Tony Bennett's Latest

I worked hard on this review, hoping to be the first to post on Amazon. Of course, this morning, there were three other reviews, that were like, "Hey this is a good recording". So I may not be first, but you can judge if I'm best. Here's the review, in its entirety:

Shadows of Ella, hints of Evans, and all the things Tony Bennett is

Last fall, Tony Bennett released a fantastic vocal jazz record together with Lady Gaga, Cheek to Cheek. In an interview with the Wall Street Journal, Lady Gaga said that she loved working with Tony Bennett, loved jazz, and that she planned to record “one jazz record a year, forever”. One year to the day later, Lady Gaga’s next jazz album is nowhere in sight. Instead, we have Tony Bennett, the octogenarian king of jazz, who basically reinvented the concept of the duet with his two duets albums, stretched that work with a pop diva, and now, much in the mold of his inimitable work with Bill Evans many years ago, we find him paired with one of today’s premier jazz pianists, Bill Charlap. And, as Tony has become one of the defining masters of the American songbook, he stays close to home by taking on a number of standards by Jerome Kern. The result is an eminently listenable, fascinating jazz record.

 

Understated, but classy cover

One big difference between this Bennett-Charlap recording and the Bennett-Evans recordings is that this time, they went ahead and used a full rhythm section on a number of the songs. With Peter Washington on bass and Kenny Washington on drums, the sound has more of a club atmosphere and less of the intimacy of the pure duets with Evans. Another difference is Bill calls in his life partner and fellow jazz pianist Renee Rosnes to do some fabulous piano duet work on four of the tunes. (As a jazz pianist, those tunes really stood out for me.) Throughout, the solos of Charlap tend to be more evenly constructed and hone closer to the original songs, especially so as each song is kept (for the most part) close to or under the classic three minutes twenty seconds time frame. The selection of songs is solid and includes all the “standard” standards: Yesterdays, All the Things You Are, The Song is You, and even I Won’t Dance, which Tony may have done simply because it was still fresh in his repertoire from last year’s Lady Gaga recording.

"Benedetto" is Tony's real name. Yes, this is his sketch. 

Tony sounds great, and the recording is very clean. (It was produced by Tony’s son, Dae Bennett and Bill Charlap, with another son, Danny Bennett, as executive producer.) Charlap is absolutely on top of his game here, carrying each tune along until it’s time to solo, cleverly breaking and shifting the solo while keeping the feel, then throwing it underhand back to Tony so Bennett can knock it out to the finish. It’s a formula that Tony has stuck with for five decades, and I personally am glad that he decided to not try and change it up. The CD booklet includes full liner notes and a nice background essay/exposition by WSJ columnist and jazz writer Will Friedwald. There are plenty of calm photos and a portrait of Jerome Kern to fill out the booklet.

One of the best albums to come out last year.

I don’t know how much longer Tony is going to be with us, but I hope it’s a long time and I hope he keeps singing, because treasures like this five star vocal jazz album are few and far between. Maybe he will do like Ella did with Norman Granz and work through some of the songbooks of some of the other great American composers. And if he keeps Charlap, his trio and Rosnes along for the ride, there will be lots more great music to come.

I’ll also keep my eyes open for that next Lady Gaga record, while I’m monitoring the airwaves.