2007, "Breast in Show" at Helen's

CABARET HOTLINE ONLINE, June 18, 2007
After Dark with John Hoglund
by John Hoglund

I can think of no one more worthy of kicking this column off with than cabaret favorite and award winner Tom Andersen. I was there when he made his Manhattan club debut at Eighty Eight's in 1992 and I've been at just about every other of his solo shows through the years including, Carnegie's Weill Recital Hall, The Russian Tea Room, The Fire Bird, The Bradston Country Hotel and Maxim's as well as many other local club dates in Manhattan. I ran out of adjectives a long time ago to properly describe how special he is as a warm and funny individual, as a songwriter, as a performer and as a one of today's finest singers on the planet.

As part of Helen's and Diane Trinkaus's "Breast in Show" series to raise awareness and funds for The Breast Cancer Research Foundation through June, Tom kicked off the series on June 4, at The Hideaway Room at Helen's. What made this show so special? Well, for the first time in cabaret, he sang all Broadway songs. A theme show for Tom Andersen? A first. I cannot rave enough about this show. Talk about a singer connecting with songs. Not only is his ethereal tenor better than it has ever been, he couldn't have been funnier or more charming in everything he did on stage. With the multi-talented James Followell at the piano, Andersen took the room on a memorable journey in song.

Just to hear him sing "Hold On" from "The Secret Garden," "Wishing You Were Somehow Here Again" from "Phantom of the Opera" and "If I Love Again" from the musical film "Funny Lady" would have been more than enough. However, he also included a Jule Styne tribute and the best versions of "It's a Fine, Fine Line" from "Avenue Q" ever heard. There was a lot of silly talk and some fun songs as well like a rollicking "Gary,Indiana" from "The Music Man." Pretty hysterical stuff.

The bottom line is always the same with Andersen: honesty. Nobody can hold a candle to the way he embraces a song and lets it take flight,. Such is his emotional vocabulary and interpretive gifts, it's like an outer body experience. I've heard that he's considering bringing it back. With any luck, he'll record it. This one's too good to put to bed.

CABARET HOTLINE ONLINE, June 7, 2007
By Stu Hamstra

I saw one of the most fantastic shows of the year-to-date at the opening night of the "Breast in Show" benefit series on June 4. It was Tom Andersen's first solo show in years, and the first time that Tom has presented a show of all-Broadway! Absolutely incredible - this show cries out for a repeat performance run! James Followell was at the piano, another first for Tom. Bravo, Mr. Andersen! Please do this show again - and again, and again.

2007, "The Leading Men II" at Birdland

THE CAST PARTY NEWSLETTER, Feb. 9, 2007
By Jim Caruso

"The Leading Men II" concert was "such a success, and so totally packed, that we were dragging in chairs from the dressing room for last-minute guests. When the benefit was announced months ago, the Birdland phone rang off the hook until it was a sellout within a week. The event was beautifully produced by Wayman Wong, perfectly directed by Alan Muraoka and musical-directed by the truly hilarious Seth Rudetsky. Birdland owner Gianni Valente was kind enough to donate 100% of the cover charges to Broadway Cares/Equity Fights AIDS, and we couldn't have been prouder to host such a brilliant array of talent!"

The Three Honky-Tonky Tenors: If you're a country music fan but feel like a fish out of water in the city, there's good news: "Southern Comfort," starring Tom Andersen, Scott Coulter and Tim Di Pasqua, plays tonight and next Friday at the Laurie Beechman Theater.

PLAYBILL.COM, "The Leading Men," Aug. 1, 2006
By Wayman Wong

These three thrilling tenors - Tom Andersen, Scott Coulter and Tim Di Pasqua - will raise the roof with toe-tapping tunes by Vince Gill, Alan Jackson and many more. They work in perfect harmony, and it's worth traveling a country mile to hear their heavenly sound.

2006, "Discography" (Back Stage Books)

"INTIMATE NIGHTS:
The Golden Age of N.Y. Cabaret," April 2006
By James Gavin

Since the '80s, the emotionally naked tenor and songwriter Tom Andersen has been challenging the boundary between so-called masculine and feminine delivery. Andersen found an embracing home in the cabarets of San Francisco, and later on, New York City. Onstage, he opens his heart so freely, it's hard not to be moved.

2006, Nightlife Awards at Town Hall

CABARET HOTLINE ONLINE, Feb. 9, 2006
By Stu Hamstra

The N.Y. Nightlife Awards was a truly exciting and enjoyable evening of live entertainment. ... Just give me Karen Mason as an opening act, the spellbinding vocals of Tom Andersen, solo numbers by Eartha Kitt and Elaine Stritch and a spine-tingling "unplugged" closing song by Brian Stokes Mitchell and anything else you provide is a bonus. Best of all was the near sell-out audience. I saw hundreds of cabaret fans in the crowd. A great concept - and one well-executed by Mr. Scott Siegel and his team.

BROADWAYWORLD.COM, Feb. 9, 2005
By Jena Tesse Fox

If you weren't at the Nightlife Awards at Town Hall (and really, you should have been), here are a few of the magnificent moments that you missed: ... Outstanding Cabaret Male Vocalist Tom Andersen's intense reimagining of "You'll Never Get Away From Me" from "Gypsy." ... When the créme de la créme are all performing together, it's guaranteed to be a night to remember.

THEATRESCENE.NET: "Top 10 Cabaret Acts of 2005," Dec. 22, 2005
By John Hoglund

Tom Andersen: Returning to cabaret after a hiatus and still looking like the boy next door, multi-award winner Andersen's sold-out shows scored because of his lilting tenor on haunting interpretations of beautiful songs non pareil. He is in his own league.

2005, "Songs Along the Way" at The Encore

WBAI-FM: "Everything Old Is New Again," Nov. 27, 2005
By David Kenney

I hope you went to see Tom Andersen at The Encore. His show is just wonderful. He was in great voice, looks good. He's got that charm and it just works. And such a great variety of music. I spoke to him afterward and said, 'I hope you don't take off from performing in New York for another four years.' And that's why he was selling out [now]. People are just dying to see him. Hopefully, he'll be back within six months and turn around and do another show.

BACKSTAGE.COM: "Just Breezin' Along," Nov. 23, 2005
By John Hoglund

Somebody needs to give Tom Andersen a spanking. Anybody with that much talent should be flogged for denying folks the right to see him in a live performance. However, his legions of fans forgive him once he starts to sing. His new gig at The Encore, running Sundays at 4 p.m. through November, marks his first New York cabaret engagement in four years. As he glides into his second tune, "Breezin' Along With the Breeze" (Gillespie-Simons-Whiting), you know that for the next hour or so, all is right with the world and you're in the right place.

Andersen, who has sung at Carnegie Hall and the Kennedy Center, has one of the best voices to come along in the last century or two. His supple, lilting tenor produces an expressive clarion sound that rivets. Every song is fully realized. His prayer-like delivery on a ballad like "Let It Be Me" (Becaud-Curtis-Delanoe) or "There's a Fine, Fine Line" (Lopez-Marx) from "Avenue Q" are perfection. With musical director-arranger Ian Herman leading the 4-piece band, his show, "Songs Along the Way," is one of his best yet.

However, it is not just the beautiful voice that captivates you. Tom has a delightfully shy charm and sly sense of humor that lets you into his world. Tom is a teller of tales from the heart about life, love and everything in between. This includes one of his newer original songs, "Another Tuesday," based on a friend who gave her child up for adoption. It's a killer. He is blessed with an uncanny ability to explore nuance and expose layers of meaning like few other singers. Like Tony Bennett, Johnny Mathis or Frank Sinatra, Andersen has an extraordinary voice that inhabits every lyrics, and he can move you to tears or laughter in a split second.

Whether he's performing pop, country or swing, Tom Andersen is a gargantuan talent as a songwriter and a singer. He deserves to be heard on everyone's radio and seen on TV. Come on, producers, wake up! Andersen's the real deal.

NEXT MAGAZINE , Next Week, Nov. 11, 2005
By Justin Ocean

Bravo! Five-time MAC Award-winner Tom Andersen has been around the block. From Carnegie Hall to the Kennedy Center, this out singer/songwriter knows how to shine his way through adoring crowds. Join him every Sunday in November for his signature aural sexiness of pop, country and swing tunes both classic and contemporary in his new show "Songs Along the Way."

CABARET HOTLINE ONLINE, Nov. 7, 2005
By Stu Hamstra

This is Tom's first NYC run since 2001. This is far too long a wait for us New Yorkers (Tom has been performing around the country and did a few one-night shows in town) and hopefully this show will continue beyond the 4-Sunday run currently scheduled. Folks from all over jammed into the downstairs showroom for this event, and no one was disappointed. You simply must not miss this show!

CABARET HOTLINE ONLINE, Oct. 20, 2005
By Joe Regan
Tom Andersen sang a hysterical special material song, "Vibrato" [by Beckie Menzie and Cheri Coons] all about how he did not have any vibrato when he sang and the efforts he was making to correct the situation. It was a comic high point of the night. He then sang a slow, soaring [version of] "Let It Be Me."

2005, "The Leading Men" concert at Joe's Pub

BROADWAYWORLD.COM, June 3, 2005
By Michael Dale
The "Leading Men" concert was a wildly entertaining boys' night out. ... Tom Andersen followed with a comically intense interpretation of Tony Hatch's pop classic "Downtown," complete with an audience singalong. ... With the sellout crowd leaving Joe's Pub all smiles, there's no doubt that "The Leading Men II" will certainly be required in the near future.

BACK STAGE, Bistro Bits, June 9, 2005
By John Hoglund
Tom Andersen told us it was all happening "Downtown." And it was. It all took place at "The Leading Men" concert at Joe's Pub, a benefit for Broadway Cares/Equity Fights AIDS held May 30. ... The stellar lineup featured a boatload of talented, award-winning artists offering their best. ... Overall, this was a hugely successful evening and all the performers gave an impressive 110%. Let's hear it for the boys.

THEATERMANIA.COM, June 10, 2005
By Barbara and Scott Siegel
The cabaret contingent did themselves proud. Tom Andersen's personalized rendition of "Downtown" was engaging and original. ... Andersen, [Scott] Coulter and [Tim] Di Pasqua sang Di Pasqua's "What Did I Know," a bittersweet song in a wonderful arrangement.

2004, "Queer Songbook" at the Center

CABARET HOTLINE, Oct. 28, 2004
By Stu Hamstra
Tom Andersen's show was pure brilliance. All the songs were original Andersen creations, and I savored and treasured every word and note. I have rarely seen a more appreciative audience. During the ballads, you could hear a pin drop. With Ian Herman at the piano, Jered Egan on bass and Jason Wildman on drums, the hour flew by as we were treated to glorious songs – sung gloriously. I could not tear myself away from a single second of this memorable show.

New reviews of "Who Knows?"

NEW YORK BLADE, "Noh Way," June 4, 2004
Tom Andersen is a name to watch
By David Noh

For some lovely summer listening, check out Tom Andersen's "Who Knows?" His affecting, plaintive tenor has a sweetness akin to Vince Gill's, and the entire recording is gorgeously arranged by the gifted likes of Ian Herman, Tim DiPasqua and Dick Gallagher. Especially tasty cuts: Hugh Prestwood's insouciant "Once I Was," "A Lovely Night," a swinging take on that "Cinderella song," and the title tune, composed by Andersen.

N.Y. RESIDENT, "Songs of Songs," May 31, 2004
By Leslie (Hoban) Blake
Tom Andersen's "Who Knows?" contains four new original songs by this multiple MAC Award-winning tenor, including the title song, along with a tune by Hugh Prestwood ("Once I Was"), a jazzy version of Richard Rodgers' "A Lovely Night," a doo-wop version of "Breezing Along With the Breeze," and a brand-new arrangement of Patsy Cline's "I Fall to Pieces." Hey, Tom, now do a whole disk of your own songs, please.

PLAYBILL, For the Record, Jan. 31, 2004
By Andrew Gans

High notes: Tom Andersen scores again with his latest solo recording, "Who Knows?" Andersen lends his beautiful, rangy tenor to several tunes, including the haunting "Ghost in This House," the Patsy Cline anthem "I Fall to Pieces" and four tunes co-written with Tim DiPasqua and Ian Herman.

BACK STAGE, Bistro Bits, Jan. 2, 2004
By John Hoglund

Sometimes playfully silly, sometimes desperately pining, Tom Andersen's latest CD, "Who Knows?," takes him to the next level in his recording career with this Grammy-worthy album. Compiled of mostly original songs co-written with Tim Di Pasqua or Ian Herman, the album also includes tunes by established songwriters. With a decidedly country flavor, Andersen's whimsy shines on the likes of "When I Reach the Place I'm Goin'" (Gordy-Henry) and a free-spirited "Breezin' Along With the Breeze" (Gillespie-Simons-Whiting) from the 1954 Lucille Ball-Desi Arnaz movie "The Long, Long Trailer." "A Lovely Night" by Rodgers and Hammerstein is a rarity from the television production of "Cinderella." The album's best cuts are Andersen's original "Another Tuesday," about a mother who gives up her baby and then, years later, is found by her grown son, and the Patsy Cline torcher "I Fall to Pieces" (Cochran-Howard), which is given an incomparable and haunting reinvention. Speaking of incomparable, Di Pasqua and Herman's arrangements on select tunes, paired with Jered Egan on bass and Jamie Foxx on guitars heading the musical ensemble, place the album in a league with anything the Nashville hit factory might generate. In the end, it's Andersen's unique, dreamy tenor that makes the CD the winner it is.

CABARET SCENES, Dec. 1, 2003
By Jeff Rossen

On his new album, Tom Andersen gives his fans what they love to hear from him, those gorgeous ballads delivered with that mesmerizing tenor voice of his. But he adds in some surprises as well, a healthy dash of country, some joyous rock and a pair of inspired twists on classic standards. With his self-penned opening title track, which encourages both him and us to live life to its fullest and savor what the world has to offer, Andersen opens a collection that journeys through the achingly honest (the pensive "Ghost in This House"; the soul-searching "Another Tuesday," one of the finest musical creations of the year), mischievous ("Once I Was," the sparkling "A Lovely Night," the fun-lovin' "Breezin' Along With the Breeze") and gripping (the amazing reworking of Patsy Cline's "I Fall to Pieces," with its dramatic arrangement by Ian Herman). With his first new set in five years, the wait may have been a long one, but our patience is repaid in gold.

WINDY CITY TIMES, Music, Nov. 26, 2003
By Gregg Shapiro

Speaking of surprises, I didn't expect to be taken for a ride on a country road, as I was on Tom Andersen's new CD "Who Knows?" (Other Music). Andersen, a five-time MAC (Manhattan Association of Cabarets & Clubs) award winner, covers the twangy "Once I Was" and the torchy "Ghost in This House," written by country music songwriter Hugh Prestwood (Trisha Yearwood, Collin Raye, Kathy Mattea), as well as doing a heartbreaking interpretation of "I Fall to Pieces." Even the originals, some of which were co-written with gay songwriter Tim DiPasqua, have a contemporary country quality. It's not difficult to imagine the Dixie Chicks, Martina McBride or Blake Shelton covering "Another Tuesday," "Then Again" or "Who Knows?," although a daring country music DJ would do his listeners a great service by playing Andersen's own version of these songs.

TALKIN' BROADWAY, "Sound Advice," Nov. 19, 2003
By Jonathan Frank

After a wait of over three years, Tom Andersen has released his latest CD, "Who Knows?," his strongest album to date. The album is beautiful in its emotional honesty and simplicity, thanks to numbers like the title song (written by Andersen) and Hugh Prestwood's "Ghost in This House," a haunting and heartrending number of loss. Two numbers written by Andersen and Tim DiPasqua are also highly effective and touching: "Another Tuesday" (a song written as a gift for a friend who was contacted by the child she gave up for adoption) and "Then Again" (a song about letting go of a relationship that has reached its terminus).

TALKIN' BROADWAY, Oct. 25, 2003
By John Gillespie ("V.J.")

The new Tom Andersen CD, "Who Knows?," is simply Tom Terrific at his best! I got a copy of Tom's new CD and I plopped it on the CD player expecting, well, expecting T.B.'s favorite son to be his best, which he is, but with a few surprises. The album has a very definite country twang to it, but it works. I loved "Once I Was" and of course, "I Fall to Pieces" left me in pieces. The guy is simply amazing and possesses a voice which is truly a gift from God. For those of you new to T.B., his other two CD's are must-listening. They're called "The Journey" and "Far Away Places" and I listen to them all the time. His version of "Storybook" from "The Scarlet Pimpernel" is simply awesome and the definitive recording of that song. Anyhow, this new CD for Tom's fans is simply great. More Tom, more!

SHOW BUSINESS WEEKLY, Oct. 22, 2003
By David Hurst

It's been five long years since Tom Andersen's last CD but it was well worth the wait. Following his award-winning "Far Away Places" in '95 and "The Journey" in '98, Andersen has produced a new, acoustic pop album that will immediately take its place among the best cabaret discs of the year. Entitled "Who Knows?" and possessing a relaxed country flavor, every track is a gem with Andersen's gorgeous voice in peak condition. Opening with his own melodically jaunty title song about living life to the fullest, Andersen sounds relaxed, confident and focused as he unfolds a cornucopia of styles, lyrics and emotions. Long known as a balladeer to break your heart, Andersen doesn't disappoint with "Ghost In This House" and "Another Tuesday," a tiny masterpiece co-written with his long-time collaborator, Tim DiPasqua. Delightfully though, his winning playful side is on full display in "Once I Was," a jazzy "A Lovely Night" that John Pizzarelli would envy and a deliciously silly "Breezin' Along With The Breeze." Fittingly, however, Andersen concludes the disc with a haunting paean to longing called "Before We Say Goodbye" which he co-wrote with Ian Herman. Like the rest of the CD, it's beautiful, simple and true–just like Andersen himself.

BACK STAGE, Oct. 31, 2003
By David Finkle

Tom Andersen pulled out a piece of material by Willy Welch about playing right field on a kid’s baseball team that was totally charming. It was a high mark.

THEATERMANIA, Oct. 24, 2003
By Barbara & Scott Siegel

If Julie Wilson stopped the show with her entrance, Tom Andersen stopped it again with his performance of "Right Field." He had the audience cheering and applauding long before the song was finished. Andersen closed the first act – and he owned it, as well.

CABARET HOTLINE ONLINE, Oct. 22, 2003
By Alan Kull

The first act was brought to a close by the always fabulous Tom Andersen, who managed to turn the pop "Downtown" into an emotional trip that you would never have previously expected from the tune.

2003, "Broadway Musicals of 1964" CD

"TALKIN' BROADWAY," "Sound Advice," March 17, 2003
By Jonathan Frank

The latest of the "Broadway by the Year" series on CD is also one of the strongest. 1964 was an incredible year. ... Toss in an incredible cast of singers that includes Tom Andersen, Liz Callaway, Sharon McNight and Craig Rubano, and you have quite the evening, which thankfully was preserved on disc. ... Tom Andersen shines bright with a pairing of a song cut from "Fiddler," "The Richest Man in Town," and the song that replaced it, "Miracle of Miracles," as well as with a hysterical song from "Something More" ("Come Sta?"). He also has recorded one of the subtlest versions of "Anyone Can Whistle" I have ever heard.

2002, Cabaret Convention, Town Hall

BACK STAGE, Bistro Bits, Nov. 8, 2002
By John Hoglund

"Finding hope and discovering fresh faces is, to borrow a song title from "The Sound of Music," one of my favorite things about the Cabaret Convention. Year in, year out, Donald Smith, who organizes it all, comes up with some gems. About 10 years ago, I saw a good-looking tenor from San Francisco make his Town Hall debut. He sent Rodgers & Hammerstein's "Ten Minutes" soaring into the stratosphere and stopped the show. The singer's name was Tom Andersen. Now one of cabaret's success stories, Andersen wowed the crowd again this year when he reprised his now signature tune from "Cinderella."

2002, ''New Mondays'' at The Duplex

TALKIN' BROADWAY, June 25, 2002
By Jonathan Frank

Tom Andersen once again proved what a remarkable performer he is. His opening number, ''Opening Song,'' was a Harry Chapin-styled song that perfectly encapsulates the ''joy'' of looking for that perfect first number. That was followed by ''Two Chairs'' (also written with Tim Di Pasqua), a song he wrote for his parents. Next was a hysterical number Tom wrote with his musical director/pianist, Ian Herman, called ''I'm Here,'' which Tom mentioned was written with Megan Mullally (aka Karen from ''Will & Grace'') in mind. Seeing Tom perform it as a fusion of Karen and ''Just Jack'' was a sight to behold. Somebody get this to her or the folks at NBC ASAP. The last song was an incredibly touching number that is the equivalent of ''Yard Sale'' for those who have given up a child for adoption, ''Another Tuesday'' (also written with Tim). ... It was an incredible night!

GAY CITY NEWS, July 5-11, 2002
''Three Men and a Stage''
By Christopher Byrne

Last week ''New Mondays'' presented Marcus Simeone, Jason Robert Brown and Tom Andersen. Each performer is distinctive, highly talented and extremely entertaining. ... Of the three, Tom Andersen was new to me. He is a gifted performer who manages to balance heartfelt emotion with uproarious comedy. There are not many people working in cabaret today who have such range, and such an easy presence. Whether singing a sweetly nostalgic tribute to his parents and strong Midwestern foundation [''Two Chairs''], or being truly outrageous in satirizing traditional cabaret acts [''Opening Song''], everything he does is right on the mark.

2001, ''My Songs,'' Don't Tell Mama

SHOW BUSINESS WEEKLY
NYC Live
By David Hurst

One of the finest male vocalists in New York, multiple award-winner Tom Andersen's gifts as a songwriter have always been apparent. On both of his CD's (Far Away Places and The Journey) as well as in his cabaret shows, Andersen's work has been well represented and several of his compositions have rightly become modern standards. However, not until his most recent show, My Songs, has the scope of his songwriting talents been solely on display. Working with composers Tim DiPasqua and Ian Herman and on his own, Andersen's songs take center stage and share the spotlight with his definitive interpretations.

Enriched with the passing years, Andersen's voice is a pristine tenor that throbs with emotional vulnerability. It registers emotions with immediacy and a gut-wrenching honesty that is sorely lacking in performers today. There's never a false moment in his delivery. That Andersen takes his audience from laughter to tears and back again multiple times in the course of an hour without making them feel manipulated is astonishing.

In exclusively singing his own material, Andersen hits his stride as a performer. Never have I seen him so relaxed and confident and never has he sounded better. Opening with the clever "Opening Song" (DiPasqua), Andersen begins a love affair with the audience that allows him to clown his way through comic ditties with the same ease he uses to devastate us on the ballads. He and his collaborators have constructed miniature three-act plays that provide a wealth of riches in material.

"I'm Here" (Herman), seemingly written for Karen Walker on Will & Grace, is a wickedly funny song that will undoubtedly find its way into countless cabaret shows. "Who Knows" (complete with dance break), "Play Your Song For Me Blues," and "You Should Know" (DiPasqua) all swing with a jazzy sound that is infectious, allowing Andersen to tear into his vocals with zeal. The ballads, of which there are many, have very heartfelt lyrics. "Every Night I Sleep With An Angel" (DiPasqua) and "Two Chairs," both on The Journey, have never been more moving and "Another Tuesday" (DiPasqua), a story of a birth mother rediscovered, is devastating in its simplicity. For me, however, it's the award-winning "Yard Sale" that always has me grasping for a handkerchief and wiping away tears. A remembrance of someone selling their belongings in the face of death, Andersen's distillation of the emotional cruelty of AIDS is a masterpiece of composition and performance.

THEATERMANIA, Nov. 30, 2001
''Cabaret Notes''
By Scott and Barbara Siegel

Tom Andersen is brilliant when singing his own compositions. This extraordinary, award-winning vocalist has emerged in recent years as one of our most exciting new songwriters. In his current show at Don't Tell Mama, he has finally put together a program of his own stuff. Often witty (as in the comically incisive "Opening Number," co-written with Tim Di Pasqua) and just as often moving (e.g., the poignant "Another Tuesday," on which Andersen also collaborated with Di Pasqua), these songs offer a palette of seemingly endless color choices, as does Andersen's singing voice. He can write and perform with a driving passion in his masterpiece "Let Love Lead the Way," he can shatter you with the delicacy of the heartbreaking hit "Yard Sale," and he can sweep you into touching nostalgia with his ode to growing up, "Two Chairs." Though such other artists as David Campbell and Baby Jane Dexter have sung his songs, getting the chance to hear Andersen perform his own work offers the double treat of hearing exquisite new material rendered by an acclaimed singer who knows better than anyone else what it's all about.

There are quite a few songs in this show that were new to us, including the sharply comic "I'm Here" (written with Ian Herman) and what may turn out to be another Andersen signature tune: "Time and Tears," written with Di Pasqua. For this song alone, the show is a must. You can still catch Tom Andersen at Don't Tell Mama on November 25, performing with a four-piece band led by Ian Herman, his gifted musical director.

CABARET SCENES MAGAZINE, January 2002
''Cabaret Reviews''
By Barbara Leavy

In seeing Tom Andersen's ''My Songs', other fans may be struck, as I was, by the changes that have occurred over the years. Early on, Tom's appearances at shows, the Cabaret Convention and benefits brought onstage a nice-looking man in a suit and tie that would do a banker proud - and in a rather formal manner he would proceed to overwhelm the audience with his gorgeous voice and fine way of delivering a song. But there were rumors floating about the cabaret world: that Tom was a very funny guy and that he was developing into a major songwriter.

Then two things happened: The wit, accompanied by a twinkle in his eye, began to peek through in places during his patter, and ''Yard Sale'' virtually exploded into the music world: an AIDS song with a beautiful melody, powerful lyrics, and roots in the traditional ballad form. A song in which a narrator unexpectedly encounters an unknown person whose story emerges from the meeting. To his other MAC Awards for Male New York Debut and Outstanding Male Vocalist was added Song of the Year.

It seems timely then that Tom now devote an entire performance to ''My Songs'' (actually, he is quick to note that some were co-written by Tim Di Pasqua or Ian Herman, his musical director). His wonderful compositions range widely in subject matter, mood and tempo, as well as degrees of pathos and humor. And there are some new or less-known works among the familiar ''Yard Sale,'' ''Let Love Lead the Way'' and ''Every Night I Sleep With an Angel.'' A lively ''Play Your Song for Me Blues'' is a masterpiece of double entendre, and a moving ballad, ''Another Tuesday,'' depicts the emotions of a woman who receives a letter from the son she had, at his birth, given up for adoption. Backed by Herman (piano), Jered Egan (bass), Jamie Fox (guitar) and Jason Wildman (drums), Tom was in turn charming and witty, sad and contemplative, but throughout, relaxed - and always terrific. Because the audience was clearly having a good time, so was Tom, who it might be noted, was nattily dressed in tailored jeans and an elegant but sporty shirt sans tie.

More rave reviews of ''My Songs''...

"As a singer, his expressive, soft tenor soars with every note. As an entertainer, he can be laugh-out-loud wacky, starting with a riotous 'opener,' called 'Opening Song' and 'I'm Here,' a fun ditty about a show diva written with Ian Herman. But he can also be so deeply caught in the moment that he rivets the emotional core of every phrase. For instance, a trenchant new ballad about a mother hearing from the child she gave up for adoption, 'Another Tuesday,' was deeply moving. There were audible sobs when he sang 'Yard Sale.' Other highlights included 'Then Again,' a tender ode to letting go written with Tim Di Pasqua, and a great country ballad, 'Every Night I Sleep With an Angel.' There's much to recommend in the Tom Andersen songbook. You'll hear unique material you won't hear anywhere else. Like the artist himself, it all deserves more attention.''
- John Hoglund, BackStage, Bistro Bits, Nov. 9, 2001

''Tom Andersen, a splendid singer who is also writing a growing catalogue of fine songs, brings both his original tunes and sweet tenor to Don't Tell Mama. It's a lively showcase for Andersen's songs, which range from traditional love ballads to upbeat swing, pop and country. Perhaps his best-known number is ''Yard Sale,'' a poignant reflection on the impact of AIDS, but he's equally capable of just having fun.''
- David Hinckley, The New York Daily News, Nov. 16, 2001

2001, ''Tim Di Pasqua: ASCAP Series''

"Appearing with Di Pasqua was Tom Andersen, who collaborated with him on the now popular 'Every Night I Sleep With an Angel.' Andersen sang 'You Make Me Nuts,' a catchy and funny tune that he delivered perfectly. ... When the three men [Di Pasqua, Andersen and Scott Coulter] joined forces to sing 'What Do I Know' and 'The Best That I Can Do,' the harmonies were spine-tingling and reminded me of the 'Trio' album that Dolly Parton, Linda Ronstadt and Emmylou Harris recorded several years ago. They should consider an entire CD of Di Pasqua's work.''
David Hurst, Show Business Weekly, Sept. 5, 2001

2001, ''This Life'' at the FireBird Cafe

"Portia Nelson was something of a Manhattan secret. The songs she wrote and performed for years have a special passion, wit and joy, and are infused with those very qualities in this revue by Tom Andersen, Terri Klausner and Deborah Tranelli. A Backstage Bistro Award winner."
- David Finkle, The Village Voice, May 2, 2001

"Portia Nelson was a cabaret icon and, like Mabel Mercer, one of the most respected keepers of the keys to the great American songbook. In her career, she chronicled the work of Cole Porter and Bart Howard, but every Thursday in May at the FireBird Cafe, the wit and sophistication of the extraordinary songs she wrote herself are relived in 'This Life,' a revue with three gifted performers - Tom Andersen, Deborah Tranelli and Terri Klausner - who recreate her many musical moods with charm and spruce.''
- Rex Reed, The New York Observer, May 21, 2001

2000, "This Life" at Don't Tell Mama,

''Portia Nelson, one of cabaret's elder songwriting stateswomen, was recently honored at Don't Tell Mama with a revue that featured her work. Lovingly directed by John Znidarsic, 'This Life' had a dynamite cast that included Tom Andersen, Terri Klausner and Deborah Tranelli, along with musical director Paul Katz. As a group, they sang harmonies as delicate as Nelson's refined sensibility. The showstopping moment of the show belong to Tom Andersen, who took a song that Portia often sang with poignancy herself, ''As I Remember Him,'' and turned it into a lament so stunningly acted that you could hear a tear drop.''
- Scott & Barbara Siegel, BackStage, Bistro Bits, Oct. 20, 2000

2000, Kennedy Center, Washington D.C.

''To fans of cabaret, the name Tom Andersen probably already means something special. This New Yorker is arguably the best singer on the New York City cabaret scene. His direct and affecting tenor wraps around achingly tender lyrics like a glove. Besides covering works by such de rigeur writers as Julie Gold, he composes his own simple vignettes and does great justice to pieces from the Great American Songbook. If you get misty-eyed when you hear 'Every Night I Sleep With an Angel' and 'Reaching for the Moon,' then head to the Kennedy Center's Millennium Stage, where Andersen makes his Washington debut!''
- Eric Brace, Washington Post, March 20, 2000

2000, The Firebird Cafe New York City

''Tom Andersen represents danger, and his audience eats it up. There's something liberating about watching a man feeling music viscerally, allowing the weight of his love for songs push his body into a spontaneous dance. When he sings the Nan Knighton-Frank Wildhorn ''Storybook,'' the propulsive, circular melody and developing, enveloping lyrics seem to get into his muscles. (There are Andersen fans who'd riot were he to cut this number, and I'm one of them!)''
- David Finkle, BackStage, Bistro Bits, Feb. 11, 2000

''Tom has (star quality). He's got this boy-next-door manner and a golly-gee sweetness about him. He's a regular, all-American guy who then dazzles us with his talent. Once he starts singing, Tom reveals all this depth and complexity; it's almost like watching Sal Mineo or Anthony Perkins. He can show all the pain and the tragedy and the joy in the context of a song. I'm so glad I went to see him!''
David Kenney, WBAI-FM, Jan. 30, 2000

InTheater August 30, 1999
DOWN FRONT WITH THE SIEGELS
By Barbara & Scott Siegel
ANDERSEN LAND

We had high expectations coming into Tom Andersen's new show at The FireBird Cafe'. After all, Andersen is one of cabaret's brightest young stars, a singer/songwriter of seemingly limitless potential. As good as he has been in the past - and he has been thrilling - this marked the first time every song and every bit of patter throughout his act combined to create that rare and wonderful thing called a perfect show. There wasn't one throwaway number, not one lapse in structure, not one misstep in storytelling. Everything worked, including Ian Herman's original and exceptional arrangements, Stephan Crump's elegant bass playing, and Jennifer Gleason's smartly subdued handling of lights and sound. And at the heart of it was Andersen's pure, celestial tenor voice and his winning personality. Our only regret is that the show was scheduled for just two weekends, and will be over by the time you read this.

From a sublime "If I Love Again" to a lush and lovely "Let It Be Me," Andersen projected a heartbreaking vulnerability. Performing "Storybook" from The Scarlet Pimpernel - a song he has made famous in cabaret venues - Andersen outdid himself, using the music and lyrics to create an emotional whirlwind. In a show of versatility, he brought a boyish charm and innocent romanticism to "Oh, What a Beautiful Mornin'," making us hear this all-too familiar song as if it were brand new. Andersen also performed a couple of his own compositions back-to-back; he stunned the audience with the hilarious "Play Your Song for Me Blues," which he sang in the amazingly credible persona of a black female blues singer, then offered his driving, dynamic "Let Love the Lead the Way."

At a time when male cabaret singers tend to dress to excess, Andersen's on-target choice of clothing - conservative jacket, tie, and white shirt - exemplified the classy nature of his elegant show. Refreshingly unpretentious, endearingly goofy, and utterly charming, Andersen again proved himself to be a transcendent performer. Put simply, he should be a household name. If you live in New York and haven't caught a Tom Andersen performance, you aren't taking advantage of what the city his to offer. One hopes that the singer will soon return to The FireBird.

BACK STAGE August 20, 1999
BISTRO BITS
John Hoglund
Welcome Back Again

There's not much more I can add about multi-award-winning singer-songwriter Tom Andersen, who remains one of our most compelling cabaret artists. It's all been said by every critic in print, radio, or on television. His gifted voice is one of cabaret's most beautiful instruments, and his spirited, homespun style and wacky humor make every appearance in cabaret special. This totally persuasive interpreter of love ballads and story songs was impressive earlier this month, in his first major run at The FireBird Cafe.

Always full of surprises, Andersen has tons of fun with an original blues song fashioned after red-hot bluesy mamas who kick their shoes off in the middle of their sets. Asking the audience to imagine him as one of those weathered blues gals, he was a riot getting down and dirty on "Play Your Song for Me Blues." He also unearthed an obscure ditty recorded by Tony Bennett in 1964, called "Trapped in the Web of Love." Andersen's story of finding this on an album at his parents' house and later spotting a bizarre lady attempting to sing it on public access TV, was too funny for words.

Andersen has more energy than a litter of kittens and more talent than most of the William Morris Agency's clients combined. This is one of today's hottest singing talents. So, why isn't he on Broadway yet? Just hear his definitive reading of the Frank Wildhorn-Nan Knighton waltz "Storybook," from "The Scarlet Pimpernel." He practically put the song on the map by singing it four years before it came to Broadway. Other highlights included a flawless reading of "Since You Stayed Here," from the ill-fated musical "Brownstone." Potent readings of his own "Let Love Lead the Way" and the 1932 evergreen "If I Love Again" were alone worth the price of admission.

Andersen was at FireBird for two sold-out Fridays and Saturdays (Aug. 6-7, 13-14). Let's hope that in this venue this extraordinary singing star has found a home base where his many fans can find him regularly.

BACK STAGE June 28, 1998
BISTRO BITS
By Roy Sander
Finding the Right Adjectives

In this column last summer, I described the performance I'd just seen Tom Andersen give as consistently strong, the finest work I'd ever seen him do. Well, if that was strong and fine - and it was - what adjectives must I use to describe his new show at Eighty Eight's (Fridays, 8:30 pm, through July 10)? Magnificent? Beautiful? Deeply moving? Funny? Enormously entertaining? The answer is: all of the above.

It's hard to know where to begin. The evening contains several original works, so I could start by praising his writing. There's "Why?," a collaboration with musical director Ian Herman; it's great fun both musically and lyrically. Then there are two songs Andersen wrote with Tim DiPasqua: "Opening Song," a hilarious piece of special material, and "Every Night I Sleep With an Angel" - what a sweet expression of love and gratitude. And there are three by Andersen alone: the irresistibly chipper "Who Knows?," the exciting "Let Love Lead the Way," and his unforgettable and moving "Yard Sale."

Or I could talk about the loveliness of his voice and the exquisiteness of his singing: his rendition of "Reaching for the Moon," Irving Berlin's song of unfulfilled longing, is haunting; I've heard him perform "Storybook" from "The Scarlet Pimpernel" many times, but has he ever done it more sweepingly, more passionately, more beautifully? I might comment on his interpretive skills - how, for example, he makes "The Journey," Julie Gold's paean to a benevolent universe, so very touching. I would have to mention his humor: His playful spin on "Let Yourself Go" is delightful, his personality is immensely likable, and his patter is very funny. And I could not leave out Herman's superb work, as pianist and as arranger: Andersen's take on "You'll Never Get Away From Me" is uncommonly romantic; Herman's arrangement gives it majesty. I think this review is a rave.

BILLBOARD - July 4, 1998
REVIEWS & PREVIEWS
*TOM ANDERSEN YARD SALE (5:38)
PRODUCERS: Tom Andersen, Kevin Jasper
WRITER: T. Andersen
PUBLISHER: Other, ASCAP
Other 80505 (CD cut)

Andersen has been gathering kudos on the New York cabaret circuit for several years, and the time has come for a national breakthrough. This beautiful composition from his lovely new disc, "The Journey," takes a tearful look at the aftermath of AIDS. Despite its weighty context, "Yard Sale" is far from depressing.

Rather it offers a celebratory view of life as well as a poignant look at loss. Andersen's vocal talent is matched by a flair for crafting memorable melodies and words that are gratefully free of clichés. An excellent playlist addition for AC stations in need of a subtle but deeply affecting ballad.