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This special enhanced eBook includes twelve Gershwin classics performed by Michael Feinstein and commentary from the author on the music and the lives of George and Ira Gershwin.
From celebrated entertainer Michael Feinstein comes a beautifully illustrated account of the lives and legacies of the Gershwins—told through stories of twelve of their greatest songs.
The “Ambassador of the Great American Songbook” Michael Feinstein was just twenty years old when he got the chance of a lifetime: a job with his hero, Ira Gershwin. During their six-year partnership, the two became close friends. Feinstein blossomed under Gershwin’s mentorship and Gershwin was reinvigorated by the younger man’s zeal for his and his brother George’s legacy. Now, in The Gershwins and Me, the only book of its kind, Michael Feinstein shares unforgettable stories and reminiscences from the music that defined American popular song, along with rare Gershwin memorabilia he’s collected through the years.
From “Strike Up the Band” to “Love Is Here to Stay,” each of the twelve chapters highlights one of the Gershwins’ classic songs, exploring the brothers’ lives, illuminating what the music meant to them, and telling the stories of how their iconic tunes came to life. Throughout the star-studded narrative, Feinstein unfolds the moving chronicle of his own life with the Gershwins, describing his vision for their enduring presence today. No other writer could give us such an authoritative inside perspective on these titans of American culture—and no other writer could include such a soulful collection of music as Feinstein’s original recordings of the twelve songs.
A timeless classic and the definitive account of the Gershwins and their legacy, The Gershwins and Me will having you humming with every turn of the page.
- Sales Rank: #1085759 in eBooks
- Published on: 2012-10-16
- Released on: 2012-10-16
- Format: Kindle eBook
Review
“Frisky, affectionate, lushly illustrated, deeply informed and profoundly respectful.”—Kirkus Reviews
About the Author
Michael Feinstein is an entertainer and educator known as one of the leading experts on classic American popular music. A five-time Grammy nominee, he performs, records, and lectures extensively and has been awarded three honorary doctorate degrees. Learn more about Michael Feinstein at MichaelFeinstein.com.
Most helpful customer reviews
72 of 72 people found the following review helpful.
A Musical Journey
By Ted Feit
Perusing this book is much like attending a cabaret performance by Michael Feinstein: It is replete with personal anecdotes and examples of the Great American Songbook. It is accompanied by a CD of 12 of the best Gershwin tunes. And the illustrations, many of which are from the author's personal collection amassed over decades, are not only impressive but a rare addition to an informative work.
At the age of 20, Feinstein became the personal assistant to Ira Gershwin, helping to catalog the work of perhaps the greatest songwriting team in American history [Ira with his brother, George, of course]. He spent six years at the task, which certainly qualifies him as one of the foremost authorities on his subject. The book not only addresses the Gershwins' impressive output, but the whole genre, which he dates back to the writing of Swanee. He suggests the tunes of George and lyrics of Ira, fresh and vital, helped to shape the attitudes, morals and beliefs of the 1920s, `30s and `40s. And beyond the Gershwins, he looks at the whole genre: Irving Berlin, Cole Porter, Rogers and Hart, Harry Warren and Harold Arlen, and how they were influenced by the brothers Gershwin.
In case you're wondering, the twelve songs are: "Strike Up the Band," "'S Wonderful," "I've Got a Crush on You," "They All Laughed," "Someone to Watch Over Me," "Embraceable You," "Who Cares?," "I Got Plenty of Nuthin'," "They Can't Take Than Away from Me," "I Got Rhythm," and "Love Is Here to Stay."
Not only are the Gerswins memorable, but this book will be as well: for its information and art. It certainly should, and will be, I am certain, a lot more than just a display on a coffee table. Highly recommended.
40 of 40 people found the following review helpful.
A Music Scrapbook
By Foster Corbin
When Michael Feinstein was the mere age of 20, he was given the opportunity of a lifetime: to work with Ira Gershwin for six years. Now he pays the Gershwins back with the publication of this beautiful book-- accompanied with a CD of Feinstein singing 12 Gershwin songs, one of which he discusses in each of the book`s 12 chapters -- a gift to them but even more importantly a bigger gift to music lovers the world over. First a word about what this book looks like: The dustcover is in appropriate shades of blue, the many photographs, some in color from recent years and many in beautiful sepia tones, throughout the book are laid out as if in a scrapbook. There are copies of original manuscripts, reproductions of paintings by both George and Ira Gershwin, notes, letters, sheet music front pages, playbills-- a real treasure trove.
What makes this book so endearing--- in addition to the wealth of information about George and Ira Gershwin-- is Mr. Feinstein's writing. It has all the appeal of a conversation over drinks. The author rhapsodizes (no pun intended) about the Gershwins---- his enthusiasm is catching-- but also has no qualms about voicing his opinions about various and sundry criticisms made about them that he does not think are fair: about Leonard Bernstein, for instance. His criticism of "Rhapsody in Blue" was in large part because of his jealousy of George Gershwin, Mr. Feinstein believes, and he opines that there would never have been a Leonard Bernstein if there had not been a George Gershwin. But Virgil Thomson who had written what Feinstein calls a "bitchy paragraph" about "Porgy and Bess" he describes as "an intellectual, homosexual, short, unattractive man who lacked all of the advantages that were born to Gershwin. He also spoke with an impossibly high-pitched voice that was ridiculed behind his back ." George Gershwin was tall, athletic, even installing a gym in his townhouse, and handsome-- as the many photographs throughout this lavishly illustrated book indicate-- and certainly had his pick of beautiful, sophisticated women including Kay Swift and Kitty Carlyle. Mr. Feinstein does address, however, the rumors and gossip concerning Gershwin's sexuality and concludes that there is no hard evidence that he was "more interested in men than women" although he never married.
The music that George and Ira Gershwin produced, however, and its influence on American culture, is much more important. Who can forget, for instance, the first time you heard "Rhapsody in Blue" or your favorite singer doing "Summertime" or "The Man I Love" or "Swanee"-- George's first big hit in 1919-- or seeing a production of "Porgy and Bess" in an opera house? Mr. Feinstein on the Gershwin legacy: "What George Gershwin accomplished in his short life was a fusing of different types of music to create what became the musical voice of America. Of all those who dreamed and tried, for George it seemed predestined, with joy and a sense of purpose that was at times confounding. If there is an American soundtrack, Gershwin owns a good portion of it, with words by Ira."
Mr. Feinstein says we have to accept the fact, however, that millions of Americans have never heard of the Gershwins. A voice teacher friend of his, for instance, tells of a student who said she was going to sing "Summertime" by Porgy and Bess. The author discusses at length some of the reasons why the kind of music the Gershwins wrote is no longer in vogue as it once was: fewer young peope learn to play the piano, there are fewer pianos in the home now, the number of piano bars has diminished, public schools are dropping music appreciation from the curricula, record companies are reluctant to produce a recording that will not be a big money-maker even if it contributes to the culture of our nation. I with sadness wholeheartedly agree with Mr. Feinstein's conclusion that our country has fallen apart culturally. But he says it better than I: "As a nation, we can't sit still. We're not terribly interested in anything with depth, but we are fascinated by more and more of the surface. "American Idol" and shows like it have given people permission to judge, to hate, to mock, to humiliate, to denigrate deficiencies in other people in the most vocal way. It's not about "music"; it's about turning kids into commercial performers."
There is so much-- I hesitate to use the word-- musical trivia throughout this beautiful book that both lovers of the Gershwins and new converts will find so appealing. Here are a few of them: When George Gershwin approached the French composer Maurice Ravel about lessons from him, Ravel turned him down, saying that it was more important to be a first-rate Gershwin than a second-rate Ravel. When Stephen Sondheim first saw the original manuscript of "Porgy" he was so moved that a tear fell on the document, thereby "leaving a slight stain that will forever bind the two composers." And Irving Berlin commented on Ethel Merman's big voice, saying that if you ever wrote a bad song for Ethel, that you would hear it. Both George and Ira Gershwin were principled and decent individuals. George, for instance, refused to let "Porgy" be staged with white players in blackface and Ira eventually removed the "N" word from the opera's lyrics, saying that if he had realized how hurtful the word was to black Americans, he would never have used it in the first place. Even though the elder Gershwins spoke with a Russian accent, George was never ashamed of his parents and invited them to his fancy parties. (And you have to smile at and love them for closing their blinds during Jewish holidays so their neighbors would not know that they -- not religious-- were not observing the holidays.) Finally, although it would have been to his advantage financially because it would have extended the copyright on the piece, Ira adamantly refused to add lyrics to "Rhapsody in Blue."
Mr. Feinstein--who of course does give us much interesting information about himself as well; he has 30,000 pieces of sheet music and as many recordings-- wonders what George Gershwin, who died at 38, would have produced if he had lived decades longer. After all, "Rhapsody in Blue," "Concerto in F" and "Porgy" were all firsts for him. These pieces with a handful of songs, however, are here to stay.
10 of 10 people found the following review helpful.
Go back in time to Tin Pan Alley
By CJS
Excellent look at the lives and music of George and Ira Gershwin by Michael Feinstein. Feinstein worked with Ira Gershwin for several years so the book provides a first-hand account of Ira in his later years as well as Ira's reminiscences of working in Tin Pan Alley. The book provides a great look at music in the early 20th century and includes plenty of photographs, not just of the Gershwins but of sheet music, notes on composition paper, photos from shows, etc. The book's writing style made it very easy to read and at times you felt you were there when Feinstein was having a conversation with Ira or even back in the 1920's when George was premiering Rhapsody in Blue. Feinstein is correct that this music is in danger of being lost because music appreciation is no longer being taught in schools. This is a shame because the music of the early part of the 20th century, not just the Gershwins, but Cole Porter, Irving Berlin, Rodgers and Hart, and so many others, are the best that have ever been written. The book also includes a cd by Feinstein with music and commentary.
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