CONTACT & BOOKING

Anaïs St. John
Jazz Vocalist

Phone:
504-430-4868

Email:
anaisstjohn@cox.net

ANAÏS VIDEO

Anais St. John makes Jazz Fest debut

NEW ORLEANS (AP) — New Orleans native and jazz vocalist Anais St. John says every aspect of her life has led to her upcoming debut in her hometown's most celebrated music festival. Read More

BIOGRAPHY

Anais St. John

Elegant and seductive, Anaïs St. John is a singer whose daunting stage presence sends sensual shivers up the spines of audiences in venues both intimate and grand. A native New Orleanian and daughter of jazz alto saxaphonist Marion Brown, this Creole songstress is a seasoned performer deft at jazz, opera and musical theater. Anaïs can currently be seen every Friday and Saturday night as the featured performer at the Hyatt Regency New Orleans 8 Block Kitchen & Bar.

With a master's degree in vocal performance and years of experience as a music educator, Anaïs challenges her audience to sit up and take notice. Influenced by a wide variety of musical genres, Ms. St. John sets herself apart with a boundless hunger to use lyric, harmony and vocal power to weave a spell around audiences.

Her operatic and theatrical training is evident as she sings and purrs through a myriad of moods and vocal styles. In keeping with a classic cabaret tradition, she sprinkles her tunes with a bit of naughty and a whole lot of spice.

As voracious as she is versatile, Anaïs continues to expand her musical repertoire. In 2004 and 2007, she attended the prestigious Cabaret Conference at Yale University. She received an invitation in 2009 to participate in the Sarteano Choral Conducting Workshop in Tuscany and in 2011 was awarded the Iona Richardson Award for Excellence in Teaching at Trinity Episcopal School in New Orleans.

Anaïs received a nomination for a Big Easy Award for her 2010 cabaret tribute, A Purrfect Evening… The Songs of Eartha Kitt. Named one of New Orleans Magazine's "People to Watch," she has also been honored by Gambit Weekly with its coveted L'Image award.

A longtime headliner at the Polo Lounge at the Windsor Court Hotel, Anaïs has graced the stages at some of New Orleans's most revered jazz clubs including Snug Harbor, D.B.A. and Le Chat Noir. As alluring on the big stage as in those intimate settings, she has been a staple at the annual French Quarter Festival as well as at Bayou Boogaloo and the steamy summer Satchmo Fest.

ANAïS, her first C.D., was released to critical acclaim in 2012. With 14 standards to showcase her talent, the collection combines St. John's skill and sensuality with an uncanny blend of lusty earthiness and elegant stylings. Terry McDermott, runner-up on The Voice, described "her remarkable voice… cradled by luxury and as warm as a single malt."

Summers and holidays send Anaïs to festivals far and wide. Most recently, she made her way across the Atlantic to take her place among the women in jazz featured at Switzerland's Jazz Ascona. In December, she helped ring in a sultry New Year at the Umbria Winter Jazz Festival in Orvieto, Italy.

Lucky New Orleanians can travel in style with Anaïs back to the golden age of jazz and cabaret every Friday and Saturday night at the Hyatt Regency New Orleans 8 Block Kitchen & Bar.

AUDIO SAMPLES

SHOW SCHEDULE & REVIEWS

WHERE YAT – Best of the Big Easy Writers’ Picks

Sunday, July 15, 2007 @ 03:07 PM  posted by admin_Scott

Best Place To Sneak Away For An Upscale, Sexy Live Jazz Singer – Saturday nights at the Polo Lounge at Windsor Court with Anaïs St. John.

Anaïs St. John is hot. The 5′ 9” brunette bombshell and part-time model also has the brains to match; she was chosen to participate in Yale University’s prestigious Cabaret conference. Her sexy, soulful singing correlaates well with the Polo Club Lounge’s 18th century gentlemen’s room ambience. The lounge’s intimate lighting enhances their rich tobacco color scheme and embracing, overstuffed chairs.

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THE TIMES PICAYUNE

Friday, June 16, 2006 @ 08:06 AM  posted by admin_Scott

The stunning Anaïs St. John plays the tragic Julie, crooning “Can’t Help Lovin’ Dat Man,” which becomes progressively jazzier as it turns into a rousing production number. St. John begins “Bill” a la Helen Morgan, on a piano (albeit a grand one), slides off and walks purposefully downstage as the emotional intensity increases, resolving itself in touching simplicity and a show stopping finish.

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