The 37th Annual Cabaret Convention – ‘Sammy: All the Way and Then Some :The Songs of Sammy Davis Jr.’

By Alix Cohen

Sammy Davis Jr. left behind a dazzling legacy as one of the greatest entertainers of the 20th century: a singer, dancer, actor, and master impressionist. From unforgettable performances to his courageous fight against discrimination, the artist was more than a star—he was a trailblazer.

Opening with a luscious “Begin the Beguine” (Cole Porter), enthusiastic host Natalie Douglas calls Davis, Jr., “the most talented person to live ever, ever ever. Douglas has invited many artists rarely seen on a cabaret stage.

As Director of Education at The Mabel Mercer Foundation, the host introduces: Reed Harris Butts whose “Birth of the Blues” (Buddy DeSylva & Lew Brown/Ray Henderson) shows not only talent and personality, but unusual poise for a debut.

Luz Velasquez, who made her debut here last year, offers “What Kind of Fool Am I?” (Antony Newley/Leslie Bricusse ) The vocalist has a fine voice, but neither the song – referring to the unchanged “man” singer nor its arrangement do her any favors.Presented with The Iris Williams Award encouraging young singers, she’s clearly surprised and grateful.

A third student, Suri Vu won the 2026 Jim and Elizabeth Sullivan Award. Her choice was “Something’s Gotta Give.” (Cole Porter) The young woman showcases pleasing timbre. Her song, however, is too sophisticated. Performance lacks understanding.

Highlights:

“Who Can I Turn To?” (Anthony Newley/ Leslie Bricusse) is ably served by David Raleigh with an understated, yet imploring interpretation. Bass unexpectedly gets a turn at melody. Valarie Pettiford’s tensile vocal of “Don’t Get Around Much Anymore” (Duke Ellington/Bob Russell) brings out the vamp in her. Sinuously moving, she adds another dimension to performance.

“Feelin’ Good” (Anthony Newley/Leslie Bricusse) starts a capella. NaTasha Yvette Williams is warm, sultry, ripe: control gorgeous. The vocalist ably plays with phrasing.

Stephanie Pope’s tandem “Once in a Lifetime” and “Gonna Build a Mountain” (both Leslie Bricusse/ Anthony Newley) are excavated for both lyric meaning and rhythmic roots. Pope moves like a dream and sets off entertainment sparks. Why does she never play New York?! Sumptuous piano accompaniment MD Ian Herman

Introduced as nonbinary, Diva LaMarr aptly sings “I Gotta Be Me” (Walter Marks) beginning a capella, hands on hips, rife with feeling. Bass pulses, then the band comes in. Their slightly gravel voice is perceptibly sincere. The song lands well.“Night and Day” (Cole Porter) is ably interpreted by virtuoso Gabrielle Stravelli who seems to effortlessly put her stamp on anything she sings.

Natalie Douglas tells us “Mr. Bojangles” (Jerry Jeff Walker) has long been represented as a song “about those on whose shoulders we stand.” In fact, Walker declared he wrote in a New Orleans drunk tank. With only piano, the artist creates a beautiful, rendition, jewel-like in its minimalism. A sizzling low key “I’m Gonna Live Till I Die” (Mann Curtis/Al Hoffman/ Walter Kent) erupts as T. Oliver Reid’s determined power vocal of the song.

Clint Holmes’s rendition of “Hey There” (Richard Adler/Jerry Ross) is as swoony as it gets. Holmes leans out to the audience. We can almost hear the sighs. He’s then presented The 2026 Mabel Award for Lifetime Achievement as an artist “…whose multi-style vocals have excited, entranced, and elevated audiences across six decades…” (award notation)

In 1964,on The Ed Sullivan Show, Davis, Jr. performed a medley from West Side Story (Leonard Bernstein/Stephen Sondheim) with only bongos accompanying. Tonight, Holmes recreates the feat in his own unique style. (Shaun Dustin- percussion) Compilation emerges raw, wrenching, kinetic; part parlando, part sounds/ scat, part song.

A tour de force I doubt we’ll see anywhere again, performance is thrilling. Like Sammy Davis, Jr., this artist is consummate in the breadth, creativity, and virtuosity of his talent.

Also Featured:

Ever erudite, Eric Comstock begins with the Dick Schaap quote, “Some people think Davis has a God complex. That’s absurd. On the seventh day, Davis works!” His solo “Too Close for Comfort” (Jerry Bock & George David Weiss//Larry Holofcener) arrives with signature ease, sophistication and flair.

Later Comstock accompanies Barbara Fasano’s “I Could Have Told You So” (Jimmy Van Heusen/Carl Sigman) which is earnest and awash with emotional texture.

A percussive, jazz interpretation of “That Old Black Magic” (Harold Arlen/Johnny Mercer) is delivered by Darnell White as he strolls the stage. Wielding his trombone, Jonathan Aarons bounces, prances, swivels, and does a split during “Barretta’s Theme.”
Brian Eng’s café version of “Cheek to Cheek” (Irving Berlin) is easy to imagine at Bemelmans Bar, where the artist performs.

Hands clasped, Anna Anderson’s unembellished “For Once in My Life” (Orlando Murden/ Ron Miller) emerges pure song, then morphs to up-tempo Las Vegas with gospel tone. And she dances!

“Night Song” (Charles Strouse/Lee Adams), as configured by Jon-Michael Reese, evinces a long-lined vocal and accompaniment that feels like it belongs to different material.

Amanda King’s “The Rhythm of Life” (Cy Coleman/Dorothy Fields) arrives exuberant, but somehow not infectious. Vocal is clear and vivacious. Klea Blackhurst has all the nonsense words down in “Talk to the Animals” (Leslie Bricusse.) The animated Blackhurst can brighten anything.“The Battle of Johnny Cool” (Mark Barkan/ Miriam Lewis) is an unfortunate choice by Englishwoman Debbie Wileman.

Natalie Douglas and the company encourage audience to sing along with “The Candy Man.” (Anthony Newley/Leslie Bricusse)

Photos by Richard Termine

The 37th Annual Cabaret Convention- Sammy: All the Way and Then Some :The Songs of Sammy Davis Jr.
Host- Natalie Douglas
Band: Dionne James Hendricks-MD/piano, Lavondo Thomas0 – bass, Shawn Dustin- drums
Rose Theater at Jazz at Lincoln Center (Frederick P. Rose Hall, New York City)
October 14, 2026