NEW YORK >> Turning the corner of 54th Street in a New York City taxi, the peerless nightclub singer Marilyn Maye is reminded of an early moment in her career. Sixty years ago, while performing on national television, she was also singing at a nightclub. “This was on Broadway,” she says, quickly adding, “on Broadway, I mean, in Kansas City.” (She still lives there. “The closets,” she explains.)

But there was no advertising or publicity pointing tourists toward her show. So she found out from local hotel concierges which cabdrivers worked at the airport, and did a free concert for 20 of them. “I told them: When somebody gets off a plane and says, ‘Where is this Kansas City singer?’ — now you know!”

“That was enterprising,” she twinkles.

Still enterprising and still twinkling at 95, Marilyn Maye is the last of a great generation of American Songbook singers. She is both the endurance runner and the mystical Sphinx, a “consummate master of the stage,” trumpeter Wynton Marsalis said, on the brink of her birthday and her solo debut at Carnegie Hall, where she performed with the New York Pops, conducted by Steven Reineke, on March 24.

Maye is famous for many things: She made 76 television appearances (the most of any singer) on “The Tonight Show,” and was a friend and favorite of Ella Fitzgerald’s. She works nonstop all over the country, and has had hit runs with birthday concerts, including 10 sold-out nights at 54 Below in Manhattan called “94, Of Course, There’s More.”

“She’s totally in the room”

Michael Feinstein, the singer and founder of the Great American Songbook Foundation, calls her “more than an entertainer and a great musician — she is a life force that awakens something in other people.” For her fans, Carnegie Hall marks a long-awaited opportunity to see her celebrated in high style after eight decades of commitment to the strange, confounding world of cabaret singing, which has as many casualties as queens.

What really astounds her colleagues, though, is not only that she has survived and remains committed, but that Maye’s humor, spirit and, above all, her voice, are in the best shape of her career. Shining octogenarians in saloon singing, like the great Mabel Mercer, were seated and largely speaking their songs; Maye never sits down, and her delivery has never been as effortless.

One secret may be her equanimity: Carnegie Hall will be the most important night of her life … and just another gig in a year, like all her years, jammed with travel, devoted audiences, parties, mentoring, master classes and a steady rush of concerts on any- and all-sized stages.

Another secret might lie, perhaps, in her eclectic approach: Maye sings jazz, but she acts jazz too. She enters a song, her life experience coloring every phrase. One admirer, actress Tyne Daly, calls Maye’s “an evolved technique” that is “emotionally smart.” “She’s totally in the room,” Daly says, “and to tell the story, she uses everything she knows, so far.”

Onstage, she favors a huge glittering brooch, shell-shaped curvaceous rhinestone earrings and trademark elastic cuff bracelets. She holds her microphone stand with ease or slides it behind her to stroll and knows exactly where her bass player, drummer and the pianist are.

Even offstage, she seems ready for the spotlight. “She stayed in my house at different times,” says her frequent designer Bob Mackie, “and she gets out of bed in the morning, and you go, ‘Did you just have your hair done?’”

Her many rules of the cabaret art form, which she proudly teaches any chance she gets, include these: wear big lashes, never sit and never close your eyes. (If you require water, take sparing sips from a wineglass: “It has to have a long stem.”)

She describes her work philosophy this way: “They came to have fun. They’re giving up their evening, and their money, to be entertained. You’re not the star. They’re the star.”

‘I was never a child’

Not long ago, at a rehearsal studio near Lincoln Center, Maye worked with two proteges. Each stood at attention in a small practice room, accompanied by a quartet, facing Maye, who gestured to her sheet music like a doctor explaining the results of an MRI, pointing out shadings and shadows that might be significant.

When one student practiced a spoken greeting — “I’m so glad you are enjoying the show” — Maye stopped her short. “Don’t say that! Just say you are glad they are here. Don’t assume they are enjoying it.” She added a classic Mayeism: “If you don’t take yourself seriously, others will.”

For someone who began singing at age 3, Maye regards herself as a late bloomer. Born in Wichita, Kan., on April 10, 1928, she won an amateur talent contest in Topeka at age 9, for which she earned $3 and 13 weeks on the radio. When her parents divorced, she moved with her mother to Des Moines, Iowa, and at 13 was singing big band at dance ballrooms; her mother kept a little book “so we could remember what age we had said I was to different clubs and agents.”

“I was never a child,” she says frankly. “That’s why I am one now.”

Maye honed her craft in Kansas City, working five nights a week for 11 years at the Colony nightclub, the place on Broadway. Demos recorded at that time got the attention of Steve Allen, who put her on his prime-time television variety show.

This led to two career developments: the unfailing support of Johnny Carson and attention from RCA Records, for which she recorded seven albums. As an RCA “commitment singer” introducing show tunes before their cast albums were released, Maye had her biggest radio hit with the title song of “Cabaret.”

She received a 1966 Grammy nomination for best new artist; Tom Jones won. Music styles were changing: “I never got into rock ‘n’ roll,” she says. “The Beatles hit when my first albums were released. That’s what went wrong with my career. Goddamn Beatles.”

Maye has been married three times and had a fourth long-term partner. Her first marriage, to a hard drinker and a gambler, lasted a year. Her second (“I don’t know if he died or if I divorced him”) was to a dancer with whom she had a daughter. Her third husband, who adopted her child, was a genius pianist, she says, but “very abusive.”

“What she has been through in her life,” says their daughter, Kristi Tucker, a singer herself, “she needed to be strong.”

“Because it’s fun”

How has Maye kept on going, singing so well? I talked to voice teachers and doctors, and heard about “vocal folds” and “breath support” and “agility,” and the likelihood that she has a strict exercise and warm-up regimen.

She doesn’t: “She loves to go out to dinner and have her one drink” — an apple martini — “after the show,” reports Mackie.

Mackie credits her playfulness, how she once left behind her false eyelashes on the chandelier when staying at his home. I’ve seen it, too. She does little kicks walking down a staircase, not because it helps her avoid tripping, but, she brightly says, “because it’s fun.”

People who love and admire Maye think she might have become a bigger star sooner. Put that question to her, however, and the playfulness — the twinkle — momentarily slips away.

“I am 95 f-ing years old,” she tells me, confidently surveying Carnegie Hall from its stage. “I don’t have time to be a larger star. I don’t have time to be any more than this night.” She stares at the empty seats, soon to be full, and gently hums.

Perhaps she became the kind of star she was fated to be. Or, maybe, she has become something better. There remains an unequaled intensity of intimacy when you are singing in a nightclub to a rapt audience. Carnegie Hall wouldn’t make Marilyn Maye bigger; she would make Carnegie Hall smaller.