Tony Bennett & Bill Evans Album

Bill Evans, Tony Bennett - Tony Bennett & Bill Evans Album

Tony Bennett & Bill Evans Album
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CD Details

Artist: Bill Evans, Tony Bennett
Edition: Music CD
Format: Extra tracks, Original recording remastered
CD Release Date: 2006-11-07
Music Label: Fantasy
Soundtracks:
  1. Young And Foolish
  2. The Touch Of Your Lips
  3. Some Other Time
  4. When In Rome
  5. We'll Be Together Again
  6. My Foolish Heart
  7. Waltz For Debby
  8. But Beautiful
  9. Days Of Wine And Roses
  10. Young And Foolish (Take 4)
  11. The Touch Of Your Lips (Take 1)
  12. Some Other Time (Take 7)
  13. When In Rome (Take 11)
  14. Waltz For Debby (Take 8)

Music reviews of Tony Bennett & Bill Evans Album

Music Review: Surprisingly good, since Bennett's voice was getting rough by the time
Rating: 4 Stars

Although this is a review of an album by Tony Bennett, it is necessary for me to mention, repeatedly, the work of Rosemary Clooney as well. The reason is that I need to point out a lot that these two vocalists had in common.

My three favorite vocalists of all time were all female, and Clooney was among those three. Of my two favorite male vocalists, Bennett was certainly one. Both flourished in the early 1950s, as in fact did all the singers whose music I most enjoy, and both recorded in those days for Columbia Records, run by the strong-willed Mitch Miller, whose word was law as to who recorded what song. Neither was very happy with all the song choices that Miller made for them, though Clooney never tried to resist, feeling she had no power to do so; Bennett has been a lot more forceful, having obtained the rights to some of those recordings and actively preventing their re-release (which to me is a bit of a tragedy, because they were actually, in many cases, good recordings).

With the rise of rock 'n' roll in the mid-1950s, both Bennett and Clooney had to leave the top of the song charts, though the rock-hating Miller kept both on the Columbia label for years afterward, especially Bennett, who continued recording for Columbia well into the 1960s. But ultimately both left. And a jazz-oriented label, Concord, profited by the majors' abandonment of the great pre-rock singers by hiring their services. In fact, Clooney recorded for Concord for about the last 30 years of her life. Both Bennett and Clooney tended to favor including a lot of jazz ideas in their pop singing, and Concord took advantage of this.

But one difference between Bennett and Clooney is that Clooney's voice did not greatly deteriorate over the years. Her recordings, even in the first years of the 21st century, still sound almost as good as the ones she had made decades earlier. Bennett, by contrast, developed a scratchiness in his voice that (for me) was almost painful to hear, remembering how good he used to sound. I remember a TV special he did in 1975 that really illustrated this.

So I bought this album -- originally recorded in that same year, 1975 -- with some trepidation. But somehow they got Tony Bennett on a day when his voice was a lot better than it was on that TV special. This Tony Bennett is not exactly the Tony Bennett of 1953 or 1954, when his was just about the best male voice on record, but his sound is surprisingly good. I have to thank Concord for doing this album; it is a great example of Tony Bennett singing.

I presume that Bill Evans, the pianist who accompanies Bennett, is better known to jazz fans than to me; after all, he is given equal billing with Bennett on this album. I cannot say as much about him as about Bennett, however, because I know nothing about him. But he and Bennett apparently had a great affinity for each other; they went on to do another Concord album a couple of years later.
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