There are evenings when New York’s cabaret scene delivers more than a fabulous performance, and last night at 54 Below, The New York Pops Underground proved that great music can do considerably more than entertain. With Grammy and Tony-nominated powerhouse Deborah Cox commanding the spotlight, an intimate evening of music, dinner and philanthropy became a celebration of the next generation of performers.

Deborah Cox

Deborah Cox

Cox, whose extraordinary career has taken her from recording studios to Broadway stages in Aida, The Wiz and Titanique, brought her formidable vocal talents to the annual fundraiser, offering the kind of star power that makes a room feel considerably more glamorous. With music direction and arrangements by Geoffrey Ko, the evening combined the intimacy of cabaret with the excitement of hearing one of the industry’s most distinctive voices up close.

Deborah Cox

Deborah Cox

Of course, an evening featuring Deborah Cox hardly needs an additional attraction, but The New York Pops had something even more meaningful in store. Opening the festivities was the PopsEd Alumni Ensemble, a group of talented young musicians who have participated in the orchestra’s educational programs. Their appearance was more than a charming opening act. It was a living demonstration of exactly what the evening was designed to support.

Steven Reineke

The alumni represent the lasting impact of Kids on Stage, The New York Pops’ youth mentorship program, which introduces students from all five boroughs to the professional music-making process. Participants experience everything from intensive rehearsals to the extraordinary opportunity to perform alongside the orchestra on Carnegie Hall’s legendary stage. For a young musician, that is considerably more than an extracurricular activity. It is an invitation to imagine an entirely different future.

Quadair Dunn (Student Speaker)

Quadair Dunn (Student Speaker)

Guests gathered for a 6 p.m. reception before settling in for the 6:30 p.m. performance and dinner, complete with wine pairings. The combination of fine dining, cabaret and a worthy cause gave the evening the feel of an elegant New York supper club, with the added pleasure of knowing that the night’s indulgences were helping put instruments, instruction and opportunities into young hands.

The PopsEd Alumni Ensemble: Brian Worsdale, Director, Kids on Stage, with Sean M., Alto Sax, Nicolette S., Tenor Sax, Dean S., Baritone Sax, Corrado S., Trumpet, Leon M., Trumpet , Gabriel R., Trombone, Barnaby D., Piano , Stephen S., Bass , Sebastian D., Drums, Ellington C., Drums

The PopsEd Alumni Ensemble: Brian Worsdale, Director, Kids on Stage, with Sean M., Alto Sax, Nicolette S., Tenor Sax, Dean S., Baritone Sax, Corrado S., Trumpet, Leon M., Trumpet , Gabriel R., Trombone, Barnaby D., Piano , Stephen S., Bass , Sebastian D., Drums, Ellington C., Drums

Chaired by David Blakelock and Andrea Reiser, The New York Pops Underground benefits PopsEd, the orchestra’s extensive music education initiative. Since its founding in 1991, PopsEd has reached more than 100,000 New York City students, providing access to music education, artistic mentorship and performance experiences across communities and generations.

Robbie Gordy

Robbie Gordy

That figure deserves attention. In a city where arts education is too often treated as a luxury rather than an essential part of a child’s development, The New York Pops has spent more than three decades making a compelling argument for its importance. Music teaches discipline, collaboration, confidence and the ability to listen. More importantly, it gives young people a means of expression that can stay with them for the rest of their lives.

Kristina Leopold and Sara Gallo

The evening also offered a stylish prelude to The New York Pops’ 2026–27 season at Carnegie Hall, which promises an appealing mix of Broadway glamour, Hollywood nostalgia and contemporary musical talent. On October 23, Lena Hall joins the orchestra for 007: James Bond Forever, followed by One Night Only: An Evening with Denée Benton and Jordan Donica on November 20.

Deborah Cox

Deborah Cox

The holiday season arrives with Sleigh Bells Ring, featuring Derek Klena and Lindsay Mendez on December 18 and 19. The new year brings Introducing… Jimmie Harrod and Marisha Wallace on February 5, 2027, before the orchestra celebrates two cinematic giants with John Williams and Steven Spielberg: Movie Magic on March 5. All performances take place in Carnegie Hall’s Stern Auditorium/Perelman Stage.

Deborah Cox

Deborah Cox

But the real beauty of The New York Pops Underground lies in the connection between the established artist and the emerging one. Deborah Cox may have been the evening’s marquee attraction, but those young PopsEd alumni represented something just as exciting: the talent waiting for its own moment in the spotlight.

Deborah Cox

Deborah Cox

And in a city that has launched countless musical careers, helping the next generation find its voice is certainly worth raising a glass to.

Deborah Cox

After all, tonight’s opening act may very well be tomorrow’s headliner.

It was a magical night in New York when two extraordinary artists shared the stage at the Rose Theater at Jazz at Lincoln Center, one of the most beautiful theaters in New York City. This elegant jewel-box venue provided the perfect setting for an evening filled with energy, soul, and unforgettable music. Catherine Russell and her special guest, Cyndi Lauper, brought together two very different musical worlds, creating a concert that was thrilling from beginning to end.

Catherine Russell is jazz royalty. Music is in her blood. Her father, Luis Russell, was the longtime musical director for Louis Armstrong, while her mother, Carline Ray, was a pioneering multi-instrumentalist and vocalist. With such a rich musical heritage, Russell has developed a distinctive style that combines jazz, blues, swing, and the great American songbook.

Russell began recording and touring as a backup singer for major artists in 1980. In 2005, she launched her solo career and has since released nine albums. Two of her projects, Harlem on My Mind and Alone Together, earned Grammy nominations for Best Jazz Vocal Album. Beyond performing and recording, Russell is also dedicated to education, teaching master classes and private students and sharing her knowledge with the next generation of musicians.

One of the pleasures of Russell’s performance was the way she reached back through musical history. Her repertoire traveled from the 1920s through the 1950s, introducing the audience to songs that have become important pieces of the American musical heritage. She brought these vintage selections to life with her distinctive voice, impeccable phrasing, and deep understanding of the music.

Among the highlights was “Nobody’s Fault But Mine,” a 1927 gem associated with the legendary blues musician Blind Willie Johnson. Russell also performed “After Hours,” made famous by Sarah Vaughan, “Don’t Take All Night,” associated with Nina Simone, and “Trust in Me,” a song famously recorded by Dinah Washington. Each selection demonstrated Russell’s remarkable ability to honor the original artists while making the songs unmistakably her own.

Joining Russell for this special evening was the legendary Cyndi Lauper. A groundbreaking Grammy, Emmy, and Tony Award-winning songwriter and performing artist, Lauper has sold more than 50 million records worldwide. In 2013, she became the first solo woman to win the Tony Award for Best Original Score for Kinky Boots. She was inducted into the Songwriters Hall of Fame in 2015 and received a star on the Hollywood Walk of Fame in 2016.

One of the evening’s most memorable moments came when Russell and Lauper joined forces to perform Lauper’s mega-hit “Time After Time.” Hearing these two distinctive voices together transformed the familiar song into a particularly moving musical moment. The performance brought the audience to its feet, creating one of those special live-concert moments that performers and audiences share together.

The combination of Russell and Lauper made for an especially exciting evening. Each artist brought her own personality and musical identity to the stage, yet they complemented one another beautifully. Their performances demonstrated that great music can cross genres and generations.

They were backed by an extraordinary group of musicians: Anthony Hervey on trumpet, John Allred on trombone, Evan Arntzen on reeds, Lauren Sevian on baritone saxophone, Matt Munisteri on guitar, Ben Paterson on piano and organ, Tel Ronen on bass, and Dominick “Domo” Branch on drums.

The musicians were not simply there to accompany the singers. Each was given generous opportunities to step into the spotlight, and their solos added excitement, depth, and spontaneity to the concert. The band created a powerful musical foundation that allowed both Russell and Lauper to shine.

The Rose Theater itself added to the magic of the evening. Its intimate yet grand atmosphere makes it an extraordinary place to experience live music, and on this night, the theater seemed perfectly matched to the artistry onstage.

This was more than a concert—it was a celebration of musical history, individuality, and the continuing power of live performance. Catherine Russell and Cyndi Lauper proved to be a thrilling combination, delivering a night that was truly magical and one that the audience will not soon forget.

Gerrilyn Sohn brought her cabaret show Timeless: A Tribute to Bernadette Peters to Don’t Tell Mama in New York City, celebrating one of Broadway’s most beloved performers while making the evening distinctly her own.

Sohn did not attempt to imitate Bernadette Peters. Instead, she sang the songs that helped make Peters famous, bringing them to life in her own voice and with her own personality. It was a refreshing approach to a tribute show. Rather than trying to duplicate an iconic performer, Sohn showed why these songs continue to resonate with audiences.

Sohn has long been fascinated by Peters and feels a special connection to her. During the performance, she shared with the audience that she had actually met Peters and was deeply impressed by her warmth and friendliness. That personal connection gave the evening an added dimension, making the tribute feel genuine and heartfelt rather than simply a collection of songs associated with a famous star.

Gerrilyn’s performance was further enhanced by several duets with her talented musical director, Tracy Stark. Their musical chemistry added another layer of warmth and spontaneity to the evening. Stark was not only an accomplished musical director but also a wonderful partner onstage, complementing Sohn’s voice and helping bring the songs to life.

The repertoire celebrated the extraordinary range of material associated with Peters, from sophisticated Broadway numbers to songs filled with humor, romance and emotion. Sohn’s performance demonstrated her affection for the material while allowing her own vocal personality to shine through.

The evening was directed by Lennie Watts, whose experience and understanding of cabaret helped shape the performance. Tracy Stark served as musical director, with Marco Panascia on bass.

Timeless was ultimately less about trying to become Bernadette Peters and more about celebrating what makes Peters such an enduring theatrical icon. Gerrilyn Sohn’s admiration was evident throughout the evening, but so was her individuality. She paid tribute to Peters by singing these memorable songs in her own voice—and that made the performance a tribute worth hearing.

Last Night, Brian J. Nash put on a show that could have played to a full house at Radio City Music Hall and satisfied every single person present. At midtown’s GREENROOM 42, he held a rapt audience in the palm of his hand for the entire 80 minutes and proved to be a real “showman.” The bottom line is that Mr. Nash “is” music. His body language and connection to the piano are wild to watch and the guy’s got “moves.” He also loves every minute of what he’s doing.
Nash has arranged, MDd and played for so many popular artists that I wouldn’t do justice to a partial listing, but he is also considered to be part “Broadway Baby” having worked with the likes of Jennifer Holliday, Shoshanah Bean, Deborah Cox, Laura Benanti, Audra McDonald among them. He travels the world and chases the music. You can follow his adventures on social media and he is quite committed to his goals and is charming and funny.  This encore engagement of the gamely titled BLUE JEAN BABY GRAND was, quite simply, a knockout, after selling out back in July. With one of the greatest bands I’ve ever seen or heard, this performer tore up the music of Elton John and Billy Joel. It was a musical education, with some great photos and an adoring attitude for his heroes, having played many of their songs over his 19 and ½ years spent in piano bars. His stories of discovery go back to his youth, when his voice changed and he could no longer sing “On My Own” from LES MISÉRABLES (in the original key) and he discovered the song “Daniel.” The show soared and soared and soared and the chemistry between the “boss man” and his musicians was built on love, respect and talent. Crazy talent. The pacing and running order of the song list was diabolical. No exaggeration. One of the reasons Eda and I were able to see it was because in July the video they filmed didn’t  work, so this was a “take two” of sorts and, if tonight was captured, it will be something to behold. Bravo to all and if you see Brian J. Nash advertised to appear anywhere near where you are, RUN! You’ll thank me.

The Band: Elena Bonomo, Drums, Mohan Ritsema, Bass, Will Shishmanian, Guitar, Tom Regouski, Reeds, Andrea Neumann, Trombone, Alphonso Horne, Trumpet

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

CARLOS CLEMENZ

ROGER DAWLEY, NICHOLAS YENSON, BRIAN J. NASH

NATALIE DOUGLAS & BRIAN J. NASH

ANDREW LIPPA & FRIENDS

RICHARD JAY-ALEXANDER & BRIAN J. NASH

TOM REGOUSKI & ANDREW LIPPA

EDA SOROKOFF & CARLOS CLEMENZ

CAROLOS CLEMENZ, STEPHEN SOROKOFF, BRIAN J. NASH

There are few places better suited to celebrating John Kander and Fred Ebb than Dizzy’s Jazz Club. On Sunday, October 4, New York was misty beyond those magnificent windows, the room was filled with Kander and Ebb melodies, and, making the evening even more special, John Kander himself was sitting at the table directly behind me listening to his music come alive.

John Kander

Hosted and curated by Deborah Grace Winer, Songbook Sundays: Life Is Kander and Ebb brought together three very different vocalists—Karen Ziemba, Matthew Scott and Vanisha Gould—with music director and pianist Jon Weber, Mark McLean on drums, Jay Leonhart on bass and Sam Chess on trombone. The talent was unquestionable, the musicianship superb and the surroundings quintessentially New York.

Karen Ziemba

Yet I left wanting more as I know this songbook inside and out.

Vanisha Gould, Karen Ziemba, Matthew Scott Vanisha Gould

Not more talent. There was plenty of that. What I wanted was more Kander and Ebb.

Karen Ziemba opened with “Where You Are,” immediately reminding us why she has had such a remarkable career. Ziemba doesn’t merely sing a lyric; she understands what is underneath it. That quality served her particularly well throughout the show, whether she was having wicked fun with “Don’t Tell Mama,” finding the aching simplicity of “My Coloring Book,” or delivering “How Lucky Can You Get.” Kander and Ebb frequently wrote characters who perform one emotion while another one is quietly breaking through, and Ziemba knows exactly how to live in that contradiction.

Matthew Scott has a terrific voice coupled with genuine acting chops, something especially evident in “Not Every Day of the Week” and “Love and Love Alone.” When he arrived at “Theme from New York, New York,” he wisely didn’t try to compete with the ghosts surrounding one of the most recognizable songs ever written about this city. Instead, he found his own way into it, allowing us to hear the song rather than an imitation of the singers who made it famous.

Then there was Vanisha Gould, who possesses a fabulous smoky, growling voice that sounds as though it was made for the 1930s. There is something wonderfully lived-in about her sound, a little dangerous around the edges, and it gave “Funny Honey” and “All That Jazz” an entirely different texture. “Maybe This Time” allowed her to move beyond the sass and into the vulnerability underneath, where Kander and Ebb so often do their best work.

The musicians were every bit as important to the performance.

Weber knows how to support a singer without disappearing beneath one, and McLean, Leonhart and Chess gave the music the swing and bite it requires. “Sing Happy” put the band front and center, while

Leonhart—whose career has included playing for an extraordinary roster of great performers—stepped into the spotlight to deliver his own “Razzle Dazzle.” It was an irresistible reminder that sometimes the musicians have a few tricks of their own.

Ziemba and Scott joined forces for “But the World Goes ‘Round,” another quintessential Kander and Ebb song about continuing when life has other plans. “Cabaret,” naturally, also made its appearance, bringing us back to the musical that remains inseparable from the Kander and Ebb name.

Which brings me to the one thing that bothered me about an otherwise beautifully performed performance.

Jon Webber and John Kander

Perhaps having John Kander sitting directly behind me made me even more aware of the sheer size of the catalogue being celebrated. Here was one of the architects of American musical theatre, listening to songs from a collaboration that stretched across decades, and I kept thinking about everything we weren’t hearing.

Vanisha Gould, Karen Ziemba, Matthew Scott

There were three selections from Chicago and three from Cabaret, along with two each from Flora the Red Menace and New York, New York. They are terrific songs, certainly, and nobody is going to object to hearing them sung this well. But Kander and Ebb wrote so much more.

John Kander, Matthew Scott

Where was The Happy Time, Zorba, 70, Girls, 70, The Act, Woman of the Year, The Rink, Steel Pier, Curtains, or The Scottsboro Boys? There is an astonishing amount of material in that catalogue, including songs that deserve to be rediscovered rather than allowed to sit quietly in the shadow of “All That Jazz” and “Cabaret.”

That is particularly what I look for from something called Songbook Sundays. A songbook series has the opportunity not merely to celebrate the songs everybody already knows, but to open the book a little wider. Give us something we have forgotten or haven’t heard in years. Give a younger audience a song they didn’t know existed. Let us hear the journey of the writers, not simply their greatest hits.

Kander and Ebb were never just Chicago and Cabaret. Their partnership was far richer and stranger than that. They could be cynical and sentimental, sophisticated and vulgar, politically savage and heartbreakingly romantic. Again and again they wrote about people performing confidence while quietly falling apart underneath it. Their characters keep dancing, keep singing, keep putting on the makeup and facing the world because, as one of their greatest songs reminds us, the world goes ’round.

Maybe that’s why I wanted more.

What Winer gave us was beautifully sung and beautifully played. Ziemba remains a masterful interpreter, Scott impressed with both voice and dramatic instinct, and Gould made me want to hear much more from that wonderfully smoky voice. Weber and his musicians gave us sophistication, warmth and swing.

Outside those windows was a mist-covered New York, while inside sat John Kander himself listening to his songs. Really, how much more New York can you get? Except, of course, for a few more Kander and Ebb songs.

I enjoyed Life Is Kander and Ebb immensely. My complaint is actually a compliment: with a songbook this extraordinary, I didn’t want the afternoon to end with so many pages still unopened.