Michael Feinstein Albums (24)
What The Critics Say
It's a shame that songwriter Harry Warren's name is not as well known as some of his contemporaries like Cole Porter or Irving Berlin. For whatever reason, writing dozens of hit songs like "Chattanooga Choo-Choo" and winning three Academy Awards wasn't enough to get the name recognition he deserved. Hoping to change that, Michael Feinstein pays tribute to the often-ignored composer on Hopeless Romantics, a collection of Warren songs performed by Feinstein and pianist George Shearing. With both musicians quite familiar with the Warren catalog, Feinstein and Shearing decided to focus their attention specifically on Warren's more romantic songs. Therefore, popular upbeat hits like "Jeepers Creepers" and "Lullaby of Broadway" were set aside in favor of softer tunes like "At Last" and "I Only Have Eyes for You." Of course, this approach is a perfect fit for Feinstein, who has crooned thousands of American standards in his subdued cabaret style. The bonus this time around, though, is to have famed jazz pianist Shearing provide the accompaniment. The pairing works fine, especially when Shearing gets to riff a little on slightly more midtempo songs like "You're Getting to Be a Habit with Me," but no matter how impeccable and gorgeous Shearing's work is, the album's low-key approach leaves little room for him to shine. Even one of Shearing's most famous snappy songs, "September in the Rain," is reduced to a maudlin ballad. It still works, but the magic of this pairing is something that would be more appreciated in a concert setting where each performer has room to move. As it is, working within the romantic theme and the confines of the studio provides little variety in either tone or tempo. But rising above it all are Warren's songs, and it is beneficial that Feinstein resurrects beautiful yet forgotten tunes like "Shadow Waltz." Of course, Feinstein is pitch-perfect and squeezes every ounce of good sentimentality out of each lyric, much in the way he did on his brilliant 2003 disc, Only One Life: The Songs of Jimmy Webb. This collection, however, is a little too quiet and mannered, but Feinstein and Shearing still do a great service by bringing these tunes back to the forefront. After hearing Hopeless Romantics, the name of Harry Warren should remain imbedded in the listener's memory. ~ Aaron Latham, All Music Guide
'Only One Life: The Songs of Jimmy Webb'
Release Date 10/7/2003
Tracks 15
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
There are thousands of songs from the '30s, '40s, and '50s that are considered popular standards and Michael Feinstein has covered a good portion of them throughout his extensive career. On occasion, a more modern composition would slink its way into his repertoire, such as a tune by the prolific songwriter Jimmy Webb, whose numerous hits include "Wichita Lineman" and "MacArthur Park." Eschewing traditional pop standards, Feinstein has collaborated with Webb to record his first full album of modern pop songs, Only One Life: The Songs of Jimmy Webb. While mainly focusing on Webb's lesser-known gems, along with a few previously unrecorded songs, Feinstein hones his cabaret-style of performance into a hushed subtlety that ultimately benefits him as well as these impeccably crafted songs. Feinstein has always been one of the most romantic vocalists of the genre, able to express lyrical meanings without overly emoting, and that serves this song cycle of love, loss, and regret remarkably well. His voice simply tells you the story with a quiet yearning sprinkled with sadness that comforts rather than depresses. Although Webb's enduring hit song "Didn't We" has withstood countless versions, it is doubtful that any could compare to Feinstein's sensitive interpretation. The quiet piano strains and Feinstein's reflective vocals tenderly deliver the song's bittersweet meaning as if being recorded for the very first time. Up-tempo tunes are banished in order to maintain the collection's moody air with even the sprightly 5th Dimension hit "Up, Up and Away" modestly held to a slight bossa nova groove that, once again, brings the lyrics to the forefront. This is not the first time Webb has approached his songs in this style, as he employed similar piano-based arrangements on the 1996 solo-disc Ten Easy Pieces, but his voice lacked the depth needed to properly interpret the lyrics. With Feinstein, Webb has found his muse and the perfect voice in which to showcase his compositions. Examples of this can be heard in the muted longing portrayed in the lullaby-like "She Moves, Eyes Follow" or the delicate sadness and sense of loss felt in the aftermath of a break-up in "Is There Love After You?" With each song, Feinstein envelopes the lyrics with a warmth and passion that sends these songs straight to the heart. At the onset, Only One Life may seem a bit depressing, but with each listen the melancholy lifts and is replaced by a reflection of past experiences that are revisited with a sense of nostalgia and solace. With their inspired collaboration, Webb and Feinstein have created a piece of work that stands as a great achievement within both of their long-standing careers and a perfect soundtrack for reminiscing about the days of love with a new understanding and, ultimately, a sense of hope. ~ Aaron Latham, All Music Guide
What The Critics Say
There are major songwriters whose names are as well known as those of the singers of their songs, and there are others who are largely unknown, requiring a list of their biggest hits to bring their accomplishments into focus. The team of Jay Livingston and Ray Evans fits into the latter category, probably because they wrote primarily for the movies rather than the Broadway stage and because their heyday occurred from the late '40s to the late '50s, instead of during the perceived golden age of the 1930s. So, here's the list: "Que Sera, Sera (Whatever Will Be, Will Be)," "Mona Lisa," and "Buttons and Bows" were their Oscar-winners, and among their other hits were "Silver Bells," "Tammy," and "To Each His Own." All those songs are featured on Michael Feinstein's tribute album, the flagship release on his new Feinery imprint for Concord Records. The album was made very much with the support of Livingston and Evans. Livingston (who died of pneumonia on October 17, 2001, at age 86) sings along and plays piano on several songs, and he and Evans submitted to an extensive interview printed in the CD booklet. The songwriters have also provided a number of lost songs from aborted projects that add considerably to their catalog. Writing on assignment, Livingston and Evans were versatile to a fault, such that it's hard to find a consistent style to their work. Feinstein imposes his own style, however, singing the ballads with his exaggerated smoothness and the novelty songs with appropriate sprightliness. On occasion, one wishes for more instrumentation and fuller arrangements to do justice to songs written with Hollywood orchestras in mind, but the intimacy of the songbook approach brings out the songwriters' craftsmanship well. Melissa Manchester's torchy performance of "Never Let Me Go" is a particular standout. ~ William Ruhlmann, All Music Guide
'Michael Feinstein With the Israel Philharmonic Orchestra'
Release Date 10/9/2001
Tracks 12
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
As it says on the back cover, Michael Feinstein With the Israel Philharmonic Orchestra is the first recording he's made with a symphonic orchestra. For this special occasion, Feinstein and Alan Broadbent -- the conductor and arranger for the Israel Philharmonic Orchestra -- decided to stick to celebrated songs from the great American popular songbook, ranging from "Stormy Weather" and "Laura" to "On a Clear Day (You Can See Forever)." Much of this comes across as a slyly romantic, lightly swinging big band session -- less Sinatra and Strings, more a tempered Ring a Ding Ding. That's hardly a bad thing, since it plays up Feinstein's classy, understated delivery and the skillful arrangements of Broadbent. A side-effect is that the album isn't as revelatory as it appears it could be -- it does not uncover a new side of Feinstein, even if it's his first time with a full orchestra -- but that hardly matters when the music is as assured and satisfying as this. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The pairing of premier era-gone-by pianist/crooner Michael Feinstein and the legendary Maynard Ferguson Big Band is such a rousing success that it's surprising the two didn't think of it before. While the set mainly consists of whatever beautiful, offbeat standards Feinstein hasn't yet had the opportunity to record (including the sassy Bobby Troup number "Girl Talk" and the humorous Rodgers & Hart tune "Johnny One Note"), he sums up not only the spirit of this recording but of his whole retro-minded career on the clever original "Swing Is Back in Style." With the 21-piece big band simmering in the background, just waiting to splash in with some playful brass accents, Feinstein chronicles the rock and rap eras and says, essentially, it don't mean a thing if it ain't got that.... While he's always shown talent as a songwriter, his success rises and falls completely on his interpretive style, and here he is in top form from the opening strains of the bold, heavily swinging "Close Your Eyes." Typically on uptempo gems like this, he'll let the band rise as a harmony line, then give it ample time to strut its stuff after the final verse and before the final chorus. Other unique choices are "One Day at a Time," which speaks to the ephemeralness of life (like Gershwin's "Our Love Is Here to Stay," a Feinstein favorite), and "Love Is Nothin' But a Racket." Ferguson mostly leads his explosive ensemble here but occasionally blows solo -- and there's nothin' finer than that. ~ Jonathan Widran, All Music Guide
'Michael & George: Feinstein Sings Gershwin'
Release Date 9/15/1998
Tracks 15
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
Michael & George: Feinstein Sings Gershwin is Michael Feinstein's third record of George and Ira Gershwin tunes, and like its predecessors, it's a joyous, irresistible album illustrating that not only is Feinstein's knowledge of Gershwin deep, but also that he knows how to keep the music alive with fresh, vibrant performances and arrangements. ~ Rodney Batdorf, All Music Guide
'Nobody But You'
Release Date 8/25/1998
Tracks 15
Label Wea International
See Album Tracklist and Review
'Nice Work If You Can Get It: Songs by the Gershwins'
Release Date 2/9/1996
Tracks 13
Label Atlantic
See Album Tracklist and Review
What The Critics Say
Nice Work If You Can Get It: Songs by the Gershwins is Michael Feinstein's second all-Gershwin album. His first, Pure Gershwin, was his best record, probably because, as a former secretary to Ira Gershwin, he knew his way around the material. This time, Feinstein puts his extensive knowledge of the Gershwin catalogue to good use, unearthing lost songs -- "Anything for You" and "Will You Remember Me?" are given their first-ever recordings -- resurrecting original arrangements, and singing rarely used lyrics to favorites like "Someone to Watch over Me." The album's tour de force is the seven-and-a-half-minute "Fascinating Rhythm (Medley)," which travels through time to trace the development of the song and its subsequent versions in successive musical styles. The effect is to demonstrate both the timelessness and the endless versatility of George Gershwin's music. All of this is far more elaborate than the piano accompaniment on Pure Gershwin, and Feinstein has developed enough as a singer to keep up. The man has the heart of a research assistant, but few history lessons are this much fun. ~ William Ruhlmann, All Music Guide
'The Michael Feinstein Sings the Hugh Martin Songbook'
Release Date 9/19/1995
Tracks 20
Label Elektra/Asylum
See Album Tracklist and Review
