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Customer Reviews
Most Helpful Customer Reviews
117 of 135 people found the following review helpful
4.0 out of 5 stars
He's Still the Best, And He's Still Here...Appreciate Him, Will You Please?
September 20, 2011
By Rudy Palma
Format:Audio CD
Is it any surprise that Tony Bennett presides over this collection of songs like a loving parent, nurturing each of them to ensure beauty results? No, of course not.
Indelibly present and in fine, oaken voice, his turn of phrase is expressive as ever. In fact, Bennett's warmth and charisma are still so strong they sometimes obscure the presence of his duet partners who simply do not have hearts as big as his to offer listeners.
"Duets II" is much like the initial 2006 duets collection in that it is a glossy, sugary-sweet excursion into smoothed-over pop vocal performances with Mr. Bennett's skills guiding the way, singing life into all the nooks and crannies whether or not he and his given duet partner are a suitable pairing. His personality and status as America's foremost singer of songs must guide the way.
Of note is his work with the late Amy Winehouse on "Body and Soul," a heartbreaking, apt tune for the chanteuse's final recording. Both are in their element, and the result is fraught with unrequited longing and slow-burning desperation. It is a fortunate teaming of two great talents bathed in instant pathos in its reminder of how fleeting art, like life, can be. Winehouse's voice was a fine instrument indeed, and "Body and Soul" showcases it.
Duet partners who earn their keep on this collection include k.d. lang, Willie Nelson, Norah Jones, Natalie Cole, Andrea Bocelli, Faith Hill, Lady Gaga, Queen Latifah, Josh Groban and Alejandro Sanz, whose passion fills the timeless "Yesterday I Heard the Rain."
Hill, in particular, sounds so enchanting alongside Bennett on "The Way You Look Tonight" that a full album collaboration between the pair would be a welcome prospect. "Speak Low" with Ms. Jones is absolute perfection - a simmering, wistful track that remains a Bennett concert staple and is ideally suited to Ms. Jones' brand of hush-hush, late-night intimacy.
lang and Bennett duet on the evergreen, lovely "Blue Velvet" with exactness and care - apt considering their longstanding friendship - while Lady Gaga oozes energy and pep on the sprightly "The Lady is a Tramp," a three-minute slice of giddy fun which underscores her theatrical personality as well as her bold, caffeinated vocal ability. Bennett is clearly delighted to be recording with her, and their chemistry is refreshing. Clever, praiseworthy choices of material help Groban and Latifah sound just as welcome with Bennett at their side.
Unfortunately, "How Do You Keep the Music Playing?" with Aretha Franklin is a squandered opportunity. Sung with profoundly moving emotional transparency by Bennett, both on record and in concert, it is not suited for Franklin's melismatic turn of phrase in which the lyrics often take a back seat to drama and flourish.
Elsewhere, Sheryl Crow is unengaging on "The Girl I Love," just as she was singing Cole Porter in "De-Lovely" back in 2004 - her voice is much more suited to her own contemporary material. John Mayer has little presence next to Bennett on their selection, and Michael Buble sings on "Don't Get Around Much Anymore" with his trademark bland, self-interested swagger that runs a very thin emotional gamut. The upside is that it underscores the value of Bennett's versatility and self-effacing nature.
Charles DeForest's "When Do the Bells Ring for Me," one of Bennett's finest recordings, is presented here as a spellbinding duet with Mariah Carey that ends the disc strongly. The pair should have recorded long ago. Although the song itself is not in Carey's key, both vocalists accommodate one another graciously, and magic results.
"Duets II" certainly has the feeling of "product" - after all, Sony has invested great time and money into it, with only the highest promotional blitz and many of today's biggest, sparkliest stars alongside Bennett. Despite this it still has the warmth and feel of a genuine Bennett album due to his love, obviously still in the highest abundance, for the best songs ever written.
Certain retailers carry exclusive versions with bonus tracks, so do your homework.
Indelibly present and in fine, oaken voice, his turn of phrase is expressive as ever. In fact, Bennett's warmth and charisma are still so strong they sometimes obscure the presence of his duet partners who simply do not have hearts as big as his to offer listeners.
"Duets II" is much like the initial 2006 duets collection in that it is a glossy, sugary-sweet excursion into smoothed-over pop vocal performances with Mr. Bennett's skills guiding the way, singing life into all the nooks and crannies whether or not he and his given duet partner are a suitable pairing. His personality and status as America's foremost singer of songs must guide the way.
Of note is his work with the late Amy Winehouse on "Body and Soul," a heartbreaking, apt tune for the chanteuse's final recording. Both are in their element, and the result is fraught with unrequited longing and slow-burning desperation. It is a fortunate teaming of two great talents bathed in instant pathos in its reminder of how fleeting art, like life, can be. Winehouse's voice was a fine instrument indeed, and "Body and Soul" showcases it.
Duet partners who earn their keep on this collection include k.d. lang, Willie Nelson, Norah Jones, Natalie Cole, Andrea Bocelli, Faith Hill, Lady Gaga, Queen Latifah, Josh Groban and Alejandro Sanz, whose passion fills the timeless "Yesterday I Heard the Rain."
Hill, in particular, sounds so enchanting alongside Bennett on "The Way You Look Tonight" that a full album collaboration between the pair would be a welcome prospect. "Speak Low" with Ms. Jones is absolute perfection - a simmering, wistful track that remains a Bennett concert staple and is ideally suited to Ms. Jones' brand of hush-hush, late-night intimacy.
lang and Bennett duet on the evergreen, lovely "Blue Velvet" with exactness and care - apt considering their longstanding friendship - while Lady Gaga oozes energy and pep on the sprightly "The Lady is a Tramp," a three-minute slice of giddy fun which underscores her theatrical personality as well as her bold, caffeinated vocal ability. Bennett is clearly delighted to be recording with her, and their chemistry is refreshing. Clever, praiseworthy choices of material help Groban and Latifah sound just as welcome with Bennett at their side.
Unfortunately, "How Do You Keep the Music Playing?" with Aretha Franklin is a squandered opportunity. Sung with profoundly moving emotional transparency by Bennett, both on record and in concert, it is not suited for Franklin's melismatic turn of phrase in which the lyrics often take a back seat to drama and flourish.
Elsewhere, Sheryl Crow is unengaging on "The Girl I Love," just as she was singing Cole Porter in "De-Lovely" back in 2004 - her voice is much more suited to her own contemporary material. John Mayer has little presence next to Bennett on their selection, and Michael Buble sings on "Don't Get Around Much Anymore" with his trademark bland, self-interested swagger that runs a very thin emotional gamut. The upside is that it underscores the value of Bennett's versatility and self-effacing nature.
Charles DeForest's "When Do the Bells Ring for Me," one of Bennett's finest recordings, is presented here as a spellbinding duet with Mariah Carey that ends the disc strongly. The pair should have recorded long ago. Although the song itself is not in Carey's key, both vocalists accommodate one another graciously, and magic results.
"Duets II" certainly has the feeling of "product" - after all, Sony has invested great time and money into it, with only the highest promotional blitz and many of today's biggest, sparkliest stars alongside Bennett. Despite this it still has the warmth and feel of a genuine Bennett album due to his love, obviously still in the highest abundance, for the best songs ever written.
Certain retailers carry exclusive versions with bonus tracks, so do your homework.
45 of 55 people found the following review helpful
3.0 out of 5 stars
Not essential Bennett but definitely worth the price of admission.
September 22, 2011
Format:Audio CD|Amazon Verified Purchase
At the time of the release of the 2 best-selling albums of Sinatra's career, the Duets albums from the mid-'90s, I was elated. Many of us simply didn't want to believe, in fact rejected the unthinkable, i.e. that Sinatra was finished, so these latter-day gifts were sufficient cause for celebration. And for the first month or two after each of the two releases, I played them repeatedly. But soon the novelty wore off, and I had no interest in these concoctions, especially with the vast Columbia catalog, the priceless Capitol recordings with Nelson Riddle, the final extended chapter of his Reprise years all beckoning to be revisited. Apparently, others felt much the same (recently, I've seen either disc going for a buck or two used).
The Bennett Duets are less "tricked-up" than the Sinatra ones, which involved long-distance, call-in performances by his partners. Moreover, Tony sounds almost as good as ever, much more vibrant physically and in control musically than Ole Blue was after 1990. Moreover, the program comprises winning songs from the Great American Songbook, with Tony so confident and secure that, rather than being "carried" by any of his younger, more vigorous, partners, he's the one who makes up for their deficiencies with this material.
Perhaps the track with the greatest interest will be "Body and Soul" with Amy Winehouse. It's the most recorded popular tune in music history (check out the numbers at jazzstandards.com or allmusic.com), partly because much of its satisfaction comes from the challenge of executing it--difficult but ingenious and logical chords, unforgettable melody, mediocre lyrics--but Bennett and Winehouse (who sounds mature lightyears beyond her actual age) pull it off quite nicely. Listening to Amy's first album--"Frank," the one before her hugely popular "Back to Black"--it soon became clear that the very young girl at this time knew jazz phrasing and could swing. Once she finished the daunting "Moody's Mood for Love," you knew right then that she was capable of delivering the goods in more than one style or genre.
The one thing that may be slightly off-putting is Amy's attempt to sound rougher, more blasé, even a bit inebriated (stoned--or an affectation?), than either she or the song requires. The same could be said about Lady Gaga's otherwise sparkling performance on "The Lady Is a Tramp" (what a travesty this number becomes when certain latter-day singers substitute "champ," which not only wastes Lorenz Hart's clever, subtly ironic, lyrics but actually destroys the non-conformist, free and independent spirit of the lady portrayed in the song). But Lady Gaga sings the song and the word "Tramp" with the most assured conviction (it's Tony who almost messes it up by (only once) substituting what sounds like "champ"). Though she could do without a couple of "growls," Gaga proves that she's more than some sort of insubstantial hoax, one-trick pony, or year-round Halloween media creature. Like Tiny Tim (whose musicianship won me over after the initial shock wore off), the person who plays the role of "Lady Gaga" is a wonderful "straight"performer, perhaps even a first-rate musician. Sounds like she's listened to Sinatra.)
The duets with Michael Buble, Natalie Cole and Dana Evans (Queen Latifah) are predictably right in Tony's wheelhouse. He could easily make an entire album of arresting performances with any one of these musicians, who have jazz sensibilities similar to Tony's.
The rest of the album will score big with some listeners, especially those who responded favorably to Michael Bolton singing with Pavarotti. But to my ears the album tends to get a bit thick and mushy, even "injured" by musicians who simply can not swing. I appreciated Merle Haggard's lengthy interview in the NY Times shortly after his "jazz" album. Whatever one might think of the result, there was no question that Merle knew he was in unfamiliar territory, over his head and studying up as hard and fast as he could about the elocution, phrasing, and timing required to deliver a classic Gershwin ballad or swing tune and do it justice. Willie Nelson keeps revisiting the "American Songbook," but I have yet to hear him adapt to its standards.)
Bocelli and Groban contribute to the schmaltzy quality weighing down stretches of the album (The solo version of Tony's early signature song, "Stranger in Paradise," is far superior to this new version. Inexplicably, Aretha goes after a song that was one of the highlights of the first Duets album, "How Do You Keep the Music Playing." My advice: revisit the first version with Tony and George Michael or simply forget about it. Aretha is one of the all-time great soul singers (starting out as a jazz singer, despite the popularity of her dad's recorded sermons), and she was delightful on the Sinatra Duets album, providing much needed life. But here she takes on a freely structured song that goes no where unless the singer is able to take it somewhere. She's in good voice but the effect on this listener is: "Been there, done that."
As for the others, if you prefer a duet for Harold Arlen's wrist-slasher, "One for My Baby," make it any Sinatra version, or even the Kurt Elling-John Pizzarelli meeting. On this occasion, the song, which is a musical soliloquy, or a Robert Browning dramatic monologue addressed to a silent auditor, and moreover a haunting cry of despair (one of Sinatra's greatest "suicide songs"), was a mistake from the very beginning (I can imagine the Arlen estate even being offended by this insult to the the memory of Harold Arlen and lyricist Johnny Mercer). Performed as a duet by Tony and his youthful counterpart, it comes off as little more than slightly mischievous and lightweight albeit pleasant musical conversation. In fact, there's a bit too much pleasant, pretty music on the album--nice-sounding voices, thick layers of sweet-sounding strings.
But for Tony and the highlights on the album, the result, on balance, still amounts to a winner: 3 stars, a definite thumbs-up though certainly not a high-five. This time I'm not as quick to pull the trigger as was the case with the so-so (in retrospect) Sinatra Duets. I could readily list (and produce from my collection) a dozen albums by Tony that trump both Duets dates--timeless performances, some with just Tony and the piano of Bill Evans, or Tony with Flanagan's or Sharon's trio, or Tony with Count Basie. The man unquestionably knows the routine (to quote from the aforementioned Arlen song), and on a number of his solo recordings, he's gone beyond and above it--way above it, reaching artistic heights on the level of the best by Armstrong, Astaire, Garland, Holiday, Crosby, and even Frank, singing his heart out just for the joy of it (and not a fiddler in sight).
The Bennett Duets are less "tricked-up" than the Sinatra ones, which involved long-distance, call-in performances by his partners. Moreover, Tony sounds almost as good as ever, much more vibrant physically and in control musically than Ole Blue was after 1990. Moreover, the program comprises winning songs from the Great American Songbook, with Tony so confident and secure that, rather than being "carried" by any of his younger, more vigorous, partners, he's the one who makes up for their deficiencies with this material.
Perhaps the track with the greatest interest will be "Body and Soul" with Amy Winehouse. It's the most recorded popular tune in music history (check out the numbers at jazzstandards.com or allmusic.com), partly because much of its satisfaction comes from the challenge of executing it--difficult but ingenious and logical chords, unforgettable melody, mediocre lyrics--but Bennett and Winehouse (who sounds mature lightyears beyond her actual age) pull it off quite nicely. Listening to Amy's first album--"Frank," the one before her hugely popular "Back to Black"--it soon became clear that the very young girl at this time knew jazz phrasing and could swing. Once she finished the daunting "Moody's Mood for Love," you knew right then that she was capable of delivering the goods in more than one style or genre.
The one thing that may be slightly off-putting is Amy's attempt to sound rougher, more blasé, even a bit inebriated (stoned--or an affectation?), than either she or the song requires. The same could be said about Lady Gaga's otherwise sparkling performance on "The Lady Is a Tramp" (what a travesty this number becomes when certain latter-day singers substitute "champ," which not only wastes Lorenz Hart's clever, subtly ironic, lyrics but actually destroys the non-conformist, free and independent spirit of the lady portrayed in the song). But Lady Gaga sings the song and the word "Tramp" with the most assured conviction (it's Tony who almost messes it up by (only once) substituting what sounds like "champ"). Though she could do without a couple of "growls," Gaga proves that she's more than some sort of insubstantial hoax, one-trick pony, or year-round Halloween media creature. Like Tiny Tim (whose musicianship won me over after the initial shock wore off), the person who plays the role of "Lady Gaga" is a wonderful "straight"performer, perhaps even a first-rate musician. Sounds like she's listened to Sinatra.)
The duets with Michael Buble, Natalie Cole and Dana Evans (Queen Latifah) are predictably right in Tony's wheelhouse. He could easily make an entire album of arresting performances with any one of these musicians, who have jazz sensibilities similar to Tony's.
The rest of the album will score big with some listeners, especially those who responded favorably to Michael Bolton singing with Pavarotti. But to my ears the album tends to get a bit thick and mushy, even "injured" by musicians who simply can not swing. I appreciated Merle Haggard's lengthy interview in the NY Times shortly after his "jazz" album. Whatever one might think of the result, there was no question that Merle knew he was in unfamiliar territory, over his head and studying up as hard and fast as he could about the elocution, phrasing, and timing required to deliver a classic Gershwin ballad or swing tune and do it justice. Willie Nelson keeps revisiting the "American Songbook," but I have yet to hear him adapt to its standards.)
Bocelli and Groban contribute to the schmaltzy quality weighing down stretches of the album (The solo version of Tony's early signature song, "Stranger in Paradise," is far superior to this new version. Inexplicably, Aretha goes after a song that was one of the highlights of the first Duets album, "How Do You Keep the Music Playing." My advice: revisit the first version with Tony and George Michael or simply forget about it. Aretha is one of the all-time great soul singers (starting out as a jazz singer, despite the popularity of her dad's recorded sermons), and she was delightful on the Sinatra Duets album, providing much needed life. But here she takes on a freely structured song that goes no where unless the singer is able to take it somewhere. She's in good voice but the effect on this listener is: "Been there, done that."
As for the others, if you prefer a duet for Harold Arlen's wrist-slasher, "One for My Baby," make it any Sinatra version, or even the Kurt Elling-John Pizzarelli meeting. On this occasion, the song, which is a musical soliloquy, or a Robert Browning dramatic monologue addressed to a silent auditor, and moreover a haunting cry of despair (one of Sinatra's greatest "suicide songs"), was a mistake from the very beginning (I can imagine the Arlen estate even being offended by this insult to the the memory of Harold Arlen and lyricist Johnny Mercer). Performed as a duet by Tony and his youthful counterpart, it comes off as little more than slightly mischievous and lightweight albeit pleasant musical conversation. In fact, there's a bit too much pleasant, pretty music on the album--nice-sounding voices, thick layers of sweet-sounding strings.
But for Tony and the highlights on the album, the result, on balance, still amounts to a winner: 3 stars, a definite thumbs-up though certainly not a high-five. This time I'm not as quick to pull the trigger as was the case with the so-so (in retrospect) Sinatra Duets. I could readily list (and produce from my collection) a dozen albums by Tony that trump both Duets dates--timeless performances, some with just Tony and the piano of Bill Evans, or Tony with Flanagan's or Sharon's trio, or Tony with Count Basie. The man unquestionably knows the routine (to quote from the aforementioned Arlen song), and on a number of his solo recordings, he's gone beyond and above it--way above it, reaching artistic heights on the level of the best by Armstrong, Astaire, Garland, Holiday, Crosby, and even Frank, singing his heart out just for the joy of it (and not a fiddler in sight).
16 of 20 people found the following review helpful
By jasmine
Format:Audio CD|Amazon Verified Purchase
This is an amazing album, from top to bottom. I had no idea how versatile some of the singers could be such as Carrie Underwood, Lady Gaga, Amy Winehouse, etc. I really enjoyed every single performance.
My favorites would have to be Carrie Underwood and Amy Winehouse, hands down. Both ladies capture a retro sound beautifully in their performances, and they compliment Tony very nicely.
It is a very nice mix of yesterday meets today's artists, without cheapening it or destroying the original song.
Bravo, Mr. Bennett. I see Grammys in your future (again!). :)
My favorites would have to be Carrie Underwood and Amy Winehouse, hands down. Both ladies capture a retro sound beautifully in their performances, and they compliment Tony very nicely.
It is a very nice mix of yesterday meets today's artists, without cheapening it or destroying the original song.
Bravo, Mr. Bennett. I see Grammys in your future (again!). :)
Most Recent Customer Reviews
5.0 out of 5 stars
gift for granddaughter
I actually didn't hear this CD. MY granddaughter had it on her wish list for
Christmas, so I had it sent to her. She's not mentioned it.
Christmas, so I had it sent to her. She's not mentioned it.
Published 8 days ago by ellen sherrill
5.0 out of 5 stars
Great listening
I play this in my car and it is going to wear out if I do not change it soon. Lovely.
Published 10 days ago by Kathleen Valle
5.0 out of 5 stars
Will Tony ever retire?
His voice continues to be very strong, and the partners he chose on this collection are superb! get it while you can!
Published 10 days ago by Ron Evans
5.0 out of 5 stars
Duets II
Great music. There is no one like Tony Bennett. The song selections are excellent and the arrangements good to great.
Published 13 days ago by Alice A. Gray
5.0 out of 5 stars
Great Duo's
Really love this CD. Blending Tony's voice with younger artist that goes so well with him.
I am of the older generation and yet my college son likes this to
I am of the older generation and yet my college son likes this to
Published 15 days ago by Carrie Hickerson
5.0 out of 5 stars
Love this Duets Collection...
Tony Bennett music it's all over my house... Everybody at home enjoy it... These Duets Collection are all over my house...
Published 16 days ago by Silvia G.
5.0 out of 5 stars
Fantastic
He's still got it! Not many singers this age still have the quality of voice that Tony Bennett has. I enjoyed most of the singers that he duets with.
Published 19 days ago by Shirley A. McDonald
4.0 out of 5 stars
love
I love this CD it came on time and packaged well, the Cd itself was well put together with amazing artist. I liked it so much that I took out the first one he did from the library. Read more
Published 20 days ago by sandria berry
5.0 out of 5 stars
Wow, what a talent!
I don't know how this man can continue to perform at such a high level--he simpy defies time; what amazing breath control! Read more
Published 22 days ago by Michael J. Sothras
5.0 out of 5 stars
tony
adore tony bennett.love this cd with the spanish singers also had this sent to my best friend in houston.play it every day.
Published 27 days ago by louetta m glasser
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