DETAILED BIO... CLOSE ENCOUNTERS BEGINS HERE...

The Kid Who Wouldn't Take No From The Man Who Knows

When as a teenager Dennis first heard Bo Diddley, little did he know that he would not only meet Bo but also that Bo would become his first guitar teacher. That unique lead-and-rhythm timing technique Bo based on a hambone rhyme "shave and a haircut...two bits" (Da Da Da Da Da pause Da Da) intrigued Dennis-the-pianist. Wanting to play that syncopated style; he wanted to learn guitar. But, how?

While attending Miami University, Dennis would steal away nightly to catch Bo's act at Spatz Show Bar in Hamilton, Ohio. Bo noticed him (the only person not of color) sitting front and center studying Bo's hands. After a few nights he invited him backstage. He challenged Dennis saying, "Figured it out yet? I'll show you but once. Learn it right!" Bo'd even loan him that famous "square" Gretsch guitar for overnight practice.(Last year, owners of Spatz Showbar got back in touch with Dennis. Read more about it later.)

Back to about Bo and Dennis getting back in touch, too. It was many years after those first days together at Spatz Showbar that Dennis had the opportunity to be "tested" by this "teacher". It happened when he and his band backed Bo for a concert in Cleveland (1985). He "graded" him an A+. With paternal-like pride, Bo said, "Dennis is the best exponent yet of the Diddley style (besides my daughter) and Bo knows!"

In the fall of '99, the two recommenced their rock 'n' roll friendship during a reunion before Bo's appearance at the Crooked River Jazz & Blues Fest in Cuyahoga Falls, Ohio. Their reunion was arranged by singer Sasha Sims, (native Clevelander who sang backup for Wayne Newton and later Belushi's Blues Brothers). The outgoing and personable Sasha convinced the concert's promoter, Tony Rubino to let her arrange the surprise reunion. Why was it so meaningful Bo be surprised? The last time they talked was years earlier and it was by telephone. The circumstances? It was while Dennis was recovering from chemotherapy for leukemia. Phone calls during his long and lengthy convalescence were precious reminders of the life Dennis had before cancer. Once recovered from the chemos, his focus was found to be towards mending in other ways, too, (i.e., financially). It was a long, long coming out of the woods, so to speak. Seeing Dennis so healthy-looking made Bo very, very happy, he said.

Due to priorities, being back in touch with old rock 'n' roll friends like Bo wasn't meant to be, yet. Now Dennis is, to paraphrase Fats Domino, "ready, willing and able to rock 'n' roll again!" with his olde rock 'n' roll friends.

By the way, talk about the power of the internet... and the power of a memory... Recall the above-mentioned Cincinnati area nightclub, where Dennis met Bo? "Spatz Showbar"? Well, Dennis heard from the owners of the club, Mr.& Mrs. Spatz! How it happened was that while surfing the net, their daughter came across this website's mention of their place. Delightfully, Dennis has had numerous phone conversations with the Spatzs. He says that musical memories could flood back for others, too, if there was, what he calls a "Legacy Tape", made of their many rememberances. What a way to acknowledge what the Spatz Family did in those early days. What better place to have the piece played... The Rock and Roll Hall of Fame & Museum! Seems logical, too, because being as it was located in Ohio (not far from Cincinnati, the landmark Spatz Showbar was a stop for musicians on the way to and from our home-of-rock-'n'-roll-city, Cleveland. In annnyyyy case, as far as the Spatz Family, Dennis hopes to take them up on their kind invitation to visit them. (Perhaps in the winter when he would welcome a trip to Tennessee, away from our Cleveland winters!)

Once A Keyboard Player All Ways A Keyboard Player

Up and until his college years (and before meeting Bo) Dennis was strictly a keyboardist. Signs of his versatility on piano must have been already showing. While still just a student he caught the attention of renowned artists Andre Previn, Ferrante & Teicher who invited Dennis to open their concerts. Plus famed pianist Roger Williams who, upon hearing him play piano, was so impressed with his potential that he told him he "should go on to Juilliard". But, unable to attend that prestigious school, Dennis decided he'd intensify his music studies while at Miami U. (where he was majoring in Industrial Tech).

Again he'd found himself to be a music student but without a musical instrument. This time keyboard student without a keyboard. Then he went to work at Willis Music Store (in nearby Cincinnati) where he fortuitously found out they needed someone to demonstrate keyboards! How fortunate, too, that while at Willis he not only gained a great deal of practical piano playing, but also learned a lot about organ playing. He learned quickly how to handle different keyboards, whether in club, church or synagogue. Another vital lesson learned? On-the-job-training meant getting paid to practice = getting paid to play. But, there was never enough time to earn full tuition and without funds he was forced to give up college.

Just when he was about to move from southern Ohio, Dennis went to watch another roots-rock-pioneer perform. Guitarist Lonnie Mack. Again he was intrigued hearing a unique-sound (Mack, like Bo, played through a Magnatone amp). Again he was impressed seeing a unique-looking guitar (Mack played a Flying V, Bo played a rectangular one). Again he wanted to be taught but had no instrument. But when he learned Lonnie was in need of a piano player he jumped on the job and joined Mack's band playing piano. Again he was blessed with another "teacher".

Lonnie's lightening guitar licks, coupled with devastating-for-their-time-whammy-bar techniques, and "washed over" him, too. (Lessons learned from Lonnie early on prove requisite for many rockers. For example, Mack and his huge instrumental hit "Memphis" influenced another devoted disciple, the late Stevie Ray Vaughan. The popular guitarist would take Mack on tour with him to acknowledge this mentor-of-many. He turned his audiences' attention to him, literally as he had him open his concerts. Vaughan called the "guitar style of Stevie Ray" a metamorphosis of Lonnie Mack, too.)

From Pioneers To A Pilgrim On The Rocks
$ But Without The Rolls $

After college Dennis helped form The Pilgrims. As houseband for Detroit's legendary CKLW Radio, they backed many groups live like The Supremes, Four Tops, Temptations, The Isley Brothers, Mary Wells, Shirley Ellis, Marvin Gaye, Smokey Robinson, Little Eva, Bobby Vee, Gary "U.S." Bonds, Ronnie & The Daytonas, Mitch Ryder & The Detroit Wheels, Bobby Rydell, Bobbie Martin, Del Shannon, Dobie Gray, Freddie Cannon, Chuck Berry, Little Richard to name a few.

The boys in the band thought perhaps the prominence The Pilgrims enjoyed was due, in no small part, to being booked by the area's regional radio powerhouse (the aforementioned CKLW). But then band members Glenn Schwartz, Ron Harkai, Pete Dragas and Dennis found themselves extremely well received by audiences. "Being that it was the early 60's, blues aficionados were glad to have the roots of rock and roll 'exposed' by this pilgrim band. For that time and place they were aptly named!" said manager and CKLW Program Director Dave Shaffer. Playing around the Detroit area made that music scene a Music Graduate School of sorts, earning Dennis an early Doctorate in Diversity, too, so to speak. What he'd learned served him well in the early 60's and again in the late 60's during that turbulent time of social unrest. (Translating into music, yielding the song he titled "Fences". More about the song later.)

Those early days in Detroit made for some of Dennis' fondest musical memories, too. Including the many personal appearances to promote their regional hit record ("Plymouth Rock" written by Chandler & Dragas & Farragher)... Performing at Walled Lake Casino, The Michigan Theatre, The Twenty Grand, The Gay Haven, The Red Rooster... Plus The Pilgrims opened for The Rolling Stones' in a sold-out concert at Cobo Hall... and watching The Supremes record vocal tracks for what later became their first hits. (He recalls another unique Hitsville USA recording session where he witnessed men with 2x4s strapped to their feet tapping out rhythm tracks that were used for many other Motown hits, too.)

Although the pioneering band seemed to have arrived, they did not land one special deal. A successful studio audition for Hitsville's powers-at-hand brought a dream of an offer. At the same time guitarist Glenn Schwartz missed an arranged swear-in date with a National Guard officer. With untimely draft notices served, a promised contract for "The Pilgrims to be Motown's first white group" went unsigned.

Where three of the four Pilgrims did land was in the military. But, before disbanding (pun intended) they also served as the studio band on other recordings, too. Since often times session work was just that (read: work), bandmembers rarely recall details. However, for Dennis one studio session was made more memorable because he got to incorporate a synocpated guitar riff that Bo Diddley taught him. The song? The Reflections' "Just Like Romeo and Juliet". (Dennis says whenever fans of that huge hit share how much they still enjoy the song, "Well, it makes up for the fact I only got paid scale to do it!")

Allways A One Night Stand For A Good Backup Man

That band wasn't the only band he and fellow Pilgrim band members would find themselves almost making it with. The next almost-made-it-with-them bands included Cleveland's Tom King & The Starfires later known as The Outsiders. They had the hit record "Time Won't Let Me". Those sessions at Ken Hamen's Cleveland Recording made for some lasting impressions. Or did they? After a falling out, drummer Harkai was airbrushed off the album cover. Which for him added insult to injury because it was the drummer's dad who had paid for that recording session.

More may be written about those times now that Dennis and former fellow Outsider and the band's lead singer, Sonny Geraci have reaquainted and can compare notes, pardon the pun. (Think Tom Hanks and "That Thing You Do".)

As for The James Gang saga, when Schwartz returned home from overseas military duty he and Dennis formed The Beat Rats, briefly regrouping The Pilgrims, but then Glenn left for L.A. later joining the band Pacific Gas & Electric. That was after his stint in The James Gang. To explain, an earlier configuration of the band saw Dennis preceding Schwartz and Joe Walsh on guitar. Other band members then were of course, founder Jimmy Fox along with Dale Peters, Ron Silverman and Phil Gilolombardo. (Fox once recalled Dennis' band tenure, in a Scene newspaper interview, musing "All he wanted to do was play Bo Diddley songs and when we asked him to play them psychedelic- he left!")

Dennis then played with The Del Rays, 3 Rail Train, Beacon Ring, Gemini, Crash Coffin, Steel and at times playing with fellow band members from earlier groups like The Quantrells, Mr. Stress, etc.

Plus over the years he had his fair share of work doing backup whenever rockers would come to town such as: Annette, Fabian, Jan & Dean, Jerry Lee Lewis, Lou Christie, Leslie Gore, The Jive Five, The Cadillacs, The Coasters, The Crests, The Drifters, The Rivingtons, The Regents, The Secrets, Brooklyn Bridge, Vito & The Salutations, etc.

But among some of his most precious musical memories are the ones made working with blues musicians. Why? Because this original American art form came to him from them: taught, in most part, in the age-old Oral Tradition, with invitations to "come, sit and learn" at their knee, so to speak.

Many musical maxims were learned from these most generous teachers. His lessons were hard-learned but well-taught with the always kindly, "Good. Good. Now try it like this..." As a result he was invited to play with or backup for bluesmen like Muddy Waters, Sunnyland Slim, Roosevelt Sykes, Luther Allison, Albert King, James Cotton, Mike Bloomfield, Charles Musselwhite, Elvin Bishop, Paul Butterfield, Jimmy Reed, T Bone Walker, and Johnny Winter.

Special, too, were the memories made when in 1974, while still a part of the Robert "Jr." Lockwood Band, Dennis played at the Ann Arbor Blues Festival in Exile (Canada). There he got to perform twice and with two of his favorite musical mentors, B.B.King and Robert "Jr".

Dennis finds the welcome he was given then, still holds true today. Sadly, however, with the passing of time, there remain very few originators left. "All the more reason to pass on the lessons and the music", he says. Dennis' personal musical motto has also become an unwritten slogan for his band, The Stratophonics, too. The guys profess that performing under an imaginary banner that could read "Entertain but educate, too" aka "Edu-tainment" (to borrow actor Samuel L. Jackson's line). It has given more meaning to the rest of the bandmembers' musical involvement, too. Hence folded into the band's mix of music is a history lesson or two that audiences can take home as food for thought, so to speak.

Cool Tools

Dennis also truly "pays" tribute to his teachers (buying) and playing onstage some of the model guitars made famous by his guitar-mentors, Bo Diddley, Lonnie Mack, B.B. King and Les Paul. i.e, his stage guitar is a rare Gibson Lonnie Mack Flying V in a one-of-a-kind natural finish and a reissued Gretsch cigar-box shaped Bo Diddley guitar (that Bo got him). Given an appropriate setting, he welcomes playing publicly his LMV, along with his Gibson B.B.King Lucille Prototype, and his #1 Gibson The Les Paul model. To see some of these guitars, click on the website page titled "Cool Tools".

Between A Rock and A Hard Place... Plus... Out of Sight = Out of Mind

Doubly blessed is how Dennis felt when he got to play his "Godfather" role twice. The second time he wore the label was for something else both he and B.B. believed in: The Campaign to Bring The Rock and Roll Hall of Fame & Museum To Cleveland... How it happened...

Dennis had finished recording radio campaign spots of B.B. King's endorsement to "Bring the Rock Hall to Cleveland" when the blues legend graciously offered to donate his legendary guitar. As a result "Lucille" is now viewed as legacy for two national treasures, B.B. King and the Blues.

This was a wonderful cap to Dennis' earlier rock hall campaign "contributions". Contributions that included his writing the first rock hall song. He wrote and recorded it for his Dennis Chandler Band a.k.a. The Stratophonics when they began to serve as WHK 1420am's Houseband in support of their then-oldies format. Playing a key role in the early media campaign was because of rock hall board member and Malrite CEO, Milt Maltz. To quote Plain Dealer reporter Mary Strassmeyer from her Mary, Mary column "How soon they forget the early believers. The Granddaddy of all the rock songs was "Can You Feel It - That Rock 'n' Roll" used back in '83 and later for the petition drive in '85 and The USA Today Phone Drive."

The above-mentioned "key role they played" was behind this accolade: "Chandler along with his band, "The Stratophonics", was responsible for over 200,000 of the 600,000 signatures collected for the petition drive!" When he heard Malrite news anchor Denise Dufala quote her news editor, Bob Lewis, Dennis said, "that's the man that counted!" Literally, for he was the Malrite Communications intern assigned to Dennis' band during the campaign and to quote Bob, "I know how many. I had to count all those suckers!" (Talk about dues paying.)

Recently there has been renewed interest in that song. After being named by his peers as one of the "Local Legends of Rock", Dennis was also asked by producer Chuck Rambaldo (owner of legendary Tommy Edwards Records) to include the song on their charity C.D. project. Because of the reissue of "Can You Feel It (That Rock 'n' Roll)", one can learn, what Paul Harvey would call, "the rest of the story", by CLICKING on the WEBSITE PAGE TITLED, "THE ROCK HALL SONG".

It's Just a Jump From The Blues To The Gospel...Or... From The Frying Pan Into The Fire

Besides B.B.'s son, Rev. Robert Edwards encouraging Dennis to "Make a joyful noise unto the Lord", another reverend made for another illustrious musical memory from the past: The one of playing "Amazing Grace" for the Reverend Jesse Jackson. It happened at a rally where the reverend was the featured speaker and Dennis was (again) the sole entertainter. Good musicianship did not go unoticed. Halting his exit, Rev. Jackson stopped Dennis' playing to reach across the piano, to warmly thank him. A photograph of the moment reads: To Dennis, You are a conqueror. Never surrender. Keep hope alive. Signed, Jesse Jackson

Oh, It's A Long, Long Weill From May To December
But The Days Grow Short When You Reach September

When Dennis was younger and performing out as a musician he was always told by both his parents that they did not approve of his wanting to do music for a living. Consequentially, he had to work hard to win their favor. But what earned their respect was what he accomplished in the world of business not music. Like many others in the arts, a pattern was set for life: the hyphenated life of business and music.

The nightlife saw him playing at times, clandestinely. Why? Because among the types of music Dennis enjoyed playing was blues music. Among the people he enjoyed playing with were bluesmen. Interest in what is commonly called "America's original music" was not as accepted then, as it is now. His parents joined the bandwagon, but not as readily as he would have liked. Sadly, his late father never took Dennis up on his invitations to come and hear him play. It seemed providential that a bluesman (B.B. King) offered to play a second-father role (and for the past 40 years he has).

In all fairness, some encouragement did come from Dennis' mother (belatedly and just prior to her passing). It happened when he expressed that he wanted to write show music. His life-long passion for music included performing in local theater and as a director he very much enjoyed teaching drama, too (at Gates Mills Strawhat Theatre in Gates Mills, Ohio). So he was curious to try his hand at composing. That's when his mother noted that creativity ran in her family. Marge Weill Chandler shared, albeit late in life, amongst distant relatives were vaudevillians like her Uncle Max Weill, the Marx Brothers and composer, Kurt Weill. (Scholars call Weill "one of this century's most influential composers" and undoubtedly due, in no small part to his and Bertold Brecht's "Threepenny Opera". CLICK on the USEFUL LINKS page to get to www.kwf.org the official Kurt Weill Website and learn more.) But, Dennis found his family unaccepting of the music he liked to make. It would amuse him to remind his family that a song they liked from Threepenny Opera, "Mack the Knife" as recorded by singer Bobby Darin, "is considered rock 'n' roll!"

Dennis Gets to Try His Hand at Composing Stage Music for "Ruling Passion" - The Play

What with Dennis wanting to do stage music, the timing seemed right when B.B.King introduced him to Detroit area entertainment critic Deborah Osment Ryan. Her idea of a Musical Comedy about Richard III appealed to the Composer in Chandler. Work was begun on her play when cancer struck Dennis down. After his incredible battle, he completed the score. For Dennis, this play's music is particularly meaningful. It also seemed fittingly titled ("Ruling Passion"), for he began the music before he began the treatments for leukemia. Rounds of ravaging chemotherapy left him listless physically but not mentally. Desire to write the-music-in-his-mind gave Dennis a much-needed positive focus.

For Deborah, the play took on a less favorable focus. To explain, after moving from Detroit to L.A., (she reasoned that relocating out West might bring opportunity for her to do more creative writing), she set goals that would have been for her, easily attainable: Become a screenwriter, do movies that make money so she could mount plays. (Not just her own but those of other writers, too). Her dream lost its luster when one of her sons was killed (tragically in an accident caused by a drunken driver on a Hollywood freeway).

Thus, bittersweet were the rewards of a successful reading of the play (and before an audience of Shakespearean actors, yet). Deborah called Dennis from L.A. to inform her then-convalescing collaborator that "the music was overwhelmingly received!" To quote the lamented, late Norm Maybaum , (then considered "the" premiere theatre figure and power behind the famed Westwood Theatre ),"Incredible music, who is this composer?".

Now that time has helped to heal emotional scars, too, Dennis and Deborah feel ready to mount this play and dedicate "Ruling Passion" in memory of Deborah's late son, David Ryan. Needed to find now are angels, of the Broadway variety, that is... i.e., someone like an Al Pacino (whose movie "Looking for Richard" speaks volumes of the interest in this subject), or someone like a Kevin Kline (who is famous for his love of things Shakespeare). Or maybe Deborah and Dennis can get the attention of an angel known for bringing the best to Broadway... famed choreorgrapher and one often nominated for awards like the Tonys (this year for the "Full Monty")... Gerry Mitchell ! Calling all angels listening out there in cyberspace?

Forget about Broadway angels for now. What about English angels? Like those who might be living in the town in England near where Richard III met his demise? Market Bosworth. An open note to the powers that be in Bosworth... What say you to A Staged Reading of "Ruling Passion"? Just think, what better place than the Preserved Battlefield where he fell. What better time? To stage a reading around the 525th Anniversary Year of his passing. Pray tell, "It could happen", angels.

Looks Like We Made It Or A Picture Is Worth Ten Thousand Words

Surviving the first round of chemo and, more importantly, a near-death experience ("Go back! Your calling is on Earth, not in Heaven!") brought about a filmed profile for P.M. Magazine. After surviving consolidated rounds of new chemos, Dennis was asked to appear on the Leukemia Society National Televent. As he waited in the wings of a Hollywood studio, he learned that he was the only featured adult survivor. About to be interviewed live by hosts Steve Allen & Jayne Meadows, he felt somber. (Things lightened when Steve started playing piano; Dennis joining in.) Later Allen said, "I'd like to hear what you will compose. God brought you back for a reason. Such capabilities. You should be here, LA." Sadly, Steve Allen passed away before Dennis could take him up on his kind offer to mentor him. Another "close encounter" whose effect is still deeply felt by Dennis.

Back To The Future = Back To School = Back To The Past
Or What Goes 'Round Comes 'Round

The marketplace of music isn't the only place that's seen an increased interest in roots music. For the past 10 years, under the sponsorship of The Recording Industries of America and the American Federation of Musicians, Dennis has been giving his series of concerts called "Blues in the Schools" at a number of schools from inner city to outer suburb, showing the students of today the origins of their music. These concerts have been among the most fulfilling experiences of his musical life, yet. An invitation "to perform in Poland" was given by Polish Musicologist/ Critic Ewa Bigus, who attended an inner city concert (spring '96). A critic for Jazzi Magazine & Polania Records, Ewa especially enjoyed a jam held in her honor at his home. Enthused, she had ArtsLink send an application with the proper touring papers enclosed. It was all for naught, as it was learned that funding from the NEA (National Endownment for the Arts) was cut.

Another One From Overseas - This Time It's That Lady From Shanghai

Again good blues musicianship did not go unnoticed and unrewarded. But, this time it brought an invitation "to perform in China" and from a world class musician, no less. Dennis met Shanghai Orchestra Prinicpal Ma Xiao-Hui , thanks to several mutual friends in the media and restauranteur Donna Hom. How it happened... As the well known Asian-American community activist, owner of Asian Plaza and the Hom restaurant chain, Donna Hom is in contact with many in the local media. Because her popular Chinatown Asian Plaza Li Wah restaurant is located in downtown Cleveland, she's also acquainted with those who work nearby, like at the city's daily newspaper, The Plain Dealer . So thanks to columnist William F. Miller and one of the other mutual friends, baritone Web Fleming , Dennis had another "close encounter" (joyful moments of music-making), but this time it was of the Asian variety, so to speak. Before we explain what happened next, we have to introduce you to Web Fleming...

Baritone Web Fleming aka Hak San aka Pao Kong is a show in himself. Here's how he made a name for himself, literally... "Hak San" roughly translated, means "Black Mountain" in Cantonese and compliments his BIG baritone voice. He was given that name years ago when he lived in Asia. Touring the Far East, he became famous for he was unique being an African American singing Chinese Opera and in a dozen dialects, too. He also became known for his interpretaion of the mystical title character in the opera Pao Kong, a black judge of the Sung dynasty who had psychic powers to determine truth. A role he loves to reprise. (Plus in his youth, he sang and toured as a baritone soloist with the famed Wings Over Jordan choir. They were most famous then for those early radio broadcasts of Negro Spirituals that aired nationally right from Cleveland, Ohio. But, more about that style music and how Web and Dennis love making that music today, later.)

In annnnyyyy case, now you know some of the mutual friends who enthused pianist Dennis to become part of the varied musical entertainment at the popular Chinese New Year celebration at Donna Hom's Li Wah Restaurant. In '97 Dennis performed a variety of piano stylings during his set and then he accompanied Web's singing for his. They both enjoyed playing to this diverse and most appreciative audience. So, Dennis was looking forward to doing it again the next year in '98, albeit solo because Web was touring overseas. Filling in would be another mutual friend, popular television talkshow pioneer Bill "Smoochie" Gordon, whose singing Dennis was to accompany after his own set. Well, you remember what they say, "the best laid plans", etc. Here's what happened next...

When other performers on the playbill ran over the time allotted, it was decided to rearrange the acts. Just when Dennis' piano was being moved, it was dropped. Quickly, it was carried out to the adjacent plaza. Focused on following his piano, Dennis didn't notice the protestations of the headliner Ma Xiao-Hui. Since she spoke little English, she tried to use body language to communicate. She had already done her portion of the program (a magnificent performance on her Erhu, an ancient 2 stringed instrument) and was waiting around just to hear Dennis play!

Concerned that the keyboard's electronics got damaged, Dennis busied himself checking the settings with his right hand. Then he started to run the bass keys with his left hand (with that boogie-woogie-stride style he does so well). That's what caught the eye and ear of "The lady from Shanghai". Ma, very impressed with his playing, spoke to her handlers. They hastily put together his piano bench, placing it under him. Dennis was so distracted that he didn't even notice them holding the piano up in midair. Ma proceeded to pull her instrument, the Erhu, from its case. She started to play. She entreated Dennis to continue the boogie woogie beat that he started. Later, she begged him to play blues and they also got to jam with some jazz, too. What a sight. These two master musicians, who never really spoke to one another before, were now really "communicating", in the universal language of Music.

It was two more subsequent nights of such inspired playing that lead to their spontaneously recording some original music. They recorded a stunning piece impromptu, sitting back to back with Ma playing her Erhu and Dennis his piano. After the one musicale held at his home in her honor, Ma shared with Dennis that, although the government controlled the media, she's "considered a big star" and perhaps she "could get their song on Shanghai Radio". She reasoned that this collaboration-of-creativity would not only touch listeners but also might bring official sponsorship for the two of them to tour overseas.

Because of her role as a Shanghai Traditional Orchestra Principal and the Artistic Advisor/ Hong Kong Youth Music Society, she felt she could help co-ordinate his "Blues in the School" concert series overseas, too. Plus, Ma hoped that whenever she returns to the U.S. to tour, they could record a C.D. together, calling Dennis, "a world class musician". Well, it can be said here, "it takes one to know one". Dennis was told perhaps they could get in touch via the internet. With the many changes going on over in China, he's still here, "waiting in the wings"... of the web, so to speak.

Because of another year's Li Wah New Year Celebration, Dennis got to meet and musically fellowship with another reknown Asian American performer who came to headline there, Lanny Shum. There's a fascinating story (to be written another time) about their wonderful weeklong fellowship. Plus there are invitations to perform in Hawaii, like at the beautiful Hawaii Theatre plus in Chinatown, too! Dennis thinks it could be fun, like they say, "getting an act together and taking it on the road", so to speak. "North, South, meets East, West" does have a nice ring to it.

One can see how Chinese New Year has become, for many, another wonderful holiday to celebrate. For Dennis-the-musician, it has become a most welcome celebration of both cultural diversity and cultural similarity.

What Will The Boys In The Band Have?

Their answer: All that they can take, gigs that is. As for making music with his band, history keeps repeating itself again for Dennis, much to his and the band's delight. It's a little like it was in '64 with The Pilgrims and a little like it was in '84 when he got to form and lead the other radio station houseband, The 14K Stratophonics. Recall, they served in support of the classic oldies format at Malrite's WHK up and till the change to talk radio. By the way, often asked about the band's name, Dennis explains he named his band because of the station's reverberating sound, introduced back in '59 as "Stratophonic", hence the origin of the name.

Curious about the original bandmembers? Many are often seen performing at the special events associated with early rock and blues. They enjoy rotating gigs with one another, which enables them to return to their love of making music but, the one who enjoys the music the most is Dennis. His calendar reflects his love of playing with an average of 165 gigs a year these past fews years.

Recall more was promised about former Wings Over Jordan baritone Web Fleming and Dennis making music? Well, when they debuted (to rave reviews) a spiritual and gospel program, they garnered many invitations to perform. Performances like at Cleveland's Karamu House for Black History Month begot more than just bookings, fellowships, too. Bonding came easy with members of Fleming's family after they performed at their "Home Church Anniversary & Family Reunion" (in Willard, Ohio). Why? When Web went to introduce "Accompanist Dennis" to "Cousin Dick", Dennis found himself reacquainting with Dick Gregory. He had met the renowned comedian turned humanitarian-activist years earlier via B.B. King.

From The Sublime to the Ridiculous
Or Beauty Is In The Eyes of The Beholden

While low profile and low-key, he still enjoys lending whatever talents and abilities he can for local causes and events, too. Early specialty songwriting projects were for local media i.e., Dick Goddard, Bill "Smoochie" Gordon, Jan Jones, Joel Rose, Fred Griffith. Plus TV 5's Morning Exchange, M.D.A., The Browns, The Indians, The Rock & Roll Hall of Fame and numerous jingles. Dennis also still lends ear as Accompanist & Music Director to local media. (At times a piped piper because of the mixed-blessing of perfect pitch). For a listing of the jingles and specialty songs Dennis has written, RETURN TO THE MAIN PAGE and CLICK on the banner that reads "ORIGINAL MUSIC".

Saga Of The Song "Fences"

Back to the subject of diversity. To explain the beginnings of one special song, let's go back in time (and tie up a loose end, too). Mention was made earlier of Dennis earning a Doctorate-in-Diversity, so to speak. You might recall reading about his bandleader days (with CKLW radio's houseband "The Pilgrims"). That's when he had the first of many wonderful opportunities to perform for so many different folks. Lessons brought home from those wonderful Detroit audiences in the early 60's helped him to cope with social changes in the late 60's.

When it was time for the first waves of turbulent social unrest to hit home, here in Ohio, little did Dennis think he'd be seeing it firsthand as a member of the National Guard? He was called up from their Reserves to serve active duty during the time of the riots of Geneva-on-the-Lake, Hough, Glenville, Collinwood, at the truckers' strike and Kent State. One day, while on duty in Hough, he found himself looking through a barbed wire fence when he saw some musician-friends with whom he played at the renowned Gleason's and Leo's Casino. What started initially as a warm smile-of-recognition turned into a stunned look on their faces. Later they said that seeing a rifle cradled in his arms instead of a guitar was what did it. But, in down home fashion, they didn't miss a beat emphasizing their understanding he was duty-bound to be there. Then, together, they took down the fences.

Barriers between friends: Dennis came away from that encounter with an idea for a song titled "Fences". But, he found that it would be many years before the song would move to the front burner of his brain, so to speak. When it did, it was after convalescing from chemos (during his battle with leukemia). Then once up and out again, another sort of healing happened. In '90 he went to see a play titled "Fences" at the Cleveland Play House. This play, written by the black poet laureate of America August Wilson, was the most honored in theatre history. Audience demand was high, which is why, this production was held over. Luckily for Dennis he got to see it (albeit barely for it was closing night) and he got to meet the cast after.

Well, the play's cathartic effect carried home with him and translated into music that night. But, it was when cast members Bill Cobbs, Kim Hamilton and Clebert Ford came out to his home the next day, that he truly was inspired to finish what he started so long ago, his song about barriers or "Fences". With these bigger-than-life characters off the stage and in his home, Dennis finished the song with Ford. Clebert played it for his friend Mary Alice. She was the actress who was honored with a Tony for her portrayal of the mother in the Broadway production. She exclaimed "Oh, August should hear this, you really captured the play!" Dennis hopes that not only will Wilson hear his song but others, too.

Laughing Through The Tears
or Something Good Always Comes Out of Tragedy, Eventually

After several years of a sort of mental-block about this next subject, Dennis was reminded last year of music he wrote that was "commissioned" by the woman called The First, Frist Lady of Televisionand also called The Grand Dame of Television... the renown Dorothy Fuldheim . This music (that Dennis hopes will live in a new form) the late, lamented Dorothy asked him to do for her "Three and a Half Husbands" book-into-play project. The way in which they met and the manner in which she asked him, makes interesting reading. We go back in time to tell it here.... Dorothy heard the farewell song Dennis wrote for retiring Morning Exchange host Joel Rose (commissioned by TV5's then producers Carol Story , Terri Moir and Jane Temple). It was a song specially written in tribute and laid to video. On the day that it aired, Dorothy was a guest on the set when the video was played. She loved what he had written so much, that she asked Dennis to write music for her play.

How is it that Dennis came to be reminded of all this? Two years ago, during the final week of the Morning Exchange show, several segments which Dennis wrote original music for were aired. On one tape, he saw himself standing, then being brought down to bended knee, so to speak, by Dorothy. A small woman (only in physical stature) she sunk low in the couch and was trying to get tall Dennis' attention. Boy, did she ever, when she turned to him, shouting in what seemed like a gruff tone, "Did you write that?" He responded "Yes, what of it? Don't you like it?" Dorothy shot back, "Yes, I love it! If you wrote that, we need talk. I want you to be the composer for my play." She then turned to Morning Exchange host Jan Jones and instructed her to "Bring him into my office right ASAP".

Once Dennis was seated in her office, Fuldheim-the-interviewer began with her barrage of questions: "Who are You?... Dennis Chandler, why haven't I heard the name before?... Such talent... Do you know how talented you are?... What's your background?... What's your story?... Do you know what to do with such talents?... If you don't know what to do, how can you expect this town to know what to do with you?... Don't do anything here... With Cleveland, it's beyond prophet-in-own-town syndrome... this city eats its babies alive... So one has to make things happen out of town... Then make it look like a coming home thing... If you don't know what to do with you, I know what to do with you... I'm going to be your champion!... You're going to be the composer for my play. Can you write me songs with these themes, Irish, Jewish? Chandler's what kind of name? Scotish? What, your father's Irish, then you can write Gaelic music. Do you know anything Jewish? What, your mother's Jewish, then you can write Hebraic music. Good, good... now I know you can write me anything. A lost love theme, a chldrens' song, etc. Now... go home and write. But, wait a minute. First go meet the man who has my play, Vincent Dowling!" (then working as artistic director at the Great Lakes Theatre Festival, leaving later to run Dublin's Abbey Theatre.) Dennis did go to meet him. Although Dowling graciously acknowledged Dorothy's referral, he seemed to have a New York composer-friend in mind already, is what Dennis deduced.

But, after meeting the Dorothy Fuldheim, Dennis couldn't help but be movtivated to write, and write he did. Sadly, Dorothy never got to hear the music. She had a stroke and passed away before Dennis could play the music for her.

BACK TO THE FUTURE (AGAIN)

Faith that his music will live, has brought another singer into Dennis' life, this one he collaborated with (thanks to another local media-type Dick Goddard). Look and listen for some of that new music to come to life via the new singing sensation named Debrae.(Read about her at her website www.debrae.com)

Finished, too, is other stage music Dennis wrote while bedridden (the second time his good health was challenged was because of a herniated disc!) Titled "Just We Two" , the play takes place in a patient's hospital room where loved ones come in, one at a time, to visit. Although family members express emotional shoulda-woulda-couldas of missed-opportunity in some poignant musical numbers, it is a comedy. It would have to be, it was written by a cartoonist. Seriously, Larry Brenner who created the syndicated "Elwyn" wrote the book and lyrics (after overcoming his health hurdles).

So besides having to record his many own songs, an added challenge for Dennis is do the scores to both plays. Utilizing midi-computers in his recording studio helps. But how juxtaposing for this pianist, who's key daily pleasure is playing a turn-of-the-century 9 ft. Concert Grand.

It's said, "All things feed the mind". Well, Dennis has enjoyed in the past various and diverse things , from the old Lionel electric trains he started saving since 4 years of age... to the maltshop / diner "stuff" fans of that era's music have given him. But...

God's Gumbo

But... Dennis now particularly enjoys (since being given back his good health again) God's blessings of being able to make, not only the acquaintance of various and diverse people, but also to make various and diverse music for them, too.