Spotlight: Michael Feinstein

S’wonderful . . . S’marvelous

By Gus Mollasis

He once sold pianos. Thankfully, he wasn’t very good at that because he’s much better at playing them. The fact is Michael Feinstein is s’wonderful and s’marvelous at doing just that. It’s made him one of the foremost artists of his generation known worldwide for being a superb interpreter for the repertoire known as the Great American Songbook (or American Standards). 

He’s been an anthropologist and ambassador of this music for years, performing the music of the masters—Gershwin, Berlin, Porter, Arlen, to name a few, with pride, passion, purpose and joy. Feinstein believes these songs are important, inspirational and essential for anyone who loves great music. He once said of Gershwin, “The Gershwin legacy is extraordinary because George Gershwin died in 1937, but his music is as fresh and vital today as when he originally created it.”

Born in Columbus, Ohio, Feinstein landed in California in a twist of fate to meet one of his musical heroes – Ira Gershwin. Ever since, he’s always landed on the right notes and songs. And we’re all the better for it.  On February 20, he lands at the Van Wezel for a concert celebrating the music of Gershwin. And for those in Sarasota who love the greatest American music of the last century? “Who could ask for anything more?” 

Recently, with Gershwin tunes dancing in my head, I had the distinct pleasure of talking with this Grammy and Emmy nominated musician, whose has played everywhere from Buckingham Palace to the White House.

As a young man you met Ira Gershwin, one of your musical heroes. Tell me about that.

Meeting Ira was something that I never ever expected would happen. It was amazing. It was a series of coincidences that led to this introduction to him. It ended up turning into a six year association where I worked for him as his assistant and eventually became his eyes and ears to the outside world. It was life changing and spectacular. He was a wonderful man and I adored him. He introduced me to so many songwriters who were still alive and who had created much of the music that I cared about. So, it was a bridge to a world that I could not have experienced first-hand without him. 

What was the greatest thing that Ira Gershwin taught you?

He taught me fundamentally about interpreting the Gershwin songs and particularly the lyrics because I was more focused on the musical aspects of it. He made me keenly aware of the interpretation of the words. He taught me about phrasing. Together we would listen to recordings of different singers. And I learned the different ways that one can interpret any given song. To be able to listen to the actual creator of the words and different versions of his own songs was incredibly life-changing. 

Can that incredibly magical era, a time when everything seemingly came together with an abundance of gifted songwriters and composers like Gershwin, Berlin, Porter etc., ever happen again?

It’s like the Italian Renaissance. It was a period of time that had different elements that led to an extraordinary burst of creativity that happened at that moment. And there will never ever be another moment like that. I believe there will be other similar creative epiphanies if you will. I believe the 1960s and 1970s, with the arrival of songwriters like Paul Williams, Carole King, Harry Nilsson and others, led to another period of extraordinary creativity. So, nothing will be like it was with the Gershwin era. It won’t be the same. Yet I believe there will be other creative expressions that if not equal will be parallel to what that group of songs gave to the public at that time.  

My significant other, Katherine Michelle Tanner, went to school with Laura Osnes, a singer from Minnesota you hold in high regard. Katherine has followed her acting passion, and Laura her singing passion. “Who could ask for anything more?”

Small world. That’s wonderful when that happens. When an artist gets to follow their passions. Laura is a wonderful performer and really good person. I admire her greatly.

Considering that you are an archivist and historian of the Great American Songbook, do you carry an added responsibility of informing the next generation of this wonderful music? And if so, does that motivate you?

I started an organization called the Great American Songbook Foundation over ten years ago for the sole purpose of preserving American popular song. We have an annual high school songbook academy where high school kids from all over the United States participate in a week-long intensive and where they are immersed in this music. They spend time with mentors, educators and performers such as Laura Osnes. I am keenly aware of the purpose of keeping this music alive and continuing to educate succeeding generations. I have spent a great part of my life trying to pass this music on through the foundation and other means. 

Your Feinstein’s 54 Below in New York is another way you expose music to the public. What is the goal of Feinstein 54 Below?

It’s a nightclub for entertainment. And I use nightclub because cabaret has a connotation that might refer to a certain kind of music while a nightclub is more encompassing. For me, it denotes a certain type of glamor, entertainment and environment and to some perhaps seems more “old school.” To me it also means a high quality and certain experience that people long for these days. It is not limited by a genre or style of music or anything like that. It is a welcoming environment that’s conducive to bring people together artistically. 

What’s the first thing that comes to mind when I mention the following artists:

Irving Berlin 

Seminal.

Cole Porter 

Naughty.

Harold Arlen

Heir apparent to Gershwin.

As unfair as this is, if you wanted to leave the next generation a time capsule of five Gershwin compositions, what would they be?

Songs or compositions?

Both. It could be anything from “Rhapsody in Blue” to “Embraceable You”.

 Well certainly “Rhapsody in Blue”. “Love is Here to Stay”. “Fascinating Rhythm”. “Mine” from Let ’Em Eat Cake. How many is that? Four. And Porgy and Bess. If I can get a three hour opera in there, why not? 

Describe the feeling you have playing the American Songbook, and would you ever replace it with anything else?

I follow my muse and my passion. Music is an enriching experience on so many levels because music is more than art—it is healing. It is made up vibrations that resonate sympathetically with the physical body. So, it has healing properties that are unique and extraordinary to that discipline. And I think it’s something that can transform the world. It gives me tremendous joy and a sense of purpose. 

Then you see music as the universal language?

Absolutely.

If you can imagine a legend who is no longer with us out there in the audience or backstage listening to your music, who would it be? Have you ever imagined someone like Gershwin in your audience? 

Well, I’d much rather be in their audience. 

What a great answer.

I mean it. I’ve never imagined any of them in mine.

Where do you think music ultimately comes from?

Well, the divine. Whatever your interpretation of God is. It’s a divine gift. 

Were you a born artist? Do you think it’s a gift?

I was born with musical ability and I believe that we live many lives. I believe in reincarnation because at the age of five, I sat down and played the piano with both hands automatically. So, I believe that we come in with some past abilities and experiences.

Finish the following sentences:

The best part of my job is:

Connecting with people.

The toughest part is…

Early morning rehearsals because I’m a night person.

I love playing this music because…

It helps bring peace to the world.

I love listening to this music because…

It changes my fundamental mood.

Is passion the essential element after talent that takes a great artist over the top?

Absolutely. I believe so.

Is there one artist past or living that you are in complete awe of their talents and abilities?

Well there’s many. Not just one. But certainly Fred Astaire.  I think he is the perfect interpreter of the classic American song. 

He often doesn’t get the credit, but through film he introduced as many great songs as anybody.

Yes, that’s true.

Many years from now if there is a song that plays you off life’s stage what would it be?

Well if I’m dying, probably something heavy metal because if I’m not already dead, it will kill me!

You’ve played in this area often. How excited are you about coming back to Sarasota?

I always love coming to the Van Wezel especially during the 50th year of this great performance hall. I can’t wait to play there again.

For tickets, visit vanwezel.org or call 941.263.6799.