
I can't get it.
Speaker 3 (22:01):
That's until you can't get it wrong. You know, It's
it's one of those things. So what it creates, it
creates this very inherent sense of confidence in what you're
seeing and what you play, that you feel like you
can you can you have space to kind of play
around with it inside the perimeters music.
Speaker 2 (22:24):
I'm very honest about these things. I'd have to say
I'm probably quite difficult to work with, only because I
come from a position of you're never going to give
a perfect performance. Nobody could have a Rotti couldn't, Maria
Challis couldn't, whoever, they couldn't do it. But if you aim,
if that you're aim to reach for as good as
it could possibly be, then you can just actually enjoy
(22:47):
the performance. And I think we both discover that over
the years, and so we joke about it. Now. I'll
give shemmy hard time saying, oh, we need to do
that again. He said, Oh, We've done it enough, but
I want it to be so relaxed and if you'll
learn I'm I mean, as our last show in London,
I challenged myself, Shimmy is fluent in Italian. He sings
beautifully in Italian. You would have heard some of the
(23:08):
songs Spanish, Hebrew. I mean, I find it difficult sing
in English, to be honest, some of the time. So
I learned. We learned this duet in Italian, and I
have to say that gave me and you found admiration
for his skill set because it took me. I gave
myself six weeks to learn protally about maybe eighteen lines
of Italian quite fast, and I realised just how difficult
(23:30):
it was. But I knew myself I had to devote
that time. Otherwise I'd be on stage drying up or
resorting to looking at a piece of paper, which I
don't want to do.
Speaker 1 (23:41):
Precisely, we have heard Shimmy singing in all those languages.
And if I may provide you to a metaphor, your
music to us and your combination is similar to comfort food.
Speaker 2 (23:57):
I love it.
Speaker 4 (23:58):
I love it, and there you you are.
Speaker 1 (24:01):
You warm the heart and you warm the emotions. And
there is for those for those bands that are listening
today when he when they say sing something familiar from
and then start to mix in your originals.
Speaker 4 (24:18):
Listen to what these guys are saying.
Speaker 1 (24:20):
Because people know what they like, and they like what
they know, and you've got to play to the audience.
Speaker 4 (24:25):
The audience is the hero people.
Speaker 2 (24:32):
But even these massive stars like a girl like Billy
Joel like Elton John. I mean, they they've said quite
candidly in interviews. You know, they're very proud of then
you work and they may be developed as musicians and artists,
but people will often leave those auditoriums thinking, what about
piano man, Why didn't you think someone like you? Because
(24:52):
that's what people expect.
Speaker 3 (24:54):
So Barbara Streison, when I think she went to sing French,
who was that? I think it was Jacques Brell or something.
She went to see him and he didn't play one
of her favorite songs, like his biggest hit, Yeah, and
she was so annoyed by it and disappointment. She said,
from that moment she really understood why people always just
(25:16):
want her to sing memory or the way we were
you know, same, yeah, exactly, Agreen Evergreen. People give them
what they want, Give them what they want.
Speaker 1 (25:29):
Car I happened to see Julie Andrews in concert before
she had her throat surgery.
Speaker 2 (25:35):
Who just paid ninety I believe three days a game.
Speaker 1 (25:38):
Yeah, And so you know we go into that saying
you better open with the sound of music, yeah, yes,
and you're better finished with something from you know.
Speaker 4 (25:51):
Mary Poppins. So ye leave us happy.
Speaker 1 (25:55):
We came here to listen to the familiar and to
be fairly absolutely.
Speaker 2 (25:59):
I mean, I think sometimes people artists can be a
little pressures. You know, our job, it's a chain. We
want to make people forget gotten. Heaven knows, there's enough
strife in the world currently. We want people to forget
about all of it and just to coon them for
forty five minutes or ninety minutes.
Speaker 3 (26:17):
Also, I correct me if I'm wrong, but I think a
lot of us artists we feel like we need to
be special, unique, We need to bring something different, which
is it is true, you do have to do things,
you do have to stick stand out from the crowd.
But when it comes to that, when it comes to
a starting and finishing a show, I think it's it's
(26:40):
generally the it's the only way, really, it's the only
way exactly. I mean I don't know. Try try both
ways and see where it gets.
Speaker 1 (26:49):
You tell us where people can get tickets to the
Vegas show at the Composer's Room. We understand it's October
the eighth, and then in Tucson October the eleventh at
the Arts Express Theater. That's mister being Starlight Room. What
else would you like to learn our audience to.
Speaker 2 (27:12):
I think that's great.
Speaker 3 (27:15):
If anyone listens to your I mean, we will definitely
post the podcast here.
Speaker 2 (27:20):
I'm very excited, particularly because I come from Cardiff, Wales,
and we are making our Cardiff debut as Tiano at
the Wales Millennium Center on the seventeenth of October, So
we fly back from Ducson on the fourteenth and then
we're straight down to Cardiff. So that's very exciting.
Speaker 3 (27:38):
From October at the Wales Millennium Center, it's called Cardiff Cabaret.
It's a lovely small venue that they have at the
Wales Millennium Center.
Speaker 2 (27:47):
But just to recap so yes, you're quite right Rick.
To purchase tickets or just to check out more information,
just go to thecomposers Room dot com and put in
Tiano in the search engine and then it's mister Bings
Presents dot com. That's for the Tucson Show and the
Wales one is w MC dot org dot UK. And
(28:13):
again if you if you put in tiano, you'll see
our smiling, beaming faces in very colorful jackets.
Speaker 3 (28:18):
And another way to do all of this from from
one place is our website. So my website is Shimmy
Goodman dot com. Shimmy is one M S H I
M I Goodman gu w O D M A N
because I'm a good Man and it's my name dot
com and Shimmy Goodman dot com. You'll have all all
of our dates, all of our shows there, and even
(28:40):
our cruise dates as well are there, so you can
find it. Find it there with all the links that
you need, much easier, and you will.
Speaker 4 (28:49):
Be right back with Chris Hamilton and Shimmy Goodman up.
Speaker 5 (28:54):
T This is Marcus Arelius reappearing to proclaim that truly
significant conversations with big hearted people is a rare piece
of literature. This book reminds me of one of my
more stirring quotes, waste no more time arguing what a
(29:16):
good man should be be one if you're stepping into
your next life chapter of your career and questioning what
lies beyond success.
Speaker 6 (29:28):
This book is for you.
Speaker 7 (29:30):
Dive into forty soul stirring stories from luminaries like doctor
Jane Goodall, Ed Asner, and Emily Chang, stories that urge
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challenge your view of success and ignite a life of impact.
Order now at tiny url backslash truly.
Speaker 6 (30:02):
Significant and begin living intentionally.
Speaker 5 (30:07):
Maybe your epitaph will.
Speaker 6 (30:09):
Read she gave outrageously extended grace unceasingly and lived to
help others so that death found her empty.
Speaker 5 (30:21):
Visit truly significant dot com and celebrate the most truly
significant people in your life with the truly Significant community.
How bold of you to make your next chapter matter
and be truly significant.
Speaker 1 (30:39):
We are back with a Shimmy Goodman and Chris Hamilton
of Tiana. They're going to be performing in Vegas October
the eighth at the Composer's Room and then in Tucson
October the eleventh at Arts Express Theater Mister Bean's Star Room.
Oh and I want to hear from both of you
on this What do you want a first time audience
(31:03):
in Vegas or Tucson to walk away from in terms
of a first impression when they get to hear Tiana.
Speaker 3 (31:12):
Joy in their hearts, I was going to say heartwarming something, yeah,
and just feel like they have been soothed and caressed
and had lots of fun. Lots of fun.
Speaker 2 (31:25):
Yeah. So my point of view, one of our songs,
A Better Day, has the line of music can heal,
and I think it certainly can without I know we
don't have time to get into the whole rehabilitating people with.
Speaker 3 (31:38):
I think this will be the song that will play
yes as well.
Speaker 2 (31:42):
A Better Day. So that's that's.
Speaker 3 (31:44):
A story actually about how we wrote it.
Speaker 4 (31:48):
M very good.
Speaker 1 (31:50):
I'm going to put a little challenge on the shemy
to close the show with one of your favorite lines
from tonight.
Speaker 3 (32:02):
Tonight. Well, I think the opening line would have to
be tonight, this is this is this a description of
our show in Vegas and Tucson and Cardiff Tonight Tonight
won't be just any night tonight. There will be no morning.
(32:25):
So that's the first line.
Speaker 8 (32:30):
Beautiful, beautiful, that's what you can expect people, And you
need to make sure and go listen to these two
guys and then tell a thousand people, a thousand of
your friends about it.
Speaker 4 (32:42):
Yes, they deserve to be heard.
Speaker 1 (32:44):
We need today, we need the music.
Speaker 3 (32:49):
Thank you so much for supporting artists and music so
appreciate it, and for making music yourself as well.
Speaker 1 (32:59):
Well. It's great to have to have heard from both
of you, and we want to hear from you again,
especially after your tour of the United States, to hear
about what you learned. But in the entrant folks enjoy
this closing song by the tiano, and we, as usual,
we wish you success on your way to significance.
Speaker 4 (33:18):
Have a great one.
Speaker 9 (33:29):
The lady I know.
Speaker 10 (33:33):
Keeps watching me cool.
Speaker 9 (33:38):
They thought I stood to She witnessed so much she
has died. She gave me the food, how the life
I've un fought to God h B.
Speaker 3 (33:56):
I think of the gift I've heard.
Speaker 10 (34:00):
So lucky to be hers.
Speaker 9 (34:06):
Her mother, so voice, with love in her eyes and
conditionally always there for me.
Speaker 11 (34:15):
She's given me everything she can't, A woman so proud,
who's always allowed me to follow the pathetched on.
Speaker 10 (34:31):
My heart, sacrificing HERNDI.
Speaker 9 (34:39):
I'm a fortunate man. Her love so you make.
Speaker 10 (34:50):
We don't need to speak, but she'll know when I'm lost,
and whatever the cost, she'll help me up. There won't
be a t I can ever.
Speaker 11 (35:09):
Refer every debt.
Speaker 10 (35:12):
I owe her so much and yet supports me.
Speaker 9 (35:17):
I know she.
Speaker 11 (35:21):
My mother's song, wise, with love in her.
Speaker 9 (35:24):
Eyes, unconditionally, always there for me. She's given me everything
she can't.
Speaker 2 (35:38):
A woman so proud.
Speaker 9 (35:40):
Who's always allowed me to follow the path that's on
my heart, sacrificing hunt. I'm a fortunate man. A kindness
succeeds on the things she could claim.
Speaker 3 (35:59):
If we ever love words, no doubt.
Speaker 9 (36:02):
I'm to blame, and when she is gone, things will
not be the same. A woman so proud who's always
(36:33):
allowed me to follow the part thatched on my word,
sacrificing her.
Speaker 10 (36:46):
I am a fortunate.
Speaker 9 (36:47):
Man, how grateful I am a fortunate
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