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Kay Kostopoulos

Kay Kostopoulos is an actor, Stanford teacher, jazz vocalist and freelance writer.

About Me

Kay Kostopoulos is an elegant singer, a voice inspired by the golden age of jazz. A professional actress who teaches who teaches Acting and Communication Skills at Stanford University in the Department of Theater, Graduate School of Business, and School of Medicine. She currently has dual residencies in New York City and San Francisco.

Kay's Bio The warm singer Kay Kostopoulos returns to the Bay Area after a triumphant debut with Noel Jewkes in New York City. (review below). Kay brings a Mediterranean feel to jazz, featuring sultry vocals, exotic finger cymbals accompanied by serpentine phrases on Noel Jewke’s soprano saxophone. Kay and Noel have been musical partners for over 10 years playing at featured venues and jazz festivals all around the San Francisco Bay Area. Their album,”Exotica”, a Mediterranean Jazz Journey, received rave reviews, and was honored by the Stanford Humanities celebration. Kay is also a Stanford lecturer in Business and Theater, and professional actress, who has performed in plays and musicals in many regional and Bay Area theaters. Her theatrical background lends an emotional sensitivity to her lush and sensuous three-octave vocal range.

Reviews: “Reed maestro Noel Jewkes is from the Bay Area, providing brilliant tenor sax, soprano sax and clarinet accompaniment. The lovely Ms. Kostopolous, whose ageless Mediterranean beauty perfectly complements a show incorporating Greek goddesses, set the mood with an excellent rendition of Dizzy Gillespie’s “A Night in Tunisia.” The star makes extensive use of sensuality in her performance, often with the aid of Turkish finger cymbals, called zills. Kay Kostopolous is a fine performer who will leave you enchanted and informed. New York is lucky to have her.”... Andrew Portez, Theater Pizzazz , NY, NY. Beautiful voice with a wide range... Ms. Kostopoulos is equally skilled on ballads and uptempo material...Makes a strong case for being considered a major jazz singer, Jazz Critic Scott Yanow…Quintessential San Francisco Jazz, Wayne Saroyan, Jazz West…Wonderful lyrical imagery that transports the listener to another environment...Velvety vocal work, Billboard...Kay is a singer with good technique and beautiful tone, William Sostre, Jazz Times…Her love of the text, subtlety of word, and appreciation for the audience promise a performance as deep as those big, dark eyes starring right back at you, Palo Alto Weekly...With a sizzling snap of her fingers, Kay Kostopoulos turned up the heat—Kostopoulos brought exotic energy to Duke Ellington’s Caravan and Johnny Mercer’s Out of This World…Stanford Magazine Full New York Review here: https://www.theaterpizzazz.com/kay-kostopolous-black-olive-jazz-myth-and-mystery/? fbclid=IwAR0MhJePN8h6fA721CckYI1Yxx8xQrBg0FkstU-yT0lAvK6uX-MblZIGjZs

Kay conceived Black Olive Jazz with two key ideas in mind: She wanted to draw from her acting background and from her Mediterranean heritage to establish a unique sound in Jazz. Kay has appeared at The Venetian Room, Union Street and Sausalito Arts Festivals, the San Francisco Fillmore Jazz Festival, The Napa Valley, Vallejo and Sonoma Jazz Societies, and given concerts for Stanford Arts Initiative, and many other educational institutions. In New York City, Kay has appeared at the concert series in Bryant Park, Pangea, Mezzrow, and Hermana.

Near the end of the set at Birdland, Kay Kostopoulos dressed as a member of a harem and sporting two pairs of finger cymbals soloed on “Boulevard Of Broken Dreams” was as close to finger cymbal virtuosity as I've ever heard (and if she wasn't also from the Bay Area, I'd claim this as an “only in New York” moment!) (November 12-21, 2021) Concert Reviews, Frontpage by Thomas Cunliffe. November 23, 2021

Her original title song from her album, View From Telegraph Hill, has been lauded as “The Quintessential San Francisco Jazz Song” … Wayne Saroyan, Jazz West; “Wonderful lyrical imagery that transports the listener to another environment”…“Velvety vocal work.” … Billboard; “Kay is a singer with good technique and beautiful tone”…Jazz Times.

REVIEWS:

Noel Jewkes & Kay Kostopoulos Moods Modes Muses Los Angeles Jazz Scene: Scott Yanow

Veteran tenor-saxophonist Noel Jewkes and the excellent jazz singer Kay Kostopoulos have frequently team up in their group Black Olive Jazz, performing in the San Francisco Bay area. While not officially by that group, Moods Modes Muses has the vocalist featured on half of the eight selections. Noel Jewkes (who is heard on tenor, clarinet, flute and soprano) utilizes a septet that also includes trumpeter Dave Bendigkeit, trombonist Max Perkoff, altoist Charlie McCarthy, pianist Keith Saunders, bassist Chris Amberger, and drummer David Rokeach. While the material covers a wide area, one is immediately struck by its consistent high quality, not only in the solos and ensembles but in the leader’s inventive arrangements. Kay Kostopouos is featured on an exotic version of “Temptation,” a modernized but warm “Prisoner Of Love” (Jewkes’ tenor on this piece is reminiscent of Paul Gonsalves), the hard-swinging “Get Happy,” and wordlessly on “Dreamsville.”

EXOTICA: Featuring Kay Kostopoulos, Noel Jewkes, Grant Levin, David Rokeach

Black Olive Jazz is a group from the San Francisco Bay area that features the warm singer Kay Kostopoulos and the veteran Noel Jewkes on tenor, alto, soprano and flute. Exotica was an idea conceived by Kostopoulous, Jewkes (who provided the arrangements) and pianist Grant Levin. The singer, whose background is in theater, wanted to perform dramatic material that could be considered both exotic and modern jazz. The concept works quite well on such pieces as “Bali Hai,” Horace Silver’s “”Enchantment” (on which Ms. Kostopoulos added new lyrics), “Slow Hot Wind” a slightly spooky “Never Never Land” and “Caravan.” With vocals that range from powerful to tender, a lot of spots for Jewkes to display his versatility and swinging ideas, and two guest appearances by pianist Larry Vuckovich, this is a very successful set. Kay Kostopoulos’ perfect pitch allows her to sing wordlessly on the more atmospheric pieces such as “Lotus Land,” and to engage in close interplay with Jewkes.

New York Jazz Writer Dan Singer: “In Tune International” KAY KOSTOPOULOS: EXOTICA It’s certainly not a bad idea to feature an entire 13-song CD with subdued and wild jazz influenced “Martin Denny” like sounding material. Kay just dazzles as she sings along with a group of San Francisco musicians called “Black Olive Jazz” a program of marvelous songs with brand new arrangements we haven’t heard before. “Bali Hai” (Rodgers/Hammerstein) starts things off in an inspired and creative way. This song never loses interest in a wonderful almost 6-minute performance. “Surrey With The Fringe On Top” (Rodgers/Hart) continues to surprise. As familiar the song happens to be with us, Ms. Kostopoulos very original reading here is wonderful. “Never Never Land” (Styne/Comden/Green) from “Peter Pan” is performed in a most resourceful way. “Caravan” (Tizol) contains many ingenious and movingly sweeping rhythms. Kay seems really at home and certainly on top of things here. The swing is very comforting and loose. “Passion Flower” (Strayhorn) is most lovingly inventive and remarkably artistic in this presentation.

Jazz DJ, Dave Fabilli: ”Bali Hai” (always dug this tune, anyway), “Enchantment” & “Cleopatra” — LOVE the concept, love the selections & arrangements. The playing is good & appropriate, and the use of, or the blend of her voice w/the woodwinds, the “exotic” percussion... 5-stars for concept, theme & execution on this one. Great stuff. Very radio friendly... Dave Fabilli, Jazz Radio, Point Park, Penn

Pop Culture Classics’ Recommended CDs, DVDs and Books By Paul Freeman BLACK OLIVE JAZZ- “EXOTICA” The seductive voice of Bay Area artist Kay Kostopoulos works wonders on a pleasing selection of tunes. Her vocals are extraordinarily expressive, as she explores the drama of each lyric. And the jazz arrangements she created with saxophonist Noel Jewkes captivate throughout. The lilting lovely piano work of Grant Levin also complements Kostopoulos’ voice. Intricate rhythm patterns add to the enticing quality of the sound. Kostopoulos transports the listener to exotic worlds with such numbers as the sensually undulating “Bali Hai,” as well as “A Night in Tunisia,” Caravan” and “Never Never Land.” Her voice wends intoxicatingly through the melody of “Lotus Land.” Her rendition of Billy Strayhorn’s “Passion Flower” mesmerizes. There are two beautiful Kostopoulos/Jewkes originals - “Wisteria” and “Cleopatra and the Viper.” “Out of This World” is another high-light. The Black Olive Jazz of Kay Kostopoulos is a cocktail sure to make you forget your troubles.’

Kay’s work was featured in “O” magazine. http://www.oprah.com/spirit/Body-Language-Signs-Body- Language-of-Women/2

Kay has also been featured on NPR’s Philosophy Talk radio program http://philosophytalk.org/shows/faces- feelings-and-lies for her work on understanding facial emotions in the treatment of Autism.

Kay is an MFA graduate of American Conservatory Theatre, where she taught acting and directed student projects as a core faculty member of A.C.T.’s Advanced Training Program. At Stanford, Kay performed multiple voices in “Encountering Homer’s Odyssey,” an online classics program through the Stanford/Princeton/Yale Alliance. She has directed and performed in educational and centennial projects. Kay has acted in many Bay Area and regional theaters, including A.C.T., the Magic Theatre, the San Francisco and California Shakespeare Festivals, and Stanford Summer Theatre. She has additional credits in voiceover, film, and television and performs throughout the San Francisco Bay Area. www.blackolivejazz.com

My Jazz Story

I Love Jazz because: I’m an actor & teacher by profession, a vocalist by pure will, determination and focus. I remember seeing Johnny Hartman in Baltimore, many years ago. I was one of maybe 20 people in the audience at the Famous Ballroom. It broke my heart. He sat on the edge of the stage, looking tired, singing achingly beautiful music—his voice crooning the embellishments that made him famous. When I sing to a half empty room, or a noisy group, I always think of him—a true professional, a master, filling the room with his gift—a gift appreciated by only a few, that rainy Sunday afternoon. Brilliant musicians, like Coltrane, use both sides of the brain, one mathematical, analytical, logical the other creative, emotional, intuitive—embodying both at once— particularly on duets with Johnny Hartman. Masterful singers, Ella, Sarah, Anita O’Day, are able to meet the instrumentalists with superior skill and feeling, matching the musicianship with their own harmonic excellence. Equally compelling are the lyrics and the nostalgia for an era few of us ever knew, or knew only through our parents’ memories. What makes so many vocalists, the famous pop artists—From Aretha Franklin to Rod Stewart—and not so famous, like yours truly—some talented and others less so— want to tackle the standards? Why do we do it? The yin and yang of it—that’s what I find attractive. I love the romantic and the bebop, the swing and the odd meter. I have a great EAR, and excellent time. And I believe my singing is absolutely adequate because these qualities are compensated by my reverential appreciation of the music. What I find most exciting is the rhythm and rhythmical players—I am mesmerized by McCoy Tyner’s playing. I met him once at an SF Jazz concert—his huge frame came up the stairs towards the stage. On his way to the piano, he took my hand in his giant paw and said, out of nowhere “So nice to see you again”. I was speechless and grinned like a teenage groupie. Yes, once you’ve heard the difference between jazz and other kinds of music, it’s hard to go back, even though, maybe, like me, you still get a thrill from 50’s rock n roll, and 60’s R & B.