Where Do You Start: Michael Feinstein’s Greatest Hits

“I don’t really know what the best of is,” began Michael Feinstein. “I decided to do anything that didn’t suck.” He grinned. Selection, of course, is part of the vocalist’s ineffable skill as is sequencing. A show in his Zankel Hall Standard Time series seems comfortable. Joking with someone about switching seats, saying “God bless you” to an audience sneeze, it’s clear he enjoys performance intimacy. The venue was not entirely dark. He picked out faces.

At least half of tonight’s concert absented the excellent Tedd Firth so that Feinstein could accompany himself. A treat. “Isn’t It Romantic” (Richard Rodgers/Lorenz Hart) was on his first recording. It’s a reverie whose last note floated. “I Love a Piano” (Irving Berlin) took its time until the jaunty band came in with an enthusiastic whomp (not overstated). “I love to rrrrrun my fingers o’er the keys,” the vocalist sang drawing out his r. Then, “P-I-A-N-Oh! Oh! Aow!” rising from the bench.

Feinstein was lucky to introduce “Where Do You Start?” (Johnny Mandel/Alan & Marilyn Bergman). Tonight it’s breathy, wistful; a faded valentine. As if married, “My Favorite Year” (Michele Brourman/Karen Gottlieb) followed, tiptoeing with sighs and a hum. “Jerry (Herman) told me this was the favorite of everything he wrote” introduced “I Won’t Send Roses” from the ill fated Mack and Mabel. I saw Robert Preston in the musical. The song is just as eloquent and affecting without gruffness.

With Firth back, the artist kept things soft. Kenneth Ascher/Paul Williams’ “You and Me Against the World” was a big hit for Helen Reddy, he reminded us. “One has to have experience to interpret the song.” In fact, it sounded personal. The proverbial octave change wisely didn’t add volume, just feeling. Firth appeared to breathe in tandem. Not a cough or a rustle disturbed collective attention.

“How About You?” (Ralph Freed) arrived swinging. Fleet-fingered bass and percussion as if at a playground made it dancy. As Feinstein is a cabaret purist, there was happily no updating of original references. “How about you?” he asked sweeping his arm inclusively. J.C. Handy’s “St. Louis Blues” and Shelton Brooks’ “Some of These Days”  emerged cool and self possessed with no attempt at N’Orleans sound. Even sophisticates get depressed.

“The closest association the Gershwins had with performers was with the Astaires,” began a bit of warm history. A medley of songs written by the former, sung by the latter was for the most part, hap, hap, happy. Back at the piano, the artist rendered “How Do You Keep the Music Playing?” (Michel Legrand/ Alan & Marilyn Bergman) interpreted as an expression of loss shared by Ira Gershwin and Fred Astaire when George Gershwin prematurely died at 38. We may never hear it again the same way.

Feinstein was polished and charming, letting us in on private memories of songwriters. “Thank you for having the wherewithal to keep this music alive,” he graciously added.

Opening Photo: Fadi Kheir

Standard Time
Where Do You Start: Michael Feinstein’s Greatest Hits
Tedd Firth- MD/Piano, David Finck-Bass, Mark McLean-Drums
Zankel Hall