Singers channel the spirit of Tony Bennett in a nostalgic evening of jazz standards and smooth harmonies
By Lucie K. Scheuer for Ashland.news
Hey. Imagine Tony Bennett standing on stage, caressing the microphone, charming the audience, singing duets with great recording artists, from Aretha Franklin to Lady Gaga, in one, really well-executed performance. What could possibly be as entertaining as that? How about “Spotlight on Tony Bennett Duets” at the Camelot? It’s two hours of familiar standards, expressively sung by five very energetic vocalists, accompanied by Karl Iverson’s incredible piano playing and melodic dive into smooth jazz. Together with Larry Smith on Bass and Bernt Strom on drums, they’re a terrific accompanying trio. Dig it.
Tony Bennett called other singers he admired “cool cats.” But Bennett may have been the coolest of them all. In his 96-year, stunningly long, incredibly successful life and career, Bennett recorded over 70 albums, sold over 50 million records and recorded duets with 17 outstanding artists. He had a slow start and climb to the top, but when he finally got there, he held on for quite a while.
His jazz vocalizing was smooth, with just a touch of roughness around the edges and often beyond compare. Even Sinatra, in a 1965 interview with Life magazine, said: “For my money, Tony Bennett is the best singer in the business.” Bennett’s voice can be gentle like a mellow Paisano. It can be breezy and meandering, like a drive by the ocean.
It would be a tall order for anyone stepping into those shoes, but Austin Kelly has done it. He sings on all 25 duet songs, often taking the lead with others harmonizing. He sings with Tony’s easy-going, moseying-around style. He has the moves like Bennett. He doesn’t try and out Bennett, Bennett. He sings the songs and draws us in. He doesn’t particularly sound like him, but it’s OK. His voice is a sturdier and more insistent blend of tenor and baritone.
Erik H. Connolly sings lead and backup vocals, his voice really folds well into Kelly’s. Their rendition of “The Very Thought of You” by Ray Noble is moody, capturing the longing expressed in the lyrics. Kelly and Connolly also come together on Harold Arlen and Johnny Mercer’s “One for My Baby.” No recording could top Sinatra’s, which is a masterpiece, but you can’t blame good singers for trying.
Stephanie C. Jones and Alissa Barry are capable sopranos, but they’re not nightclub singers. Both ladies hold their own and harmonize well with Kelly. Both women’s voices seem more well-suited for musicals. Jones for instance, was a standout singer as Adelaide in Camelot’s recent production of “Guys and Dolls.” Barry’s voice (flatting a bit noticeably, needing weightier high notes) added much-welcomed harmony as the Angel City 4 soprano in “City of Angels.” To be fair, the singers the women were mirroring on duets were ladies who can or could belt or schmooze: Lady Gaga, Amy Winehouse, Diane Krall, k.d. lang (all of whom are not sopranos).
Connor Lomeli is a singer in the works. He tackles some difficult numbers with Kelly, such as the wistful“ The Good Life” by Sacha Distel and the vengeful “I Wanna Be Around” by Sadie Vimmerstedt and Johnny Mercer.
Because they’re a bit formulaic, the Spotlights have become a bit stale. Unimaginative. What seems to be missing is the singers’ connection to the audiences. Each singer stands or steps forward, sings their number, steps back, sits down. Yes, it works. Does it feel mechanical? Sometimes. Perhaps a few less numbers or having the singers express how they feel about the songs would be a nice change.
There could also be a little more attention to detail. A simple nightclub scene has been set, but the performers are drinking out of Camelot tumblers when they could have been in cocktail glasses. There’s a large screen behind them that remains relatively empty. In the first half the ladies’ evening wear is not as flattering as the second.
Director Erik H. Connolly says in the program notes that Bennett “became an ambassador for the American Songbook.” He definitely was one of the greatest interpreters of that genre. For young people, he is worth discovering. For Boomers, this show is worth the memories.
Ashland resident Lucie K. Scheuer is a former copy editor and staff writer with the Los Angeles Times, where her work included features, reviews and a column on films in production. Email her at [email protected].
Oct. 3: Amended to correct that “96-year” refers to span of Tony Bennett’s life, not career. His career covered at least 86 years.
