The Song Society

It has been a long while since I have posted in our Cabaret Blog. All a matter of disposal time aside having something of worth to say. This end of year missive is sort of a convergence of discussions after our Holiday Soiree and then stumbling back onto a Jamie Cullum YouTube playlist that I have had marked for a long while.

In a nutshell, Katia raised questions about song choices, being authentic or apologizing for choices made. We have made an expectation of our cabaret work that our "art" needs to come from a place of personalization; whatever that means. Another aspect of that refers to being present in that particular moment. It is not the luxury of a studio musician who can continue take after take, or even a theater person who has that same luxury of 8 shows a week to hone a tune.

Enter Jamie Cullum, a Brit who is a huge presence in the Jazz genre. A true troubadour that is a cross between Billy Joel and ... But like our ilk, he is most in his element live and in the room. This brings me to an artist challenge that he started 4 years ago called the Song Society. There are 4 tenets.
1. Find a Song you Love or are Fascinated by
2. Learn and Record within the hour
3. No Previous Preparation allowed
4. Love and Live with the Mistakes

Over the 4 years he has amassed a collection of 18 songs thus far. Looking at the list, it seems a cousin to the work of Postmodern Jukebox that bends genres and styles. But on watching the performances, it is much different. They are not showstoppers, but intimate portraits that are each unique, but truly capture the essence of the artist. You will see pop hits from Arianna Grande & Ed Sheeran. Showtunes from Mary Poppins. Classics by greats like Joni Mitchell, Tom Waits and Ben Folds Five. Each song amazing in their frankness. And of course his talents. It also does not hurt that he is surrounded by a family of musicians that are very comfortable with this process. I am featuring just 2 here in this post. But find a quiet 30 minutes and sample the whole collection.

 
Take time to read the comments where he frequently chimes in. He encourages other singers to do the same and offer up their versions as well. Back to Katia's original questioning, there is something freeing about taking the risk, committing to a piece you  connect with, and living with the collaboration.

If you are looking for some direction and insight in the New Years, revel in his challenge.

 

Pay the Artist What They Are Worth

If you are a frequent reader of our cabaret Blog posts, you will recall some conversation back in September that dealt with the Music Modernization Act which had just been passed. If you missed it, in short, it legally went back to 1972 and awarded artists from that era guaranteed royalties & copyrights on their music which continues to play in every corner of our society. Success story.

Now bringing it into the future, the same arguments rear their angry head in a similar showdown for contemporary artists. This time the battle plays out between songwriters and the majority of the big-Tech digital streaming services. That would be Spotify, Amazon, Google and Pandora. It involves the Copyright Royalty Board (CRB) which has determined a "cost of living" increase in payouts with regard to digital streaming and will roll out over a 5 year period. I have read several articles with MUCH finger pointing and differing dollar amounts.
But what is certain, is that the above mentioned companies are appealing the CRB decision in support of something less compensating. Since the appeal is being challenged by the National Music Publishers Association  & Nashville Songwriters Association I have to assume that it is a legitimate blow to the creative artist. What it amounts to is basically $.0003 per stream vs the proposed .$0004. Regardless of the argument, these streaming companies continue to grow as subscriptions become the preferred way to listen to all music. So in actuality, the artists are profiting an even smaller piece of the pie.

Interestingly enough; Apple Music is the sole company that is not challenging the CRB ruling. So if I can speculate, I would guess that if this continues to play out, we shall see a large number of visible artists in all genres of music pulling their content and limiting playing usage to one or a few of the vendors. And would you blame them?

Remember when we would buy our LP or cassette at the local Musicland and play it on our own stereo with headphones? I'm guessing we never fathomed how different the art of music would be 40 years later.

If you are an avid reader, here are a few resource links.

Songwriters Respond to Tech Bullies
Apple vs Spotify
Streaming Services Appeal Copyright Ruling

Awards Season for Cabaret

It has been a long while since a blog post for TCCAN. Not because there have not been interesting tidbits out there; I have a handful of drafts waiting to be expounded upon. But more a cross pollination of time crunch and mid-winter blahs.

But this one came to me as we are winding down the inevitable awards season that starts with the Golden Globes and continues through the onslaught of Super Bowl halftimes, Oscar red carpets and Grammys that leave us scratching our heads with performers we have never seen racking up trophies.

This is to enlighten you all that our precious little world of cabaret is not immune to the glamour and back patting. I see the MAC Awards listed for Tuesday March 26th. Note here that while other prestigious ceremonies are ready-for-prime time, cabaret is relegated to a Tuesday evening in a recital hall. But no shame in that. What I marvel at is the lengthy list of nominees and categories! Not to belittle, but give them a look. We have Debut Artists, Vocalist, Major Artist, Celebrity, Drag Performer, Group, Recurring Series, Emcee, Piano Bar, Instrumentalist..... whoosh. This is only a fraction of the list. There must be over 150 names. I guess I had no clue that what we do was so monumental. I think it's more of an instance that everyone goes home a winner. Similar to the dance competitions I judge where they separate into divisions of 3 so each performer goes home with at least a 3rd place trophy.

Perhaps you were overlooked? There are also the Bistro Awards which seem similar to our former Ivey Awards here for theater. Rather than categories, they note outstanding offerings from the current year and are chosen by jury rather than votes. They have a great statement of " recognizing, encouraging, nurturing, and educating cabaret, jazz, and comedy artists for 34 years through our insightful reviews and our annual awards — the oldest award of its kind in the industry." And the names both current and past honorees are certainly impressive. Names like Cleo Laine, Kaye Ballard, Barbara Cook, Marilyn Maye, & Ben Vereen to name a few. This year Judy Collins receiving a Lifetime award. Their website is notable with some great cabaret resources that will get their own shout out in the near future.

But bottom line - maybe we need to expand our Cabaret Fest next year to include an awards gala!? A swanky event in a back room at a tasteful local venue where we can all go home a winner. Best Performance at BLB. Best Stephen Sondheim Interpretation. Best Cabaret Patter with Humor. Tasteful Wearing of a Black Dress. With our members approaching 40 we could break us down into a mere 10 categories and have a slate of maybe 4 in each so every TCCAN member gets at least a door prize and a swag bag of pens, post-it notes, a piece of digital music and maybe we can exchange personal CDs. All in jest, but it does note what a different world we live in here in MN vs the pomp and circumstance of New York style cabaret.. Ta Ta for now.

2019 Mac Nominees 

Bringing Music to the Masses

It has been a while since a cabaret blog post... This one was drafted a few months back, but I never got around to publishing it. It is a bit out of season, but seemed appropriate nonetheless.

I am well aware of how we are taking our cabaret music to diverse audiences during this holiday season. Sheridan has just left on tour, Katia is returning and recovering. Diane and JJ are doing their corporate thing. Oron & Joey finished up a cabaret theatrical piece. Nichole saw the release of a Holiday cd with a New York performance as well. Jen & Kevin are back at Honey, Erin L is cranking it out over in St Paul and Song Sister is on board this coming weekend. So I wanted to note how important it can be to reach an audience with our gift of song.

This video introduces us to Colin Huggins, a piano player in New York with amazing talents that have classically trained roots. He sees himself as a "busker" who were British street musicians at the turn of the century and would entertain for the "shillings" they would receive and were recognized for the "jingley" sound their many buttons would make as they danced. Colin takes a slightly different twist on the concept. He has a Grand Piano that he manages to put on casters and wheels himself into Washington Square Park in NYC. 12 months out of the year! He says "everyone deserves to have a positive, powerful and emotional musical experience." And he does just that, bringing it to the masses. He talks about playing to the emotions of the crowd at hand and that plays directly into our intimate cabaret mantra. Certainly a listening audience.

Just watch the reactions and see how truly genuine his work is. Stunning, Transformative and a Musical Crusader. (after the ad)

Put A Woman in Charge

With election fever coming into the final stretch, here is a post that brings together activism and music. Roseanne Cash is someone who I follow regularly on Twitter. I am not the biggest country music fan, but I truly believe she is an artist who is constantly evolving and has important things to say. Certainly carrying the torch of her father and creating music with heart.

She has a new album just released "She Remembers Everything" and the lead cut is actually a feature for Keb' Mo where she is practically just back-up vocals. It is called Put A Woman in Charge! Written by Keb' Mo and Beth Nielsen Chapman - the song is an anthem for the #MeToo and Women's movement. It chronicles the pitfalls in our society led my men who are endlessly building technology as well as walls. It is pretty transparent to read the obvious parallels. I love the gruff rhythm of the piece as well as its clever melody with hooks. I'm thinking that maybe it is a new tune for Dorothy & Song Sister to add to their rep???

Rolling Stone feature: Roseanne Cash & Keb' Mo 

It Must Be THAT Time of the Year!

As we gear up and come into the final stretch of our very own TCCAN Cabaret Fest this weekend at Crooner's, I am throwing out two other features from both New York and Chicago as they celebrate their communities as well.

New York and #MAC certainly have as close as we are ever going to get to a thriving cabaret scene, even though it obviously pales in comparison to the stage & concert genres there. But strong they are - enough to have a festival that spans 4 days for what they call their Cabaret Convention. Theirs is almost entirely performance based with 4 slated rosters. Each night has a theme. Each night has a set of hosts as well. This year Barbara Cook, Rosemary Clooney, Julie Wilson, Jerry Herman & Alan Jay Lerner are being celebrated. And what a star-packed slate of singers! Of course their ticket prices are much steeper at up to $500. There better be some wings and a good bottle of wine for that price.


Then on the very same night as ours, the Chicago Cabaret Professionals are celebrating their 20th Anniversary with what is being billed as a Platinum Party. Their offering sounds very swanky with Awards as well as a double show much like ours. They are calling it a cocktail show that is followed by a full on show at 7 PM. Chicago of course also features some notable names familiar to our following. It is obviously THE weekend to celebrate cabaret.

MAC to School

As we get ready for our own Cabaret Fest here on Oct 21st & 22nd, I thought I would feature a similar situation in New York with the MAC; or Manhattan Assoc. of Cabaret. It appears that the onset of their annual calendar takes place in the Fall just like ours. This is their 4th reiteration of the back to school offering. As I peruse the schedule, it again gives me confidence in the great work we do here in the Twin Cities. They talk about Cabaret 101 or an intro to our world. Then it advances to a Boot Camp. It hits on Song Styling, getting Direction, Songwriting and even Image Consulting. All of these topics are areas we have explored. And just like us, they are self-led by members from the organization. Of course, both days end with a Masterclass as well. So it seems like something for everyone from the novice to the seasoned vet.

I know that the event has just passed, but give it a read to see how similar our missions and content are. Impressive.

Let's Pay the Musicians

Because I am neither a composer or an artist who receives original royalties, I know very little about licensing. Although I do realize that the digital age has brought an onslaught of copyright issues on all fronts from streaming platforms to dance recitals. Deciding who should be compensated and at what price...

Recently I had stumbled onto some press about the Music Modernizing Act that was just passed  by Congress. For some reason in the labyrinth of American music licensing, music prior to 1972 was not included in the jurisdiction of copyright fees?! So while digital music came into light during the 90's, there has been a continuous gap for artists that were unfortunate to come into and out of fame in dates prior to 1972. This great editorial by Neil Diamond written for the LA Times brings great facts to the masses.

He talks about how he is grateful to still be active as a professional years later, both as a performer & a writer. But all his early hits like Red Red Wine, Holly Holy and the mammoth Sweet Caroline (from 1968) are not eligible for payments because of the arbitrary 1972 cutoff. Artists from the Motown, Stax and Atlantic labels vaults would also be in those same situations. All those One Hit Wonders from the Oldies era collect nothing every time one of their fortunate hits is played via Spotify while you are shopping at Trader Joe's! In these days when everyone seemingly wants a piece of the pie, this is sad. Diamond points out that handfuls of these artists are the ones who should be able to use funds in retirement or purchase basic health care. Please read the entire opinion. It puts him a noble light whether you enjoy his music or not.

Neil Diamond - LA Times OpEd 

Unusual Voices in Cabaret

We often say that it is not always the strongest voice that makes a great evening of cabaret, but the authentic personality the shines through. These two recent features of "celebrities" caught my attention and seem to speak to this thought.

The first comes via Tony Danza - retro television star from "Who's the Boss?" He was a late bloomer in terms of musical theater savvy. But I have to note that I saw him 2 years ago in the Broadway bomb Honeymoon in Vegas and he certainly won me over then. He is a throw back to old school vaudeville like Christopher Walken with his modest tap dancing skills and ukulele strumming. He comes off as both smug and as cuddly as a teddy bear. In the interview, he speaks about the gift of playing an intimate room. When he talks about his connection to the classic American Standards - he totally gets what it means to make a song his own. Doing his thing!

 
The second is Kathleen Turner. While her voice is unique - one would normally think of it akin to Bette Davis or Lauren Bacall. Not a finely tuned instrument that would interpret pure jazz. The title of the set itself, Finding My Voice, tackles the elephant in the room before she even sings. But the review talks about her choice of great songs as a starting point for everyone to jump on board. I have no doubt that her patter is both sassy and on point. She has never been one to mince her words or wear her dirty laundry in public. So sharing it in a small space should be very comfortable for her. She has many stories to share.

Cabaret Scenes: Kathleen Turner - Finding My Voice

So when we worry about not having the perfect set of vocal chords, that is only the icing on the cake. Know what it is you want to say and build a great set to sell it. Surprises come in unusual packages sometimes.

Crooning

It seems many of our cabaret conversations center around many of the great ladies of our genre. There are always shout outs to Barbara Cook, Mabel Mercer, Marilyn Maye.... the list is predictable. So being a male, it is welcome to stumble across something that has a slant specific to the material that speaks a bit more to me.

I was not aware of Todd Murray until just this week. He is an L.A. native and as handsome as they come with dashing movie-star looks. But what intrigues me more than that - is that he has a lush baritone voice which is a rarity. In these days of screaming Broadway tenors that are belting out high A's & B's to meet the needs of pop standards. He has more in common with classic tones like Robert Goulet or Gordon McCrae.

His current show that he is peddling is a concept called Croon. He goes into detail about the original form of the word; it was a term that came to life with the invention the microphone as a tool for singer amplification. Instead of having to belt over an entire orchestra to fill a concert arena, with the addition of a mic in the 1920's, a singer could ease back and play with all kinds of different qualities to give color to songs. I think I had assumed it came upon us a bit later with the crooners at the tail end of the Big Band movement. Names more expected like Frank Sinatra or Mel Torme. Todd's show goes way back to the vaudeville days and continues into the present day with his own unique cabaret spin on a number of standards. Looking at his tour calendar, it looks like he was close enough to us here in Hastings last November. Here is hoping he makes a return where I will gladly check him out.

 

True French Cabaret

Charles Aznavour must be as close to Ground Zero for the origins of cabaret in our lifetime. He is certainly the last living legend that truly "lived in the day!" He was discovered over 70 years ago by Edith Piaf, the grandest chanteuse of them all and has spent his entire career performing in small rooms and concert halls across the globe. This glorious retrospective begins talking about his ability to transform from his wiry 90 year old frame into an icon when he takes the stage and finds his light. He speaks about his touring, a new album, but the centerpiece are the 12,000 songs he has written over his life. Yes - that is a correct number!

As does any cabaret artist, the work is often about revealing glimpses of oneself. In regard to the above mentioned songs; “everyone mistook them and said, ‘Ah, you are telling your story.’ It was not true. But after years, I found that finally – without knowing it, without trying to – I had written my life.” He starts with reference to his Armenian roots, parents en route to America, but getting stranded in Paris where he was ultimately born. Being from a musical family, he began dancing but by age 15 he was singing in the nightclubs of Montparnasse. Despite success across continents at a young age, he quoted “My shortcomings are my voice, my height, my gestures, my lack of culture and education, my frankness and my lack of personality.” What prompted this brutal self-analysis? “I wanted to know who I was. Before presenting yourself to the public, you have to know who you are. Your faults and your abilities – and often you should keep the faults, which can be very spectacular, and avoid some of the good things. Even now, I’m in search of who I am.” 

These are all remarkable quotes for cabaret artists on our ques to reveal ourselves on stage. What stories to tell, what events in our lives we want to embellish, what makes us unique. He has years of wisdom and also the spirit of a much younger man.

UK Telegraph: Charles Aznavour - a Special Character 

Darling, This Is Cabaret

Source credit on this one goes to Nichole, who shared it on our private Facebook group. But I thought it spoke so incredibly well to who and what we are at TCCAN, that is deserved a share to our entire Facebook following.

The article is published on a digital magazine called W42ST that blogs about happenings in the Big Apple. This particular post is a twist on how they are presenting their monthly cabaret calendar. Instead of just listing dates and places for the featured artist; each one gets a few short paragraphs to expound on their inspiration for cabaret. And each memoir is a perfect bit of cabaret patter through their unique tale. The lead story by Jim Caruso talks about his early days in the choruses of Dallas TX and how a detour at a small place called the Baja opened a new door to his career. Both Megan Hilty and Joie Bianco talk about the transformative power of seeing Marilyn Maye on stage. Marilyn herself is performing this month and takes it back a notch further to the very old times and the influence of Shecky Greene in Las Vegas. KT Sullivan speaks of the intimacy of the Gardenia Room and seeing Broadway icons like Donna McKechnie and Pamela Myers revealing their true stories outside of their successful long runs. Jane Monheit speaks about the passion of Brazilian music via Ivan Lins.

But the common themes among them all, are the tenets we speak about each and every time we see each other. They talk of "strange ballads with tons of tears and quirky patter," an "Intimate experience - just a microphone, some stories and lots of songs," "Taking an audience on a journey." Key words like wit, connection, Standards, intimate, personality, vulnerability. It brings me joy to know that we truly comprehend who it is we are and what we are trying to accomplish as a network of great artists here in the Twin Cities.

Read the full article here: W42ST - This Is Cabaret

Father & Son Sinatra

A small piece of fluff here to share - but sometimes that is needed. We talk constantly about the legacy of the Great American Songbook and its iconic performers from Ella Fitzgerald to Tony Bennett. And though we are always exploring new material, new writers and sometimes even finding our own voice - it remains that our ranks are a vital part of passing this heritage forward.

Now add to that the unusual paradox of singing in our cars! We have all belted out favorite songs with the windows down and a friend in the passenger seat. Showtunes and pop standards. Radio or 8 Track. There is not one of us that is not a guilty participant. With #JamesCorden and his raging Carpool Karaoke it is even more a part of our current culture.

So how adorable is this father and son duet of a Sinatra & Sammy Davis classic? Meet Matt Clayton and son Archie! Cheeky, Fuzzy and Damn Entertaining.


Source: Father And Son Belt Out Frank Sinatra Duet In The Car by Caters_News

Thank You Evan Hansen

I know that I am drawn to all things musical theater and that certainly impacts my choices in my cabaret work. More-so than standards, I think it is because the songs often are small stories in themselves and almost always have the roots of a character to dig into. Which makes them not only an easy "sell" but gives me a window into the world of "that song."

So this share is a new collage from the huge success of Pasek & Paul's Dear Evan Hansen. The show is speaking to a generation of youth that feel alienated and are trying to connect somewhere in the virtual world since they are not finding that connection in their real lives. So it is fitting that this compilation is assembled from duets across the globe. The clip is edited and sponsored by the show itself. But I love that it shows countless possibilities of singers who are making it their own and interpreting it with their authentic spin, whether singing to their puppy, a stuffed animal or a special partner.

I know we often cling to the Great American Songbook of the past, but I am certain that the current generation of musical theater composers will generate another century of anthems that will be remembered for many of the same reasons.

Song Sister Meets the Janes

Our own TCCAN trio of Dames; Connie Dussl, Vicky Mountain and Dorothy Doring have been creating some local buzz with their own side act Song Sister. We saw them workshop a set with Nautilus 2 years back, they resurfaced this Fall at the Nicollet Island Inn and are now featuring a holiday set of new arrangements at Jazz Central in the Vocalists series.

So I was indeed surprised in my cabaret #Twitter feed to stumble onto a similar set of ladies doing the same thing in the New York area. The Janes are comprised of Sula Haska, Christine Hanck & Patti Wyss who have collaborated on and off for some 42 years now. Their current gig at the Triad in NY started with the Andrews & Boswell Sisters and went thru the girl groups of the 1960s. It then expands to contemporary harmonies like Wilson Phillips & Destiny's Child.

Our local girls are on to something that audiences are reminiscing about and wanting to see. Here are the Janes doing a cover of "Crazy People."

 

Tricks of the Trade

This is another post in a series highlighting our upcoming TCCAN Cabaret Fest happening THIS weekend at Bryant Lake Bowl. Complete ticket info is in a link at the bottom of the feature.

One of our vital missions here at TCCAN is our Educational component. We truly are a support network for each other and a major aspect of that is sharing the tools we have learned. The Fest has planned for 2 workshops that give a glimpse of our art form and the process that goes into it. We were just speaking in promotion, that cabaret is the bridge where the improv of Jazz meets the structure of Theater.

Vicky Mountain is our TCCAN education chair and a great fit with all her vocal mentoring that she also does at MacPhail. "The Education committee met in July to brainstorm the choices for mini segments of our Saturday workshop - where it comes under the heading of Enlighten. We broke it down into 6 topics: Story and Song; Song Selection; Song Interpretation; Intimate, Engaging Connection to the Audience/Break Down 4th Wall; Arc/Journey in Song;  & Craft." These small conversations will open doors for other performers, whether just experimenting or more curious to dive into our genre. "The reality is a fun, interactive, informative exploration of what it takes to put together a Cabaret set or show."

For Sunday, the 2nd day of the Fest, we are offering a true Master Class. Guest artists Ben Krywosz, Jennifer Scovell-Parker and Gary Briggle will work with a few of our members giving feedback from a directing, musical and interpretation viewpoint that is specific to the intimate settings that we aspire to.

Both Education events are a ticketed fee that can be purchased at the door or in advance via the BLB website.

Bryant Lake Bowl - Cabaret workshops 

Bit By Bit... Putting It Together

This is the second in a series highlighting our upcoming TCCAN Cabaret Fest, to be presented Sept. 23rd & 24th at Bryant Lake Bowl.

The key component of both this and last years' fest was the performance element. And the mastermind of the concept is our own Joey Clark. When we were discussing how to feature what we do to audiences, and trying to find a new way to package it - Joey suggested the concept of "an endless roster of talent like we used to see from celebrities over the Labor Day telethons of old." Thus the concept of our Salonathon was born. Instead of trying to select a few of our artists to showcase - we ultimately decided to utilize everybody. This perfectly brandishes the range of our many talents as cabaret performers. We all bring 10 minutes of our best and come up with a Smorgasboard of stories.

Joey has also graciously taken on the task of coordinating the massive effort. One can only imagine the spreadsheet for this. First; is finding the accompanists that can collaborate with us. It certainly requires more rehearsal hours. And obviously a few more pages of sheet music than is usual. This year Harrison Wade has agreed to play not one of the two evenings, but both! Every performer is fortunate to get an individual session and then there are group sessions where members can perform for each other and give some positive feedback. This way our Fest audiences are getting mountains of talent.

But even more daunting, is the task of coordinating schedules. "Anyone who is a freelance vocalist or actor knows that there is no such thing as a weekly schedule." With us it plays out more hour to hour as we multitask and run from one small gig to another. So when you take a roster of 20+ and the pianist, finding a few choice hours where everyone can convene is monumental.

Lastly; come the live performance elements. Working with Bryant lake Bowl for the technical elements of sound and lighting. Deciding which order gives the evening the smoothest flow of moods and music. Coordinating dressing room space for all. Last year we crammed us all into one single marathon. This year we are spacing it out over the 2 days with split slates on both Saturday and Sunday. We also realized that our audiences wanted programs that note our names as well as some of song choices which can be varied and sometimes cleverly obscure. If have not seen us en masse, come check us out for both the Performances and the Educational Sessions.

TCCAN Cabarets fest - Bryant Lake Bowl 

Finding the Perfect Space

This is the first of a series of features leading up to our 2nd Annual Cabaret Fest coming up on both Sept. 23rd & 24th. Last year's inaugural event was held at the Phoenix Theater and was an ambitious effort for our organization. Even though it was not a huge financial success, it did open doors to new audiences and members, and also made the bold statement that TCCAN is a sustainable presence in our local music scene.


So the first in these blog posts centers on Connie Dussl - who is undertaking the reins as the Chair of the process. The first decision made has to be the VENUE. The Phoenix was a great fit for us last year, but their policy has changed from a day-to-day rental to a week rental fee, which was something that TCCAN could neither afford or commit to. Obstacle #1 was seeking out other venues that fit our calendar. TCCAN has made a strategic choice to have the annual Fest coincide with our Fall membership renewal. It makes perfect sense to showcase our members right as we are reaching out to other prospective members to join our ranks. Last year was held the first weekend in Oct. This year, scheduling has pushed it a week earlier in the final stretch of Sept.

Connie quotes "we made up a list of desired attributes. Then as we looked at each venue, we made lists of the pros and cons of each place." It is important for our cabaret audience to find a spot with an intimate setting. There are several small theater & music spaces in town, but this intimate component is lacking in most. Then - learning from last year, she came up with a checklist of haves and have-nots.

So, in looking for a location for our 2nd Annual TCCAN Cabaret Fest

• Was there an acoustic piano and was it kept in tune? 
• Was there a sound system, and, if so, a sound man? 
• What was the lighting like?  
• Was there food and drink available? How many patrons could we accommodate?
• Could all ages attend? 
• Could we hold workshops earlier in the day? 
• What was parking or accessibility like?
• And ultimately, what was the rental or gate?

 

This year, we chose Bryant Lake Bowl because it had the majority of the assets we were seeking. TCCAN has used BLB for our former showcases and several members have produced their own solo shows there. So there is a partnership with ground work already laid. Reaching out to Minneapolis audiences is also a key element in the choice. BLB is a strong fit in terms of the marketing edge they are able to offer up with the rental package and press contacts that we have not been able to tackle.

 

As final details are being ironed out, we anticipate a Fest that will surpass our impact from last year. Please check out links on our Facebook page, website and the Bryant Lake Bowl link to purchase tickets.

TCCAN Cabaret Fest - Bryant Lake Bowl 

Adelaide Rises Again

Each year at this time, while the rest of the world seems to get juiced by Pride festivals, Fringe festivals or Uptown Arts festivals - I dig into sources from Down Under where the Adelaide Cabaret Festival takes place. I have been a fan of it for years now and brag about it annually.

It is a smaller Australian town, rich in arts heritage. There had been a yearly Fringe festival, but when it fell on hard times a decade back, sponsorship picked up with the addition of cabaret. It grew quite quickly into a World event. It hearkens back to the original intent of cabaret as a political means of expression that was indeed both intimate & unique. But it also embraces every concept that could be remotely viewed as cabaret. Yes there are big names like headliner Dianne Reeves. But How about the Tiger Lillies featuring a set of the "fiercest, filthiest tunes for your perverse pleasures." Alter-Ego & Drag performances by names such as Meow Meow, Dusty Limits or Bourgeois & Maurice. Kim David Smith brings a Weimar cabaret fantasia of Marlene Dietrich meets David Bowie. There are songbook series with music of Jacques Brel, the Beatles and Cameron Goodall in his Sound of Falling Stars - songs and stories of great stars who died far too young.

I think the whole 3 weeks sounds like an incredible outing and need to start planning for a bucket-list trip to take it in one of these years. Maybe a TCCAN bus trip or cruise down? Who's game???

Adealide Cabaret Fest 

Patti Rocks!

We mention often the "New York Cabaret" scene. It is indeed a somewhat archaic expression and for younger audiences, that concept has certainly changed. Yes we have the fabulous 54 Below which has a constantly revolving door of New York artists singing everything from showtune medleys to recycled R&B. And they do seem to find a hungry audience. There is also the Duplex where almost anyone can flex their vocal muscles with their own spin on cabaret. But the glory days of intimate rooms with adoring crowds and monster talent are far and few between.

Grand Diva Patti Lupone has released old master tapes that reflect back to the end of those glory days. There was a small club in Lowertown called Les Mouches (the Flies). And just as she was achieving fame as Evita, she had a running gig there. To hear her tell it, she would finish a two-show day on Saturdays, take off her costume and make-up, head downtown and tear the stage up with a midnight act for some 8 months in 1980. A mix of everything from standards & rock to disco for a crowd that became a cult following.

Here is a clip promoting her cd on Ghostlight that was salvaged by vintage tapes from both LuPone and her musical director David Lewis. I can't believe this was released back in 2010 and I am just hearing of it now! Patti talks about the rawness of her voice - at first she was put off by it, but after years of reflection she speaks that it captures the energy and intimacy of the event. She also regales about that bygone era that we all idolize. All the big stars of the day including Ethel Merman would perform in their Broadway stints, hit the clubs where they would do an act into the wee hours and then retreat back to some artist's apartment where they would smoke cigarettes and sing around a piano. I know a handful of those New Yorkers to this day. I think it is maybe the audiences or the venues that are no longer craving this type of cabaret.