Customer Reviews

The Complete Tony Bennett / Bill Evans Recordings

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This issue combines all of the alternate takes that were previously available on three separate issues, and adds just one new alternate take that was not on those issues (the last track on Disc 2 - Who Can I Turn To). The first 5 alternates on Disc 2 were available on the 2006 reissue of the Tony Bennett-Bill Evans Album (which did not get much distribution), all the rest (except the last track) were spread across the 1999 Rhino reissue of Together Again and the 2003 Concord Reissue of Together Again. This may seem frustrating to have yet another reissue, but it pulls everything together in a more logical arrangement, at a bargain price and remastered as well. Given the presence of one of the greatest pianists ever to touch the ivories, and Tony Bennett in his "later period" peak, this is a must, even if you have the earlier issues. If you are a Bill Evans completist, there is that last track too. Nearly every singer is jealous of Tony Bennett having the legendary Bill Evans as an accompanist.

The quotation is coincidentally Keats ("Ode on a Grecian Urn"); literally, or factually, they're the last words Bill Evans ever spoke to Tony Bennett (as reported by Evans' biographer and repeated in the program notes by writer Will Friedwald). Having recently worked like a mono-obsessive madman to accompany a vocalist (with Pavarotti chops) accustomed to big band vocal tracks, I decided to order the latest complete version of the two sessions laid down by Bennett and Evans--what did these two giants do to pull off a deceptively hazardous--seemingly impossible--endeavor, with such undeniably stunning success? When one of the alternate tracks is listed as "Take 18," that in itself speaks volumes. These two extraordinarily gifted musicians worked hard and long (obsessively so, it would appear) to achieve a result that practically belies the fact that the expressive source is two musicians, not one: their musical relationship is as tight, unified, of an organic whole as humanly possible. Bill eschews walking bass lines while strictly limiting even his use of explicit two-beat sections to make up for the absence of bass and drums. The latter are present, but in a "virtual" sense that can exist only in the empathetic imaginations, or psychic relationship, of two distinctive voices who, for these extraordinary moments, are of one mind.

The time is there, but it bends to fit words, mood and the moment, taking on a life of its own, serving as an invisible muse whose presence animates the proceedings. Perhaps it's safe to say that this is the most "mystic" of albums by a jazz vocalist. Sinatra's mastery of the big-scale album is counterbalanced by Tony Bennett's claim that nothing was more satisfying to him than his duet recordings with Bill Evans and small group recordings with Ralph Sharon. After listening to the evidence, and after reading the especially inspired, detailed and instructive "program" notes by Will Friedwald, I feel all the wiser, despite my possession (in LP and CD formats) of the previous editions. If you don't have this session, by all means this is the one to own. If you have the session in an earlier format, give this one serious consideration nonetheless. It has not only doubled my appreciation of the two performers but offered fresh insights into the mysterious process of communication that can occur only when two brilliant musicians agree on a single priority above all others: the music.

Tony's two sessions with Bill Evans arguably represent the apex of his career and justifiably bring higher prices as used copies than any number of his big production albums (like the "Duets"), the relaxed sessions with his trio (led by pianist Ralph Sharon), or the many "Best of," "Ultimate," or "Essential" anthologies. There are close observers of the Great American Songbook and its primary caretakers who feel that the most inspired, exemplary and significant expressions of this indigenous art form are to be found in the "concept albums" of Frank Sinatra and Nelson Riddle. Each is thematically and musically organized, resulting in stunning, unified, organic "tone poems," or "suites." To name just three striking examples, there are the swing-themed occasions, like "Songs for Swinging Lovers" (Capitol); the introspective, often gut-wrenching, unflinching and elegiac torch albums (Sinatra called them "wrist-slashers" or "suicide songs") like "Only the Lonely" (Capitol); and finally the Broadway, Rodgers and Hammerstein-inspired, semi-operatic (and dramatic) blockbusters, like "The Concert Sinatra" (Reprise).

I would argue that Tony Bennett's meetings with Bill Evans comprise his equivalent of Sinatra's transformation of a poorly understood popular form into art of the highest order. Now that the smoke has cleared concerning the last 50 years of jazz history, it becomes ever clearer that the music's direction and language have been shaped, above all, by two seminal geniuses: pianist Bill Evans and tenor saxophonist John Coltrane (for the first 50 years, three musicians must be viewed as having a similar, possibly greater influence: Louis Armstrong (perhaps Tony's primary influence), Charlie Parker, and Duke Ellington (in whom Tony finds a "spirituality" that many younger listeners identify with Coltrane). And none of the foregoing is meant to take anything away from the undeniable influence of Miles Davis--less as a soloist (though he was much better than many listeners realize) than as a facilitator, standing at the vanguard of every important movement from bebop to fusion and hip-hop.

The point is that just as it's become a no-brainer to identify the greatest recording ever made by vocalist Johnny Hartman because of the presence of John Coltrane ("John Coltrane and Johnny Hartman" continues to win new admirers with each passing year), the presence of Bill Evans lessens the greater difficulty of selecting a comparable outstanding moment in Bennett's far more numerous discography.

It used to annoy me that many listeners familiar with the first of the two giants' meetings were clueless about the second, which may be even slightly stronger in its programmatic and musical elements than the first. Now that oversight has been corrected, and it's about time that after all of these years, conflicts between two different labels do not deprive the discerning listening public from discovering the glowing, singular, inexhaustible life and beauty of both sessions.

If you have the two individual sessions, it may be a tough decision--the "Complete" version has numerous alternate takes that will not necessarily fit the needs or priorities of many listeners (I know quite a few musicians who have come to resent alternate takes and bonus tracks). But just as I found it necessary to order "The Complete Bill Evans Vanguard Sessions" (from 1961, with Scott LaFaro), despite possessing the two LPs and two CDs of the same Sunday afternoon date, I'd recommend the same consideration for this latest complete package of a rare moment, or landmark (make it two), in America music. On the other hand, if you have both Evans/Bennett sessions in their original format and have yet to experience Bill Evans' "The Last Waltz" and "Consecration," the priority has to be given the latter two performances. Be prepared to become absorbed--deeply and lengthily. There's nothing-- on record or in American music--comparable to either box set. (Think Mozart's death-bed "Requiem"--heavy, deep, urgent, equally sublime and tragic, yet affirmative of the creative, unstoppable human spirit--all centered on a dying, depleted human specimen with nothing more than ineffable melodies to sustain him. But the music had to be played--and miraculously it was--if by the narrowest of margins. Putting Tony Bennett (or any vocalist) in the presence of such a musician may be the equivalent of singing with a scintillating Riddle or Mandel orchestration and ensemble--or better. (Sadly, we can only imagine what a Sinatra-Evans meeting might have produced.)

If you ever wished you could hear Tony Bennett in a small bar with just a piano accompanying him, this set is your wish granted, on steroids. It's Tony at the absolute height of his vocal power, accompanied by Bill Evans, maybe the most lyrical jazz piano player in history. Neither Bennett nor Evans owns the spotlight on these tracks, each shares it willingly. Alternately touching, heartbreaking, wistful, and just simply lovely, this is the one Tony Bennett CD you should own if you own no other. He and Evans genuinely admired and respected one another and it shows throughout their two full albums, collected here with many alternate takes. Bennett considers these simple, intimate sessions among his two or three great works, and I cannot agree more.

Run, don't walk to buy/download The Complete Tony Bennett/Bill Evans Recordings. It is a Magnum Opus from two artists, who had already achieved greatness on their own, collaborating in the truest sense of the word to create, as Evans would say, "truth and beauty, that's all."

These new releases are truly a window on the process of creation. Though there are similar elements in each take, there are significant differences in the alternate versions. Under most circumstances, it is quite obvious to the disernable listener why the release take was chosen--a flubbed note here, a slightly late entrance there--but some of the alternate takes are equal to the release takes, so it comes down to the aesthetics of the performers as to which performances they favored. It has been decades since these recordings came out, but who's counting? The music is as valid today as when the recordings were first marketed. This music expresses the artistic concepts of two artists at the top of their game. The recordings are a must for listeners who enjoy the intimate nature of chamber music--simply voice and piano. There are transcendent moments a-plenty on these discs... and the price is more than reasonable. No matter how you obtain these Bill Evans-Tony Bennett albums--retail store or (preferrably) Amazon--don't hesitate! Musical epiphanies await.

Possibly the best voice/piano duo recordings existing. Everyone who loves either of these artists should add this to their collection. It's quite the loveliest music you'll hear, and this will become one of your 'desert island' recordings.

Wonderful remastered classic. Heartily recommend. In my opinion, Bill Evans was the greatest jazz piananist of his or any time. Tony Bennett with Bill Evans at his best. Magnificent!

I love the songs chosen on this CD. Bill's playing is incredible and Tony's singing Divine. Great addition to my collection of Bill Evans study.

A must have for vocal piano combinations. Two masters at their best. We are lucky they did it. The voice, the soul, the touch, the keys, the songs, timeless...

Having been a fan of Bill Evans for ever, when I later "discovered" the marvel that is Tony Bennett, it was an obvious move for me to pick up The Tony Bennett/Bill Evans Album. As my review of that work said, Tony and Bill have a certain chemistry that magically comes to life when Tony's phrasing and subtle emotional projections are overlaid on Evans' lucid, iridescent harmonies and voicings. I mean, I really didn't want it to be over, so when I started thinking about getting the second TB&BE recording, this compilation was an easy, economical choice. I have not been disappointed. Comprising two CD's, one containing the released material from the two recordings, and the other containing the un-released second (or "bad" first) takes, this set really gives the listener a lot to compare, contrast, and just enjoy. In fact, I was a little surprised at how different the outtakes sound compared to the released songs, especially the released songs that I've come to know so well through repeated listenings. Which is not to say that any of the unreleased material is of inferior quality. I just don't believe there is any song that Tony and Bill couldn't make sound good. But what is remarkable in the unreleased material is that what sounds different does not sound quite as good as what eventually made it to the albums. It's hard to explain, but as an informed listener, I was able to pick up on the subtle nuances that were lost in some takes and showed through in others. It's really remarkable to listen to the recordings in this fashion, and it gave me an even greater appreciation of what Bennett and Evans achieved in their heyday. I would say any fan of vocal jazz, and any fan of Bill Evans, would do well to add this compilation to their collection. Casual jazz fans will probably became Bennett and Evans fans if they aren't already if they pick this one up. This is jazz mastery that is timeless, ingenious, and moving, and four times the music of any one CD. Who would complain about too much of good - or great - thing?

This is one of the set of best vocal sessions ever recorded and placed into a two album set. I have two earlier CD copies as well as the original LPs. One can never tire of the artistry with which this music is performed. As former music director of WRTI in Philadelphia (1983-1988), I can only say that if you don't own this compilation, you need to order it today :-)