The friendship between her quality dad and mod-pop chantius Lady Gaga began after her debut duet album, 2014’s platinum-plated “cheek to cheek”, to listen to Tony Bennett’s son and longtime manager Danny Bennett. Friends have always returned to Tony’s “Cole Porter Medal” since 1975 as a model for the gold standard of American music and subsequent collaborations. “Gaga liked the idea and thought they should reinvent it,” Danny Bennett noted. “They not only stopped doing it, but started a creative conversation.”
The duo’s conversation about Porter as master of American music collects nothing more than a Porter cover on their newly released collaborative album “Love for Sale”. The lion’s share of attention goes to the fact that the record will be the end of Bennett’s long career, as he turned his professional responsibilities over several years into diagnosing Alzheimer’s. But don’t get lost in the submission of how the project celebrates people’s eternal winter, many consider him or her the best lyricist of any century, and why everyone who dives into a single author’s catalog needs a great splash like Bennett.
Deep in the depths of the obvious jazz phrasing and rolling arrangements of Bennett’s 1975 album “Life is Beautiful”, a 12-minute “Cole Porter Medley” in a whirlwind of royal crooner, shadow and intensity. With the playfulness of a fine-tuned actor and the wounded emotion of a disturbed lover, Medley’s roller coaster Idudite encourages and preserves – yet passionate – the emotion that exists at every turn of Bennett’s vocal twists, shifting from thought to “What is this thing?” Out of town “is called love.
1 What Bennett did in Ben5 made it so easy and sad. American songs.
As a lyricist and composer, Porter’s voice is a primary blend of universal sophistication and deeply drawn emotion and jazz, blues, ragtime, art song and show-tune sensibility. Porter’s clever, urban, and butt cleverness must have come from his upbringing as a gifted child in the middle of America ইন্ড Indiana, to be precise য who even came from a good family, yet was an aspirant to the cosmopolitan dignity and courage of metropolises like Manhattan and London.
The chapters and verses in Porter’s Great American Song book are all scary, sharp and provocative in the right places: “Begin Begin,” “My Heart Buildings to Daddy,” “I Happened to Like New York,” “Brush Up Your Shakespeare,” -Lovely “and, of course, Brassey’s” I Get a Kick Out of You. ” This is a Broadway that he empowered with “Anything Goes” (1934), “Do Barry Was a Lady” (1939) and “Panama Hati” (1940), with music from the movie “Rosalie” (1937) before going through the golden age of Hollywood. ), “The Pirate” (1947) and “High Society” (1955).
Each of these songs encourages and excites its participants to dance, drink, and perform continuously, but with a certain amount of “class” to go with Rivaldi. Just ask Fred Astair and Ginger Rogers as they spin, crunch and sip champagne cocktails to Porter tunes throughout “The Gay Divorce” of 1934. And when a porter-based song character is not allowed to carousel or perform in violation of the convention, they sing a song like “Don’t Fence Me In”. With that, Cole Porter’s voice of freedom, loosening up and letting it fly.
Living as a lesbian, however – off by a conventional marriage with her best female friend, shelling out her public passions and aspirations – created for an extra layer of miserable subtext. It is not necessary to read a biography to evoke the innate feeling of loneliness in his words and music. What could be more tragic than a deep longing and lost connection in a porter song like “Night and Day” (“The roar of roaring traffic, in the silence of my room, I think of you”), “So in love”? (“Besides you, my arm folds about you”) and “I concentrate on you” (“When fate doesn’t ‘me! Just sing”)?
A mixture of love and life, free wheels or unnecessary, is a great delight for the best and most varied interpreters of music.
Ray Charles and Betty Carter are no less exciting than listening to a duet in a brilliant version of “Every Time We Said Goodbye” in 1961. Simply Red’s Mick Hucknell sang the same song in 1987 as a sad, soulful autobiography. Cowboys went on to climb the range of “Don’t Fence Me In,” the Bing Crosby and Andrews Sisters in 1944, or the David Byron in 1990 – the latest and all-Porter tribute to “Red Hot +” Blue, “meaning for HIV / AIDS-related charities. The first of several compilation albums put together by the Red Hot Organization for Collection.
The “Red Hot + Blue” worm opened its own can when it came to how and who made the call better. In that modern classic of the album, U2’s “Night and Day” doubles its haunting break, feeling even the most isolated version of Bono Sinatra’s soul-searching advice. Yet the board chairman’s own wine-laced Envoy is doubly dynamic to hear it do with its own intimate brand. Speaking of Sinatra, his “Well, are you Eva!” As ridiculous as the musical with Celeste Home during the “High Society” film musical, it is a critical critique of the upper class. Having two punk-rock icons like Deborah Harry and Iggy Pop makes it even more catastrophic. Then there was the “Red Hot + Blues” rosic “Miss Otis Alas”, served by Poggs and Kirsty McCall, a melody that was taken up in a new way, slowly, as late as the late 1970s as a chamber soul moment on the label). You can take part in your favorite part for Ethel Waters’ Maynard Art-Song version of “You’re Driving Me Crazy” in 1934, Van Morrison’s Husky R&B, and Jazz Lord Joey Diffranceco in 2018 covering the same song.
Those who imaginatively invest their hearts and souls often see Cole Porter’s best songs pay homage to the great volume to see the fantastic dividends. Ella Fitzgerald’s 1956 “Song of the Cole Porter Song Book,” the first album released by Verve Labels, set the standard for what could be vocal jazz.
A self-confessed worshiper at the altar of Ella and Cole, Tony Bennett has long known the power of Porter’s brilliant elegance, unable to say anything about Fitzgerald’s orderly and corrective praise. This is the street where his 1975 “Cole Porter Medley” lives, a crossroads where Level and Kruner were concerned with “Love for Sale”.
In the creative dialogue of “Love for Sale” – in the big-band Coole of “I’ve Got You Under My Skin”, Gaga boldly introduces Broadway-Ish “Let’s Do It” or Tony’s single, Potential Innovation – just one of those things – relevant and accurate to Cole Porter. Although it is no secret that Mr. Bennett is 95 years old and disagrees with the Alzheimer’s attack, you can’t tell it from the word “love for sale” and the consciousness. Whether it’s a swan song at the sunset of Tony Bennett’s career or an elegant stop along the way, Cole Porter’s words and music are perfect, day and night.