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WORLD OF CABARET

AMERICAN MUSIC AND THE BIRTH OF CABARET FROM THE EARLY JAZZ ERA TO PRESENT

By Maximillien de Lafayette

Valerie Sneade Nina Vansuch Sophia Bilides Christine Andreas Clarolyn Maier

Some artists made it big time because they were lucky, they grabbed an opportunity, they knew or met people who were newsmakers, they had aggressive money grabbing agents, or simply, they were there at the right time, right place and met the right people! Sometimes, our meager knowledge of world music and ethnic creativity prevent us from hearing and or learning about superb foreign artists. Some other time, our ignorance of foreign culture and foreign languages refrain us from learning and hearing about outstanding artists living and performing in distant lands. And if we are not interested in other nations’ heritage, culture, history and arts (because we do consider that our own artists, heritage, culture, and our very own music are superior and sufficient), the names of foreign highly talented artists will never flash before our eyes. Honestly, how many of us ever heard of France’s Gribouille, Barbara, Leny Escudero, Les Companions de La Chanson, Danielle Darrieux, Charles Boyer, Fernandel, Patachou? Very few, yet, they were the best of the best in the business.

How many of us ever heard about the Arab World’s leading artists such as Nour Al Houda, Bechara Wakeem, Magda, Asmahan, Sabah, Najat Al Saghira, Marie Atayah? Very few, yet, in their time, they shined bigger than the most glittering stars in the universe! How many of us, have ever heard of Italy’s greats such as Rocco Granata, Gabriella Ferri, Mina? Only those who went to Italy or lived “on the edge” in Europe would know about their great recording and astonishing successes!! Have you ever heard of Xhadjidakis, Marinella or Alecca Kanelidou of Greece? They are considered as Deities of music in the Hellenic world! And how about Amalia Rodriguez of Portugal, Carlos Gardel, the king of the tango Argentino and Perez Prado, the king of Mambo? If you are not familiar with Arabic, Portuguese, Greek and Spanish, those superstars would remain unknown to you, yet, they have sold millions and millions of records worldwide.

WORLD OF CABARET

AMERICAN MUSIC AND THE BIRTH OF CABARET FROM THE EARLY JAZZ ERA TO PRESENT

By Maximillien de Lafayette

Photo: Diva Rebecca Spencer who made her mark on the world of American contemporary cabaret and concerts. Rebecca is one of my favorite American singers, for she embodies originality, style, class, glamour, warmth and the mesmerizing theatrical persona of the authentic “Stage Femme Fatale”.

So many entertainers, actors, actresses and singers came and left. Some made their mark on us, while others vanished, as soon as they exited from the stage backdoor, never again to memorize one line…Some became famous and wealthy. Others disappeared and were forgotten. Some were the best of the best in the business but, their career did not last long, because some bloody bastard directors and producers had their own agenda and personal priorities…favors, director couch, arrogance, complex of superiority, you name it…and this is alarming. Some superb artists made a fortune, and a fortune they spend on charitable causes, on adopting orphans, on feeding the homeless, on and on and on…and when they ran out of money, nobody was there to give them a helping hand. Josephine Baker was a living example. Those talented stars fell…they suffered…they shed a few tears and by tomorrow, they were gone for ever…and this breaks my heart. Success is sweet. But, how do we define success nowadays? Is it money? Is it fame? Is it walking on a red carpet and being interviewed by Joan Rivers? Well, I am not going to sit duck and see what the next day’s newspaper is going to write about this or that artist… and tell me who is the best artist and who is the worst !…Which play is two thumbs up and which play is the kiss of death! I am going to sail in the immense ocean and universe of American music and find out for myself, who is the good, the better and the best. Always, avoiding badmouthing others and arrogantly criticizing their work. And this is exactly, what I have done by writing this article.

Photo, right: The very talented Joan Crowe. A powerful and multi-faceted singer of a world-class caliber. She was the winner of the 2002 MAC award (Manhattan Association of Cabaret and Clubs) for Female Musical Comedy.

This is my tribute to them. Consequently, you are going to learn about some magnificent artists you have never heard of before. It was not their fame or the lack of it which prompted me to write about them but, their truthful talents, deeds, character, personality, genius and psyche. In America today, there are over 235,000 singers and entertainers and approximately 25,000 working or out-of work cabaret performers. A lot! Some made it big time; Recording deals, contracts, royalties, fame, power, money, you name it. Believe me, this not a sign of “Excellence Monopoly”. There are thousands of splendid American artists who are obscure, unknown or just known to a very limited number of people and audiences, yet, they rival the talent, excellence and quality of widely known and famous artists. Thus, measuring their quality and talent should not depend on the magnitude of their fame, but, rather on their performance, artistic delivery and how deep and sincerely they touch our heart and made their mark on our psyche and feelings.

Photo: Lea Thompson, an American Cabaret Star

WORLD OF CABARET

AMERICAN MUSIC AND THE BIRTH OF CABARET FROM THE EARLY JAZZ ERA TO PRESENT

By Maximillien de Lafayette

Is it the End of the Cabaret Glorious Era?

American music has changed a lot. And so did the persona of the” artist”. Before, we had Robert Taylor, Clark Gable, Barry Fitzgerald, Anthony Quinn, Bob Hope, Bing Crosby and Cary Grant, now we have the "Terminator", Tom cruise and the incredible hulk! Before, we listened to "He is looking at you kid", and now we hear "I will be back". Before, we had Lana Turner, Rita Hayworth, Katharine Hepburn, Spencer Tracey, Ingrid Bergman, Marlene Dietrich and Kim Novak, now we have Jennifer Lopez, Britney Spears, Ben Affleck et al. Before, we had Irving Berlin, Cole Porter, Benny Goodman, Nat King Cole, Dean Martin, Perry Como, Luis Armstrong, Deanna Durbin. Louis Prima, Mario Lanza, Frank Sinatra, Maria Callas, Doris Day and Patsy Cline, now we have Rap crap and company! But thanks God, we are still fortunate, as long as Cindy Benson, Barbara Cook, Willie Nelson, Anne Kerry Ford, Amanda McBroom, Rebecca Spencer, Marjorie Maye, Cristy Lane, Chris Christofersen, Pavarotti, Anna Bergman, Barbra Streisand, Elton John, Lena Horne and many other superb artists are still around.

The Good News: Outstanding and Truthful Artists who Through their Extraordinary talents, American Cabaret and the Golden Musical Era of America Come Back to Life…

Fortunately, the great American Cabaret theater and the glory of the golden era of the American music of the forties, the fifties and early sixties were preserved thanks to formidable and devoted artists, singers, composers, performers, producers and music distributors who constantly fight all odds in order to revive or at least to preserve the American cabaret repertoire of America’s greatest writers and composers. Basically and originally, the American cabaret music heritage and treasures were protected and revived by independent publishers and an elite of cabaret singers and musicians, and not by major corporations or theatrical organizations, contrary to the common belief. Those who occupy a place of honor on the list of the protectors and revivers of American cabaret music were performers who have recorded and re-recorded standards and songs composed by Berlin, Porter, Sondheim, Joplin, Gershwin, Frishberg et al. Entrepreneurs, music lovers, artists, singers and musicians such as Lynne Jackson, Mike Palter, Dixie Carter,

Cori Jamison who I consider as one of America’s new leading forces of American cabaret. Jamison’s extraordinary talent and presence on stage have helped the re-emergence of American standards and once upon a time the cabaret popular songs of a quasi golden vanished era. The Chicago Tribune wrote: "It would be difficult to imagine a more poetic or persuasive celebration of Hoagy Carmichael’s music in his centennial year than this sumptuous homage from Cory Jamison. The singer proves herself an ideal Carmichael interpreter, bringing extraordinary interpretive depth to The Nearness of You, exquisite humor to Don’t Forget to Say No, and an unpretentious and utterly disarming Midwestern spirit to several others. A remarkable achievement." Cindy Benson is another leading figure of the heritage and glory of American cabaret. She has appeared on Broadway as Madame Thenardier in “Les Miserables”, “Eating Raou”, “Gumbie Cat in Cats” and “Nunsense”. The New York Post wrote: "An extraordinary musical comedian. There's an originality to Benson that makes her very much her own creation. Benson can be devastating singing a torch song as well as turning a song into an aching heartbreaker." Faith Winthrop’s traditional style, yet remarkably innovative and classy in its musical delivery revived the spirit of the American cabaret repertoire and the romantic era of Hollywood and the acceptable extravagant follies days of Broadway. The San Francisco Chronicle wrote: "She slips naturally into the groove with a behind-the-beat phrasing that calls to mind Sylvia Sims, Anita O'Day, and their inspiration, Billie Holiday." The San Francisco Examiner’s Phil Elwood wrote: “Her voice is regal... she draws a listener into the song."

The Leading Figures of Contemporary American Cabaret Theater, Plays and Repertoires:

In addition to the names of artists and cabarets stars I have mentioned previously in various parts of this work, it would be unfair to miss the following entertainers and cabaret singers who have immensely contributed to the advancement of American cabaret theater and music. Most certainly, each reviewer and critic has his or her own favorites. The traditionalists go for Andrea Marcovicci, Barbara Cooke, Amanda McBroom (First lady of American Cabaret) et al. Others consider different factors in selecting their favorite singers and vocalists. My personal list of names of artists, performers, entertainers and singers which were widely noticed includes: the magnificent Susan Eagan(The sweet princess of the American modern Cabaret-Musical Theater who is taking the United States by storm), Julie Johnston, Nancy Kelly with her lyrical Cabaret Jazz flair, Jana Robbins, Julie Reyburn, Anna Bergman (The classiest of all performers), Louise Pitre (Finally, she has been recognized as a super talent), Marnie Baumer, Deborah Boilly, Pam Bricker, Sally Martin, Kristin Chenoweth, Simone Marchand, Raquel Bitton, Lizabeth Flood, Natalie Douglas, Les Miserables' Cindy Benson (America's best Tragicomic lead), Anne Kerry Ford, Karen Akers, Betty Buckley, Ute Lemper, Lisa Richard (A relatively newcomer but she has already made a huge impact) Mary Cleere Haran, Rebecca Spencer, Phoebe Snow, KT Sullivan,

Jennifer Pace, Sharon McNight, Amanda Green, Cleo Laine, Caroline Nin, Keely Smith, Karen Oberlin, Veronica Klaus, Martha Lorin, Leslie Anderson and Elaine Brier. Of course, and naturally, I might have missed a great number of additional accomplished artists.

SOME OF THE BEST IN THE BUSINESS

Betty Buckley Susan Egan

Mary Cleere Haran Jennifer Pace

Ute Lemper

Elaine Brier Ute Lemper

Cleo Laine

Cleo Laine Caroline Nin

Barb Jungr

Raquel Bitton Barb Jungr

WORLD OF CABARET

AMERICAN MUSIC AND THE BIRTH OF CABARET FROM THE EARLY JAZZ ERA TO PRESENT

DISTINGUISHED AMERICAN CABARET-MUSICAL STARS WHO SHINED IN THE PRODUCTION OF "CABARET"

Deborah Gibson Jane Leeves Molly Ringwald Joely Fisher

Gina Gershon Brookes Shield Linda Romoff

WORLD OF CABARET

AMERICAN MUSIC AND THE BIRTH OF CABARET FROM THE EARLY JAZZ ERA TO PRESENT

DISTINGUISHED AMERICAN CABARET-MUSICAL STARS WHO SHINED IN THE PRODUCTION OF "CABARET"

Katie Finneran Lea Thompson Mary McCormack

Kate Shindle Jennifer Jason Leigh Natasha Richardson

Candy Buckley Michele Pawk

HISTORY OF THE MUSIC, ENTERTAINMENT, SHOWBIZ AND CABARET IN FRANCE FROM THE 17th CENTURY TO PRESENT.

THE VERY BEGINNING

Photo: The woman is a Cabaret “Working Girl” also called “Femme de Cabaret”. The man is a customer.

This is the true history of Cabaret and how it came to existence. Our story will bring so many memories and passages of history forgotten in the dark alleys of life and on the dusty shelves of our mind. Some names and places are familiar, while others are obscure and unknown for obvious reasons. More precisely, because many of those places disappeared long time ago from the old Parisian landscape, some were ravished by the hardship of time, others demolished to give place and definition to modern edifices, offices buildings, parking lots, and in some instances to be replaced by more modern Cabarets, facilities and locals. As to people’s names, some were forgotten because, they shined for a while and vanished for reasons we know and reasons we don’t. Once upon a time, their music and words entertained many sad souls and adventurers who found comfort and consolation in their warmth and imaginative style. But, unfortunately, they lost appeal because they became “Demodes” meaning out of fashion and out of style.

Les Hydropathes

The world’s first and oldest Café-Cabaret was “Les Hydropathes”. It opened on October 11, 1878 on Rue des Boulangers, in Le Quartier Latin (The French Quarter) in Paris, France. Very few people noticed its grand opening, because in May 1878, “L’ Exposition Universelle de Paris” (Paris World Exhibition or Paris World Fair) opened its doors and attracted the public attention. In a way, the Paris Fair was the only show and major attraction in town. So, opening a new and a small Café-Cabaret like “Les Hydropathes” in a Parisian neighborhood during the grand event of the Paris international fair, did not mean much for the French, and consequently did not attract much attention, generated enough interest or created Parisian curiosity. Besides, the proprietor of the Cabaret, Mr. Emile Goudeau was looked upon as “not much of a Parisian” because he came from the province. This establishment began to operate like an intellectual café-cabaret in the tradition of old Parisian salons of literature, poetry and arts. It had a piano, a bar, a small dancing floor and a few female dancers and singers. The very first artists and intellectuals who offered their talents to Mr. Goudeau were Georges Lorin, Maurice Rollinat, Rives and Abram. In the very first days of the business, the café-cabaret did not do well. Customers complained, for the ladies of the establishment did not show enough “skin”. The music was good and the menu was very a propos but, not much too “skin” as they said. Besides, the place has become a literary center for intellectuals and artists. To many clients, the café-cabaret’s intellectual ambience began to bore the hell out of them. Grosso modo, Goudeau began to loose customers. He needed money to cover the daily expenses and to pay the accumulating debts. He decided to run a baccara circle, a sort of a “mini-gambling joint” in the back of his café. This was a fatal mistake. The French gendarmerie (Police) knew about it, and shut down his business. But this guy was a trooper. A few weeks later, he reopened another spot on Rue Jussieu. Poets, artists, hustlers, self-proclaimed philosophers and adventurers followed him and kept him in business for a while. This time, Goudeau thought about something else. This character had passion for risky undertakings and quite often, his approach to business was not “ Tellement Catholique”, (meaning not totally honest and correct) as his compatriots used to say. Goudeau’s café-cabaret became France’s first “after hour” drinking joint. This was reported by Jules Jouy in the newspaper “Edition du Tintamarre”, dated February 2, 1879. Two years later, Goudeau and his “boite” disappeared from circulation, but not for long time, for he co-established and created a new cabaret which took Paris by storm. A new kind of Cabaret which defined the new concept of “Cabaret without Rules”. And that notorious Cabaret was Le Chat Noire!!

Le Chat Noir

Photo: Rodolphe Salis

Le Chat Noir known to Parisians as « Le Cabaret Artistique » (The Artistic Cabaret), as well as « Le Cabaret Hors-Norme » meaning a cabaret outside or above the norms or rules. In other words, it was the world’s first intellectual-artistic-musical-anarchist cabaret which gathered all sorts of painters, poets, artists, philosophers, “Raconteurs” (story-Tellers) and performers of the era.

Photo, right: The legendary Aristide Bruant, father of the Modern Cabaret.

ARISTIDE BRUANT

Poster, left: “Aristide Bruant in his Cabaret” by Henri de Toulouse-Lautrec, 1892.

Le Chat Noire was mystified and imbibed by the character and personality of his co-founder, the legendary Aristide Bruant who is considered as the Father of Modern Cabaret. To all its customers, Le Chat Noire was Aristide Bruant in persona. This landmark Cabaret opened its doors in 1881 in Montmartre, Paris, France. And with its opening night, the first chapter of Cabaret was written. Among its illustrious clients were Guy de Maupassant, and Debussy. The founders of Le Chat Noire were Aristide Bruant (1851-1925), Rodolphe Salis (1852-1897) and our famous Emile Goudeau (1849-1906), the flamboyant and daring character we met before!

Aristide Bruant was a character, a flamboyant bon-viveur and a master of sarcasm. When “La Haute Societe “ (High Society) and the Parisian bourgeoisie came to his cabaret, he addressed them as “Cochons” (Pigs) and asked them to save their money and spend it in his place. Yet, he was generous to a fault. He loved life, adventures and celebrated the anarchists, the rebels, the free-spirited, the liberals, the outlaws and the prostitutes. He was perfect for the cabaret business at that time and place in history. He was the champion of the underdog, the poor, the working class and the persecuted. He made fun of the famous and the rich and ridicule the fashionable Parisian women.

Another poster of Bruant by Henri de Toulouse-Lautrec, 1892.

He made a fortune and a fortune he spent on his friends and the needy. He retired from the cabaret scene and devoted himself to farming, writing books and publishing novels. In 1924, at 73, he made a brief comeback at the Parisian theater “Theatre Empire”.

(1851-1925

RARE FRENCH CABARET POSTERS, CIRCA 1925, PARIS FRANCE.

"LE CABARET PARISIEN" LES ANNEES FOLLES. PARIS. FRANCE

LES ANNEES FOLLES DE PARIS