Sandy Stewart and Bill Charlap at Feinstein's Something to Remember Sandy Stewart performing with her son, the pianist Bill Charlap, in this show at Feinstein's at Loews Regency. The singer Sandy Stewart imparts rock-bottom truths in a warm, humming voice that rarely rises above the level of an intimate conversation. The half-smile that flickers on her lips implies a profound wisdom about the things that really matter when you're a certain age (Ms. Stewart is 75), most of all time and memory. She might be described as a pop-jazz Mona Lisa. Many of the standards in "Something to Remember," her new show with her son, the great jazz pianist Bill Charlap, at Feinstein's at Loews Regency, address these subjects from multiple perspectives. On the most obvious level is the pair's predilection for the kind of slow tempos associated with the much-missed Shirley Horn, the better to ponder song lyrics and unlock their hidden meanings. While Ms. Stewart's phrasing with its careful hesitations and emphases on key words maintains a serene facade, Mr. Charlap's volatile pianism reflects the turmoil below the surface in abrupt changes of rhythm and mood. You might describe his playing as recreating the events that his mother is conjuring. The opening-night show on Monday began with Mr. Charlap's instrumental rendition with the bassist Peter Washington of "If I Loved You," which he subtly toughened up with jazz harmonies and curt, sharply edged passages without obliterating its romanticism. The very word "if," after all, conveys an undertone of doubt and anxiety. The song led off a medley that peaked with a rendition of "This Can't Be Love" that exploded with joy. The moment Ms. Stewart entered and began singing "September Song," a hush settled over the room as she coaxed the audience to gaze with her into eternity. The phrase "a plentiful waste of time," which referred to the energy expended on frivolous youthful courtship, resonated. Another singer might be tempted to look back with bitterness and regret, but Ms. Stewart's cosmic perspective is forgiving: That was then. This is now. At the heart of Ms. Stewart's vision is a belief in the ties that bind, even after death. Her version of the Barbra Streisand standard "Why Did I Choose You?" turned on the words "lovingly and willingly" delivered an almost oratorical emphasis. The Cole Porter standard "After You, Who?" stared unblinkingly but without terror into the void after the imagined end of a perfect relationship. The program's most daring choice, "It All Depends on You," is a merciless deconstruction of a song that is usually done as a hyperbolic expression of devotion. They revealed it as a coercive expression of emotional blackmail. Consider the declaration "I can save money or spend it/Go right on living or end it/You're to blame, honey, for what I do." While Mr. Charlap bore down on the keyboard, Ms. Stewart, smiling ominously, raised her voice and delivered it as a threat. "Something to Remember" continues through Saturday at Feinstein's at Loews Regency, 540 Park Avenue, at 61st Street; (212) 339-4095, feinsteinsattheregency.com.