As long as great songs from the classic Great American Songbook are done with great style, the future of the past looks pretty great. The care Michael Feinstein brings to a standard like “Just One of Those Things” is just one of those things to be grateful for. Add grace and gusto and glee, polish and panache and professionalism and there’s no question that the Songbook is in good hands…. every page he chooses to turn. With pianist/arranger John Oddo leading the small-but-mighty-tight band, Feinstein is in fine form with the old standbys he’ll stand up for (or sit at the piano to play for himself, giving Oddo a break). Selections getting the band blast included a medley of two Irving Berlin pick-me-ups, picking the one that serves as convenient subliminal advertising to mention the street the posh nightclub’s on, “Slumming on Park Avenue,” and “Puttin’ on the Ritz” — the latter complete with a quick impression of the mumbled way the monster sang the title line in Young Frankenstein. Michael Feinstein funny and loose? Yes, increasingly so on stage over the years. He also deftly handled a few unexpected moments of audience reactions, such as when someone called out, “We love you, Michael!” and he replied sweetly, “Thank you, Mom.” (It was actually one of the celebs in the crowd.)

The tried-and-true numbers he tried to bring true freshness to (and generally succeeded, though it’s more about respect and vigor than re-inventing). But, wait, there’s more. This champion of the classics is also a champion of the good songs not as well known. As an example, let’s take “Let’s.” It’s a peppy number with word play with the words and music by Bill Solly. Its lyrics advocate for a little (or a lot) of carpe diem and having fun while you can, rather than being cautious and practical (“Let’s not be rational. Let’s be rash”). Meticulous Michael sings a lesser-known item such as this with the same attention he brings to his double scoops into Berlin, Frank Loesser and Duke Ellington. Fiercely belting with some strong sustained notes or creamily crooning with a few fine-feathered high notes, the singing was on the money (undoubtedly appreciated when patrons are plopping down plenty of it). My only quibble was with something where I’m sure the intention was admirable: in “Too Close for Comfort,” the opening number, the diction used to be sure to enunciate the final consonants seemed labored, drawing attention to itself. Knowing how much this singer and custodian of the Songbook admires and respects lyrics that can be lost when a big band takes off, I write it off to erring on the side of caution, but it distracted me. It was not a problem with other numbers.

A desire to preserve the standards doesn’t stop with his own singing. Our white knight galloping along to rescue songs and keep them from demise and disrepute, has also started a foundation sponsoring a contest where high school students learn and sing this material. In its second year, this round’s winner had the opportunity to be a guest in the show with two solos. Rather than more Cool Swinging, it was traditional cabaret torch as the torch was passed for a few minutes. Winning teen talent Annie Yokom impressed mightily with not only a compelling vocal sound and attractive stage presence but thoughtful, involved phrasing. Singing “What Did I Have That I Don’t Have?” she surely proved what she has is skill and smarts and potential to blossom more. Her second number was “Bill,” the song heard in Show Boat —and she got a huge wave of delighted, appreciative, supportive applause that was truly earned. She’s a keeper and very sincere — no hokum with Miss Yokom. I hope the Illinois high school student will play hooky again soon and return to New York and/or get a booking singing the Great American Songbook in a Chicago nightspot.

Andy Stein on violin was a great asset and the aching beauty in some of his solos added a distinctly different flavor to the jazzy snazzy blasts of the Cool Swingdom. A frisky instrumental duet on “Dinah” with the star whose name graces the club itself was a nifty treat, referred to as a “very Jewish” musical combo “with Stein and Feinstein at the Steinway.”  When everyone joins in and kicks into high gear, including the singer, it’s a wailing wall of sound. The band members were well utilized in the arrangements by John Oddo, a classy pianist, such as having switch-hitter reedman Aaron Heick and Tony Kadleck’s brass sounds blending but distinctly voiced. As a drummer, Dave Ratajczak is so much more than rat-a-tat-tat-jczak; his versatility was on ample display. Though modest in stage personality, veteran David Finck commands attention on the bass just by sheer dexterity and professionalism. It remains striking and compelling when it’s “just” Michael on voice and piano for an emotional ballad like Stephen Sondheim’s “With So Little to Be Sure Of,” perhaps because one thing Feinstein has to be sure of is that truly all he needs is himself as his own accompanist to be (self-) sufficient. Sometimes, indeed, less is more. But sometimes “more” is just more fun — with such a band ready to Swing and be Cool with a show called Cool Swing. In point of fact, it was more hot than cool. But who’s complaining?

Rob Lester
Cabaret Scenes
June 16, 2010
www.cabaretscenes.org