By Alix Cohen
Over twenty-five years in, Michael Feinstein’s Standard Time continues to be the occasion to hear American Songbook as it was intended. The artist’s respect for material, his style and accrued knowledge offer evenings of palpable appreciation as well as entertainment.
Noel Coward’s “Sail Away” emerges cozy swing, easing us into the evening. “Come Fly With Me” (Jimmy Van Heusen/Sammy Cahn) follows with dancy piano, syncopated cymbal, bass ballast. Feinstein rarely gestures. Here, a hand pats his thigh.
“Is there anyone who doesn’t want to get away?” the host rhetorically asks. “It was fun, but daunting putting together this show…” he says, alluding to the sheer number of applicably themed songs. Of course, many are less than grand. “If I Can’t Have Anna in Cuba, I’ll See Esther in Spain” for example.
Feinstein plays piano for “Where Can I Go Without You?” (Victor Young/ Peggy Lee) A slight quiver in his voice enhances the melancholic ballad. Low key arrangement is lovely. Few artists are as symbiotic with their own accompaniment.
With Firth back at the keys, title song, “Let’s Get Away From It All” enters bouncy. (Matt Dennis/Tom Adair) Feinstein taps time with his foot creating the illusion of a casual approach. “Key change!” he exclaims with a grin. Despite a surge at the end, there are no extra “yeah, yeahs”, no added flourishes.
The performer calls out “Incredible imagery” in the Jo Stafford hit, “You Belong to Me” musing that it was likely Kentuckian Price didn’t travel at all. (Chilton Price/Redd Stewart/Pee Wee King.) Arm at his side, expression is earnest. The song arrives like a prom dance with Firth adding texture/decor.
In 1990 the host recalls, he played the London theater where “A Nightingale Sang in Berkeley Square” was introduced fifty years earlier. (Eric Maschwitz/Manning Sherwin. Performance is moving. Nostalgic reverie blankets the hall. Vibrato is a touch more evident. Piano is lush.
A jaunty “Breezin’ Along with the Breeze” (Haven Gillespie/Seymour Simons/ Richard Whiting) bookends “Get Out and Get Under the Moon” (Larry Shay/ Charles Tobias/William Jerome): “Pick up your hat/Close up your flat/Get out and get under the moon.” Feinstein appears on the verge of dancing.
Again at the piano, from his 1986 Algonquin Oak Room debut, Feinstein offers “Rhode Island is Famous for You.” (Arthur Schwartz/Howard Dietz) Clearly the song holds special meaning. He sings with deep affection. Brushes circle.
Forever associated with Bob Hope, introduced by he and Shirley Ross, “Thanks for the Memory” (Ralph Rainger/Leo Robin) may never land as meaningful and pure. Instead of sounding camp, it’s tender and rueful. “No tears, no fuss, Hooray! For us/So, thanks for the memory…”
“Where Am I Going?” (Cy Coleman/Carolyn Leigh) and “Two for the Road” (Henri Mancini/Leslie Bricusse, written for their wives) also surface with tender gravitas. Feinstein mines the essence of songs.
We close with thanks for supporting live music and a genial, lilting “Take Me Back to Manhattan” (Cole Porter). Audience exits smiling.
Photo by Fadi Kheir
Let’s Get Away From It All: Standard Time with Michael Feinstein
Tedd Firth- MD/Piano
David Finck- Bass; Mark McLean- Drums
Zankel Hall
Next Standard Time:
February 25, 2026 7:30 PM On the Town– celebrating New York’s classic nightclubs and singers.
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