Michael Feinstein - Romance on Film/Romance on Broadway
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Music CD Cover
Artist: Michael FeinsteinEdition: Music CD
CD Release Date: 2000-10-10
Music Label: Concord Records
Soundtracks:
Music CD 1
- The More I See You
- The Second Time Around
- As Time Goes By
- Isn't It Romantic
- All the Way
- Something's Gotta Give
- The Way You Look Tonight
- Long Ago and Far Away
- When I Fall in Love / My Foolish Heart
- How Do You Keep the Music Playing?
- Always
- I've Grown Accustomed to Her Face
- If This Isn't Love
- They Say It's Wonderful
- I've Never Been in Love Before
- As Long as She Needs Me
- The Song Is You
- Darn That Dream
- The Best Things in Life Are Free
- My Funny Valentine
- Taking a Chance on Love
- Every Time We Say Goodbye
Free Music Notes for Romance on Film/Romance on Broadway
Free Music Review: Feinstein's the One
Hit: 5 Stars
Listening to this double album of "American classical music" (which is what I call recitals of Gershwin, Porter, Kern, Rodgers and the like), I'm reminded of Frank Sinatra. And in turn I'm reminded of Bing Crosby's immortal quip regarding Sinatra: "Sinatra was a singer who comes along once in a lifetime. Why did it have to be my lifetime?"
Indeed - but not just Bing's. Since the passing of Sinatra (and Torme, IMO), there just hasn't been a male popular singer really to take up his (their) mantle. In the next generation you had Steve Tyrell and Harry Connick, Jr., but neither made it to that level, IMO. In the generation after that, you have "Jamie Cinsarble" (my moniker for the mix of Jamie Cullum, Peter Cincotti, Tony DeSare, and Michael Buble), but the jury is out.
But after listening to this two-c.d. set, I'm convinced that Michael Feinstein is the one.
I don't mean that the two singers are exactly alike. Sinatra was a bass-baritone, while Feinstein is a lyric baritone. But I would say that Sinatra was to Sherrill Milnes as Feinstein is to Dietrich Fischer-Dieskau. Which is to say, both popular singers are classically trained in the bel-canto style, both hit every note square on, and both interpret material like nobody's fool.
And, IMO, where Feinstein's brilliance really shines through is on disc #1, the live set. Mr. Feinstein has a naturally light voice; yet, he is perfectly in balance with such great musicians as Marian McPartland, Alan Broadbent, Bucky Pizzarelli and Gary Foster. No studio tricks here. He can sing loudly without singing loudly - much like Fischer-Dieskau, or Caetano Veloso.
But both c.d.'s sound glorious. As I said re. the recent release of Roberta Gambarini and Hank Jones, there is no new ground tread here; but there are plenty of beautiful flowers planted in the ground that is there.
Highly recommended, especially for fans of intelligent-sounding cabaret. RC
(p.s. - My great thanks to my friend and music-lover, Rebecca Preciado, for alerting me to this great set!)
Romance on Film/Romance on Broadway Poster
Cabaret singer turned crooner Michael Feinstein continues to pay tribute to the American popular standard in his two-disc set Romance on Film, Romance on Broadway. The first disc features Feinstein in front of a live audience singing mostly well-worn ballads from classic films (exception: you may not immediately associate Michel LeGrand and Alan and Marilyn Bergman's "How Do You Keep the Music Playing?" with the 1982 Burt Reynolds-Goldie Hawn vehicle Best Friends). The second disc is a studio recording filled with ballads and the occasional swinger ("Taking a Chance on Love") from Broadway shows. Accompanied by different combinations of horns and rhythm, Feinstein often stretches a song out to six or seven minutes, thus allowing for relaxed tempos, granting solo opportunities to his first-rate instrumentalists (including pianists Alan Broadbent and Marian McPartland), and indulging his fondness for what he calls the "sighing moment"--when he puzzles the audience with an unknown verse to a song, and then gives them the familiar, satisfying, well-loved chorus. Feinstein might rely a bit too much on his falsetto and there isn't the same sense of wit and adventure of his cabaret years, but this is a classy, enjoyable album for late-night listening. --David HoriuchiJazz Music CDs
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