Predominantly composed with the warm and familiar intimacy of his famed cabaret sets, Michael Feinstein’s latest release panders a bit to the popular and loses some credibility in the process. A noted expert on the life, times and music of Mr. Gershwin who has performed this material many times before, Feinstein fittingly joins the throngs paying tribute to the centenarian songwriter with this set of fifteen selections, including one on which George himself provides the instrumentation (by way of one of his famous piano rolls).
Though he may be known as the contemporary keeper of the Gershwin standard, Michael allows George’s legacy to flag somewhat. Instead of treating these timeless songs with the standard simplicity they deserve, Feinstein opts for touches of the bastardized "smooth jazz" format, including percussion tracks and other synthesized lines which actually deteriorate the album’s synthesis. Though most of the album is lovingly concocted and tasteful, the few divergences leave an aftertaste which may not be pleasing to the savvy Gershwin or Feinstein fan.
Track Listing: 1. Embraceable You
2. Nobody But You
3. Love Is Here to Stay
4. Do It Again
5. Of Thee I Sing
6. Funny Face
7. Lonely Boy
8. Shall We Dance?
9. Oh, Gee! Oh, Joy!
11. I'll Build a Stairway to Paradise
12. Love Walked In
13. Comes the Revolution
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.