Once, Nathan Lane and his partner once did midnight shows at Don’t Tell Mama as did Jennifer Lewis, Kathy Najimy and Mo Gaffney.
Rainbow & Stars presented Rosemary Clooney for 10 years as well as a plethora of singing stars from Broadway, television and the movies. Mel Torme’ was a yearly fixture at Michael’s Pub. The ultimate cabaret star of our day, Michael Feinstein came to cabaret after working piano bars in Ohio and Hollywood like the Chateau Marmont prior to his Algonquin debut in 1986 (which was extended to 16 weeks and solidified him as a major star.) British sensation Jamie Cullem made his American debut – also at The Algonquin as did Diana Krall and Peter Cincotti. Harry Connick, Jr., played piano at Chez Josephine on 42nd Street and The Knickerbocker Bar on University Place before his official debut at The Algonquin. Lady Gaga used to perform with a keyboard at The Bitter End. Some little facts: Tony Bennett was a singing waiter in a restaurant – where he was first discovered. For instance, Marlene Dietrich and Barbra Streisand got their first recognition in piano bars and later cabaret rooms. The stories of stars who used cabaret as a stepping stone to their future go back a long time. Nor does it touch the semi-cabaret revival seen in the 70s when some major names emerged from small rooms and went onto greater heights such as Peter Allen. It’s nothing like it used to be say, in the 1980s and 90s. Today, the clubs are still ripe with new, rising and mature talents. It allows artists’ to connect with an audience in an intimate setting. Isn’t it rich? The world of cabaret offers performers a milieu that is unique in the entertainment industry. With that in mind, is delighted to recognize some of those gifted artists with it’s First Annual Cabaret/Jazz Honors. There are many common denominator starting with talent, perseverance and performing at a venue where they are seen by many (other than family and friends.) In today’s schizo music world with live music battling cyberspace, iTunes, downloads, etc., cabaret still remains unique. But, who are today’s torchbearers? Who will make their mark? And, who will take cabaret into its next phase? Time will tell. Today, the clubs are ripe with new, rising and mature talents and the beginners who want to make it. The eclectic world of cabaret is unique in the entertainment industry. Jin Multimedia // The Rise and Fall, Then Brief and Modest Rise Followed by a Relative Fall of…Jean Claude Van Damme as Gleaned by a Single Reading of His Wikipedia Page Months Earlier.Jin Off-Broadway // Hamlet (Almeida Theatre).Jin Off-Broadway // Prince Charming, You’re Late.Jin Off-Broadway // Richard III (Free Shakespeare in the Park).Jin Off-Broadway // Mister Miss America.
Jin Off-Broadway // Sex, Grift and Death: An Evening of Plays by Steven Berkoff and Caryl Churchill.Jin Off-Broadway // A Black and White Cookie.Jin Off-Broadway // Cat on a Hot Tin Roof.The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as contraltos. Contemporarily, the informal term alto is sometimes used interchangeably with contralto. When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range. In non-classical music, singers are primarily defined by their genre and their gender, not their vocal range. In classical music, a "pure" contralto is considered the rarest type of female voice. For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization. The term contralto was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice. In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B 2) to two B ♭s above middle C (B ♭ 5). The contralto singing voice has a vocal range that lies between the F below " middle C" (F 3) to two Fs above middle C (F 5) and is the lowest type of female voice. You can help by adding missing items with reliable sources. This is a dynamic list and may never be able to satisfy particular standards for completeness.
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