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| 1. | I Can't Believe That You're in Love With Me
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| 2. | Don't Get Around Much Anymore
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| 3. | Stella by Starlight
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| 4. | On Green Dolphin Street
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| 5. | Let's Face the Music and Dance
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| 6. | I'm Thru With Love
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| 7. | Solitude [Live]
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| 8. | Lullaby of Broadway [Live]
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| 9. | Dancing in the Dark
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| 10. | I Let a Song Go Out of My Heart
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| 11. | When Lights Are Low
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| 12. | Just One of Those Things
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| 13. | Crazy Rhythm
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| 14. | Street of Dreams
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| 15. | Love Scene
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| 16. | While the Music Plays On
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| 17. | Close Your Eyes
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| 18. | Out of This World
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| 19. | Just Friends
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| 20. | Have You Met Miss Jones?
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| 21. | Danny Boy
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| 22. | Sweet Lorraine
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Jazz
2-Record set on 1 CD
Tony Bennett – Vocals
Featuring:
Count Basie - Conductor
Ron Carter - Bass, Guitar (Bass)
Zoot Sims – Saxophone
Herbie Hancock - Piano
Chico Hamilton - Drums
Herbie Mann - Flute
Art Blakey - Drums
Nat Adderley - Trumpet
Stan Getz - Sax (Tenor)
Al Cohn - Sax (Tenor), Saxophone
Ralph Sharon - Arranger, Conductor, Piano
Chuck Wayne - Arranger, Guitar
Milt Hinton - Bass, Guitar (Bass)
Elvin Jones - Drums
Al Klink - Saxophone
Albert T. Grey - Trombone
Barry Galbraith - Guitar
Benjamin Powell - Trombone
Bernie Glow - Orchestra Director, Trumpet
Bernie Leighton - Piano
Billy Slapin - Flute
Bob Tricarico - Horn (Tenor), Sax (Tenor), Tenor (Vocal)
Bobby Hackett - Ukulele
Bobby Jaspar - Flute
Caesar DiMauro - Saxophone
Candido Camero - Bongos, Drums
Charles Panely - Trumpet
Charlie Fowlkes - Saxophone
Chauncey Welsch - Trombone
Clyde Lombardi - Bass, Guitar (Bass)
Corky Hale - Harp
Danny Bank - Saxophone
Dave Schildkraut - Saxophone
Dick Hixson - Trombone
Doc Severinsen - Trumpet
Don Costa - Arranger, Conductor
Ed Jones - Guitar (Bass)
Ed Shaughnessy - Drums
Eddie Caine - Saxophone
Eddie Costa - Vibraphone
Frank Abbey - Engineer
Frank Foster - Saxophone
Frank Rehak - Trombone
Frank Wess - Saxophone
Freddie Green - Guitar
Hal Gaylor - Bass, Guitar (Bass)
Harvey Leonard - Piano
Henry Coker - Trombone
Herb Lovelie - Drums
Herb Lovelle - Drums
Irwin "Marky" Markowitz - Trumpet
James E. Bond - Bass
James Isaacs - Liner Notes, Producer, Reissue Producer
Jerry Sanfino - Saxophone
Jimmy Maxwell - Orchestra Director, Trumpet
Joe Marsala - Clarinet
Joe McEwen - Producer, Reissue Producer
Joe Newman - Trumpet
Joe Soldo - Flute
Joe Wilder - Trumpet
John Berg - Design
John Bunch - Piano
John Pisano - Guitar
Louis Martinez - Drums
Marian Evans - Arranger
Marshall Royal - Saxophone
Mundell Lowe - Guitar
Ralph Burns - Arranger, Director
Robert Alexander - Trombone
Robert Burns - Orchestra Director
Romeo Penque - Saxophone
Sabu Martinez - Drums
Snooky Young - Trumpet
Sol Gubin - Drums
Sonny Payne - Drums
Spencer Sinatra - Flute
Thad Jones - Trumpet
The Will Bronson Chorus
Tina McCarthy - Archivist
Toots Mondello - Saxophone
Urbie Green - Trombone
Vincent D. Vittorio - Flute
Vladimir Meller - Mastering
W. Eugene Smith - Cover Photo, Photography
Wayne Andre - Trombone
Wendell Culley - Trumpet
Wendell P. Cully - Trumpet
William Elton - Trombone
William Exiner - Drums
William Mitchell - Saxophone
William Slapin - Flute
Willie Mitchell - Saxophone
What a wonderful idea. This is a compilation album ranging across Tony Bennett's early career, from 1954 to 1967, highlighting some of his more adventurous sessions with jazz musicians, including Count Basie, Herbie Hancock, Herbie Mann, Art Blakey, Stan Getz, and others, and featuring jazz standards like "Green Dolphin Street," along with a healthy dose of Duke Ellington compositions. Bennett not only holds his own, he sounds delighted on every track. The ironic thing, of course, is that Columbia frowned on these kinds of side excursions from his pop career in the '50s. Now, all is forgiven, and this proves an unusually imaginative repackaging that illuminates an important part of Bennett's talent and further contributes to his '80s renaissance. (The album contains a previously unreleased 1964 performance of "Danny Boy" featuring Stan Getz. Originally released as a two-LP set, Jazz was compressed to a 68-minute CD by excising two tracks.)
---William Ruhlmann, All Music Guide
Tony Bennett
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 03, 1926 in Queens, NY
Genre: Vocal, Jazz
Styles: Ballads, Show Tunes, Traditional Pop, Vocal Jazz, Vocal Pop
Tony Bennett's career has enjoyed three distinct phases, each of them very successful. In the early '50s, he scored a series of major hits that made him one of the most popular recording artists of the time. In the early '60s, he mounted a comeback as more of an adult-album seller. And from the mid-'80s on, he achieved renewed popularity with generations of listeners who hadn't been born when he first appeared. This, however, defines Bennett more in terms of marketing than music. He himself probably would say that, in each phase of his career, he has remained largely constant to his goals of singing the best available songs the best way he knows how. Popular taste may have caused his level of recognition to increase or decrease, but he continued to sing popular standards in a warm, husky tenor, varying his timing and phrasing with a jazz fan's sense of spontaneity to bring out the melodies and lyrics of the songs effectively. By the start of the 21st century, Bennett seemed like the last of a breed, but he remained as popular as ever.
Bennett grew up in the Astoria section of the borough of Queens in New York City under the name Anthony Dominick Benedetto. His father, a grocer, died when he was about ten after a lingering illness that had forced his mother to become a seamstress to support the family of five. By then, he was already starting to attract notice as a singer, performing beside Mayor Fiorello La Guardia at the opening of the Triborough Bridge in 1936. By his teens, Bennett had set his sights on becoming a professional singer. After briefly attending the High School of Industrial Arts (now known as the High School of Art and Design), where he gained training as a painter, he dropped out of school at 16 to earn money to help support his family, meanwhile also performing at amateur shows. Upon his 18th birthday in 1944, he was drafted into the Army, and he saw combat in Europe during World War II. Mustered out in 1946, he went back to trying to make it in music, and he attended the American Theater Wing on the GI Bill. By the end of the 1940s, he had acquired a manager and was working regularly around New York. He got a break when Bob Hope saw him performing with Pearl Bailey in Greenwich Village and put him into his stage show, also suggesting a name change to Tony Bennett. In 1950, Columbia Records A&R director Mitch Miller heard his demonstration recording of "The Boulevard of Broken Dreams" and signed him to the label.
Bennett's first hit, "Because of You," topped the charts in September 1951, succeeded at number one by his cover of Hank Williams' "Cold, Cold Heart." Following another five chart entries over the next two years, he returned to number one in November 1953 with "Rags to Riches." Its follow-up, "Stranger in Paradise" from the Broadway musical Kismet, was another chart-topper, and in 1954 Bennett also reached the Top Ten with Williams' "There'll Be No Teardrops Tonight" and "Cinnamon Sinner." The rise of rock & roll in the mid-'50s made it more difficult for Bennett to score big hits, but he continued to place singles in the charts regularly through 1960, and even returned to the Top Ten with "In the Middle of an Island" in 1957. Meanwhile, he was developing a nightclub act that leaned more heavily on standards and was exploring album projects that allowed him to indulge his interest in jazz -- notably 1957's The Beat of My Heart, on which he was accompanied mainly by jazz percussionists, and 1959's In Person! With Count Basie and His Orchestra. By the early '60s, although he had faded as a singles artist, he had built a successful career making personal appearances and recording albums of well-known songs in the manner of Frank Sinatra.
In 1962, Bennett introduced "I Left My Heart in San Francisco," a ballad written by two unknown songwriters, George Cory and Douglass Cross, who had pitched it to his pianist, Ralph Sharon. Released as a single, the song took time to catch on, and although it peaked only in the Top 20, it remained on one or the other of the national charts for almost nine months. It became Bennett's signature song and pushed his career to a higher level. The I Left My Heart in San Francisco album reached the Top Five and went gold, and the single won Bennett Grammy Awards for Record of the Year and Best Solo Vocal Performance, Male. Bennett's next studio album, 1963's I Wanna Be Around..., also made the Top Five, and its title track was another Top 20 hit, as was his next single, "The Good Life," also featured on the album. For the next three years, his albums consistently placed in the Top 100, along with a series of charting singles that included the Top 40 hits "Who Can I Turn To (When Nobody Needs Me)" (from the Broadway musical The Roar of the Greasepaint, the Smell of the Crowd) and "If I Ruled the World" (from the Broadway musical Pickwick).
By the late '60s, Bennett's record sales had cooled off as the major record labels turned their attention to the lucrative rock market. Just as Mitch Miller had encouraged Bennett to record novelty songs over his objections in the 1950s, Clive Davis, head of Columbia parent CBS Records, encouraged him to record contemporary pop/rock material. He acquiesced on albums such as Tony Sings the Great Hits of Today!, but his sales did not improve. In 1972, he left Columbia for the Verve division of MGM Records, but by the mid-'70s he was without a label affiliation, and he decided to found his own record company, Improv, to record the way he wanted to. He made several albums for Improv, including one with jazz pianist Bill Evans (following a disc they made for Fantasy Records), but the label eventually foundered. (Concord Records released the box set The Complete Improv Recordings in 2004.)
By the late '70s, however, Bennett did not need hit records to sustain his career, and he worked regularly in concert halls around the world. By the mid-'80s, there was a growing appreciation of traditional pop music, as performers such as Linda Ronstadt recorded albums of standards. In 1986, Bennett re-signed to Columbia and released The Art of Excellence, his first album to reach the pop charts in 14 years. Now managed by his son Danny, Bennett shrewdly found ways to attract the attention of the MTV generation without changing his basic style of singing songs from the Great American Songbook while wearing a tuxedo. By the early '90s, he was as popular as he had ever been. The albums Perfectly Frank (1992, a tribute to Frank Sinatra) and Steppin' Out (1993, a tribute to Fred Astaire) went gold and won Bennett back-to-back Grammys for Best Traditional Pop Vocal Performance. But his comeback was sealed by 1994's MTV Unplugged, featuring guest stars Elvis Costello and k.d. lang, which went platinum and won the Grammy for Album of the Year as well as another award for Best Traditional Pop Vocal Performance.
Bennett became a Grammy perennial, also taking home Best Traditional Pop Vocal Performance awards for Here's to the Ladies (1995) and On Holiday: A Tribute to Billie Holiday (1997). Bennett Sings Ellington: Hot & Cool (1999) was another Grammy winner in the retitled Best Traditional Pop Album category, as was Playin' with My Friends: Bennett Sings the Blues, an album of duets released in 2001. One year later, Bennett paired off with a single duet partner, recording A Wonderful World with k.d. lang. The Art of Romance followed in 2004. Both albums won the Best Traditional Pop Album Grammy for their respective years. In August 2006, Bennett reached his 80th birthday, and his record label marked the occasion with a series of reissues and compilations. The next month brought Duets: An American Classic, another collection of pairings with other singers on re-recordings of some of Bennett's best-known songs that reached number three in the Billboard chart, the highest placing for an album in Bennett's career. It also won him another Grammy for Best Traditional Pop Album.
---William Ruhlmann, All Music Guide |
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