Tony Bennett - Perfectly Frank - Amazon.com Music (original) (raw)
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Reviewed in the United States on February 5, 2011
Sinatra was, as Time Magazine described him, the "Entertainer of the Century." He was also an absolutely consummate musician and interpretive artist--whatever he lacked in "natural" talent he made up for with a work ethic, a discipline, a "will" that even many of his most devoted fans have trouble appreciating. He worked primarily with symphonic, epic-scale orchestras because, as a performer, he "played bigger" than they were. With the cooperation of Nelson Riddle, he put his stamp on the long-playing album, creating organically whole masterpieces. Some were deeply introspective and elegiac works, exploring the human psyche and uncovering personal tensions that mirrored those of the listener; others were examples of the most joyously swinging recordings ever made by a vocalist; and for 20 years he was capable of projecting semi-operatic numbers (ranging from the 2nd low E below middle C to an Ab above it) as a vocalist without limits (listen to his early "You Are But a Dream" or the much later "The Concert Sinatra." Every one of those Sinatra-Riddle albums is, in itself, a work of genius--indigenous popular culture raised to art of the highest, yet most personal, order.
In concert, every moment (at least during the half dozen occasions I was fortunate to be in attendance, 1966-1990) was an electrifying event in itself--the lone exception, perhaps, his live, Sunday night network concert in Madison Square Garden on the occasion, in the early '70s, of his coming out of "retirement." (Sinatra was not in characteristically good voice, though the follow-up recording of the boisterous, gala affair managed to make it sound better than it actually was.) Although I never hear him before the song in person, his reading of Harold Arlen's "Last Night When We Were Young" ("Close to You," Capitol) is the performance of a lifetime, a reading so emotional yet artful that no number can repeats can lessen the impact of Sinatra's power-packed reading, a heart-rending cry from the soul capable of shaking the listener for many months afterward. In listen to Bennett submit a "bouncy" treatment of the same tune (which Harold Arlen's son has announced as his favorite among all of his father's masterful songs) is to wonder if the later crooner actually listened to the Sinatra version.
As the foregoing might suggest, there's much for a Sinatra fan NOT to like about yet another "tribute" album to the formidable if not untouchable predecessor--from the liner notes (where Tony speaks of the aforementioned Madison Square concert as though it were an artistic triumph) to the repertory choices (not all are exactly Sinatra staples) to the musical accompaniment to the performances themselves. Of the many tribute albums to Billie Holiday, perhaps only one has produced a result that does justice by the actual music of Lady Day herself: Tony Bennett's "On Holiday." Likewise, the numerous Sinatra tributes have either come up way short musically or been merely exploitive of the Sinatra name for self-serving purposes. Bennett avoids both extremes, while reminding us how unproductive direct comparisons can be. Just step back and listen to a seasoned performer--the last of a breed--who has no hesitations about knocking off a program (on a single disc) of no fewer than 24 songs (!) from the Great American Songbook, evoking arguably its single most influential contributor (without denying the inestimable contributions of Louis and Bing) by simply trusting the integrity of the material.
There's a caveat, of course: Frank in addition would have insisted on nothing less than perfection--from orchestrations to thematic linkages to pacing to minute attention to every detail of every song. Undoubtedly, Tony has no intentions of impersonating Sinatra or exploiting the name for personal gain. "Perfectly Frank" no doubt means that he wants to express sincere appreciation to the foremost custodian of the Songbook that he so liberally borrows from on the recording, the fullness of the program in itself proof of the progenitor's importance.
Still, it's Bennett's far more relaxed approach to repertory and performance that is undeniably one of the key differences between him and a painstakingly driven perfectionist like Sinatra. Tony has always been quick to identify his "main" influences: Louis and Bing, with a special place reserved for Fred Astaire. His understandings and "musical feel" tend to go back further than Frank's, who represented the first breaking away from a well-established jazz tradition into a "new" world of 4/4 swing. Bennett's was a later, more "graceful," more fully assimilating introduction to the jazz world. As a result, he's willing to bet his talent on no more than the "artful" readings of great standards accompanied by the spare and tasteful textures of a relatively traditional piano trio. Sinatra, on the other hand, is the complete musical and dramatic "artist," first constructing a persona and then projecting it in a manner that all but compels us to believe that, with each song, we're seeing at once a reflection of our personal lives and a window into the private desires, dreams and fears of each of us.
There was only one "Perfectly Frank" and, come to think of it, singers like Tony Bennett have become equally rare. To be able to hear him sing these evergreens with such grace and ease is not only to be entertained but to be reminded of the uniqueness and lasting beauty of a unique, indigenous musical art form. The early composers--Kern, Gershwin, Arlen--are said to have admired Fred Astaire as much as any other singer. They trusted him to do justice by their creation of a new and often poorly understood "popular" art form. And it's largely the Astaire tradition, as much as Sinatra's, that Tony Bennett hearkens back to on this recording. It's an album without a single belabored note or moment--in fact, the approach virtually removes any barrier between the listener and the songs. And Tony sings them as though that's the point: perhaps we all should all abandon our flat screens and iPads for a night each week, gather around the piano, and celebrate music that has the power to affirm community and bring joy and healing to all.
14 people found this helpful
Reviewed in the United States on January 29, 2005
I am a fan of both singers, so I was happy to discover this album, which has Tony Bennett singing many of Frank Sinatra's greatest standards. From the cover, you would guess (correctly) that this is meant to be a nightclub album--the simple arrangements, with only piano and string instruments complementing Bennett, the feel of doing a late-night set at some hole-in-the-wall characterize this smooth and often brilliant album. The standouts to me are Tony's renditions of "One for my Baby" and "The Lady is a Tramp". The former is perhaps the ultimate nightclub song, and this version works, in my opinion, better than the ballad version that Sinatra did. The latter, although memorably performed by the Chairman, always seemed more in line with Tony's sensibility, and once again the nightclub mood really makes this song take off. (Note that I haven't used saloon in this review--trying to avoid cliche). Other songs, such as "Just in Time", "Call Me Irresponsible", "A Nightingale Sang in Berkeley Square" are all notable and unique takes on Sinatra's music. Although some of these songs work better with a big band swing feel, none are duds. This disc is a treasure for any fan of great jazz standards.
7 people found this helpful
Reviewed in the United States on November 6, 2022
One person found this helpful
Reviewed in the United States on June 10, 2005
While there are other singers I admire more (Sinatra), Tony Bennett is definitely top drawer material. He is a consummate artist, vocalist and musician. This collection proves the point. He has taken a series of Sinatra songs and made them his own.
For the most part, these are love songs, torch songs and the like. They are not belted out in Sinatra style. Instead, they are easily sung and provide a soothing atmosphere. In doing so, nothing is lost. It is not better than Sinatra nor is it worse. It is simply a matter of a different style.
Great Recording!
7 people found this helpful
Reviewed in the United States on April 12, 2012
Bennett was pretty much Sinatra's favorite singer. At least the chairman always thought highly of him and vice versa. Bennett turns in really nice performances of these songs in a small group setting. "Last Night When We Were Young" is one of my favorites of the bunch. Bennett is soulful and refined; his backing ensemble is superb and in service to the music without showboating their own identity to an inordinate degree. These songs are classics; and they're treated beautifully with understated soul on this disc. The listener also gets a lot of bang for their buck with this record. I believe there are 23 or 24 cuts on it!
3 people found this helpful
Reviewed in the United States on December 11, 2010
Tony Bennett and Frank Sinatra had a mutual admiration society. Frank said that Tony was the best singer,and Tony revered and still reveres Frank Sinatra. Truly those 2 were the best male vocalists of our time! Tony and his swinging band do a wonderful interpretation of many of Frank's greater and lesser known songs including my favorite- Nancy With a Smiling Face, and a few great tunes from the Classic in the Wee Small Hours of the Morning. All songs are done with Frank's influence, but with Tony's indistinguishable warm and breezy interpretations! This is a hard to find disc, better order it through Amazon, while you can still get it!
One person found this helpful
Reviewed in the United States on May 29, 2024
Love Tony Bennett, just not sure I like this album
Reviewed in the United States on November 5, 2022
One person found this helpful
Top reviews from other countries
5.0 out of 5 stars Ya no quedan
Reviewed in Spain on March 9, 2021
En España es difícil encontrar un verdadero aficionado a Frank Sinatra y que, además, le guste Tony Bennett parece tarea imposible, yo al menos no conozco a ninguno (y me gustaría equivocarme). Descubrí este disco el mes pasado y sin saber su calidad me he expuesto conprándolo. Creo que merece la pena.
One singular sensation...
5.0 out of 5 stars Bennett at his best...as usual.
Reviewed in Canada on May 11, 2015
Tony Bennett has wisely avoided most of the 'Frank Sinatra" signature songs. Only about five of them are here. The rest are songs Sinatra did record, but not as well as Bennett does here. Sinatra played with lyrics, rhythms, all of which we enjoyed at the time; Bennett gives each song the respect and fine treatment that it deserves. In some cases he rescues songs that had almost slipped into oblivion and demonstrated how fine and wonderful they are. The Sinatra that comes closest is in "Time After Time" before Frank got the gimmicks going.Here we are reminded of Frank, but is Tony Bennett that carries the day with a, naturally, more mature approach to the lyric. Other than that, one could argue that "The Lady is a Tramp" is more Frank Sinatra than Tony Bennett, but get into any discussion, music lovers never argue, and many of us will state firmly that the song belongs to Lena Horne who knew how to swing it and give it more bite than anyone before or since. Otherwise, forget Sinatra. It is a nice Bennett gesture, and almost certainly most sincere, but it has given Bennett a chance to come up with one of the best albums of his career, one that will probably still be played decades from now as an example of the best that our time had to offer. His "Foggy Day" even surpasses Fred Astaire (a feat I would have thought impossible.) and "A Nightingale Sang in Berkley Square" is so very beautiful that it transports one to place that the song declares does not exist.
If you need a CD to wash away your worries, to restore your heart and soul, to lift your spirits, and to enjoy every second of, this is it.
5.0 out of 5 stars A VERY ENJOYABLE CD
Reviewed in the United Kingdom on April 13, 2013
1 THINK THAT THIS CD IS A FIRST CLASS EFFORT BY TONY BENNETT, BACKED BY THE THE RALPH SHARON TRIO.
THERE ARE 24 SONGS WHICH IS VERY GOOD VALUE FOR THE MONEY AND TONY IS SUPPORTED BY A FIRST CLASS TRIO,
ANY TONY BENNETT FAN WILL NOT BE DISAPPOINTED.
GORDON CLAY..
5.0 out of 5 stars Five Stars
Reviewed in Canada on March 7, 2018
I love Tony and this is a great album. Came fast and in perfect condition.
5.0 out of 5 stars うっとり！
Reviewed in Japan on November 3, 2013
彼のしゃがれ声で唄う声は最高やねぇ！ ビールを飲みながらのBGMに最高でっせぇ！