Veronica Klaus

The term 'institution' gets used a lot for musicians, often inappropriately. However, when we're talking about Veronica Klaus, there are few terms which could be more appropriate. Ms. Klaus has been performing in San Francisco for more than two decades, has had a wildly successful one woman show Family Jewels at Theater Rhinoceros and has appeared in several independent films.

So when she celebrates her new album, the Peggy Lee songbook Lee � la V with her upcoming performance at Feinstein's on May 18, it's well worth taking notice, particularly as Peggy Lee was such an icon who performed from the forties to the nineties.

Ms. Klaus and I got together at Hayes Valley's 20th Century Caf� on Oak Street to discuss her upcoming performance, her interest in Peggy Lee, and her life as a musician in San Francisco today. We discussed what a role model Ms. Lee was and her status as a pop musician when jazz was pop music.

Michael Flanagan: Could you tell our readers what it is that attracts you to Peggy Lee? Is it her vocal styling, the way her songs were arranged or her visual imagery?

Veronica Klaus: All of the above, of course! Peggy Lee's vocals are subtle and usually understated. They get deeper and more nuanced the more you listen to them. She definitely would not have made it in today's competitive American Idol culture. She didn't always go for the money note.

As an actress who has appeared on stage and screen, are there any of Peggy Lee's film roles that particularly appeal to you (and if so why)?

There are a couple, her performance of "Lover" in "The Jazz Singer" is quite marvelous! It is as blatantly erotic as was allowed; the "Love To Love You Baby" of 1952. The other, of course, is her Academy Award-nominated performance in "Pete Kelly's Blues" as an alcoholic singer. This movie gave us a moving performance of "He Needs Me" and "Sugar." Her movie career pretty much ended after this because she played the alcoholic role so well that everyone thought she was one.

Peggy Lee had a long and varied career, stylistically speaking. What are your favorite periods of her music and what will you be drawing from for your performance?

Peggy recorded for more than 50 years, writing and recording, always keeping up with the times, sound-wise, from Benny Goodman's big band in the forties, straight ahead jazz in the 1950s to "soft rock" in the '70s. She worked with Paul McCartney in the '60s and Ray Davies of the Kinks wrote "I Go To Sleep" specifically for her. My favorite period is probably the '50s albums. But we draw from a wide range of Peggy's material; some things that were written by Peggy and more obscure material.

How long have you been working with the Tammy L. Hall Quartet? What is it that drew you to each other initially? Do you find that the musical interaction grows and changes as time goes by?

Tammy and I have been working together for a long time (Thank you, Connie Champagne, for introducing us!), at least twelve years or more. A close friendship always informs the music. It's a conversation.

You have played at a number of San Francisco nightspots that are no longer with us, including Enrico's, Caf� Du Nord and Club 181. Is it becoming more difficult for musicians to find places to perform in San Francisco? Is San Francisco still a good town for cabaret and torch performers?

It's true that there are a lot fewer real venues in the city. I grieve the loss of Enrico's, Jazz at Pearl's, The Rrazz Room and other fondly remembered venues. But we have to make new opportunities for performance. Anyone want to finance a club?

What are your favorite performance spots now in San Francisco?

(Laughing), Feinstein's, of course! Are you trying to get me fired?

Whose designs will you be wearing for your performance at Feinstein's?

I've been working with Mister David for many years and just might be featuring something new! I also love vintage, so will always be mixing the old with the new.

If you could visit any era in San Francisco's history, which would you choose and why?

I would like to have been around during the big earthquake.The spirit and perseverance displayed by the people after such a disaster must have been inspiring. They were determined to rebuild, bigger and better. Courage and determination are so inspiring.

You have done material in the past by Jimmy Scott, Billy Holiday and Julie Christie. What do you listen for in a musical performance when you are looking for new material?

It has to speak to me and my experience. Music has always been an inspiration, a joy and a solace to me. I just try to give to an audience what music at its best has given to me, to pass along that frisson.

You have several wonderful videos on YouTube including a performance of Joni Mitchell's "For Free," "I Love Being Here With You" and "Somebody Touched Me." Has YouTube worked well as a promotional device for you?

I hope so! I've gotten some great feedback on them, and recording "I Love Being Here With You" and "Somebody Touched Me" live in the studio was a dream come true.

"Live at the Lodge" was recorded at a fundraiser for the Rainbow World Fund. As an artist who has given much to her community, what do you look for when you work with a non-profit?

There are so many worthy causes out there, but I think that Rainbow World Fund is one of my favorites because it is one hundred percent hands-on. None of the money goes to extravagant salaries and bureaucracy. They reach out from the LGBT community to the world beyond. That's really admirable in an increasingly segmented world.

What is next for you? Will we be seeing you on stage or screen anytime soon? Are you planning a tour for the new release?

Follow me on Facebook, I'll let you know.

Veronica Klaus performs on May 18, 7pm at Feinstein's in Hotel Nikko, 222 Mason St. $30-$45. www.ticketweb.com www.facebook.com/veronica.klaus