Tony Bennett mesmerizes at Atlanta’ Symphony Hall July 24, 2018

On a warm Tuesday night, at Atlanta’s beautiful Symphony Hall, a beloved figure of American music entertained an adoring audience. The maestro, Tony Bennett, quickly approaching his ninety-second birthday in August, embodied what is meant by the Mack Gordon lyrics “You Make Me Feel So Young.” Energized by the sold-out crowd, many who came to pay homage to a lifetime of over sixty years of epic performance art, Bennett entered the stage to a standing ovation and to the music of Michel Legrand’s marvelous “Watch What Happens.”  The place was charged. The symbiotic relationship between the warm and humble crooner and his audience was palpable. This exchange of energy is the very elixir that keeps the man vibrant, relevant and endearing. He is loved and adored, and he absorbs this tremendous outpour with rare humility and grace, which makes us love him even more.

His voice started with a raspy, slightly gravelly tone and a somewhat diminished range, but what he now lacks in vocal acuity he more than makes up with in his profound understanding of how to deliver a lyric. He is a consummate storyteller who captivates your imagination with his rich embellishment of its meaning. Take his wonderful rendition of the Gordon Jenkins classic “This is All I Ask.”  The lyrics now so much more relevant for a man in his nineties then when he first sang it back in 1963 at the age of forty-three. “As I approach the prime of my life, I find I have the time of my life, learning to enjoy at my leisure all the simple pleasures. And so, I happily concede, this is all I ask, this is all I need.”  The audience responded with a spontaneous round of applause as he sang these words to life.

In a conversation with Marc Meyers on his blog Jazz Wax in 2017, Bennett explained the importance of his relationship with the audience.

"I listen to the audience and feel their enthusiasm. Then I go along with that. I feel their spirit. I'm reacting to what's happening out there, and that's how the show becomes a reality. Once I know the audience is enjoying me, that they love what I'm doing, I'll do something different in response. It's almost as if we're having a conversation in the dark."

Bennett’s vitality was remarkable. Throughout the one-hour performance he never sat once, only occasionally leaning on the piano.  He walked erectly and with confidence, occasionally circling his bandmates and pointing to them, generously sharing the spotlight, encouraging the audience to shower his fellow musicians with applause. The band was made up of guitarist Gray Sargent, pianist Tom Rainier, bassist Marshall Wood and drummer Harold Jones. Since Bennett admittedly doesn’t prepare specific endings for the songs he elects to sing, the band must be capable of responding instantly to his flights of improvisation, which they did for the most part seamlessly.

Bennett and company ran through the Great American Songbook, swinging with Gershwin’s “I Got Rhythm” done in double time. A master of timing and dynamics, Bennett switched to the Ellington classic “In My Solitude,” where he first sang with restrained aplomb. He skillfully built the tension along the way until the coda, where he surprised many with an explosive ending that he belted out with affirmation, much to the delight of the crowd.

He ran through the repertoire, with most songs timing in at the radio-friendly three-minute mark. The songs included “It Amazes Me,” “Steppin’ Out with My Baby,” “But Beautiful,” “Our Love is Here to Stay,” “My Foolish Heart,” and “Because of You.”  Bennett proceeded with a short medley that included Hank Williams “Cold, Cold Heart,” one of his early hits “Rags to Riches” and his classic “Who Can I Turn To,” which has long been a staple of his repertoire. The music continued with “Just in Time” and “Boulevard of Broken Dreams” and was followed by “The Good Life” which found the singer shouting the words “Wake Up, kiss the good life goodbye” in a powerful display of passion and bravado. It was almost as if he the wise nonagenarian was shaking the audience by the lapels, imploring them to enjoy the life they have every minute of every day. His fans responded several times during the evening to give Bennett a standing ovation. The unspoken question in everyone’s mind was “How can this guy still do what he does at such a high level?” The answer- It’s all about the love. The love Bennett has for his craft, the love his audience showers on him because of his honest integrity and warmth and the love of the music that seems eternal in its message, especially when delivered by one of the all-time masters of the art of singing.

The program continued with “The Music Never Ends” which was decidedly appropriate for this tireless performer. Guitarist Sargent moved centerstage to do a moving duo with Bennett on the Johnny Mandel standard “The Shadow of Your Smile” from the 1964 movie The Sandpiper which had the crowd salivating for more.  Bennett was warmed by the rapturous response and so he mined some more of his treasure trove continuing with Stevie Wonder’s “For Once in My Life” and then giving the audience what they were all waiting for, his signature song “I Left My Heart in San Francisco” which despite his diminishing range he pulled off with an amazing display of sheer will and polish. Sensing his audience was peaking, the master showman continued with “Who Cares” before finishing for the finale “Fly Me to the Moon.”  His voice carrying the seventeen hundred seat hall even without the aid of a microphone.

Bennett embraced himself in a demonstrative gesture, showing his deep appreciation for his audience, throwing them hugs and kisses, raising his hand upward in solidarity, basking in the adulation and was almost hesitant to finally leave the stage. But as he has once opined, timing is an important part of entertaining.  

"Know when to get off. You can't stay out there too long. You have to be aware when you've done enough. That often happens at the high point of an audience's reaction during the evening. When I hear that moment, I often say to myself  'I can't get a stronger reaction than this.' I usually leave soon after, on that high note."

Mr. Bennett, with all due respect, you can never stay too long in my book.

Here is one of my favorite Bennett collaborations with the great pianist Bill Evans from 1976. It's just timeless.

Alexis Cole's "You'd Be So Nice to Come Home To"

Alexis Cole's You'd Be So Nice to Come Home To Venus VHCD-1046

Full disclosure, I have been following the singer Alexis Cole for some time now. I first heard her when I lived back in the metro New York are and I caught her performing in a local Westchester venue after hearing her sing on a fabulous album I Carry Your Heart : Alexis Cole Sings the Music of Pepper Adams from 2012. The friends that I brought along at the time were so taken by her beguiling voice and charming, unassuming stage manner that they became instant fans and snapped up all of her recordings. At the same time they all wondered how such a fabulous singer had been running so low under the radar. I explained that Cole was serving her country as a member of the armed services for a stretch of six years, where she nonetheless continued to sing, fronting with the Army big band up at West Point. 

She was just getting her professional career started after attending undergraduate studies at William Patterson College and later at Queen’s College for graduate studies. I continued to follow her and saw her perform with the pianist Pete Malinverni at his Jazz Vespers series at the Pound Ridge Community Church, where he is musical director. She continued to impress me with her easy, unforced delivery and vocal acumen. I just loved her voice. By this time, she was snapped up by SUNY Purchase College as an instructor. 

Later that year, I was curating a jazz series for the Stamford Center for the Performing Arts in Stamford CT. I wanted her to be the lead off act for a new jazz series that we were piloting and she enthusiastically obliged bringing with her a fabulous group of musicians that included the guitarist Jack Wilkins, the bassist Andy McKee and the drummer Mike Clark. Predictably she was a big hit.

When I moved to the Atlanta area we stayed in touch via email and I was pleased when she asked me if I would write the liner notes for a Chesky Records project she was doing covering Paul Simon tunes. The album, which was titled Dazzling Blue from 2016, was a fine mix of Simon’s poetic music performed in a bare, roots-based style with Cole’s haunting vocals, Mark Peterson’s bass and Marvin Sewell’s guitar on most of the tracks. Cole was finally beginning to be noticed as the record climbed to 24 on the Billboard jazz charts.

The music on Cole’s latest album, You'd Be So Nice to Come Home To, was recorded back in 2010 at Avatar Studios in New York. Cole’s Japanese label, Venus, released the album in Japan in 2011. It was only available as an import before this year when the album was printed and released in the US. Lucky for us that the Japanese jazz fans didn't just keep this one to themselves, as this is a swinging session with Alexis in excellent form and her band offering inspired support behind her. 

The group is made up of many of the musicians that regularly perform at the upper West Side of Manhattan super club SMOKE. They include tenor star Eric Alexander, versatile trumpeter Jim Rotundi, masterful trombonist Steve Davis, pianist David Hazeltine, bassist John Webber and ubiquitous drummer Joe Farnsworth. 

Alexis has one of those lilting voices that seems to float in the air. Her delivery is so effortless, so natural, so fluid as to bespeak of some innate talent that requires no sweat equity; but be assured she has honed her craft with many hours of diligent study and assiduous practice. She is s a serious student of the music and like many great singers she has trained herself to become an effective storyteller.

Alexis Cole

While in the past Cole has taken some material from more modern sources, on this one she has mined the reliable Great American Songbook.  Composers like Victor Young, Michel LeGrand, Henry Mancini, Johnny Mercer, Julie Styne, Jerome Kern and of course Cole Porter have their work wonderfully represented by this talented songstress.

My favorite selections include the lead off Victor Young/Jay Livingston composition “Golden Earrings" where Ms. Cole starts out with a short, tasteful scat before introducing the lyrics out front of the three-horn section of Davis, Alexander and Rotundi and the swinging rhythm section of Hazeltine, Webber and Farnsworth. Rotundi’s muted trumpet meshes beautifully with Cole’s melodious voice, before Davis and then Alexander take turns soloing on this swinging piece. Webber’s big round bass leads the way as Farnsworth’s traps keep the time. Just listen to the ease with which Cole’s voice negotiates the lyrics through the changes, impressive.

The Michel Legrand composition, “I Will Wait For You,” is the perfect vehicle to showcase this lady’s wonderful instrument. After a scatted lead accompanied by a walking bass lead in that sets the tone, Cole starts off with the iconic lyrics. She has an astute sense of timing and her inflections are always subtle with no vocal theatrics. Alexander offers a sublime harmonizing tenor solo before the group plays in tight section style behind her; Cole’s years of experience playing in front of the Army Band has obviously paid dividends.

The highlight of Mancini and Mercers’ “Moon River” is a splendid tenor solo by the powerful Eric Alexander.

Another more obscure Young/Livingston composition “Delilah” finds Cole at her most expressive. Her introduction to this theatrical version of Biblically inspired Middle Eastern music is emblematic of her storytelling acumen. Her voice gently sways into the swing of the music as the horn section plays the evocative Alexander arrangement. Rotundi’s open bell trumpet solo is just magic. Farnsworth’s drum solo is punctuated with a synchronous chorus of Cole’s voice and the stellar horn section. Cole is simply hypnotic. Like a snake charmer’s Punghi transfixes a deadly Cobra into docility, Cole’s sultry vocal treatment captivates you like the Biblical Delilah subjugated the mighty Samson. The soporific beat adds to the enchanting effect.

“Alone Together” is played as a quick tempo swinger with some wonderful solo work by Davis. Rotundi, whose trumpet work on this album raises the entire program, makes a brilliantly succinct statement. Bassist John Webber's beat is always strong and omnipresent.

The poignant “You’ve Changed” is played like a slow ballad with Cole and company wrenching out all the emotion and pathos that this classic song of lament can muster. Listen to Rotundi’s solo on this and marvel at the man’s ability to play precisely what is needed and then listen to Cole’s crystalline voice at the coda. Just beautiful.

Other songs on the album include “Cry Me a River,” “A Beautiful Friendship,” “All the Things You Are,” “So in Love,” and the title song of the album “You’d Be So Nice to Come Home To.”

For those of you who crave to hear familiar standards played with modern, creative arrangements and featuring a fabulous singer backed by a great band, then look no further than Alexis Cole’s You’d Be So Nice to Come Home To. Believe me this is an album you’ll be glad to come home to.