Kathryn Allyn has been called "a vocally lustrous earful” by the Philadelphia Inquirer, "elaborately ornamental" and "a martini dry wit" by CafeteriaRusticana.com,  "note perfect" and "a charismatic presence" by the Ft. Lauderdale Sun-Sentinel, "musically superb" by BistroAwards.com and, in a personal favorite, "grandly libidinous" by Opera News.

Kaye has appeared at NYC's Café Noctambulo, The Cutting Room, The Underground, The West End Lounge, TomiJazz, Somethin' Jazz and Stage72. In her former life as a classical singer, she was seen in leading roles at New York City Opera, Carnegie Hall, Tokyo Symphony, Florida Grand, Palm Beach Opera, Opera Orchestra New York and others; Kaye's roles ran the gamut from Carmen (Carmen), Madama Butterfly (Suzuki) and Mahler’s Symphony Nr. 2 (Alto Soloist), to Oklahoma! (Ado Annie), Noel Coward's Bitter Sweet (Manon) and Gilbert & Sullivan's Utopia, Limited (that gal who's name I forget who was funny and had a nice duet).

Kaye is a political junkie, an avocational writer, a smart aleck and a cautionary tale. She's a native of the once-great state of Kansas, and makes her home on The Island of Misfit Toys with tenor Sam Kinsey and very naughty cat, Beatrix Cattenborough.




"Moody's Mood for Love"
+Frank Ponzio, piano

"Coax Me a Little Bit", + Frank Ponzio, Tom Hubbard, Scott Neumann

 "I Got Lost In His Arms"
+Frank Ponzio, piano



THE GIFT OF THE VAGI: bad decisions make good stories

After a vigorous debate (over much wine) with some "Cabaret People" on the subject of what is “Traditional Cabaret”, I decided a traditional cabaret, at least most obviously, sets a deeply personal story alongside songs designed to illuminate the story.  Me being me, the story closest to my heart involves rubber vaginas, flummoxed bankers, irritated policemen and financial catastrophe. Mine is a tale of woe & naughty bits, with the songs of Duke Ellington, Irving Berlin, Cole Porter, Cy Coleman, Willie Nelson, James Taylor, Randy Newman, Bill Zeffiro & others.   see more

REACHING FOR THE MOON: songs of Irving Berlin

Join Kathryn Allyn & Trio, led by jazz pianist and bandleader Frank Ponzio for an examination of a towering figure in American music.  George Gershwin called him "the greatest songwriter that has ever lived"; Jerome Kern said that he “has no place in American music—he is American music."  In a 60-year career, Irving Berlin gave us a staggering 1,500 songs, 19 musicals and 18 Hollywood films.  His songs have been recorded by every musician you’ve ever (and never) heard of, hitting the top of the charts time and time again, year after year, decade after decade. The biggest challenge was choosing. see more

V IS FOR VICTORY DISC: Doing it for Defense

During WWII, the Pentagon waded into a musicians' strike to produce morale-boosting records for the troops. Ultimately, the great acts of the day -- Hoagy, Louie, Glenn, Dinah, Peggy, Frank, Jo, Ella, Tommy, Martha, Betty, everybody who was anybody-- laid down tracks for the Army. In all, the Army recorded, pressed and shipped 8,000,000 records to soldiers scattered all over three continents. It's a great story, and the soundtrack to this story features many of the standards we know and love, plus a selection of rarities, which thanks to the smuggling efforts of our soldiers and the preservation by the Library of Congress, have not been lost to time. Join Kathryn Allyn and Trio, led by jazz pianist and musical director Frank Ponzio, as they tell the tale and sing these great songs.... see more

BLUEPRINT SPECIALS: The US Army Did Something Good!

During WWII, aside from the whole USO wonder and in addition to the Victory Disc Program kerfuffle, the government also? Assigned likely soldiers to create Do-it-yourself musical theater kits.  Likely lads filled a box with everything needed for soldiers to perform a show for their fellows, and the boxes were shipped off to corners of the globe the USO couldn’t reach. The kit, arriving in the mail call, contains [insert jazz hands] A Show!, and includes a rundown of production staff needed and their jobs descriptions, a score, orchestra parts, script, sketches and instructions to build the sets, costumes and lighting -- and this bit is key -- all drawn from stuff a fellow could find in the mess, his footlocker or the trash...see more


Over the years, on public radio, public television and sundry online locales, I heard great singers singing songs that surprised me and lingered in my memory. Too often, I went looking for sheet music only to find it unavailable; my favorites were inevitably out of print. Having accumulated a list of orphan songs, I decided to take them down from the recordings and arrange them -- getting help early and often from friends and, after the charts were made, turning to the band for advice and expertise. In many cases, significant reductions were needed; the songs had to be entirely re-conceived. But after a yeoman's work, we had a set of the unknown jewels and neglected gems of the Swing Era: tunes from Jo Stafford, Julia Lee, Billy Holiday and Betty Hutton, all arranged for single voice and trio. Hence the name of the set -- Playing Hard to Get – a sheet music joke...see more


“Spinach has vitamins A, B and D. spinach never appealed to me.
But one day, having dinner with a guy, decided to give it a try.
didn’t like it the first time…. Oh, how it grew on me!”

“I Didn’t Like it the First Time” has been my mother's earworm all my life.  Periodically, she’d nudge, “You should do the Spinach Song!”  The tune was a favorite of her parents; my grandparents were known to roll up the rug in the living room and dance the night away. I gave in, took a look at it and called home. “So, Mom, the song about the spinach.  I don’t think it's about spinach..." Her, exasperated, "Well, of course not, honey; it's about sex. [sigh]"  The Spinach Song turns out to be an example of a whole sub-genre of Blues: There were dozens of  “Dirty Blues”, which typically performed live or heard on jukeboxes; they were mostly banned from radio (admittedly, for cause)... See more



November 16: At Café Noctambulo at Pangea, the irrepressible vocalist presented a “tale of woe and naughty bits” which produced more laughter than empathy...surrounding herself with the exceptional instrumentalists Frank Ponzio, Hayes Greenfield and Tom Hubbard ... moves along effortlessly from scene to scene by way of illustrative songs and clever transitions. Aided by an eclectic set of mostly classic standards, the extremely talented jazz singer rose to the challenge.  Tunes dated from as early as 1932, “I Got a Right to Sing the Blues” (Arlen & Koehler), to as recently as 2012, “My Kind of Guy” (Bill Zeffiro)... the diverse collection included iconic songs by Berlin, Porter, Coleman, and Warren, as well as a pair from Willie Nelson and Randy Newman. Allyn and her fabulous trio were clearly having enormous fun in telling the story in words and music. Likely, the audience had never heard such sparkling jazz arrangements of songs like “Love, You Didn’t Do Right by Me” (Berlin), “Just One of Those Things” (Porter), and “There Will Never Be Another You” (Warren & Gordon). Ponzio, Greenfield, and Hubbard enjoyed leisurely solos, producing an ever enveloping glow as the evening moved on. - Jerry Osterberg, American Popular Song Society

The Gift of the Vagi, at Don't Tell Mama, with Frank & Tom

October 12: Jazz combo: Kathryn Allyn on vocals, Frank Ponzio on piano, Tom Hubbard on bass, Hayes Greenfield on sax, all superb and elaborately ornamental. Out comes this pretty lady with a martini dry wit and delivery to match. She proceeds to tell a humiliating story from her past. (Includes wisecracking cops, chill bankers and sexy con men.) The story is funny and would be brief, except that every pause is an opportunity to insert a song, each in a different style.  Eighteen songs (from Irving Berlin to Cole Porter to Clifford Brown to Randy Newman to Willie Nelson to NYC songwriters Bill Zeffiro and Rosemary Loar), with vocal and instrumental jazz riffs at appropriate moments.  It only becomes clear near the end that this is a story about the end of a marriage. ("He was a nice guy ... his name escapes me ...) So the whole thing lasts 90 minutes though it feels like much less because: variety and besides, she can sing.  And you get your money's worth of singing, jazzing, combo-ing and food and drink. (Best burger in a WHILE. My date had the scallops.) Next performances are November 16 and December 21, at Café Noctambulo.
- John Yohalem, www.cafeteriarusticana.com

| JAZZ |



When Kathryn Allyn took the stage at The Cutting Room last Tuesday night, she was all va-va-voom in a curve-hugging Valentine red dress….She joined her crackerjack band-musical director Frank Ponzio, bassist Tom Hubbard, and drummer Vito Leszack-to perform homage to Anita O'Day…Throughout the show, Allyn delivered a wealth of personal and musical history about O'Day with an intelligence and conversational style that was like taking a master class at your bestie's kitchen table…Hoagy Carmichael's classic "Skylark" ... mingled pleasantly in my ears with the ice water clinking in the carafe at the next table.  Leszack brushed the snare and cymbals, creating a sandy windswept sound as Allyn sang, without pretension, a gentle, lovely version...She followed with "Moody's Mood for Love," a vocalese set to an improvised jazz saxophone solo played by James Moody...Allyn proceeded to slay this beast with virtuosic agility. There was something transporting about the evening…[Allyn] magnetized me into a world of musicianship and subtle but deep passion.” Remy Block, BroadwayWorld.com


Singer Kathryn Allyn, with a huge assist from musical director, co-arranger (with Allyn) and pianist Frank Ponzio, stands ready to educate us on the subject of V-Discs in this musically superb set of early 1940s period songs...Tom Hubbard on bass, Hayes Greenfield on saxophone and Scott Neumann on drums ... are splendid contributors to the proceedings.  Allyn sings in a strong, sure voice and internalizes lyrics well beyond her years. When she does a number associated with ...Jo Stafford, Martha Tilton, Ella Fitzgerald, Peggy Lee, Allyn doesn't impersonate them, but does give a slight suggestion of their styles. Only when she summons up Ethel Merman singing "Why Do They Call a Private a Private?" does Allyn go all out in delicious imitation.
 - Robert Windeler, BistroAwards.com

Particularly strong performances were heard in “Mood Indigo,” “You Go to My Head” and "Mood Indigo”... The phrasing was luxurious, and backed by her superb band - Ponzio (piano), Tom Hubbard (bass), Hayes Greenfield (sax), and Scott Neumann (drums) - she conveyed the atmosphere of a dark and smoky gin joint."... With the relaxed pacing of a catchy samba, Allyn was at once assertive and flirty... has a powerful voice, a wide range, a satirical sense of humor, presence, directness and sex appeal.  The attractive, smart and talented singer appears to be on the path toward becoming a full-fledged member of the jazz community. - Jerry Osterberg, Cabaret Scenes

PLAYING HARD TO GET:   Kathryn Allyn has the sort of smoky velvet soprano that sounds too natural, too unforced to have been operatically trained. In fact, there are many operatic credits to her name, but that hasn’t cut her off from her Kansas City roots and the “dirty blues” that singers with big, far less perfect voices used to shout in the dives of that city before and through the Second World War. Her program at the Triad of fine, forgotten tunes from that era provides the sensuous pleasure of Jo Stafford, the moody nuance of Billie Holiday, the jazzy energy of Betty Hutton in songs recorded by those ladies, but with a sassy wink and a toss of hip that make them Miss Allen’s own. In an era that has forgotten the fun of double-entendre, she knows how to be subtle and sexy and musical all at one time. --John Yohalem, Parterre Box.

| classical |


For all the excellence of [the] singers, it was Kathryn Friest [Allyn] in the pants role of Malcolm who won the audience. Every time she came onstage, she knocked off another amazing vocal feat of fioritura, embellishment, or expressive slow singing. Her voice has that richly creamy mezzo sound that at times hints at true alto quality. Yet she nailed high notes in the range of all sopranos... Since Malcolm is the young love interest of Elena, the music is meant to suggest the same bravura as the two "older" tenors show. As fabulously as they sang, she did them one better.”  —Daniel Vezza,Classical New Jersey Society Journal


Saucy vixen Carmen, played by the comely Kathryn Allyn, coupled the fiery gypsy thing with that old borderline personality man-eater behavior that would ruin any guy lucky enough to ... And her voice wasn't bad either!" —Mark Muro, Anchorage Daily News Online


Kathryn Friest [Allyn], was a vocally lustrous earful.” —David Patrick Stearns, The Philadelphia Enquirer


Kathryn [Allyn] was the most lovable, perhaps, of all characters, mixing a thick Russian accent (delivered with magnificent diction) with a rich mezzo that dazzled the ears, particularly in her whimsical aria 'Chacun a son gout'.”—David Abrams, Syracuse Post-Standard


In spite of a costume that resembled a cupcake, Allyn provided luxurious vocalism, good looks and theatrical poise...”—Opera News Online



As the Muse who masquerades as Nicklausse, Kathryn Friest [Allyn] was note-perfect, providing the most satisfying performance of the night. The petite mezzo was a consistently engaged and charismatic presence and sang with a clear, well-focused tone, making the famous Act 3 Barcarolle bloom beautifully.”  — Lawrence A. Johnson, The Fort Lauderdale Sun-Sentinel


Kathryn Friest [Allyn] was the stylishly sung, grandly libidinous Aloès.” — M. Lignana Rosenberg, Opera News


...most impressively sung and acted by Kathryn [Allyn]....[she] served as the vocal and histrionic backbone of the performances, displaying a richly burnished voice, wide vocal range, and excellent coloratura technique.” —Howard J. Levin, OnlineReview




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