Several years ago, I got a call from a friend telling me to go to the Top of the Senator to see an
exceptional performer that I would NOT want to miss. That was the first time I was introduced to the
incredible artistry and outstanding gifts of the celebrated Ann Hampton Callaway … and it wouldn’t
be the last!
Callaway is a “Jacqueline of all trades” AND a master of them, as well, whether in her work as a vocalist, pianist, composer, actor, arranger, lyricist, producer, TV host, and more. Under her own name and/or as a featured guests, she’s appeared on 80+ recordings; she’s a multi-platinum artist who’s written for many others, including Barbra Streisand, Liza Minnelli, Patti Lupone, and more.
She is a Tony-nominated actress beloved for her work on the hit Broadway musical Swing and, of
course, to generations of TV viewers, she’s the composer and voice behind the theme song to the hit
show The Nanny. I could sing her praises all day long, but the best way to experience the wonder of
Ann Hampton Callaway is to do what I did when told to do so: see her live. You have the chance to
do just that on Thursday evening when Ann Hampton Callaway comes to Hugh’s Room Live here in
Toronto, but first she joined me on the line.
You often straddle that line between the required consistency of musical theatre and the spontaneous invention of jazz. How easily can you separate the different approaches to these styles … and do you always try to separate them? Do you ever sneak in some improv moments in the world of theatre?
When I was starring on Broadway, I was playing a role I created. I chose all my songs, I arranged all my songs. I was very silly to make such a demanding role, I used my entire three-octave range…The Broadway musical was Swing so it was jazz, it was the music that I loved. So, there was room for improvisation in every performance and that’s what made it a perfect fit for me whose always wanted to be on Broadway and I always wanted to bring jazz to Broadway so that was exciting to be able to be a little different. One night, I forgot the verse to my closing number in Act One of I’ll Be Seeing You which is not sung very often and I just made up a brand new verse. The entire cast had their back to the audience, it was World War II and the soldiers were leaving and it looked like the cast was sobbing from the audience’s point of view but meanwhile they were laughing like ‘What are you doing Ann? You’re messing up the verse for I’ll Be Seeing You.’ Ella [Fitzgerald] taught me that, if you forget a lyric, make up a better one.
I mentioned that you’ve written for MANY artists in several formats. What have you learned as as a songwriter when writing for such prolific voices as Barbra Streisand and Patti Lupone?
It’s very important to understand who they are, what their voices like to do, what matters to them. I think because I understand Barbra Streisand, I grew up with her singing and studied it, I think we have a similar sensibility in wanting to be storytellers. We have a similar range and some of the colour in our voice are a little bit similar, so that was the perfect fit for me to write songs for her. I had written a peace anthem that I had hoped she would sing but it wasn’t until 10 years to the date that I wrote the song that she recorded her last vocal and because I was willing to do so many rewrites until she was happy, I finally got my first Platinum hit.
I also wrote her wedding song, she fell in love with this melody and I decided to use my acting ability and pretend that ‘I’m Barbra Streisand, I’m getting married and how do I feel.’ I literally did an emotional improv and started writing in this place that reminded me of what I imagined her home was like right on the Hudson River. Because I was able to know her and use that kind of acting sensibility of storytelling, those skills helped me as a songwriter because I knew that was the kind of truth that Barbra wants to tell when she’s singing. When she got it, she was like, ‘Okay, I’m singing this at my wedding!’ This was two days after I wrote the lyrics so my life is full of wonderful stories and I like to tell them at my shows.
We are all VERY excited for your return to Toronto – AND to Hugh’s Room Live! This show is going to cover the gamut – or at least part of the gamut – of your work in a show called Sirens of Swing. Tell us about the show you’ll be doing on Thursday.
I’m doing a show that I premiered in Paris called Sirens of Swing. People think I’m the lovechild of Lionel Hampton and Cab Callaway but I grew up in Chicago with a dad, John Callaway, who was a journalist and a huge jazz fan and a mother, Shirley Callaway, whose a great singer, pianist and voice teacher. So I was very lucky to grow up hearing the finest jazz singers on our turntable and that just seeped into my being as a baby, I started scat singing when I was three years old. So, we have the earlier influences like Ella, Sarah, Billie and then some of the more contemporary singers like Diana Krall and a few others. It’s a beautiful, soulful show and I have a lot of fun putting my own spin on these songs and the audiences really enjoy the variety of songs and singers that I’m celebrating and the quality of the material which I’m excited to share.
Ann Hampton Callaway brings her Sirens of Swing show to Green Sanderson Hall at Hugh’s Room Live this Thursday, October 15th at 8pm. Tickets and information are available at hughsroomlive.com.