His Master's Voice - Today's Singers & the Recording Industry

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"Genius is one percent inspiration and ninety nine percent  perspiration."     Thomas A, Edison

On December 4, 1877, Thomas Alva Edison became the first person to ever record and play back the human voice. It's safe to say we've come a long way since. Everyone wants to make a CD.  And, many do – with mixed results.  Some of the best singing I have ever heard has come from little known artists from Broadway and cabaret. But even singers in major Broadway hits have released solo albums that have not gone far.

How does one compete with  the sounds of today's highly visible, contemporary chart-busters like Adele and Lady Gaga (whose latest albums currently hold the number 1 and 2 slots worldwide.)  Both are very talented. And both have paid some dues. They also have record companies behind them. That's probably the key. It helps that both are stars. Incidentally, both started out in small clubs! I saw people go gaga for  Stefani Germanotta (and Lady Starmite) when she performed using a keyboard with her hot little band at The Bitter End, the Village jazz club, in 2007 - before she became a mega-star with a new moniker and shopped in the chic meat packing district for clothes – and meat for her clothes. This was one talented musician.  I never made it to England to catch Adele, but the day I first heard her, I predicted she would soar. But, those and other stars are exceptions in today's highly competitive market. I won't even go near the Justin Bieber phenomenon on YouTube. I also caught both Michael Feinstein and Harry Connick Jr., at the Oak Room at The Algonquin debuts in the late 80s (in separate engagements). I saw Jane Monheit and attended Diana Krall's opening at the same venue, where I also saw 20-year old Jamie Cullum, who went from playing wedding gigs in a small town in England to to being the first to get a million dollar recording contract by a major label as a newcomer (BTW: he insisted on fulfilling his wedding singer obligations even after all the attention).

All are doing rather well. All did rather well in the recording industry - as they climbed their ladders and all are still making their marks. Pianist/singer Peter Cincotti, also fresh from The Algonquin,  was chosen for the Kevin Spacey movie based on Bobby Darin's life, Beyond The Sea. They are also exceptions to the rule. One thing they have in common is that they were all dedicated and worked hard. Others have it harder today.

If you're a singer and have received attention in cabaret or musical theatre, what better way to promote yourself in the schizo music industry than to preserve something on an album? If properly distributed to agents, managers and industry professionals, this can enhance your chances of  recognition or getting to the next level. But, sweeping changes throughout the recording industry are taking place, and that makes it all that a lot harder than it used to be for everybody – at any level. And, while most performing artists in cabaret and jazz rooms are realistic about what an album will or will not do, all are  hopeful  that theirs will grab the attention of the right person and lead to more.  But over the last few years, as more and more CDs flood the small cabaret and jazz markets, this observer has noticed an inordinate amount of delusional artists who wish for the moon when they only have the stars. Okay, that's corny.  But the idea is blatant. Who needs another cabaret album to gather dust on their shelves? Who needs to have their dreams shattered? Who can afford what's involved in putting together a CD? Have you figured out a budget? Are you familiar with technicalities faced in a recording studio? Have you chosen the right collaborative team? Are you listening to your friends instead of trusting your instincts? If you're a singer contemplating making an album and can't answer these questions, you're not ready to record. The recording industry has plenty of first-time  album horror stories to report. Statistically, far more recording projects fail than succeed. If you are new to the recording arena, seek the advice of experienced producers, attorneys and whoever else is knowledgeable. Too many fail because they are afraid (or embarrassed) to reach out for help. Don't be shy. Just be sensible. And, don't give up. A true professional is not a quitter.

Albums have caused many performers to propel to bigger arenas  by recording producers with  bigger labels and have led to some artists climbing the ladder to serious attention. I cite Ann Hampton Callaway as an example of this.  A gifted singer/songwriter, she never gave up. She started in piano bars and restaurants. Anybody remember East 53? She would rivet a wild crowd at the noisy Five Oaks on Grove Street. Soon, other artists started singing her songs.  She won a hundred MAC awards. She wrote the catchy, unforgettable, theme to the television hit, “The Nanny.” Her albums sold more and more. She won the support of Lisa Schiff, owner of After Nine Records, as she segued into the world of jazz and recorded with some of the world's finest jazz musicians. She co-starred on Broadway in Swing! and was nominated for a Tony award for that performance.

Ann started touring the world playing major rooms, festivals, pop concerts and singing with symphonies – while she continued to turn out pristine albums that sold well. And, she caught the attention of Barbra Streisand. Ann ended up writing "I've Dreamed of You," the love song chosen by Barbra and James Brolin for their wedding. Streisand recorded this beauty on an album that immediately went platinum.  Today, Ann Hampton Callaway is one of the most formidable and respected talents in music to come out of piano bars and cabaret. Her story (which I'll save for another time) is an inspiration. She has said more than once to songwriters, "Don't give up … follow your dreams." Ann's latest CD, Boom! a collaboration with her sister Liz Callaway will be released in July on the PS Classics label.

Not too long ago, a conversation outside a club with a singer and a record producer prompted me to do a little research. The producer was singing the praises of his muse who was in the middle of recording a tribute album to Frank Sinatra, Bing Crosby and other dead crooners. Nice. And no, it wasn't Michael Feinstein. Joining the conversation was a gal singer who had recently released her own CD singing the songs of Connie Francis. At one time, these iconic names sold millions of records and set trends that would last.  Also nice.  But, in the cut-throat world of today's entertainment, nice doesn't always count for much. Add to this little scenario, a lady of a certain age, who is a grandmother and lives in an exclusive area of Westchester. She was also there - passing out copies of her album made two years ago. It was her cutesy show recorded in a local club. She is also nice. She just happens to be what is called a dilettante. She pops up about every year or two in some cabaret room with a rehash of songs she has sung before, mixed with a few new ones she finds. Her family and friends cheer her on. There is usually some emphasis on her custom made gown and her travels in her act. Yawn. She can hold her own with a song. But, she could also use some lessons in subtlety and presentation and finding truth in a lyric. Why does she linger in and out of cabaret?  Bergdorf Goodman is clearly her passion. The conversation was pleasant, and all parted with hugs and air kisses. But it made me remember all too clearly, how variations of this theme had played out over the last century or two since I started reviewing singers.  In each case, tens of thousands were spent on albums that were usually just handed out to family and friends after a show – the way the dilettante was passing out her sleepy CD in the street. Was I missing something? Yes. This is 2011. According to some prophets, the world is ending next year. Singers with CDs better hurry.

Wake up, people. Music is more than entertainment. It's more than lip-syncing  your way to the office, or making your guitar gently weep while listening to a band on iTunes. Music is a business, and an extremely provocative business at that. Billions are pumped into the industry every year by enthusiastic, passionate fans. “American Idol” has created a lovable monster and the copycats abound. Whether its streaming through iTunes, Pandora or Rdio (correct spelling) or spinning on old school vinyl, in the real world, music means money.

Music provides the background canvas for much of what we experience. It surrounds us as we drive, entertains us when we run, streams to our computers and motivates us to make a purchase. It's often in every room we occupy. It's in the dentist's office. It's blasting in supermarkets. It gives us to an imperative to do things. It affects our mood swings.  And, even when we are too busy with life to think about anything musical, there's that one catchy tune floating around in our heads that doesn't go away.  It's a powerful force.  And, from Sinatra to Eminem, it's an exceptionally unique category of content.

But hang on – that thumping and beat you're hearing isn't Lady Gaga's latest cut. It's the sound of the music industry's traditional business model – collapsing. Last year, the overall music market dropped by 9 percent, and the industry's increasingly outdated distribution channels experienced a complete free fall. Analysts now predict that by 2012, digital music downloads will outsell CDs for the first time. Combine digital distribution with social media's impact on music, and you have an entirely new industry that looks nothing like it used to.  

Like so many other sectors, the music industry is in the midst of a shift from old school to new school – a transition to new platforms and entirely new ways of thinking about and conducting business. But, even that isn't enough.  To keep winning requires constant innovation. Enter a new entrepreneurial set  - one hell bent on changing the way music is created, discovered, delivered and experienced. Bottom line is that, like it or not folks, more than in the past, the traditional music industry is undergoing a complete overhaul. It's shedding its stale, monolithic ways with all sorts of angles.  So, where does all of this leave today's brightest talents like the poor Broadway, cabaret and jazz singers? They just have to work a lot harder.

Baby Jane Dexter is a singer who made a remarkable comeback after leaving the club scene for almost 10 years. She returned in 1991, with a few brunch shows at Eighty Eight's, fulfilling a deathbed promise to her best friend, film archivist, author and activist Vito Russo. In a short time, she was all the rage in downtown cabaret again, and fans packed in to see her once more. In 1993, Quannacut Records released her first album, I Got Thunder. It made noise. It was a critical success and led to more gigs around the country, and even more recordings to follow. Her latest live recording,  The Real World, is about to be released in July, when she kicks off a special event with a summer gig at Metropolitan Room on July 8.

Asking about what her first recording did for her career-wise, she said, "My first CD was on a label and the recording was paid for by the label. The record company hired a publicist. I Got Thunder was reviewed on the front page of The New York Times Arts & Leisure Section, Entertainment Weekly, New York Daily News and many highly visible places including a feature in the LA Times and The New York Times. The CD was played on several radio stations, and most often on WBGO, where I was interviewed several times by Michael Bourne. All that led to gigs, including some concerts arranged by the record company."

Dexter is an exception. She is one of a few artists to come out of the clubs today to receive the level of success she has as a result of that perspiration Edison talked about - and a good album. She believes in the power of the CD. She also believes in small labels and independently made CDs, "You have to trust yourself and your collaborators. I was very fortunate.”

Her advice for newcomers today deciding to record a studio or live CD, “Selling CDs nowadays is different since there are no more record stores. One can best sell them at live gigs. And live gigs seem to be going the way of the record stores, meaning farther and fewer between. One should also make use of online sales. Making a studio or live recording is up to the artist and where they shine. If they are especially good live performers, and that would be reflected in the CD, then that is usually a little less expensive than a studio recording. But, then again, it depends on the number of musicians and the number of hours you will need in a studio. It's really about the money and where the artist will be showcased best. I say 'showcased' because you are asking me about newcomers."

Clearly, Dexter is realistic and knows today's small market for people making a mark from the clubs. She is also not delusional.  However, what worked for her is not necessarily going to work for others. Whether you're Lady Gaga, Celine Dion, Justin Bieber or a lonely singer in the clubs, it still takes good judgment, the right collaboration and some common sense to make a CD  work for you. And, as I advised years ago in Back Stage feature, don't compromise artistic integrity by deluding yourself into thinking that public interest is manufactured or created on the spot just because you put out an album. Never lose sight of the fact that you will create interest only if you put out a product that is good.

In the end, whether there is a high powered record company, or you are a little producer, remain true to yourself. The most successful  recording will be the most honest recording.  And learn as much as you can about the recording business before you sing that first note. It's that simple.

I Love the NiteLife...

Broadway Sings For Pride: A Benefit Concert. On Monday, June 27, 7– 8pm, the Broadway family celebrates Pride Week with an evening of songs from some of the brightest stars that Broadway has to offer! Many cast members from Wicked, The Book of Mormon, Jersey Boys and more sing songs of pride, life, and hope. The concert is hosted by Carly Jibson (Hairspray, Cry-Baby). Appearances are scheduled by Reichen Lehmkuhl (“The Amazing Race,” “The A-List: New York”), Sonja Tremont-Morgan (Bravo's "The Real Housewives of New York City"), Randy Jones (multi-platinum recording artist/original Cowboy and founding member of The Village People), Matt Martin ("Real Housewives of Twitter") and Marti Cummings (Broadway Speaks OUT).  Produced by Neal Bennington and NealB.tv (www.NealB.tv). All proceeds benefit the LGBT Community.

Bernadette Peters in Follies.
Photo:Joan Marcus

Hats Off! Live. Love. Laugh ... It was announced last week that the critically acclaimed Kennedy Center production of James Goldman and Stephen Sondheim's Follies  would transfer to Broadway's Marquis Theatre for a limited run this summer. The dates, Broadway casting and ticket information will be announced soon. The New York Times has reported that this production will also feature a 28-piece orchestra and will likely run through the winter holidays. Performances will begin July 31.

The glitzy $7.3 million dollar Kennedy Center production which closed on Sunday, June 19, was headed by two-time Tony winner Bernadette Peters as Sally Durant Plummer,  four-time Tony nominee Jan Maxwell as Phyllis Rogers Stone, two-time Tony nominee Danny Burstein as Buddy Plummer, Ron Raines as Benjamin Stone and Olivier Award-winner Elaine Paige as  Carlotta Campion. The production also includes, Terrence Currier as Theodore Whitman, Christian Delcroix  as Young Buddy, Rosaline Elias as Heidi Schiller, Colleen Fitzpatrick as Dee Dee West, Lora Lee Gayer as Young Sally, Michael Hayes as Roscoe, Florence Lacey as Sandra Crane, Linda Lavin as Hattie Walker, Régine as Solange LaFitte, David Sabin as Dimitri Weismann, Kirsten Scott as Young Phyllis, Frederick Strother as Max Deems, Nick Verina as Young Ben, Susan Watson as Emily Whiteman and Terri White as Stella Deems.

Terri White

Signature Theatre artistic director Eric Schaeffer directs what many believe to be Sondheim's most popular musical musical with choreography by Warren Carlyle (Finian's Rainbow). James Moore served as music director and conducted the 28-piece Kennedy Center Opera House Orchestra. The DC production featured scenic design by Derek McLane, costume design by Gregg Barnes, lighting design by Natasha Katz and sound design by Kai Harada. The musical utilized Jonathan Tunick's original orchestrations.  The show was originally mounted on Broadway by Harold Prince with orchestrations by Jonathan Tunick. Follies opened on April 4, 1971 starring Dorothy Collins, John McMartin, Gene Nelson and Alexis Smith. It ran for 522 performances at the Winter Garden Theatre and received seven Tony Awards, including Best Original Score …..  Three time Tony Award-winner Kathleen Marshall (Anything Goes, Pajama Game, Wonderful Town) will direct and choreograph the new musical comedy Nice Work If You Can Get It starring two-time Tony Award-winner Matthew Broderick (The Producers, How to Succeed in Business Without Really Trying, Brighton Beach Memoirs).  The new musical will open on Broadway Spring, 2012 and will be produced by Roger Berlind, Sonia Friedman, Roy Furman and Scott Landis. With a book by two-time Tony Award-winner Joe DiPietro (last season's Tony Award-winning Memphis, for which he won Tony Awards for Best Book of a Musical and Best Original Score), Nice Work If You Can Get It features some of George and Ira Gershwin's most beloved songs as well as some unknown gems in the Gershwin catalog. This screwball romantic comedy takes place in the 1920s and centers around a wealthy playboy who gets mixed up with a hilarious trio of bootleggers.  "I am beyond thrilled to get to work with Matthew Broderick again and to bring Matthew back to Broadway in his first musical since The Producers. The chance to do a new musical comedy with timeless songs by the Gershwin brothers is just heavenly," said Kathleen Marshall.  Additional casting, venue and creative team will be announced shortly …  Jim Caruso and Cast Party present some hot nights at Birdland with Tom Wopat (6/20,) Ty Stephens & Soulful Jazz (6/27) and Julie Halston is back on July 11. All shows at 7pm … the sounds of Brazil are sizzling with Courtney Graves and his red hot band in Perfect Nights at Metropolitan Room on June 30.

Dee Dee Bridgewater

Don't miss Dee Dee Bridgewater at Town Hall in To Billie with Love with Chrisette Michelle on Friday, June 24 at 8:00 … T. Oliver Reid's show This Love I Know has one more show on Monday,, June 27 at 7pm at Metropolitan Room ...

Note: This is a weekly column by John Hoglund. It will focus on all things nitelife from theatre/cabaret reviews to features to announcements and the writer's personal opinions. There is no association or any connection with the column's title :”Backstage … With John Hoglund” and the online and print publication (which is spelled as two words). John Hoglund may be contacted at  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  This e-mail address is being protected from spambots. You need JavaScript enabled to view it .