1933, August 18 – Tony Sandler was born and raised on a family homestead on the edge of Lauwe, a small village in West Flanders, Belgium. His given name was Lucien Joseph Santelé.
He learned early the rewards of honest labor as he helped to till the soil by hand and to plant small crops alongside his older brothers and his gentle and meticulous father, Achiel.
Lucien was the fourth of eight children born into a Catholic family of modest means. His mother, the well-bred and well-educated Valentine (Vanlerberghe Santelé), saw to it that their children had good schooling.
Influenced by their mother’s love of classical music, the Santelé children found a warm place in their hearts for classical and traditional music, and for the music they heard on the radio. They often harmonized together, singing all their favorite songs from Flanders, Belgium, and from France, Germany, Spain, Italy, and England. Thus, music and singing became second nature to Lucien. Many of the songs he heard as a child would be incorporated into his future repertoire, but for now, his own talent would have to wait
He was born and raised on a family homestead on the edge of Lauwe, a small village in West Flanders, Belgium. Now a borough of the city of Menen, Lauwe is located on the river Leie on the French border.
For four long years, the Santelé family lived under Nazi occupation.
1940, May 10 – Lucien was seven years old when Hitler’s forces invaded Western Europe in a seventeen-day Blitzkrieg.
On May 24th the Germans opened a major attack against Belgian positions near Kortrijk, heavily damaging the Santelé home, which was located only four miles away. The major cities as well as the countryside were bombarded with artillery shells. Then, in just seventeen days, the Germans pushed through all of Belgium to get to the coast, leaving destruction and mayhem behind.
1940–1945
Belgium was occupied by Germany. Following the invasion, a German soldier was billeted in the Santelé home—a constant reminder of the occupation that lasted for four years. These were harsh years in that shell-struck zone of the Western Front. News of any kind was censored. Desperate for reliable information, Lucien’s family listened to a radio they had hidden in the attic. They risked immediate execution as they strained to hear scraps of news on the scrambled and barely audible BBC broadcasts.
Valentine cared for the house and the three goats that provided milk and cheese for the family. Achiel was permitted to bicycle daily to work at a tile factory in nearby France. He returned each evening to work with his sons in the field. He gleaned what was left for his family after soldiers took the main harvest of vegetables and other crops. Lucien’s immediate family survived the war, but tragically, several friends and relatives were killed, some even by Allied bombs. Lucien was forced to ponder too early in life the glorious strengths and hideous weaknesses of humankind faced with the politics of survival.
Lucien was forced to ponder too early in life the glorious strengths and hideous weaknesses of humankind faced with the politics of survival.
This Flemish farm boy proved himself to faculty and peers by excelling both in his studies and on the athletic field.
1944–1949 is a significant period during which Lucien learned musical and linguistic skills that would serve him well for the remainder of his life. During the occupation, the Germans made a show of creating “normalcy” within the population. This included sending all the children back to school.
Toward the end of the war, Lucien was sent to a rigorous Catholic boys boarding school, Le College Episcopal de Mouscron, in Wallonia, the French-speaking part of Belgium located about 10 kilometers from his home. Here, for the first time, all of Lucien’s courses, from the middle grades through college, were taught exclusively in French. To keep the cost of tuition down, he commuted daily by bicycle. Because he was an outsider, he was favored less than the French-speaking progeny of local well-heeled families.
But this Flemish farm boy proved himself to faculty and peers by excelling both in his studies and on the athletic field. By the age of sixteen, he had won honors in track and field, received a top ranking in the high jump, and, for many seasons, played a formidable center forward with a high-ranking soccer team.
In addition to his core studies in science, mathematics, geometry, geography, and literature, Lucien maintained a First rating in linguistics, with courses in ancient Latin and Greek, as well as in French, German, English, and Dutch. Later, he would become fluent in Italian. Valentine especially encouraged young Lucien’s inclinations towards language and often reminded him, “With each new language, Lucien, you become a different man.” His knowledge of Western European languages gave him great advantage throughout his career.
During the occupation, the Germans made a show of creating “normalcy” within the population.
Father Botte was instrumental in teaching Lucien the knowledge and vocal skills that would serve him well throughout his long career.
Father Philippe Botte
(b. 1911–d. 2004)
Father Philippe Botte, an exacting yet affable professor of languages and music at Le College Episcopal de Mouscron, discovered and encouraged Lucien’s talent. Botte was instrumental in teaching Lucien the knowledge and vocal skills that would serve him well throughout his long career.
As a boy, Tony had a clear soprano voice, a good ear, and a quick mind for learning music. He easily rose to the top as a soloist with the college’s boys’ choir. The boys were trained in solfège and Gregorian chant and sang daily for morning matins and evening vespers at the college’s chapel.
At age thirteen, Lucien was invited to sing with an international choir, the preeminent Gregorian choir, Les Petits Chanteurs a la Croix de Bois, conducted by Monseigneur Maillet, who was from Paris. This large choir traveled to Rome to sing at the Santa Maria Maggiore and at Saint Peter’s Basilica in the Vatican.
Lucien was among les Prés Chantres, the soloists with that 1200-voice choir. He recalls, “We sang in the Vatican for Pope Pius XII himself. Singing in those magnificent cathedrals, hearing the sound, watching the pageantry, and even meeting the Pope–it was both awesome and overwhelming.”
At Father Botte’s instruction, Lucien did not sing again until he was 17. This allowed his vocal cords to develop through adolescence.
“With each new language, Lucien, you become a different man.”
—Tony’s mother, Valentine
He performed to rooms bursting with standing-room-only audiences and crowds outside pressing against the windows to hear him sing.
1950 – When his sonorous voice and good looks began to attract wide attention, especially among young women, Lucien turned his aspirations to singing and recording songs.
Remi Dejans, the owner of a Lauwe-based rubber company, Solidor, saw a publicity opportunity with this young singer. Together, he and Lucien organized a band called De Solidors, composed of piano, bass, drums, and a few brasses.
Lucien began to sing with De Solidors for public occasions, including church events, special events, and charity performances at large convalescent homes. The band also promoted goodwill for the Solidor company by performing in village marketplaces, where they attracted hundreds of townsfolk. The more significant of these performances were the fancy fairs, events similar to county and state fairs in the U.S., which were attended by thousands of people. (In just a few years—and much to his surprise—Tony Sandler’s recordings were played over the loudspeakers at the fancy fairs.)
His reputation spread, and his singing opened the door to an unforeseen recording opportunity.
Lucien began to sing for public occasions with De Solidors.
It was with Novelty Records that Lucien Joseph Santelé’s name was changed
to Tony Sandler.
1951 – Lucien Santelé becomes Tony Sandler with his first recording contract. Lucien was invited to perform at Le Venice, a swank café chantant on de Keyserlei, the main boulevard in Antwerp. He was accompanied by the Marc Mirror ensemble, the house ensemble at Le Venice. Two of the songs written for him there, “Het Lied van de Zee” (Song of the Sea), and “Mÿn Moeder was een Vlaamse Vrouw” (My mother was a Flemish woman), would soon become big hits.
The head of Novelty Records saw Lucien at Le Venice and contracted him to record. It was with Novelty Records that Lucien Joseph Santelé’s name was changed to Tony Sandler.
1951 – At age 18, Tony Sandler won the Radio Ghent “Preis der Flämischen Künstler” (“Prize of the Flemish Artists”) award for best recording with his “Het Lied van de Zee” (Song of the Sea), on the Novelty Records label.
Moving on from De Solidors, Tony formed a new, jazzier quartet (piano, bass, drums, and guitar), all professional players with whom he could really swing. He became a mainstay at dance halls and at several seaside cafés chantants on the west coast of Belgium. Tony performed to rooms bursting with standing-room-only audiences and crowds outside pressing against the windows to hear him sing.
Bookings flowed in, but once again, war intervened.
Because of his fluency in several languages, the Air Force trained Tony to be a radar specialist.
1952 – Tony Sandler was drafted into military service. The Korean War was in progress when Tony was drafted into the Belgian Air Force. Because of his fluency in several languages, the air force trained Tony to be a radar specialist.
He was stationed at Fort Eben-Emael on the Belgian-German border. Now inactive, it was one of the largest subterranean fortifications in Europe.
Tony’s linguistic skills proved invaluable to the Allied effort, not only to guide allied planes, but also in an unexpected way. His reputation for singing in multiple languages got around, and soon he was asked to perform for Allied troops to boost morale. As a result, throughout his commission, he worked his radar shifts during the day and spent his nights entertaining the troops.
At the end of his commission, the Air Force asked Tony to stay on as a lieutenant, but Tony was ready to move on.
Tony’s physical fitness allowed him to maintain maximum strength and lung capacity throughout his career.
1954–1958
Tony Sandler was contracted to record for Polydor Records.
At the end of his service, Tony resumed his singing career. Because of his already-established success, he was contracted to record for Polydor Records, a major record company with a studio in Brussels, Belgium, and with its main studio in Cologne, West Germany. With Polydor, Tony now recorded with large orchestras.
He was also touring. After a prominent talent agent from Brussels, Robert Biliot, took Tony under his wing and organized his schedule, Tony’s popularity expanded to all of Belgium, the Netherlands, and Luxembourg. He became recognized as a leading pop star, and his recordings were heard everywhere.
He made several dozen recordings with Polydor, all recorded in Flemish at the Brussels studio, and many of those songs were hits. One could not go to a public event without hearing a Tony Sandler recording over the loudspeakers. Polydor proved to be a springboard for Tony’s international success.
He became recognized as a leading pop star, and his recordings were heard in all of Belgium, the Netherlands, and Luxembourg.
With Ariola, Tony expanded his reach to audiences in German-speaking regions throughout Western Europe.
1958 – A recording contract with Bertelsmann-Ariola takes Tony to Berlin
The year 1958 unleashed a myriad of opportunities for Tony. His popularity blossomed, and offers came from several directions.
A German talent scout and producer with Ariola, Werner Mertin, came to visit Tony at his home in Kuurne, West Flanders. Mertin had in hand a proposal from Ariola Records. Tony signed on with Ariola, but not exclusively, so he was able to also record with other record companies. Tony left Polydor for this new potential of a larger audience reach. With Polydor, he recorded songs in Flemish for audiences in Belgium and the Netherlands. With Ariola, Tony sang all his songs in German, reaching audiences in Germany, Switzerland, Austria, and Luxembourg.
At twenty-five years of age, Tony Sandler flew to West Berlin to record. In 1958, Berlin was isolated from West Germany (the Federal Republic of Germany), situated over 100 miles behind the “Iron Curtain” in East Germany (the communist German Democratic Republic).
The Western Allies had been guaranteed both air and land corridors to their sector of Berlin, and it was possible for Westerners to cross into the communist East sector only through strictly controlled checkpoints. For most Easterners, travel to West Germany was almost impossible, and any Easterner who attempted to cross was sure to be met by the armed Grenztruppen and attack dogs.
With Ariola, Tony knew that he was living an opportunity sought by every performer in Europe and won by only a handful of the very best.
Tony could fly to Berlin Tempelhof Airport only from Frankfurt, and only on Pan Am. En route, he could see the faces of Soviet pilots in the MiG fighters that flanked his plane to escort it through the corridor.
Cold War tensions escalated as Tony recorded in West Berlin. At first the sectors were open and he could cross freely from one to another. Then, in 1961 a barbed wire barrier was erected around West Berlin, followed by a hastily constructed concrete wall guarded by soldiers with machine guns. Ariola’s recording studio was the basement of a bombed-out building located one hundred yards from the Berlin Wall. It was a remarkable state-of-the-art studio built in the ground.
Between recording sessions at Ariola, Tony explored the streets with his Artist and Repertoire (A&R) man,Werner Mertin.Instark contrast to the eastern sector, thewestern sector had been quickly restore dafter the war, though the damaged spire of the Kaiser Wilhelm Memorial Church on the Kurfürstendamm in the center of the Breitscheid platz was retainedas a memorial.West Berlin was a bustling city,itsair highly charged with Cold War tensions.
With Ariola, Tony knew that he was living an opportunity sought by every performer in Europe and won by only a handful of the very best. He was thrilled. Thus began a whirlwind series of recordings that rocketed the young singer to international fame.
Ariola’s recording studio was the basement of a bombed-out building located one hundred yards from the Berlin Wall.
Caffè Roma in Alassio, Italy, was the place to see and be seen. Tony was the main entertainment attraction.
1958 – Headlining on the Italian Riviera
After Tony started recording with Ariola, his producer, Werner Mertin, arranged other connections for Tony. Mertin suggested he explore opportunities in Alassio, a hot spot on the Italian Riviera. There were two major venues there: the famed roof garden at Caffè Roma; and a popular outdoor venue, a café chantant in Balzola Square. Tony landed a contract at Balzola.
During the season that Tony sang at Balzola—a season refers to the prime tourist season for Europeans, mid-May to mid-October—Giorgio Berrino, one of four brothers who owned Caffè Roma, saw him perform. Giorgio managed the establishment, and his instincts told him that Tony would be a perfect fit for his sophisticated, international clientele. He booked Tony for the following season at Caffè Roma. Giorgio’s instincts could not have been more accurate.
1959–1963
For four years, Tony headlined at Caffè Roma on the Italian Riviera. From mid-May through mid-October, he performed a one-hour show seven days a week, and was a smash hit.
At Caffè Roma, Tony could entertain people in their respective languages, and he adapted his diverse repertoire to each audience. The Italian Riviera was the chic destination in those years. Alassio appealed to the well-heeled and sophisticated crowd, and Caffè Roma was the place to see and be seen. Tony Sandler was the main entertainment attraction.
Tony fell in love with Alassio, the Italians, and the beautiful Mediterranean Sea.
Tony became a prominent figure in Alassio. The locals called him Professore and Maestro.
1958 – 1963
Because Tony’s commitment at Caffè Roma was seasonal, he was able to continue with his performance and recording opportunities throughout the remainder of the year.
Recording continued, and Tony Sandler, sometimes credited as Toni Sandler, made over 100 recordings in Europe. He continued to record for Ariola, but also recorded with Bertelsmann, DECCA, Vogue (Vienna), Elite Special, CID, Qualiton (UK), Cardinal Records (Brussels), Blue Bell (Milan), and others. The record companies left nothing to chance and booked recordings with the renowned orchestras of Werner Müller (aka Ricardo Santos), Kurt Edelhagen, Ernst Kugler, and several others.
In 1953, with the encouragement of frequent Caffè Roma guest Ernest Hemingway, one of the Berrino brothers and an artist, Mario Berrino began decorating a wall across the street from Caffè Roma with colored ceramic tiles signed by well-known writers, artists, and celebrities who visited Caffè Roma. This tile-covered wall became a tourist attraction known as the Muretto di Alassio (Wall of Alassio). Giorgio Berrino honored Tony with the installation of a “Tony Sandler” signed tile on this wall.
Tony became a prominent figure in Alassio, with the locals calling him Professore and Maestro. He fell in love with Alassio, the Italians, and the Italian Riviera. Here is one travel writer’s very able description:
“It’s not just that it has a perfect climate. Or that the sight of the full moon rising out of the silky Mediterranean while you’resipping a last limoncello might just be the most romantic thing you’ve ever seen.Or that the Italians simply do warmth,cheerfulness,and hospitality so very well. Or even that flowers blossom here all year round.”
“The Riviera di Ponente (theRiviera of the setting sun), in north western Italy, has it all. And Alassio, halfway along, has it in buckets (and spades). The longest,widest, sandiest beach. The best places to eat and drink and stay”
As a Belgian, it is remarkable that Tony was accepted as a top recording artist with the German public.
Early 1960s – As a Belgian, it is remarkable that Tony was accepted as a top recording artist with the German public. He was invited to perform his German hits at music festivals in Europe.
Radio stations sponsored large concerts known as Schlagerfeste (Hit Festivals). These very popular and well-attended competitions featured the best recording artists performing their top hits.
The winners appeared on television. The final Schlagerparade (Hit Parade) of each year was sponsored by Eurovision, a major television broadcast company in Europe, and was hosted by a different country each year. Tony Sandler performed frequently at these events.
Schlagerparade 1960 is a West German musical film directed by Franz Marischka, starring Renate Ewert, Werner Fullerer, and Hilde Nocker. The film was produced by Tele-Film GmbH and released April 1960.
This film was made with footage from the German preliminary decision for the Eurovision Song Contest (“Eurosong”) that was held on February 6, 1960 as part of the Schlagerparade show at the Rhein-Main-Halle in Wiesbaden. The transmission was also broadcast by the Austrian broadcaster ORF. Tony Sandler placed 9th with “Oh, wie schön” (music by Martin Böttcher, lyrics by Karl-Heinz Reichel and Ute Just) and appears in the film as himself, singing this song.
“He got a triumphant reception at The Beachcomber nightclub.”
December 1960 into January 1961 – For six weeks, Tony toured South Africa, performing at the Rand Club in Johannesburg, The Beachcomber nightclub near Durban, and in Cape Town.
Belgian newspaper clipping:
(Top) Tony Sandler with a Zulu baby in his arms.
(Left) Tony Sandler as a rickshaw man wearing a 70 lb. headdress.
“These two pictures were sent to us a few weeks ago from Durban, South Africa, where he got a triumphant reception at The Beachcomber nightclub.”
Tony traveled into the spectacularly scenic Valley of a Thousand Hills, where he was warmly received and entertained by a Zulu tribe. Tony thoroughly enjoyed his time in Africa, the people, and the landscape, and said he wished he could have spent more time there.
He returned to Europe in time for Eurosong 1961, which was held on January 29, 1961, at the Amerikaans Theater in Brussels. Tony Sandler placed 6th with the song “Mÿn Moeder was een Vlaamse Vrouw” (music by Jean Howard and lyrics by A. Frank).
Tony traveled into the Valley of a Thousand Hills, where he was warmly received and entertained by a Zulu tribe.
1960 – Pop star Tony Sandler was a draw on the big screen and appeared in at least five feature films.
Tony stars as Paolo Costa in the 1960 German film, Schick deine Frau nicht nach Italien (Do Not Send Your Wife to Italy), along with stars Marianne Hold, Claus Biederstaedt, Gerlinde Locker, and Elma Karlowa. In this film, Tony plays a wealthy star and womanizer who, along with his buddy, a famed cyclist, attempt to seduce three German housewives who are traveling together in Italy.
Filmed at the Bavaria Filmstadt near Munich and in various Italian cities, this comedic drama plays out against a backdrop of the scenic Italian Riviera and the city of Rome.
Tony sings in this film as well. His “Auf Allen Straßen” (also released as an Ariola single) is a reoccurring theme throughout the film. His serenade to Manuela, though beautiful, was never released as a single.
This film continues to be aired regularly on German television.
Feature films (continued)
Tony Sandler appears as a singer in Das große Wunschkonzert (The Big Request Concert), a 1960 Austrian film produced by Österreichische Film GmbH (ÖFA), in which a widowed famous conductor achieves musical success, finds love again, and remarries. Helmut Zacharias also performs in this film.
In the 1960 German Film, Wegen Verführung Minderjähriger (Because of the Seduction of Minors), Tony Sandler sings “Kokosnüsse – Heiße Küsse” (Coconuts – Hot Kisses) by Josef Niessen. Ariola released “Kokosnüsse – Heiße Küsse” as a single in 1960.
Feature films (continued)
Die Junge Sünderin (The Young Sinner), is a 1960 German film produced by Kurt Ulrich Film GmbH (Berlin) and directed by Rudolph Jugert. Tony Sandler sings “Es muss ja nicht gleich liebe sein …” (It doesn’t have to be love), set to Ernest Simon’s theme music for the film. This song was not released as a single. Note that in the film credits his name is listed as “Toni Sandler,” a spelling of his first name that was used occasionally by German producers.
Tony appears in Das Rätsel der grünen Spinne (The Mystery of the Green Spider), a 1960 German film starring Adrian Hoven, Renate Ewert, and Hans von Borsody, along with Jaqueline Boyer. This is an entertaining (and musical) who-done-it that takes place in a cabaret named “The Green Spider.” A singer is shot, and since the murder happens during a trumpet solo, nobody hears the shot. Tony performs the song, “Oh, Donna Michaela” in a comedy sketch that ends with Tony riding off the stage on a cow.
1961, June 4 – The first Deutsche Schlager-Festspiele took place on June 4, 1961, in the Kurhaus in Baden-Baden. Südwestfunk (SWF), a prominent broadcaster at the time, organized the event. Tony placed 7th with “In Paraguay” (music and lyrics by Harry Frank and Edgar Gernet). Ariola released “In Paraguay” as a single in 1961. On the B‑side was “Tränen” (Tears), with music by Bindi and Calabrese, and with lyrics by Hertho and Ambas. Both were big hits for Tony. He recalls the tremendous reception “Tränen” received when he performed it in Berlin with a full orchestra in front of thousands.
Tony maintained a serious performance schedule from November through April with tours, festivals, stage engagements, and television and film appearances in the German-speaking parts of Western Europe (West Germany, Austria, Luxembourg, and Switzerland).
An engagement at the London Palladium (UK) was arranged by British actor/comedian, Max Bygraves, who frequented Caffè Roma and became an avid fan of Tony Sandler. He used his connections to get Tony booked in London, opening for Lena Horne at the Palladium. Eight years later, Tony would host Lena Horne as a guest on NBC’s Kraft Music Hall from London.
As always, he returned to headline for the tourist season at Caffè Roma in Alassio, Italy.
1961–1962 – Renowned jazz violinist Helmut Zacharias invited Tony to perform with his orchestra.
Helmut Zacharias and his orchestra had a tremendous following, and prior to and during Tony’s time as a headliner in Alassio, he performed with Helmut on several tours to all the large concert venues throughout Germany, Switzerland, Luxembourg, and Austria. The exposure for Tony with these tours was significant.
Helmut loved Tony’s singing, always telling people, “Tony Sandler sings like a bird.”
(Left) Tony and Helmut clowning around at Caffè Roma in Alassio, Italy, where Tony was headlining. Helmut had gone to Alassio to see Tony’s show. They were good friends and colleagues. Tony recalls that performing together was always fun and rewarding, and the audiences were thrilled.
Helmut Zacharias always said, “Tony Sandler sings like a bird.”
1958–1963 On Television.
The record companies were also instrumental in arranging for Tony to appear in several German musical films for cinema and ZDF Television.
Throughout this period, Tony Sandler starred in a 1961 television miniseries produced by Österreichischer Rundfunk (ORF), Reisebüro der kleinen Wünsche (Travel Agency of Small Wishes), along with costars Bärbel Spanuth and Jean Thomé.
On August 29, 1961, he appeared on the popular television series, Was ich noch sagen wollte… (What I Still Wanted to Say), alongside Paul Kuhn, Carmita, Helga Heinrich, and others. He sang songs accompanied by Werner Müller’s orchestra.
Tony also starred in The Tony Sandler Show, a series of 30-minute television films produced by the Mehringer brothers, Karlwolf and Gerhard, for Süddeutscher Rundfunk and filmed on location by acclaimed cinematographer Peter Baudendistel. These were comedic musical dramas in which Tony charmed his way into the hearts of the townsfolk, including the prettiest woman in town, then left to the closing strains of “Und war es noch so schön” (Although it was so wonderful, I have to say goodbye).
Tony Ski Heil! (photos above) is a 1963 scenic romance filmed at Bayrischzell in the Bavarian Alps.
Der Sheriff von St. Peter – Wildwest im Schwarzwald (released 1964) was filmed in the Schwarzwald (Black Forest), an incredibly beautiful corner of southwestern Germany.
Zwischenlandung is an avant-garde work filmed in Munich, with a running theme involving two people drawn to each other despite their differences: When they see each other again, what will happen?
Peter Baudendistel’s short German film, Brügge, features the canal that runs through Bruges, a city in West Flanders, Belgium. In that film, Tony Sandler sings (in Flemish) “Aan de oever van de fliet” (On the Banks of the River).
More television films.
One Tony Sandler film was shot in San Marino on the Adriatic coast of Italy. Another film was shot in San Remo, Italy, at the most prestigious gambling casino in all the Riviera, Casinò di Sanremo. Tony recalls the thrill of driving a sleek, wooden Riva speedboat in the blue waters of the Mediterranean.
Grüße aus San Marino (Greetings from San Marino) was a television film special directed by John J. Hackbarth, released in 1964, with music by Ernst Kugler. Tony appears as himself in this film. Because the film was released after Tony left for the United States, he believes this special included footage from his San Marino film produced by the Mehringer brothers.
Tony’s contract with Casino de Paris was just a three-month commitment, and his European contracts could be rescheduled. Tony was eager to see what American showbiz was all about.
1963 – From Europe to America
In August 1963, Las Vegas show producer Frederic Apcar was in Milan, Italy, recruiting talent for the new Casino de Paris show that would open at the Dunes Hotel in Las Vegas.
An acquaintance of Tony, an Italian impresario, asked Tony if he would be interested in performing in Las Vegas for three months, and if so, would he meet with Frederic Apcar in Milan. Tony agreed, and the meeting was arranged. Apcar was thoroughly familiar with Tony’s work in Europe, and the interview was brief. He made an offer, and Tony accepted. After all, it was just a three-month commitment, and his European contracts could be rescheduled. Tony was eager to see what American showbiz was all about.
When the season ended at Caffè Roma, Tony joined the Casino de Paris cast in Milan for rehearsals. This is where he met Ralph Young for the first time.
Casino de Paris was a classy, lavish revue with a talented international cast composed of a hundred performers from Europe and one from America—Ralph Young. The show’s director was Pierre Bezard, formerly stage director for the Lido de Paris in Paris. He gave all his directions to the cast in French. Ralph spoke only English, so Tony became his translator. Before leaving for America, Tony had some unfinished business in Germany. He took Ralph along on what became a tour of Germany and Belgium. During this trip, Ralph visited some of the studios Tony was working with and saw much of his film and recording achievements. One day he told Tony, “I have many connections in the United States. I could be your manager!”
Casino de Paris opened in December 1963 for the holiday season and was an immediate hit. The show played 365 days a year, with two shows nightly. Apcar extended Tony’s three-month contract to one year. Tony reluctantly agreed, and yet again he postponed his existing European contracts. Ralph Young influenced Tony in this decision, advising that he consider the long-range potential in the U.S. He noted that a year in Vegas might be an asset to his return to Europe.
1964 – Tony Sandler and Ralph Young became “Sandler & Young.”
As principals with the Casino de Paris show, there was no time off for Tony Sandler and Ralph Young. They worked two shows nightly for 365 days. Tony quickly became bored with his role in the show. He was accustomed to a demanding schedule, but with more diverse and demanding material. He was eager to return to Europe.
To break up the tedium, Tony and Ralph spent time backstage exploring their own potential. They discovered interesting and unique harmonies created with their two very different baritone voices—something that was to become the “Sandler & Young sound.” When Apcar offered another year extension, Tony declined. Ralph followed suit. They left their secure positions to launch their own act.
To break up the tedium, Tony Sandler and Ralph Young spent time backstage exploring their own potential.
1964 – Tony Sandler and Ralph Young performed together as “Sandler & Young” for the first time at the Tropicana on the Las Vegas Strip.
Sandler & Young were booked for a six-week engagement, performing an entr’acte with the Folies Bergère show at The Trop. Audiences loved them, and Tony and Ralph were convinced that their gamble could pay off. At this show, they introduced their “French-American Medley,” a number that defined their style and became a mainstay in their repertoire.
Immediately, Sandler & Young landed a contract to perform in the Casbar Theatre at the Sahara Hotel on the Las Vegas Strip, alternating with significant acts of the day, including Harry James, Shecky Greene, Don Rickles, and other notables.
At the same time, Bill Harrah contracted Sandler & Young to perform in the lounges at his hotels in Reno and in Tahoe.
European producers were still trying to lure Tony back, but the tide was turning quickly for Sandler & Young, and Tony remained in the States.
Val Irving, an influential New York talent agent, saw Sandler & Young perform one night in the Imperial Room at the Concord Hotel in the Catskills. Val was influential, with several stars already contracted. After the show, he came backstage and offered his services. He said, “This is the best act I’ve seen since Van & Schenck. If, within six months, I can’t book you for [a large sum], you don’t owe me a cent.” Ralph and Tony signed on the spot—a good call for both parties.
European producers were still trying to lure Tony back, but the tide was turning quickly for Sandler & Young, and Tony remained in the States.
Tony recalls that he and Ralph were rehearsing their “Mother Medley” one afternoon while “Phil Silvers sat there watching with tears in his eyes. Phil was a beautiful man—a real mensch.”
1965 – The buzz started for Sandler & Young with an introduction by Phil Silvers, who was headlining in the Congo Room at the Sahara. One night, while wrapping up his show, Phil invited his entire audience to go with him to see Sandler & Young perform in the Casbar Theatre at the Sahara. The audience filled the lounge, loved their show, and gave them a rare standing ovation.
At Phil Silvers’urging, Polly Bergen and her husband,Hollywood film producer Freddie Fields,came to see the show. They signed Sandler & Youngfor a large Polly Bergen production.LutherHenderson wrote musical arrangements to integrate Polly into the Sandler & Young repertoire,and they began to tour together. These shows played at prestigious venues and gala events,bringing Sandler & Young enormous exposure. Among these was a Sandler & Young performance with Polly Bergen on The Ed Sullivan Showon September 19, 1965.
In the spring of 1966, Sandler & Young performed with Polly Bergen before a star-studded audience at the most prestigious nightclub in the world, the Persian Room at the Plaza Hotel in New York. Many big names were seated in the audience, including celebrities such as Judy Garland, Lauren Bacall, Vincente Minnelli, Barbra Streisand, Angie Dickinson, Burt Bacharach, Sol Hurok, Eartha Kitt, and many more. After the show, Polly Bergen said to Tony and Ralph, “You guys don’t need me! You are stars on your own!” Polly was “solid, a straight shooter” according to Tony. He had “a lot of respect for her as a woman, an artist, and as a friend.” Prior to their working together, Tony Sandler and Ralph Young were, individually, seasoned performers. Now that the field was ready for them as a team, they hit the ground running at full speed.
“Ralph Young and Tony Sandler have rich voices. They are talented and their work together is fine. Due to Polly’s introduction of them in the Persian Room, they may now be able to star almost anywhere on their own.”
—Frank Farrell,
New York—Day by Day
1966 – Sandler & Young got a rocket ride to stardom with a major Capitol Records recording contract. Tony and Ralph were sitting at a table after their performance with Polly at the Persian Room when Alan J. Livingston stuck his head between them and introduced himself. Right there, he signed Sandler & Young into the Capitol Records’ exclusive lineup of recording artists. Later, he assigned Dave Cavanaugh as their A&R man, and they began recording sessions at the Capitol Tower in Los Angeles. Sandler & Young ultimately recorded ten albums with Capitol Records.
Notable agents and producers were convinced that the Sandler & Young act would never work. It was inconceivable to them that two men singing together (on their own, without a woman in the act) could possibly be entertaining, or that these two could ever generate audience appeal. So, when Sandler & Young appeared suddenly on the national radar screen, the entertainment world was astounded.
Within a year, Sandler & Young took off like a rocket and captured the hearts of millions onstage, on radio, and on television. 1966 was their launch year, and reviewers, critics, and columnists excitedly trumpeted the “meteoric rise” of Sandler & Young and extolled the class and professionalism of this new and freshly entertaining act.
On August 18, 1966, Tony Sandler’s 33rd birthday, Sandler & Young were back at the Persian Room, this time opening as headliners. Interestingly, one evening back in the 1950s, while Tony Sandler was walking the streets of Berlin with his agent, a gypsy woman took Tony’s hand and predicted that he would be starring in the New World at age 33. At that time, Tony brushed aside the notion. He had no idea he would ever perform in America. Sandler & Young would later return several times to perform at the Persian Room.
“Al Livingston poked his head in between us and said, ‘Boys, I’m going to sign you up with Capitol.’ Ralph and I hardly knew what to say.”
—Tony Sandler
October 1966 – Capitol released the first Sandler & Young Album, Side by Side. Track 11 on that album, “Dominique,” was released as a single and played everywhere. It reached #18 on Billboard’s Top 40 Easy Listening chart in January 1967. In this recording, Tony sings “Dominique” in French as Ralph sings spirituals in English, with the songs arranged in quodlibet, a style used frequently in Sandler & Young music. Side by Side album sales soared.
Initially, Capitol’s A&R man, Dave Cavanaugh, did not want to include this track on the album. But Tony and Ralph knew “Dominique” was a proven winner in their live shows, and pushed to keep it in. Cavanaugh conceded.
Liner notes on the Sandler & Young record albums show the trajectory of their rise in popularity. Capitol employed their top music arrangers for Sandler & Young: Billy May, Jimmy Jones, Bob Bain, and Sid Feller.
After hitting the charts, Sandler & Young were invited to perform on NBC’s nationally broadcast Today show, hosted by Barbara Walters and Hugh Downs. As they sang, their time slot was expanded to 31 minutes—unheard of on that show. After their first appearance on Today, the studio’s huge switchboard was overwhelmed with viewer responses. When Tony and Ralph left the studio, the switchboard operators turned to them with big smiles and thumbs up. Sandler & Young were always welcome guests on Today.
“They’ve become stars swiftly because they possess certain other qualities which immediately command warm audience attention… they are pleasing, intriguing, and inexhaustibly entertaining.”
—Capitol Records
On December 18, 1966, Sandler & Young made their first major appearance on The Ed Sullivan Show, reaching millions of viewers. TV-viewer response was big. Ed Sullivan invited Sandler & Young back for seven more shows, including the series finale, which aired on March 28, 1971. Sullivan was also a newspaper columnist, and upon seeing Sandler & Young headline at the Persian Room, he wrote “We caught the Persian Room show… they’re terrific!”
Once Sandler & Young hit the charts, their Side by Side album was picked up by radio stations across the nation. One of the most popular radio programs was the morning show at WNEW (New York). DJ William B. Williams brought Tony and Ralph in frequently for interviews and chatter.
Williams was widely known for his stand on rock ‘n’ roll music. “Most of it’s so bad it’s embarrassing,” he said. “In the days of the big bands, a vocalist had to be able to sing…I believe teenagers are hungry to hear good music, and at some point, we must assume a lot of the blame for the quality of what is being heard. I use the word ‘we’ to mean disc jockeys and radio stations in general.” Williams was a big fan of Sandler & Young. A few times, Tony and Ralph were invited to host his three-hour show. Tony recalls giving the weather news. Tony was the straight guy, and Ralph jumped in with humorous color. After all, weather is entertainment.
1966–1981 Headliners on the Vegas Strip.
By 1966, Bill Miller and Jack Entratter were legendary as the top show producers in show business, both fiercely opinionated and feared by artists who needed their approval.
Bill Miller contracted Sandler & Young to headline in the Flamingo Showroom at the Flamingo Hotel and Casino. Well-known comedians Myron Cohen and Corbett Monica opened their show, while Kenny Rogers performed in the Flamingo’s lounge.
Right next to the Flamingo was the Sands Hotel, where Jack Entratter had already booked Frank Sinatra and what became known as the “Rat Pack” in the main room. Louis Prima’s band played the lounge. These two venues commanded the lion’s share of entertainment draw on the Strip.
Sandler & Young headlined regularly at the Flamingo, as did the Rat Pack at the Sands. Tony got to know them all, and was especially close to Sammy Davis Jr.
These were the fabulous days of Las Vegas. The clientele were dressed to the nines, and the shows were classy and clean. A sign was posted in every dressing room that said, “No Blue Material,” an admonition that was strictly enforced by the Mafia bosses. For fifteen years, Sandler & Young continued to headline on the Strip at the Flamingo as well as at the Thunderbird, the Desert Inn, and the Hilton.
1967–1983 Sandler & Young were in demand. The Sandler & Young act was unexpectedly fresh and original. Both men were talented singers and experienced entertainers; both men were attractive and charismatic. Their strong general audience appeal quickly put them in the spotlight. With Capitol, they recorded mostly covers—their own interpretation and spin on standards, popular songs, movie theme songs, and songs from Broadway.
Photo above: Superstars from top left: Shirley Bassey, Johnny Carson, Don Rickles, Frank Sinatra, Anthony Newley, Joan Rivers, Tony Sandler, Ralph Young.
Their repertoire was also influenced heavily by their own personal experiences: Ralph was thoroughly knowledgeable in American songs from his early work for music publishers in New York, and Tony brought in material from Europe. Each man was strongly rooted in his culture. Tony was the suave, handsome, Belgian-born half of the popular baritone duo, known for his effortless laid-back charm and romantic flair. He served as “straight man” to the brasher, Bronx-born Ralph Young. Together they managed to successfully combine European sophistication with down-to-earth American buffoonery.
They used their cultural differences to their advantage in their humor, their manner, and their music. Their act was polished, intelligent, and sophisticated. The fun and camaraderie between Tony and Ralph onstage was irresistible, and audiences knew they were guaranteed a good show. Sandler & Young worked 52 weeks a year playing major stages throughout the U.S. and Canada.
“The Miracle Musicomedians are Back!! The Song and Laugh Team which has taken over two continents by Storm! ”
—San Juan Diary
1967–1983 Sandler & Young are the darlings of the posh nightclub circuit, including the world-famous Persian Room at the Plaza Hotel in New York, the Camellia House at the Drake Hotel in Chicago, the Empire Room at the Palmer House in Chicago, the Fairmont Hotel’s Blue Room in New Orleans, and the Fairmont’s Venetian Room in San Francisco.
At the Coconut Grove in Los Angeles, It seemed as though all the celebrities of Hollywood were there, and many lined up for autographs, including Rock Hudson, Lee Remick, Edward G. Robinson (whom Tony had always admired), Kirk Douglas (who remarked at how Sandler & Young “drew in the audience”), Jane Wyman, Ricardo Montalbán, and Vince Edwards, to name but a few.
They also performed at the Blue Room at the Shoreham Hotel in Washington D.C.; the Fontainebleau in Miami; Resorts International Hotel Casino in Atlantic City; Harrah’s in Atlantic City; Harrah’s in Reno and in Tahoe; the Circus Room Theatre at John Ascuaga’s Nugget in Sparks, Nevada; the Royal York in Toronto; the Queen Elizabeth Hotel in Montreal; Tropicoro at the El San Juan Hotel in Puerto Rico; the Hilton on Waikiki Beach in Honolulu; in Mexico City; and at the Casino de Monte-Carlo in Monaco. They performed on the Queen Elizabeth 2 cruise ship between Panama and Los Angeles.
“We had just finished a two-week stay at the Tropicoro Lounge when Lou Puro, the owner, stopped me as I was walking out of the hotel. He said, ‘Sammy Davis is supposed to headline for a big gala in the main showroom tonight, but Sammy is terribly ill. You guys have to step in.’ After that we were frequent headliners at the Tropicoro.”
—Tony Sandler
“Whatever you call it, Sandler & Young have got it, and it has made them—in just two years as recording stars—the most popular male singing duo of them all.”
—Capitol Records
1967–1983 Sandler & Young continued touring throughout the U.S. and Canada. They made frequent appearances at other nightclubs, such as the Rooster Tail outside of Detroit and many more.
They headlined at dinner theatres—which were popular at the time—including the Latin Casino, a plush, 1,500-seat, Vegas-style dinner theater in Cherry Hill, New Jersey; and the Top Hat Supper Club, located directly across the U.S. border from Detroit in Windsor, Ontario. The Top Hat was known as the “King of Entertainment,” hosting big-name entertainers. This club was modest in size, albeit big in reputation.
But many of these clubs in the U.S. were large; several seated more than 2,000 people. The Beverly Hills Supper Club in Southgate, Kentucky, brought in entertainers—as did many of these venues—from Las Vegas, Nashville, Hollywood, and New York. The Cabaret Room there was often packed well beyond its 600-seat capacity. Tony and Ralph sang there in May 1977, just two weeks prior to this popular venue burning to the ground.
The Carlton Celebrity Dinner Theater in Bloomington Minnesota was a wedge-shaped venue that held 2,190 people, with 1,270 in the terraced dinner level and 920 in the balcony. Even larger was The Front Row Theater in Highland Heights, Ohio, a 3,200-seat performance space where Sandler & Young often played.
Sandler & Young were frequently booked at many theaters across the country: Paper Mill Playhouse in Millburn, New Jersey; the Paramount Theatre in Aurora, Illinois; the Toledo Masonic Auditorium (now the Stranahan Theater) in Ohio; Orchestra Hall in Minneapolis, Minnesota; and the RKO Orpheum Theatre in Des Moines, Iowa; to name but a few.
They also played the college circuit.
“Popularity has its reasons. Two of the most well-chosen reasons are Sandler & Young—a team of fantastically talented entertainers who create more music and meaning in every song than any song has a legitimate right to expect.”
—Capitol Records
1967–1983 Sandler & Young headlined at theatres-in-the round and at large arenas. Sandler & Young drew sell-out crowds at the lucrative theatres-in-the-round, which seated up to 3,200 people. These large venues with amphitheater seating and circular stages were popular at this time. For Sandler & Young, these were always week-long runs.
Tony thoroughly enjoyed performing in these venues, as more of the audience was able to be closer to the stage and he could truly feel and connect with even large audiences. The rotating stage worked perfectly for their act. Among these stages where Sandler & Young frequently appeared was the North Shore Music Theatre, just north of Boston in Beverly, Massachusetts. This 1800-seater is one of the few remaining theatre-in-the-round stages left in the United States. In Cohasset, Massachusetts, they played the South Shore Music Circus; and in Hyannis, they performed at the Cape Cod Melody Tent. They played a week to sold-out houses at the Oakdale Theatre in Wallingford, Connecticut, a 3,200-seater, and part of the “theatre-in-the-round” craze in the Northeast. They also played the Westbury Music Fair theatre-in-the-round on Long Island in Westbury, New York.
North of Chicago, in Niles, Illinois, they played the Mill Run Playhouse (also known as the Mill Run Theatre), a 1,600-seat theatre-in-the-round that featured Las Vegas entertainers. Marquee Enterprises, which operated Mill Run, also ran the Circle Star Theater located just south of San Francisco in San Carlos, California. Sandler & Young were there on its rotating circular stage where 3,743 people were within 50 feet of them. They headlined in stadium shows; outdoor arenas, including Wolf Trap; and indoor arenas, including Madison Square Garden, where in June 1967, Golda Meir was speaking at a pro-Israel rally. Tony and Ralph capped the speech by singing a powerful rendition of “Exodus.”
“The gorgeous standards everyone loves to listen to suddenly take on a new shine—it’s as if you’re hearing them for the first time and recognizing their greatness all over again.”
—Capitol Records
1967–1983 Between show engagements, Sandler & Young were frequent guests on all the major TV variety shows and talk shows.
Ed Sullivan brought them in for eight shows plus his final original broadcast on June 6, 1971. One of these shows coincided with a large snowstorm in New York. Tony was able to get into the city by subway from his home on Long Island, but Ralph was stranded at his home farther down. Their agent, Val Irving, called Mayor John Lindsay, who arranged for a helicopter to pick up Ralph and drop him off near the theater. Tony had already completed the sound check, and Ralph arrived just in time to walk onstage.
Sandler & Young were guest stars on The Milton Berle Show at the Hollywood Palace; The Red Skelton Hour; The Dean Martin Show; The Abbe Lane Show; The Dinah Shore Show; The Andy Williams Show; The Della Reese Show; The Bob Braun Show; Sig Sakowicz’ Superstar in Las Vegas; Patrick Wayne’s The Monte Carlo Show; Today, with hosts Barbara Walters and Hugh Downs; Mary Martin and Jim Hartz’s Over Easy in San Francisco; The Tonight Show with Joey Bishop and with Shecky Greene; and on shows hosted by Mike Douglas, Merv Griffin, Phil Donahue, Joan Rivers, and David Frost.
“We worked with great talent—singers, dancers, actors, comedians—all renowned. What an honor it was for Ralph and me. We shot twelve episodes in ten weeks. It was hard work, yet enormously fun.”
—Tony Sandler
1969 –In the summer of 1969, Sandler & Young were contracted to host 12 episodes of NBC’s Kraft Music Hall from London.
These shows were taped in London with a stellar British-American cast. Prominent actors and comedians from both sides of the Atlantic participated in these shows.
The location allowed even the minor roles to be played by seasoned and highly acclaimed British performers. Each episode included a variety of scenes—hilarious comedy sketches, beautifully produced song and dance numbers, comic drama, and superstar performances.
The Sandler & Young episodes aired weekly throughout the U.S., Canada, and England from May 14, 1969, through August 13, 1969. This show brought Sandler & Young into the living rooms of millions of viewers and introduced Sandler & Young to a host of new fans.
“They were a smash on the ‘Kraft Summer Music Hall.'”
—David Frost
U.S. Representative Donald W. Riegle Jr. of Michigan sent the flag as a gift to be presented by Ralph Young to Tony Sandler in recognition for his sizeable contribution to this country as an immigrant.
1971 – Tony Sandler becomes a U.S. Citizen. Tony was delighted with his successes in America and was grateful for the magnanimous reception given to him by the American public. He had a growing affection for the United States and what he calls the freshness of the American spirit. In a heartfelt gesture of gratitude, he studied the constitution thoroughly and applied for citizenship. In 1971 Tony Sandler was sworn in as a citizen of the United States of America.
Shortly thereafter, during a Sandler & Young concert in Michigan, Ralph stopped the show to announce Tony’s new citizenship, and to present him with an American flag that had been flown over the United States Capitol Building. Unbeknownst to Tony, U.S. Representative Donald W. Riegle Jr. of Michigan had sent the flag as a gift to be presented by Ralph Young to Tony Sandler in recognition for his sizeable contribution to this country as an immigrant. There was not a dry eye in the house, and the applause lasted for several minutes.
“They don’t make people like Tony Sandler and Ralph Young anymore. This was the golden age of entertainment.”
—Stephen Schnee,
The CD Junkie
From 1971 to 1983, four Sandler & Young performances were preserved in a series of television specials, all now restored by the Tony Sandler Legacy Series™ in a collector’s set titled Sandler & Young, The Golden Years.
In 1971, they filmed a television variety show called Places with Sandler & Young. The show features Tony and Ralph in a series of vignettes ranging from onstage production numbers to scenes filmed on Tony’s ranch.
In 1972, General Motors sponsored a Christmas show featuring Sandler & Young—Two Christmases, with guest stars Jane Morgan and Constance Towers. This show was filmed for television in Toronto. During the show, Sandler & Young presented all the GM commercials, which were filmed at various GM testing sites in Canada. These are fun to watch—very retro now—and Ralph and Tony throw their own brand of humor into these commercials.
An Evening with Sandler & Young is a one-hour TV special filmed in 1974 in Toronto. This show demonstrates the essence of what brought Sandler & Young to international fame.
The First Twenty Years—Sandler & Young in Concert, was filmed in 1983.
These four very different shows present an entertaining sampling of Sandler & Young. Along with the Kraft Music Hall shows set, the four shows in this collector’s set allow fans to enjoy at least some of the magic that Sandler & Young brought to their audiences.
Places with
Sandler & Young gives viewers glimpses of the camaraderie Tony Sandler and Ralph Young enjoyed.
1974 – Tony and Ralph began to record on the Ralton Records label. From 1966 through 1970, Sandler & Young recorded ten albums with Capitol Records. Capitol showcased them to the public, giving them a tremendous boost with their superb production ability as well as their well-oiled marketing and distribution machine. But at the end of their contract, Ralph and Tony decided to go it on their own to have more freedom of content.
By 1974, Sandler & Young were recording under their own Ralton Records label. With Ralton, they produced significant and popular recordings. As seasoned recording stars, Sandler & Young commanded the best in musical craft. As a result, these recordings were backed by excellent big bands and full orchestras in Las Vegas, Brussels (Belgium), Nashville, and Minneapolis, and by a small but superb ensemble in Connecticut. Music arrangers were thrilled to work with the seemingly limitless musical palette afforded by the talents of Sandler & Young.
The Tony Sandler Legacy Series™ (TSLS) has released Just the Two of Us: The Ralton Records Collection, a collector’s set of 104 digitized, remastered, and repackaged songs recorded by Sandler & Young on their Ralton Records label. This authorized and authentic compilation aims to preserve the duo’s musical legacy beyond their Capitol Records work.
“As much as I love the Capitol albums, these recordings [the new Ralton box set] are actually more intimate and easier to connect with. They’re warmer. And these restored versions—you know I’ve had Sandler & Young on LP—I’m hearing stuff here and just going WOW. It’s like pulling away the cobwebs and revealing what the music was supposed to sound like.” (Stephen Schnee, The CD Junkie, 2021 interview with Tony Sandler on Beach Blanket Fort Bingo on YouTube.)
“These new albums flow so well, and for any fan out there or any of the unconverted, this is just warm and wonderful stuff, and if you own the [original vinyl] S&Y albums, you haven’t heard the recordings like this.”
—Stephen Schnee,
The CD Junkie
“It’s natural chemistry. You guys found each other, and that’s wonderful.”
—”Rockin'” Ronnie Barnett
1983 – The Last Sandler & Young Show.
In 1983, Tony Sandler and Ralph Young celebrated a milestone in their successes since first meeting in 1963. The event was a television special, The First Twenty Years—Sandler & Young in Concert, filmed at the Paramount Theatre in Aurora, Illinois. Neither Tony nor the fans knew at the time that this was the last Sandler & Young full performance together.
Shortly after this show, Ralph Young unexpectedly announced his retirement. Thus ended an act that was still going strong. Fans were surprised and disappointed. Even at the end of their 20-year run, both Ralph and Tony sounded great and looked fabulous. It is still a thrill to watch this show and see the fluid professionalism of Tony and Ralph working together. Onstage they were magic—an act never to be duplicated. And it is still very special to listen over and over to that unique Sandler & Young sound—and remember.
“They pack enough talent, versatility, and showmanship for five other entertainers.”
—Capitol Records
Americans were unaware that Tony had been a solo pop star in Europe before he was recruited to perform in Las Vegas, and they could not imagine him performing without Ralph Young.
1983 – Tony Sandler is on his own again.
Ralph Young was 16 years older than Tony, so when Ralph retired, Tony was still very much in his prime—full of vigor and drive. He was already recording on his own in Las Vegas and traveling to Europe for media appearances and solo engagements.
Sandler & Young had had a strong following with high visibility and—as when any famous act breaks up—fans and associates had a tough time accepting it. Americans were unaware that Tony had been a solo pop star in Europe before he was recruited to perform in Las Vegas, and they could not imagine him performing without Ralph Young. But Tony was a showbiz veteran who was confident in his craft and able to adapt without missing a beat. Always open to new opportunities, Tony moved on without a backward glance.
In 1979, Tony recorded a solo LP with a full orchestra at The Las Vegas Recording Studios: Ode to a Love Affair. This is a concept album, a collaboration with his arranger, Leo De Lyon, and several European composers. Original French lyrics are by Roland Dubois. Tony recorded three versions of this album: Ode a l’amour in French (his personal favorite), Recuerdos de un amor in Spanish, and Ode to a Love Affair in English.
From the liner notes: “At a time when so many try so hard to hide or camouflage their true feelings, these ‘Odes’ reveal the many true emotions of a love affair, honest and unafraid.”
Always open to new opportunities, Tony moved on without a backward glance.
1983 – Tony Sandler International is a performance recorded at the Eden Roc Hotel in Miami Beach.
In this show, Tony pays tribute to songwriters and sings in English, French, Spanish, Italian, and Flemish.
The film was produced and directed by Joe Gates, with Dave Gross as the music director and pianist. Dave followed Leo De Lyon as music director for Sandler & Young, then continued with Tony after Ralph retired. The ensemble also included the talented flutist Ali Ryerson (who also played for Tony in Europe), plus bass, guitar, and percussion.
This show was a precursor to Tony’s later solo tours, Tony Sandler Live and Tony Sandler In Concert, featuring an eclectic and multilingual repertoire ranging from European showstoppers to occasional soft rock covers.
When Ralph Young retired, Herb Fox saw an opportunity for CAMI. He asked Tony to produce a series of shows to take on the road for CAMI’s nationwide network of Community Concerts.
1983 – Tony gets a new opportunity with CAMI.
Herb Fox called Tony from Los Angeles. He was very familiar with Tony’s craft, and when Ralph Young retired, Herb saw an opportunity for CAMI (Columbia Artists Management Inc.). Herb Fox was the head of the CAMI West Coast office and managing director of the Community Concerts division of CAMI. He asked Tony to produce a series of shows based on Broadway music to take on the road for CAMI’s nationwide network of Community Concerts.
CAMI guaranteed ticket sales and provided an extensive itinerary of venues and dates—all one-nighters scheduled within 150 miles from one to the next, or scheduled with an additional day of travel in more remote regions. CAMI was well organized and brought quality artists to venues that were members of the Community Concert Association, each with prepaid subscription audiences. On their own, these communities could not afford live top-level entertainment.
Tony understood well his own investment risk as well as the production and touring demands. He also saw the potential, so he signed on with CAMI. Tony took this opportunity to give back to his faithful Sandler & Young fans, and to provide a quality showbiz experience and exposure for new talent.
1984–1992 – Tony produced a series of successful touring musical variety shows for CAMI. Initially, Tony produced two shows, An Evening with Lerner and Loewe, and An Evening with Cole Porter & Irving Berlin. Over the next several years, Tony toured these and other shows to 49 states and amassed his own fan base in America. This became one of the most gratifying periods in Tony’s career. The CAMI shows brought him close to the people in large cities and in small towns, some of them in remote parts of this country. He loved his audiences, and they in turn received Tony and his company with great warmth and enthusiasm.
“Tony dances so naturally and with ease around the melodies.”
—Stephen Schnee,
The CD Junkie
1985 – Between CAMI tours, Tony has time to record.
In 1985, Tony recorded three albums in Minneapolis with a symphony orchestra at the 78th Street Studio:
Symphony of Love is a popular solo album of contemporary/soft rock songs arranged by Dave Gross for Tony, orchestra, and backup vocals.
Bells of Paradise is a collection of inspirational music, and The True Spirit of Christmas is classic Christmas music. Both albums feature Tony as a soloist with the Singing Nuns of Saint Cecilia’s Chorale, with music arranged by Philip Brunelle.
Also in 1985, A True Sound of Christmas was video recorded outdoors near Tony’s mountain home in Washoe Valley, Nevada. The quiet winter landscape provides a pristine setting as Tony performs with the singing nuns of Saint Cecilia’s Chorale. This film was directed by Joe Gates and edited by Northwest Teleproductions. Philip Brunelle arranged the music. The film was never released.
In 1985, Tony also recorded a small collection of German and French art songs at the Minnesota Public Radio (MPR) studios in St. Paul, accompanied by pianist Gregory Theisen. This recording was recently released as part of his Lorelei album. All these songs are classical favorites that Tony has enjoyed since childhood.
Jacques Brel is one
of Tony’s favorite composer/songwriters, and Tony’s interpretations of these songs in French, English and Flemish are remarkable and genuine.
1986–87 – Tony continues to record.
An Evening of Cole Porter & Irving Berlin is a 1986 recording that captures one of Tony’s CAMI shows. This production starred Tony Sandler, with guest singers Melissa O’Neill and Nancy O’Gaffey, accompanied by The Gregory Theisen Ensemble (piano, guitar, bass, and drums). This album was recorded at the MPR studios in St. Paul, Minnesota.
Also in 1986, Tony Sandler recorded a collection of Jacques Brel songs at MPR, with arrangements and accompaniment by Gregory Theisen. This recording was never released but will be introduced as part of the Tony Sandler Legacy Series. Belgian-born Jacques Brel is one of Tony’s favorite composer/songwriters, and Tony’s interpretations of these songs in French, English, and Flemish are remarkable and genuine. That same year, Tony video recorded a Jacques Brel show at MPR, with arrangements and accompaniment by Gregory Theisen. Copyright restrictions prevented this film from being released.
In 1987, Tony completed a substantial recording project, one that is near and dear to his heart and to his heritage. Een Bloemlezing: Vlaamse Kunst & Volksliederen / An Anthology of Flemish Folk & Art Songs / Volumes I, II, III is a set of three audio discs that contain a total of 36 Flemish songs selected and recorded by Tony Sandler, accompanied by Gregory Theisen.
In these three volumes, the beautiful marriage of lyrics with musical arrangements by Theisen expresses the deeply rooted and sometimes stoic soul of the Flemish people. These songs illustrate the people’s love of the land and the beauty of nature, their deep sentiments for family, and their fierce cultural attachment to Flanders. This digital album is now in the Library of Congress in Washington, D.C.
“Tony Sandler is of another period in the broiling music history, from the school of charm, where lyrics are intellectually perused, and melody can be graceful and bittersweet. The Sandler trip embodies all these elements.”
—Las Vegas Review Journal & Variety
1987–1988 – Filming in Belgium.
The miniseries Portrait of Europe was designed to showcase western European countries, but only one episode, “Flanders” (1987), was completed. The episode stars Tony Sandler as the host. Sponsored by the Government of Flanders Ministry of External Relations, “Flanders” was produced and directed by Jerry Grady for Quostar Productions and Iowa Public Television and aired on PBS.
In 1988, For the Night of Christmas / Per La Notte Di Natale was video recorded for PBS in the city of Bruges, Belgium. This film features Tony Sandler with The Cantabile Singers—Kathleen Humphrey, Jody Briskey, and Maria Jette—and Gregory Theisen on keyboard. Theisen arranged a soundtrack based on the music of Arcangelo Corelli. The film was produced and directed by Jerry Grady for PBS and coproduced by Quostar Productions.
Tony could not leave his stateroom without being surrounded by fans.
1989 – Tony Sandler Goes to Sea.
Seeing the successes of his land tours, CAMI also contracted Tony Sandler to take his productions aboard Cunard’s Queen Elizabeth 2 and on Carnival’s Princess cruise ships, primarily between South Hampton (UK) and New York City, as well as on the Caribbean. Tony produced five shows under the umbrella title, Broadway Goes to Sea, and packed the house every night. Tony could not leave his stateroom without being surrounded by fans.
Tony was enjoying more than ever the freedom to run his own shows and the flexibility to make changes on the fly, revising his shows for the audience in front of him. He was reminded of his solo days in Europe.
In 1991, Tony was recruited by an old friend of his from Allasio, Italy, who was now in California with the Italian shipping company, SITMAR. Tony could not refuse. He continued with his CAMI productions, but he also went solo with SITMAR Cruises.
In 1989, Tony recorded four songs with Lee Blaske, a brilliant composer, orchestrator, producer, keyboardist, and multi-instrumentalist who just happened to live near Tony. They recorded four powerful works with digital accompaniment produced by Blaske. The result is exciting, though these recordings were never released. Some, especially “America, the Dream Goes On” were distributed sparsely. The other three are Flemish songs: “Onvergetelyk” (“Unforgettable”), “Kathedraal” (“Cathedral”), and “Zolang Ik Niet Verdwyn” (“As long as I’m Alive”). All of these are included in Tony’s Legacy Series releases.
“With his diverse repertoire and rich baritone voice, he mesmerized the audience for 2 ½ hours.”
—Janet Kohls,
Telegraph-Forum
Despite his heavy performance schedule, Tony made time to enjoy life and maintain personal friendships at home and abroad.
Throughout the 1980s and 1990s, between cruises, recording projects, and television specials, Tony Sandler completed his schedule with solo stage appearances.
Tony performed at a variety of venues in the United States, Canada, Mexico, and Belgium. Top O’ the Dunes, on the top floor of the Dunes Hotel in Las Vegas, provided fabulous views of the city and featured live entertainment.
In St. Paul, Minnesota, Tony performed at History Theatre; sang a recital of his classical art songs at the Schubert Club, accompanied by Philip Brunelle; and topped the annual box office sales in just one week at the Ordway Music Theatre in St. Paul, Tony shared the Guthrie Theatre stage with Margaret Whiting and Garrison Keillor. In Washington, D.C., he performed at DAR Constitution Hall and at The Army & Navy Club. In Palm Beach, Florida, Tony sang at the prestigious Royal Room at the Colony Hotel. In Toledo, Ohio, Tony was backed by the Toledo Symphony Orchestra at the Stranahan Theater. International venues for Tony included the famed Imperial Room at the Royal York Hotel in Toronto; and the Teatro Ángela Peralta in Mazatlán, Mexico; and an engagement at the Knokke Casino in Knokke, Belgium’s famous seaside resort, which brought Tony back full circle to the 1950s when, as a young man, he frequently performed at seaside resorts on the Belgian coast, drawing large crowds at the cafés chantants.
In the 1990s, Tony also performed solo with piano, bass, drums, and guitar at large retirement communities in Florida. These venues boasted theaters from 500 to 1500 seats.
He had always been accustomed to a heavy schedule, and this period was no different. But he also made time to enjoy life and maintain personal friendships at home and abroad.
1991 – Tony traveled through Moscow to the Republic of Georgia
with a Minnesota delegation composed of leaders in trade, commerce, science, agriculture, aviation, arts, and culture. Tony was invited to represent the performing arts. They came by invitation for the purpose of opening channels for trade, to exchange ideas, and to explore mutual opportunities. Sponsored and organized by Dr. John A. Cesnik, MD (Intertech), and Boris Popov (Ballistic Recovery Systems), this private delegation was one of the first to visit Georgia during Perestroika. Mikhail Gorbachev, then leader of the Soviet Union, sought to bring the Soviet Union up to economic par with capitalist countries. Thus encouraged, the Georgians were eager to learn and grow, and gave a warm reception to the Americans.
The Georgian Soviet Socialist Republic had already declared its sovereignty over Soviet laws when the delegation arrived in the winter. That was just prior to April 1991, when Georgia declared its independence—a stand that went unrecognized. Georgia remained tethered to the Soviet Union until its collapse in December 1991. Tony recalls the tension he felt in Georgia’s capital, Tbilisi. People stood in long lines to buy bread as impassioned anti-Soviet speeches drew crowds in the public square. At the same time, there was a pervasive air of hope.
Tony was privileged to review numerous and impressive performances by choirs and traditional dancers from all of Georgia and was overwhelmed by the display of talent, athleticism, and precision. Ultimately, he was unable to bring any of these large-scale acts to the U.S. to perform. It was politically premature. Tony was deeply saddened by this.
Their Georgian hosts were extremely hospitable and were proud to show the delegation some of their historical sites.
1991–1993
Tony is still recording, still touring, and still producing.
In 1991, Tony Sandler recorded the album An Evening of Lerner & Loewe, featuring the music and the cast from a show he had been touring with CAMI under the same title. The cast included guest singers Molly Sue McDonald and Jody Briskey, and the Greg Theisen Ensemble (piano, guitar, bass, drums, and synthesizer). Theisen arranged the music. This show was recorded at Pteranodon Studios in Minnesota by Sam Andersen. The album cover was designed and illustrated by Tony’s brother, Joseph Santelé, an accomplished fine artist who lived and worked in Belgium.
In December 1993, Tony Sandler Sends Seasons Greetings was filmed for PBS at Studio III of Iowa Public Television (IPTV). Jerry Grady served as the director and executive producer. This show features Tony Sandler, along with guest singers Melissa O’Neill and Heidi Saari. Greg Theisen is the music arranger, conductor, and pianist, with a quartet featuring Mark Adler playing several medieval brass instruments.
From 1993 to 1999 Tony Sandler produced and performed a series of gala benefit shows on New Year’s Eve. For seven consecutive years, he produced the Tony Sandler & Friends New Year’s Eve Benefit Gala, chaired by Mrs. William J. Popp (Teri), at the Hilton Hotel in Minneapolis, Minnesota. With this gala, he raised funds for the Greater Twin Cities’ Youth Symphonies, the Salvation Army’s Silver Lake Camp, and the Minneapolis Jaycees Charitable Foundation.
These elegant, black-tie events opened with a cocktail hour and silent auction followed by a gourmet dinner, then a one-hour show in which Tony Sandler performed with the Youth Symphony Orchestra, conducted by Dr. William LaRue Jones. The shows included guest singers and at times, dancers. The party continued with dancing to the music of Tony Sandler’s Continental Big Band and concluded with a champagne salute to the new year. As celebrations settled down, Tony would sometimes perform again with a small trio in an after-hours “club show” where guests were served onion soup, desserts, liquors, and coffee. Each gala was themed to feature the cuisine and music of a different country.
This event was never duplicated in Minneapolis, and people still talk about it.
1995–1998 More Television Specials
Swinging Down Memory Lane is a large show that Tony produced for ABC Television in 1995. Tony hosts and stars in the show, along with guest stars Marilyn McCoo and Ralph Young. Also in the show: Jody Briskey, the Skyliners, the Wendy Short Dancers, and Tony Sandler’s Continental Orchestra. This show was presented by Hubbard Broadcasting, Inc., and was aired on ABC Television. It was filmed at History Theatre in St. Paul, Minnesota, by Northwest Teleproductions.
The music of Cole Porter and Irving Berlin is featured in a 1995 Tony Sandler production titled, The Best of Broadway. This cabaret show, filmed at IPTV’s Studio III, was produced and directed by Jerry Grady for Iowa Public Television. Tony and guest vocalists Melissa O’Neill and Jody Briskey are backed by piano, guitar, bass, and percussion. Greg Theisen was the arranger, conductor, and pianist.
In 1998, Public Television viewers enjoyed An Evening of Romance, another Tony Sandler production starring Tony Sandler, with the Three Hits and a Miss, backed by The Des Moines Symphonietta, conducted by Dr. William LaRue Jones. The film was produced by Iowa Public Television and directed by Jerry Grady.
“TONY SANDLER & RALPH YOUNG – CELEBRATED RECORDING ARTISTS – STAGE / RADIO / T.V.”
—Walk of Stars in
Palm Springs, California
1998 Walk of Stars.
The achievements of Sandler & Young were commemorated with a star on the Walk of Stars in Palm Springs, California.
The inscription on the star reads,
“TONY SANDLER & RALPH YOUNG
CELEBRATED RECORDING ARTISTS
STAGE / RADIO / T.V.”
Ralph and Tony attended the ceremonies.
The Palm Springs Walk of Stars celebrates the extraordinary achievements of accomplished individuals who have left an indelible mark on the worlds of film, music, television, and more.
Tony was a hit in this straw-hat role. He connected with the audiences and stole the show and the reviews.
1998 – A now distinguished Tony Sandler dons a hat and develops new shows.
Fall 1998 – Tony was invited to read a script for a proposed Broadway play about Maurice Chevalier. The New Yorkers loved Tony, but the script was a disappointment, and the project was scrapped. Meanwhile, Tony was intrigued by the potential of portraying Chevalier and explored his own options. He asked his assistant, Marna Petersen, to write a script that would celebrate the life and music of this great entertainer. This effort resulted in one of Tony’s proudest achievements. The show was titled, Chevalier—Maurice & Me. Tony began honing Maurice’s repertoire as the script developed.
Word got out, and Tony was invited to perform this music on a world luxury cruise. For several nights, while sailing the seas from Bombay to the Seychelles and on up to Egypt, he entertained a convivial group of travelers with Maurice’s old songs. Tony discovered that this material worked with a modern audience.
Summer 1999 – A new Chevalier spin-off. Jeffrey B. Moss, a respected New York theater director and producer, heard about Tony’s revitalization of the Chevalier persona and contracted Tony to perform with the Lido La Tournée Champs-Élysées Paris, a multimillion-dollar French music hall production on its New Millennium tour through the United States. Tony pulled material out of the Chevalier—Maurice & Me script for this show.
Winter 1999–Spring 2000 saw Tony’s first U.S. tour with the Lido. Tony performed a 15-minute entr’acte with only spotlights and a piano in front of the curtain. His act was simplistic compared to the extravagant costuming, sets, sound, lighting, and choreography that characterized the Lido scenes. Yet Tony won the audiences night after night. The producer asked for 10 additional minutes and brought Tony further into the show as host and raconteur. Again, here was proof that Tony was a hit in this straw-hat role. He connected with the audiences and stole the show and the reviews.
1999 New Year’s Eve – Y2K. Tony flew to Minneapolis just in time to ring in the new millennium with his final New Year’s Eve gala. Amidst all the fear generated by the turn of the millennium, Tony performed an uplifting and stirring show with an American theme. Incredible love and warmth could be felt throughout the hall as everyone sang “Auld Lang Syne.” The next morning, he flew to Atlanta, rejoining the Lido cast for their New Year’s Day performances.
2000, February 25 – Tony performed Chevalier—Maurice & Me at the Annenberg Theatre in Palm Springs, California, before an audience filled with luminaries from Hollywood. Writer Sidney Sheldon wrote, “Maurice Chevalier was alive and well at the Annenberg Theatre last night. In fact, in the person of Tony Sandler, he was brilliant. The nostalgic evening was filled with songs made famous by Chevalier: ‘Mimi,’ ‘Valentine,’ ‘Louise,’ ‘I love Paris,’ and hits from Gigi. In between songs, Tony Sandler proved himself a talented raconteur as he reminisced about the fascinating life and times of Chevalier. It was a most delightful evening.”
In the summer of 2000, Tony made a recording of songs from the show to use in promotions. He titled the album, Maurice & Me. Produced by Balladin Productions, this recording featured Frank Oliveri on piano, Gary Raynor on bass, and Phil Hey on drums. Some of the songs were eventually dropped from the show, so it is especially delightful to hear them now. This album is being re-released as part of the Tony Sandler Legacy Series™.
WINTER 2000 – Spring 2001–The Lido’ssecond tour through the U.S. Tony was contractedonce againtotour with the Lido La Tournée Champs-Élysées Paris
“Enchantment at the Annenberg… Tony Sandler, the debonair Belgium-born artist, came to town and totally enchanted a sold-out house at the beautiful Annenberg Theatre… One of the best ever at the Annenberg Theatre! Bravo!”
—Gerhard G. Frenzel, Chairman,
Palm Springs Walk of Stars
Mitch Gershenfeld initiated a collaboration between Tony Sandler and Grammy Award-winning music arranger and composer, Peter Matz. This proved to be an ideal partnership.
Spring 2001 – Maurice Chevalier’s MY PARIS, was another Chevalier spin-off for Tony. He had performed with the Lido La Tournée Champs-Élysées Paris at the McCallum Theatre in Palm Desert, California. The McCallum’s director, Mitch Gershenfeld was impressed with Tony’s performance and envisioned a symphony pops show for Tony with a Chevalier theme. Mitch initiated a collaboration between Tony Sandler and Grammy Award-winning music arranger and composer, Peter Matz. Tony flew to Los Angeles to meet with Peter. Peter Matz had studied in Paris, he spoke French, he was enamored with the French chansons, and he immediately embraced Tony’s repertoire. This proved to be an ideal partnership, and work began in earnest. Tony and Marna Petersen wrote a script based on Chevalier’s book, My Paris, and finalized the song lineup. In Los Angeles, Peter worked on the arrangements.
Meanwhile, Tony continued to tour his Chevalier—Maurice & Me show at the Old Log Theatre in Excelsior, Minnesota; at the Cheboygan Opera House in Cheboygan, Michigan; and in Salem, Ohio; Hazleton, Pennsylvania; Dundalk, Maryland; and Lakeside, Ohio.
September 2001 – 9/11 sends the entertainment industry a wake-up call. A drop in funding for the arts followed the shock and tragedy of the September 11th terrorist attacks on the World Trade Center in New York. The times seemed to call for higher material. Tony’s shows fit the bill. October and November performances of Chevalier—Maurice & Me continued to draw enthusiastic audiences at Tecumseh Civic Auditorium in Michigan; the Hopkins Center For The Arts in Minnesota; and Thalian Hall in Wilmington, North Carolina.
2002 found Tony performing Chevalier—Maurice & Me at Palm Isles, Boynton Beach, Florida; at Alan Jay Wildstein Center for the Performing Arts in Avon Park, Florida; and back-to-back shows at the Kravis Center in West Palm Beach, Florida. Per Kravis director Lee Bell: “I want you to know that your show is spectacular. Our community embraced it with so much enthusiasm. Great job! Let’s make this happen again.” Tony then took the show to the Robert B. Moore Performing Arts Theatre in Costa Mesa, California.
“The orchestral arrangements by Peter Matz are absolutely fantastic…I knew the harmonies would be lush and that the voicing of the instrumental lines would be imaginative, but these were well beyond my expectations.”
—Dr. Edwin Williams, ONU Symphony Orchestra
Dallas was particularly devastated by this tragedy and was still in shock.
2003 – Amid uncertainty and disaster, Maurice Chevalier’s MY PARIS premiered with the Dallas Symphony Orchestra.
On February 6, 2003, Tony Sandler premiered his new symphony pops concert with the Dallas Symphony Orchestra, conducted by Richard Kaufman, at the Eugene McDermott
Concert Hall at the Morton H. Meyerson Symphony Center in Dallas, Texas. For many reasons, this was a remarkable occasion.
World events converged, and Tony wondered whether he could fill even one house in Dallas. In short, the French made a scene in the United Nations in opposition to the U.S.’ intent to bring down Saddam Hussein in Iraq. Ridicule of all things French was fueled by the American press and spread quickly throughout the U.S., making it almost unpatriotic to cozy up to even a french fry. Both of Tony’s shows at this time were clearly French related, and though they had no political thrust whatsoever, they became more difficult to sell. The standoff with Hussein was coming to a head. The U.S. was on high alert; a U.S. Invasion of Iraq was imminent when Tony flew to Dallas for the premiere.
On February 1, 2003, the space shuttle Columbia broke up catastrophically over north-central Texas at an altitude of about 60 km (40 miles) as it was returning from an orbital mission. All seven crew members died. Dallas was particularly devastated by this tragedy and was still in shock.
And on February 6th, Dallas was experiencing unexpected frigid temperatures with ice and snow. But the show went on.
The U.S. was on high alert; a U.S. Invasion of Iraq was imminent when Tony flew to Dallas for the premiere.
Turnout for Maurice Chevalier’s MY PARIS was tremendous, and Tony and the show were a huge triumph.
Times of fear, sorrow, and confusion often bring people together for comfort and support. The Dallas Symphony Orchestra recognized this, and the show was not postponed.
Turnout for Maurice Chevalier’s MY PARIS was tremendous, and Tony and the show were a huge triumph. Regrettably, Tony could not share his success with his collaborator, Peter Matz. Peter had passed away in August of 2002, shortly after he had finished the score for the show. Tony was deeply saddened. He said that Peter was truly magnificent to work with, a gentleman and a scholar. He showed great affection for this project and for Tony. Together they had created a truly beautiful and uplifting show.
Following the Dallas concerts, Tony continued to tour with his one-man show, Chevalier—Maurice & Me, and depending on audience and venue, he also performed a version of Maurice Chevalier’s MY PARIS arranged for quartet accompaniment.
Audiences had always been drawn to Tony’s romantic charm and class. Now, in full formal attire with hat and cane, he exuded a European élan that melted their hearts and took them away from their troubles. The Chevalier shows fit Tony like a glove.
“Tony, they LOVED the show. LOVED, LOVED, LOVED it! …Everyone from the host to the guests to the crew loved you and the show. Way to go!!!”
—Sanctuary Hotel, Kiawah
Island, South Carolina
2003–2004 – A hit with all ages.
In October of 2003, Tony performed Maurice Chevalier’s MY PARIS with the Ohio Northern University Symphony Orchestra, conducted by Dr. Edwin Williams, at the Freed Center for the Performing Arts. Both the audience and the orchestra were composed of university students. Williams wrote, “I cannot begin to tell you what a pleasure it was to have Tony Sandler perform [Maurice] Chevalier’s MY PARIS with the Ohio Northern University Symphony Orchestra. I have heard nothing but superlative comments about the concert. [Tony] is one of the great artists of his time. His superb voice is equaled only by his intonation, timing, delivery, personality, and stage presence.”
In February of 2004, Tony was booked for seven shows in the Rinker Playhouse in the Raymond F. Kravis Center for the Performing Arts in West Palm Beach, Florida. This was the longest run to date for Chevalier—Maurice & Me. Kravis Programming Associate Gin Blische wrote, “It’s rare to please everyone, but I think you impressed them all from beginning to end with your wonderful voice and charming stage persona. I love hearing all the positive feedback in the lobby after the shows. You really struck a chord.”
Tony’s November 2004 performance of Chevalier—Maurice & Me at The Sanctuary Hotel on Kiawah Island, South Carolina drew this response: “Tony, they LOVED the show. LOVED, LOVED, LOVED it!”
That same month, Tony performed this show at the Goodloe Center at Mountain Empire Community College in Big Stone Gap, Virginia; at the University of Virginia’s College at Wise in Wise, Virginia for the Pro-Art Association; and for the Mount Dora Community Concert Association in Mount Dora, Florida.
“The orchestra members loved [Tony], as did all the other students that were able to meet him.”
—Dr. Edwin Williams,
Ohio Northern University
“… what a pleasure it is to listen in and feel worldly and sophisticated yourself, even if you’re not dressed to the nines.”
—April 2005 review
by Carl A. Rossi,
The CABARET website
A capstone for Chevalier—Maurice & Me in 2005 was the five evening shows and two matinees produced by Fred Taylor Productions and running April 26th through May 1st at the Cutler Majestic Theatre in Boston, Massachusetts. By this time, the show was tested, seasoned, and ready for a major venue. The show was video-recorded in high definition for PBS by Rob Massey of Pulse Media in Boston, and Jerry Grady, producer/director for PBS/IPTV. Tony was accompanied by Evan Mazunik on piano, Ludo Mariën on accordion, John Baboian on guitar and mandolin, Mark Carlsen on bass, and Jim Gwin on percussion. A DVD of this show was released later that year, following the PBS broadcast.
“Backed by a five-piece band, a vase of roses, the occasional projected silhouette of Paris, and Chevalier’s signature skimmer and cane, Sandler slides so seamlessly between first- and third-person, French and English, happy and sad, funny and profound, that it is often difficult—even unimportant—to determine whose role he has taken on.” —Matthew Robinson, Columnist, Jazz USA
Tony was surprised and delighted when, in 2007, he received an email from François Vals, who then lived in Grasse, France. Vals had been a lifelong fan of Maurice Chevalier, and for the last 20 years of Chevalier’s career, Vals was his manager.
After viewing a DVD of the show, Vals wrote, “Formidable!!! You have realized the most beautiful show to render homage to Maurice Chevalier! It is extraordinary! Your recital—it’s the wildest dream to ever be realized! Your interpretation of Maurice comes from your soul, it is neither an imitation nor a caricature, it is simply perfect. What ease, what charm is yours! What quality your show. You are a great, a very great artist! MERCI et BRAVO.”
“The orchestra members loved [Tony], as did all the other students that were able to meet him.”
—Dr. Edwin Williams,
Ohio Northern University
“No gimmickry, no fancy clothes, no false face, it’s all straightforward, a warm personality doing what he really likes to do, and doing it with an aplomb, and a microphone technique second to none. He was a smash.”
—Boris Nelson,
The Blade (Ohio)
2005–2006 – At 72 and still in his prime, Tony continued to perform in the U.S. and Europe.
In June of 2005, he was at the Players Club in New York City with his French Connection club show, covering songs from Jacques Brel, Kurt Weill, Michel Legrand, Yves Montand, Édith Piaf, Charles Aznavour, Ernesto Lecuona / Elpidio Ramírez, Cole Porter, Maurice Chevalier, Gilbert Bécaud, Joaquín Rodrigo, Léo Ferré, Charles Trenet, and more.
Stage appearances, show prep for 2006, and DVD production for Chevalier—Maurice & Me filled out the year.
2006 opened with Tony at the Vero Beach Museum of Art for its 20th Anniversary Gala, An Evening in Giverny. Here Tony introduced a club version of his Maurice Chevalier’s MY PARIS show rearranged for the Jimmy Martin Quartet (piano, bass, guitar, drums) in lieu of a full orchestra.
On May 12, 2006, Tony, along with the people of his homeland, Flanders, celebrated his Fifty Years On Stage with a concert at De Kortrijkse Schouwburg, in Kortrijk, Belgium. Backing Tony was the All-Star Big Band, conducted by pianist and arranger Dave Gross.
This show was video-recorded live for PBS with film director, Jerry Grady, IPTV. Film production, recording and mastering was by Outside Broadcast, Rotselaar, Belgium. Produced by Balladin Productions, Inc
For Tony Sandler, this was a significant concert, and it is being rereleased as part of the Tony Sandler Legacy Series™.
“We were mostly top talent agents and VIPs of NYC music showbiz, there by special invitation only. Most of us knew Tony from the glory days of Sandler & Young. None of us knew him from his serious trophy days in Europe when he took country after country by storm. But now we know how he did it.”
—Review: June 15, 2005
The Players Club,
Gramercy Park NYC
“Chevalier—Maurice & Me is a tailor-made vehicle for Tony Sandler, whose skilled portrayal of the great Chevalier’s life and music elicited prolonged applause, laughter, a tear or two, many bravos, and deservedly so, a standing ovation.”
—Gerhard Frenzel,
Palm Springs Walk of Stars
2006 Continued – In August, Tony was back in Massachusetts at the Stoneham Theatre with Chevalier—Maurice & Me, and in November he brought that show to the William Mount-Burke Theater at the Peddie School in Hightstown, New Jersey, presented by the Community Arts Partnership at the Peddie School (CAPPS). CAPPS Executive Director Robert Rund wrote a letter to Tony that expressed a common theme of appreciation:
“I cannot remember an event that we have presented (other than performances surrounding 9/11) that has touched our audience so deeply. Thank you so much for your transcendent performance.”
Chevalier—Maurice & Me had another run in the spring of 2007, this time at the Kalliope Stage in Cleveland Heights, Ohio.
“The term ‘boulevardier,’ describing an elegant man-about-town, has fallen out of use. … But there are two such gentlemen now at Kalliope Stage in the singular person of Tony Sandler.” —Christine Howey,
Arts Reporter, Cleveland Scene / Arts & Entertainment
“But most of all, Sandler captures that joie de vivre for which Chevalier was renowned.” —Akron Beacon Journal / Performing Arts
“Tony Sandler … has an undeniable, Euro-flavored, older-man appeal to his paunch. And he’s got a mellifluous, seductive speaking and singing voice, a winking way with telling a blue anecdote and nice comic timing. All of which make him a worthy candidate to recount the life of French singer and cinema star Maurice Chevalier.”
—Tony Brown, Theatre Critic, The Plain Dealer
Tony took Chevalier—Maurice & Me south to other venues, including the Lyric Theatre in Stuart, Florida. In December he was back at the Royal Room at the Colony Hotel in Palm Beach.
By mid-December he was on to his Christmas show, Come Spend Christmas with Me, that was so popular that year.
2007 – In the spring of 2007, Tony was invited to New York to meet His Majesty Albert II, King of the Belgians, and Her Majesty Paola. Tony presented the royals with his 1987 recording, Een Bloemlezing: Vlaamse Kunst & Volksliederen (An Anthology of Flemish Folk & Art Songs). HM Albert II remarked to Tony, “Mynheer Sandler, dank u. Die werken moeten bewaard en ook verder verspreid worden.” (Thank you, Mr. Sandler. Those works have to be preserved and distributed.)
Throughout his career, Tony Sandler never forgot his Flemish heritage and often spoke of Flanders, Belgium, during his shows. Someone in the U.S. once wrote, “Tony Sandler is the best-known Belgian since Hercule Poirot.”
In August of that same year, Tony performed a concert, Ik Kan U Niet Vergeten, for Prince Emmanuel de Merode and dignitaries at Het kasteel van gravin Jeanne de Merode in Westerlo, Belgium. Tony presented a diverse, multilingual concert featuring 90 minutes of songs that celebrate Flanders. The program also included the international standards for which Tony Sandler is known, songs that were expected by his fans wherever he performed.
Back in the states, Tony resumed performances of Chevalier—Maurice & Me, then finished the year with a Christmas concert series performed with the Land of Lakes Choirboys from Elk River, Minnesota.
2008 – While in Europe, Tony was invited to meet François Vals at his home in Provence, France. It was a delightful meeting with the Chevalier entourage. François Vals encouraged Tony to try on one of Maurice Chevalier’s own straw hats. Alas, the hat was too small for Tony’s head!
Back in the states, Tony resumed performances of Chevalier—Maurice & Me at the Ocean Walk Resort in Daytona Beach, Florida; Savannah Center at The Villages, Florida; Bankhead Theater in Livermore, California; and at The Sheldon Concert Hall in Saint Louis, Missouri.
He also returned to his international repertoire. At the Phipps Center for the Arts in Hudson, Wisconsin, the audience sent their personal reviews to the director: “Tony Sandler could simply sing from the phone book. I just love his voice.” “What a commanding presence. He has a great voice.” “We really enjoyed his jokes and banter.” “The best show we’ve seen here.” “When will he be back?!”
At the McCallum Theatre in Palm Desert, California, he presented a Valentine’s Day show with big band to a 1200-seat packed house. Then he was back for a short run at the Royal Room at the Colony Hotel in Palm Beach, Florida, with his International Cabaret, with songs of Paris in English and French, in addition to his ever-popular international standards.
He found time to record a new solo album, Simply Tony (Butterfly Productions) with the Jimmy Hamilton Trio: Jimmy Hamilton on piano, Kent Saunders on guitar, and Gordy Johnson on bass. It was recorded in Studio A at Creation Audio in Minneapolis by audio engineer Steve Weise.
Tony also gave two performances of Maurice Chevalier’s MY PARIS in Iowa with the Southeast Iowa Symphony Orchestra (SEISO), conducted by Robert McConnell.
“Tony Sandler could simply sing from the phone book. I just love his voice.”
“What a commanding presence. He has a great voice.”
“We really enjoyed his jokes and banter.”
“The best show we’ve seen here.”
“When will he be back?!”
—Audience reviews,
Phipps Center for the Arts
“He is charming
in a comfortable
sort of way.”
—Jim Fuller,
Minneapolis
Star and Tribune
2008 – Tony gave more bows to his homeland with a performance for descendants of Belgian immigrants at the Gazette van Detroit Gala Fundraiser, held at the Grosse Pointe War Memorial in Grosse Pointe Farms, Michigan. In New York City at a BACC event (Belgian-American Chamber of Commerce in the United States), he gave a command performance for the Consul General of Belgium, with numerous dignitaries on the guest list.
Then Tony returned to Het kasteel van Gravin Jeanne de Merode in Westerlo, Belgium, to perform a Tour de Chant celebrating the Countess de Merode on her birthday.
Later that same year, Tony performed his “On Stage” show at the Delhi Belgian Club, Delhi, Ontario, Canada. He brought in famed Belgian accordionist, Ludo Mariën for each of these Flemish events. In 2010 Tony performed his Tony Sandler LIVE IN CONCERT show for a Flanders House Culture & Arts VIP cruise on the World Yacht Princess in New York.
Back in the Cleveland area in 2008, Tony performed for the annual Silver Circle Gala at Landerhaven in Mayfield Heights, Ohio. TONY SANDLER Sings JACQUES BREL – IN CONCERT was presented by the Jewish Community Federation of Cleveland. The audience was very familiar with the Brel repertoire and their reaction to Tony’s performance was strong. “[Tony Sandler] captivated the audience with his poise and passion as he sang memorable songs from Jacques Brel,” and the concert was a prodigious success. Clevelanders had a special connection with Jacques Brel’s music, as the off-Broadway performance of Jacques Brel is Alive and Well and Living in Paris had a historic 522-performance run in the lobby of the not-yet-restored State Theatre in Cleveland. That show had been scheduled to play for just two weeks.
In December, at Iowa Public Television Studios, IPTV video-recorded in high definition—and in the middle of a blizzard!—Tony Sandler’s Holiday Greetings, a PBS Christmas Special. This show stars Tony Sandler and features the Land of Lakes Choirboys and the Iowa Youth Chorus. The studio orchestra was conducted by Robert McConnell.
The year wrapped up with performances of Tony Sandler’s holiday special, Come Spend Christmas with Me with a jazz quartet.
2010–2012 – January 2010 kicked off with two performances of Tony Sandler LIVE IN CONCERT in West Palm Beach, Florida, at The Raymond F. Kravis Center for the Performing Arts, in the Alexander W. Dreyfoos, Jr. Concert Hall. Kravis producer Gin Blische wrote, “Thank you for two very successful and highly entertaining performances in our Dreyfoos Hall at the Kravis Center… You are a true gentleman, a wonderful artist, and a great person to work with.” This show was recorded live with the Dave Gross Quintet, conducted by pianist Dave Gross.
Tony was winding down his career, but he accepted a few more return engagements at The Phipps Center for the Performing Arts in Hudson, Wisconsin; and in Barron, Wisconsin. The Women’s Club in Minneapolis enjoyed both a Valentines Day and a Mother’s Day show, and Tony was back at the Palm Isles Clubhouse Theatre in Boynton Beach, Florida, for several diverse shows. He gave a rousing performance for the Edina Federated Women’s Club Benefit, an annual gala event at the Westin Hotel in Edina, Minnesota. And in Washington, D.C. he performed a Memorial Day show at The Army and Navy Club, where his association with the ANC goes back to the Sandler & Young years. Rear Admiral John N. Faigle, President, ANC, wrote, “We received rave reviews from our members who joined us that night. The event was a terrific success and will be a night to remember for all present. Your storytelling skills were an added attraction to your musical program. Thank you.”
A July 4th celebration provided Tony an opportunity to again work with his good friend and associate, Dr. William LaRue Jones, who had also conducted the Twin Cities Youth Symphony Orchestra at several of Tony’s New Year’s Eve galas. He sang a stirring “America, the Dream Goes On” (by John Williams) with the Bloomington Symphony Orchestra, conducted by Dr. Jones.
“We received rave reviews from our members who joined us that night. The event was a terrific success and will be a night to remember for all present.”
—Rear Admiral John N. Faigle,
President, ANC
“…Tony’s talent and professionalism and the overall charm that he emitted. … He brought back an elegance that many of us haven’t seen in many many years, and it is sorely missed.”
—Coral Lake Clubhouse Theatre
2013–2014 saw Tony’s final performances. He was “LIVE IN CONCERT” at the Coral Lakes Theatre in Boynton Beach, Florida. The presenter wrote: “I must tell you that this show was one of the nicest, most elegant, and well-prepared performances that we have seen in a long time. Our residents were enthralled by Tony’s talent and professionalism and the overall charm that he emitted. … He brought back an elegance that many of us haven’t seen in many many years, and it is sorely missed.” The Coral Lakes Theatre brought Tony back for his From Paris with Love show and again later for his final performance in Florida, Tony Sandler LIVE IN CONCERT.
Tony’s final performance of the full Maurice Chevalier’s MY PARIS show was in 2013 with the Danville Symphony Orchestra, conducted by Jeremy Swerling, at the Dick Van Dyke Auditorium in Danville, Illinois. Swerling wrote, “Though Danville is a small town, they have a great appreciation for talent, history, and the smooth performance of a master of his genre. All of this describes you [Tony] and your program, MY PARIS.”
At Central Lakes College in Brainerd, Minnesota, Tony performed a special Tony Sandler LIVE show presented by his dear friend, the accomplished Dr. Jerome Poland.
On October 19, 2013, Tony went back to his homeland to De Kortrijkse Stadsschouwburg in Kortrijk, Belgium, for one last concert, billed as Tony Sandler LIVE IN BELGIUM. He was accompanied by the acclaimed Concord Jazz Ensemble, conducted by Joost Deryckere. Tom Bauwens, a fellow Belgian, ardent fan and former road manager for Tony’s CAMI
“[We] have a great appreciation for talent, history, and the smooth performance of a master of his genre. All of this describes you [Tony] and your program, MY PARIS.” —Jeremy Swerling, Danville Symphony Orchestra
“Sandler is one of the few remaining performers from the 1950s and ’60s golden age of entertainment who packed Vegas showrooms. Once that generation of entertainers goes, it’s lost.”
—Paul Gurgol
Kalliope Stage Artistic Director
Cleveland Heights, Ohio
“It was unquestionably a bravura performance.”
Valentine’s Day 2014 – Tony’s last show. Though not booked as such, this was a fitting farewell show for Tony. Singing songs from his vast repertoire, Tony, in his own way, expressed his deep appreciation for those millions of people who loved him and who were captivated by his performances throughout his long career.
On February 14, 2014, Tony performed a Valentine’s Day show for fans, friends, and prominent associates at the Lafayette Club at Minnetonka Beach, Minnesota. Evan Mazunik, the gifted accompanist and musician who had been with Tony for the last twelve years, accompanied Tony with his quartet.
Richard Cisek, former and legendary president of the Minnesota Orchestra wrote, “Truly, Tony, last night you gave a most exhilarating, memorable, moving and thoroughly enjoyable performance that was immensely appreciated by everyone in that audience. I don’t know many performers in their 30s or 40s that could produce the vocal versatility and artistry that you entranced us with for a full, non-stop 90 minutes with absolutely no diminishing of energy, verve or authenticity. It was unquestionably a bravura performance.”
This was Tony’s last time on stage.
