About Larry Katz

At the Boston Herald, late '80s

At the Boston Herald, late ’80s

I wrote my first piece of music journalism in January, 1980: an interview with the members of a new Boston-based string quartet — now defunct, just like the Cambridge, Massachusetts-based alt-weekly I wrote it for, the Real Paper. What little I knew about music writing came from reading music critics in newspapers and magazines over the years. But at that moment in my life I needed to make some money. More than that, I needed a direction.

Prior to moving to Boston in the summer of ‘79, I was a bass player. I lived on the Upper West Side of Manhattan around the corner from Manhattan School of Music, which I graduated from in 1975. I played in rock bands, jazz ensembles, symphony orchestras, theater companies, even a country swing band, The Central Park Sheiks. I spent about three years working off and on with the Belmonts, doo wop legends who at that stage of their post-Dion years were in demand on the nostalgia circuit. But after my second long stint on the road on a bus-and-truck theater tour, I came to the conclusion that as much as I loved music it was time to pursue a different career.

But what? I didn’t have a clue. Offered the opportunity to try my hand at writing about classical music for the Real Paper, I seized it. It wasn’t long before I realized that the audience for classical music writing is rather exclusive, which is to say, tiny. And while I dug classical music, I was an even bigger fan of other types of music. So I jumped at the chance to interview personal heroes like Dizzy Gillespie (on the sunny June morning he received an honorary degree from Tufts University), B.B. King (after he performed an intimate concert for the Nieman Fellows at Harvard) and Bob Marley (at a Logan airport hotel, in what no one suspected would be one of his last interviews).

By the time The Real Paper folded in mid-1981, I was hooked on arts writing. I freelanced for the Boston Globe, Boston Phoenix and elsewhere, but ended up at the Boston Herald-American, a Hearst paper seemingly on the verge of going out of business (times were hard for some newspapers back then, too). So many reporters had fled for more secure jobs elsewhere that those who remained referred to the Herald-American as “the death ship.”  But the paper’s misfortune presented an opportunity for me, a hungry freelancer willing to take any story thrown my way. With the ranks of reporters dwindling, I scored more and more assignments. And in late 1982, just when it seemed like the Herald-American was about to fold, Rupert Murdoch bought the paper, which he re-christened The Boston Herald. Six months later I was hired as a features writer.

The Herald’s arts department was still an undermanned mess at the time. As a result I got to write about movies, theater, books, art, travel and more, before settling into what my main role as a music critic and columnist. Thanks to the kindness of my editors, I was given close to free reign to cover any kind of music, regardless of genre. Talk about a dream job. They paid me to listen to music.

I could have spent the rest of my life reviewing concerts and talking to and writing about musicians, but in 2006 I was asked to become the Herald’s Arts Editor, which afforded me the chance to work with writers who were as passionate about the arts as I was. I found I enjoyed editing as much as writing. Two years later, I was put in charge of the features department, which covered lifestyles — food, fashion, health, trends and the funny pages — along with arts and entertainment.

For nearly thirty years, going to work at the Herald was a blast. And then it wasn’t. The declining fortunes of daily newspapers resulted in drastic cuts in the paper’s staff and resources. When a buyout offer came in mid-2011, I took it. That gave me the time to start writing my recently completed first novel, “The Perfect Couple,” which I hope you’ll get a chance to read it soon.

And now for my second post-Herald project: The Katz Tapes.

6 Responses to About Larry Katz

  1. Lisa Bell says:

    Hi Larry, My cousin, Ruth (Adam wife) posted about your site, and being a good cousin and a singer who recently got back to it, I am checking out your tapes and your story. Are you still playing bass? Wish you lived in Philly and we could jam! I like your site. Maybe we’ll meet next time I visit!
    Best, Lisa

  2. Kent Karlsson says:

    Congrats! Looking forward to more reads, — and the book- Can’t wait!

  3. Duggan Hill says:

    please give a call 617 695 2856

    Nov. 17th at 8pm till 10pm we will have Russell Fergusson and is troupe, the Urbanity Dance Troupe and 25 portraits done by the artist Mask. Braun Dapper will dj music for the evening and we will have a little food courtesy of Stella and Myers and Chang. I hope you may be able to attend.

  4. Stan mambort says:

    Did you review the van morrison show at the orphem theater on Thursday , April 19th, 1990. You may have been with another “critic” from another newspaper. If so, please advise.

    Thank you,


    • Larry Katz says:

      Hi Stan,
      I apologize for the ridiculous amount of time it’s taken me to get back to you. Basically, I’ve had problems dealing with thekatztapes email situation and sorting out genuine comments like yours from an insane amount of spam. I think the problem is mostly solved, at long last.
      As for your question, I don’t believe I ever saw him play the Orpheum, though I recall seeing shows at the Wang, Boston Garden, Harborlights and, if you can believe it, at the Fillmore West in 1966 when I was 17 and Van was in Them. I did a little research and it looks like the opening act at that 1990 Orpheum show was Mose Allison, a great pairing. Wish I’d have been there!

  5. Carmine Lippolis says:

    Hi Larry,

    I hope this note finds you well…

    My name is Carmine Lippolis and I am a percussionist and singer. You and I shared a bit of trivia together being part of the studio group called “Foreign Intrigue”, around 1977-1978. You and I practically lived at Ultima Sound Studios at Blauvelt NY, the old Blood Sweat and Tears Studio…also the place… FKA 914 Studio… where Springsteen did Born to Run and where Larry Alexander won the Grammy for Janis Ian’s I’m 17 album. We worked primarily for Larurie Records..and more directly with Warren Gradus (from The Belmonts) and Ernie Maresca. I was recently going through some of recordings from “my long ago” and stumbled upon a bunch of our old “45’s”. Bottom line here is that I never stopped playing…mainly as a studio rat and with local groups. When I found the old recordings, I…”gave ’em a spin” as Warren would say, and to my surprise, the actually held up really well over 40 years. We were a hell of a rhythm section.

    I just wanted to say hello and let you know that you taught me at a very young age what a rhythm section partnership was all about. This was always a huge advantage for me as a musician.

    Be well and happy always…

    Carmine Lippolis

Leave a Reply

Your email address will not be published. Required fields are marked *