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Tony Bennett
Tony
Bennett w/ the Artie Shaw Orchestra
June 25, 2005 @ Bank of America Pavilion
 As
the crowd breezed in on tropical zephyrs, the musical theme was set by
local legend Dick Johnson and the legendary Artie Shaw orchestra. From
the appropriately bright light opera fare of “Softly As a Morning
Sunrise” and a tart “Tangerine” to the Big Band chart-topper “Stardust,”
the band offered a variety of themes. And though Johnson’s twinkling
clarinet was occasionally lost amidst the harmonic horns, “Begin the
Beguine” let him smoothly shine and his informative intermezzos kept him
in the spotlight. Though Shaw’s rearranged version of “The Anniversary
Song” went on a bit too long (even after the main applause) before
dragging to a halt, the band got every last note out of it that they
could. After a short break, Johnson was replaced at the center stage
position by Tony Bennett, whose quartet took over the left side of the
stage while the rest of the orchestra remained stage right. As Bennett
will be appearing in August at Tanglewood with the Count Basie
Orchestra, this set up was fitting, as it allowed the spry
septuagenarian to front another great ensemble. Despite the heat,
Bennett smiled even as he sweated, saluting the crowd before opening
with a prescient opening duo of “Watch What Happens” and “The Best is
Yet to Come.” With Paul Langosch snapping the bass and Gray Sargent
hunching over his fleetly-fingered frets, Bennett also gave props (and
solos) to his relatively new pianist/conductor Lee Musiker and old
friend drummer Harold Jones. Though much of the repertoire was familiar,
the self-proclaimed “original American Idol” delivered each song with a
flair that is almost unheard of in today’s world of lip-synched “live”
performances. The closest thing to “record perfect” was the
snap-along-able take on “Just in Time.” A scatty “I Got Rhythm” pepped
up the crowd while Hank Williams’ “Cold Cold Heart” brought a bit of
refried Country to Beantown. Apparently in need of a break, Bennett
leaned on the piano while his locally-trained daughter/protégé Antonia
offered her renditions of “Sail Away” and “Lucky Guy.” Then it was back
to the front for more including an expressively-brushed “Steppin’ Out”
and a subtle “Smile” that was painted with shades of Gray. The saloon-y
“Maybe This Time” was accented by passing jets and the first of the
audiences many attempts at clapping along in time. At the end of each
song, however, they all came together to applaud the Voice’s favorite
voice and to cheer him on for another 50 years of music.
- Matthew S. Robinson
c. 2005, M. S. Robinson, ARR
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