Great American Songbook
He's been called the Ambassador of the Great American Songbook, but Michael Feinstein--an internationally acclaimed performing and recording artist, archivist and historian--now has a new title: Television Pioneer.
"Hot House" jazz magazine has started a tradition of honoring a group of new and established musicians, recently offering a varied and compelling awards show last week at the Metropolitan Room.
Cabaret is alive and not quite yet reduced to gasping for breath in New York City.
As a fan of non-amplified solo recitals, the sound environment of this recording is like sitting in down-center Orchestra in a world class concert hall and having eye-to-eye contact with an artist whose big guns vocals penetrate clear to the soul.
Why go on about the spectacular After Midnight, other than to say that for pure entertainment it comes as near being worth every penny charged as anything does in this gold-plated ticket era of ours?
To hear Tony Bennett sing in person is to be transported; to be connected with a golden era of music that dances ever further from reach with each passing year. They don't write songs like that anymore, and they don't make folks like Tony Bennett to sing them, either.
When I decided to take in the late set of Marilyn Maye's recent New York City appearance, I assumed that I could slip in and out quickly and call it a night. Boy, was I surprised upon arrival to see the swelling crowd on Broadway, milling around the door of the Iridium Jazz Club.
At age 97, more than eight decades into his remarkable career, Irving Fields is the last of the original generation of cocktail pianists who tickled the ivories in Manhattan's swankiest nightspots in the 1930s and '40s.