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Vocal Jazz - Released September 25, 2015 | RPM Records - Columbia

Hi-Res Distinctions 4F de Télérama - Choc de Classica - Grammy Awards
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Crooners - Released November 8, 1988 | Columbia

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
Along with his producer, Ernest Altschuler, and his arranger/pianist, Ralph Sharon, Tony Bennett had been searching for a repertoire and a musical approach beyond his long-gone pop work with Mitch Miller of the early '50s and his artistically pleasing but commercially dicey jazz work of the mid- to late '50s. It seemed to be a combination of Broadway songs and other contemporary material, carefully selected and arranged to show off Bennett's now-burnished vocals, which, as he approached the end of his thirties, were starting to be located in a more comfortable range closer to a baritone than a tenor. With this album, they found the key, not only by happening across a signature song in the title track, but also in the approach to songs like "Once Upon a Time," a gem from the flop musical All American, and Cy Coleman and Carolyn Leigh's "The Best Is Yet to Come," which Bennett helped make a standard. (Frank Sinatra didn't do it until two years later.) From here on until the world changed again toward the late '60s, Bennett would not have to feel that he had to compromise his art for popularity, making up-tempo singles in an attempt to meet the marketplace while longing to do ballads and swing material instead. I Left My Heart In San Francisco, a gold-selling Top Ten hit that stayed in the charts almost three years, demonstrated that he could have it all. (Tony Bennett won two 1962 Grammy Awards for the title song: Record of the Year and Best Solo Vocal Performance, Male.) ~ William Ruhlmann
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Crooners - Released September 16, 2011 | RPM Records - Columbia

Distinctions 3F de Télérama
Tony Bennett’s first album of celebrity duets (2006's Duets: An American Classic) featured an impressive cast of superstars answering the call from the dean of pop vocalists, but the arrangements were overly safe -- virtually all of them ballads with soft strings or brassy finger-snappers. Duets II follows the first by five years and features, surprisingly, a cast just as star-laden, but also arrangements that are much more dynamic, and suitable for each song and its participants. (Marion Evans, a veteran whose career goes back nearly as far as Bennett's, handles the charts for a few of the best here.) Bennett, as ever in splendid voice and impeccable groove, laughs and trades lines with stars half his age (like John Mayer), or in the case of Lady Gaga, six decades younger, and clearly makes them so comfortable in this setting that it would be easy to believe that jazz vocals were their home. Standard fare yields standard results for the likes of Michael Bublé and Josh Groban, but all of these songs have something to contribute. Bennett is especially tender and expressive with k.d. lang on "Blue Velvet" (the two had already collaborated on a full album), and he clearly enjoys his pairing with Willie Nelson for "On the Sunny Side of the Street." (Nelson takes a guitar solo, and shows some of the vocal shadings that during the '60s made him as expressive a vocalist as Bennett.) The album wisely covers all bases, including stars of country music (Carrie Underwood, Faith Hill), R&B (Mariah Carey, Aretha Franklin, Amy Winehouse), and one-shots for rock & roll (Sheryl Crow), Latin music (Alejandro Sanz), and classical (Andrea Bocelli). Celebrity musical pairings rarely lead to innovation or excitement, but Duets II is an enjoyable celebration of what Tony Bennett has meant to pop music, and what he can bring out in any star vocalist he steps up to the microphone with. ~ John Bush
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Vocal Jazz - Released January 1, 2009 | Fantasy Records

Distinctions The Qobuz Ideal Discography
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Crooners - Released October 14, 1997 | Columbia - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
Recorded on June 9, 1962, one week before the release of the I Left My Heart in San Francisco album that would catapult Tony Bennett's career into the stratosphere, this concert album effectively sums up his accomplishments so far. Some of the hits -- "Stranger in Paradise," "Rags to Riches," "Because of You" -- are still on the set list (although drastically rearranged), but clearly he has found his true repertoire in reinventions of older material like "All the Things You Are" (the version here is exquisite) and good choices of new songs -- he champions the team of Cy Coleman and Carolyn Leigh, and introduces "San Francisco," which some in the audience already know. (Released as a single in advance of the San Francisco album, it was in the charts already.) And on the album's original four LP sides, Bennett managed to find time for such experiments as an up-tempo "Ol' Man River" featuring percussionist Candido, a throwback to his innovative Beat of My Heart album. More than his greatest-hits collections of the '50s and early '60s, it gives a broad sense of Bennett's work, and it does so in the format with which he's most comfortable -- live in concert. ~ William Ruhlmann
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Crooners - Released November 3, 1988 | Columbia

Hi-Res Distinctions Hi-Res Audio
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Vocal Jazz - Released September 23, 2014 | Streamline - Columbia - Interscope

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Crooners - Released October 8, 2013 | Columbia - Legacy

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Crooners - Released August 29, 1995 | Columbia

As the studio album followup to Tony Bennett's breakthrough record, I Left My Heart in San Francisco, I Wanna Be Around had a lot to live up to, but since San Francisco was a culmination of Bennett's development, and not a fluke, I Wanna Be Around turned out to be almost on a par with its predecessor. "The Good Life" and "I Wanna Be Around" became Top 20 hits, showing that Bennett had somehow found a line into good new pop material, and there were also some excellent arrangements, courtesy of Marty Manning, including a percussion-and-flute reading of "Let's Face the Music and Dance" that echoed the Beat of My Heart album and a nod to the South American trend with Antonio Carlos Jobim's "Quiet Nights (Corcovado)." A worthy successor. ~ William Ruhlmann
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Crooners - Released December 16, 2016 | RPM Records - Columbia

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Released in conjunction with an NBC-TV special, 2016's effusively delivered concert album Tony Bennett Celebrates 90 finds vocalist Tony Bennett marking his 90th birthday with an all-star concert at Radio City Music Hall in New York City. A lavish event, the concert showcased Bennett performing a handful of his most famous songs, with the legendary singer joined by a bevy of musical guests including Andrea Bocelli, Michael Bublé, Lady Gaga, k.d. lang, Kevin Spacey, Stevie Wonder, and many others. Generally speaking, the album is front-loaded with the guest performances and largely consists of each artist doing a rendition of a popular standard Bennett performed and/or recorded at one point or another. Oddly, despite all the guest artists on hand and in light of Bennett's own tradition of doing duet albums, the concert is noticeably bereft of such pairings save for a particularly poignant duet between Bennett and Billy Joel on Joel's "New York State of Mind." Instead, we get Bocelli doing "Ave Maria," lang doing "A Kiss to Build a Dream On," Bublé doing "The Good Life," and more. We also get Elton John delivering a thematically fitting version of his own classic "Can You Feel the Love Tonight." Particularly engaging are Lady Gaga's exuberant renditions of "The Lady Is a Tramp" and "La Vie en Rose." Given her history as a duet partner with Bennett (much like lang), Gaga displays her growing talent as a traditional pop vocalist and proves to be one of the highlights of the evening. Despite the high caliber of the guest performances, the real focus of the concert is saved for the latter half when Bennett himself takes the stage. Although well past the age that most of his contemporaries retired, Bennett remains a magnetic stage performer with a voice that's as robust and nuanced as in his prime -- and perhaps even more full of character. Every time Bennett sings, he delivers a veritable master class on how to sing a jazz standard, and this performance is no exception. Here, we get a handful of some of his best-known numbers, including "I Left My Heart in San Francisco," "The Best Is Yet to Come," and more. Ultimately, Tony Bennett Celebrates 90 is a joyful birthday fete to Bennett and a heartfelt tribute to his illustrious career. ~ Matt Collar
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Crooners - Released January 1, 1980 | RPM

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Jazz - Released September 14, 2018 | Verve Label Group

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Crooners - Released September 27, 2013 | Columbia

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Pop - Released October 4, 2013 | Columbia - Legacy

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Vocal Jazz - Released January 1, 1975 | Fantasy Records

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Jazz - Released September 23, 2014 | Streamline - Columbia - Interscope

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Jazz - Released January 1, 1977 | Concord Records, Inc.

Tony Bennett's second, and final, meeting with Bill Evans is a memorable session for several reasons. Bennett is very relaxed and inspired by Evans' imaginative yet reserved accompaniment, which allows the spotlight to stay focused on the singer. The program is a wide-ranging mix of standards ("You Don't Know What Love Is" and "Dream Dancing") and classic jazz compositions (including Evans' bittersweet "The Two Lonely People," and Thad Jones' moving "A Child is Born"). The two veterans blend so well, that it sounds as if getting together in the studio was a regular occurrence. Evans performs the subtle ballad "The Bad and the Beautiful" as a solo, the only song which Bennett sits out. ~ Ken Dryden
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Jazz - Released March 21, 2018 | RPM Records - Columbia

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Pop/Rock - Released November 16, 2012 | Columbia - Legacy

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Crooners - Released January 1, 2001 | RPM Records - Columbia

Few vocalists have earned what Tony Bennett enjoys: the absolute authority of recording exactly what he wants, exactly the way he wants. And when recording an album of love songs, easily the most common of all conceptual works, no other singer would have the talent to capture both the edges and the subtleties to make what has been tried, many times, sound true. But this is a quality that Bennett -- never a jazz singer, always a "song" singer -- has possessed throughout his career. The Art of Romance is a record, as described by producer Phil Ramone, "that communicates with those in love, out of love and everywhere in-between." Love isn't all rosy, of course, and it's rendered in such saloon-song soft-focus by Bennett and his small group (plus light string accompaniment) that it never sounds passé -- an achievement in itself. Many of these are love songs with a crooked smile, whether it's a brief celebrity-page linking that unexpectedly turns into love ("All in Fun") or songs about the end of love, such as "Where Do You Start" and "I Remember You," a pair of evocative ballads charting love leaving and love only half-remembered. Ironically, Bennett contributes one of the most tender songs, making his debut as a composer on "All for You" with a set of lyrics to one of his favorite tunes, Django Reinhardt's gypsy-jazz classic "Nuages." Remarkably, The Art of Romance marks the debut of these 11 songs in his recorded repertoire. While a few are classics that are nearly as old as Bennett himself, many of them are rarely performed nuggets from the post-vocal era, by such composers as Johnny Mandel, Stephen Sondheim, and Alan and Marilyn Bergman. ("Time to Smile," a buoyant, inspirational piece, marks the debut of the song in anyone's recorded repertoire; it's an older composition by Johnny Mercer and Geoffrey Clarkson only discovered in 2004.) Approaching the age of 80, Tony Bennett has only a few grains in his voice and a bit of strain in the energy of his performances, nothing that a listener wouldn't be able to forgive of a man 25 years younger. ~ John Bush

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Tony Bennett in the magazine
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