Tony Bennett delivered a good one-liner early in his show Friday at Hard Rock Live about how he and Rosemary Clooney "were the first American Idols," back in the big-band era.
Watching Bennett’s masterful performance of timeless standards with his skillful and inventive quartet, it’s obvious that today’s crop of pop singers could learn something from the old man.
On a range of material representing the giants of American composers, Bennett showed that the power of a song isn’t directly related to the number of high notes that you can cram into one measure.
Instead, his expressive style revolves around nuances: The weathered crack at the edge of a phrase or the almost whispered cadence of a verse that ultimately opens into a big, bold crescendo. Combine that skill, with a versatile crew musicians and timeless songs and the result is an exceptional evening where the only flaw was that it ended too soon.
In just under 90 minutes — without an encore, although the audience clamored for one — Bennett hit all the essentials: "Just In Time," Boulevard of Broken Dreams," "The Best Is Yet to Come," "I Got Rhythm," "The Way You Look Tonight," "For Once In My Life" and, of course, the signature "I Left My Heart in San Francisco."
He also reminded the crowd of the subtle charms of other tunes, such as the dramatic slow build of "Maybe This Time" and the frisky rhythms of "They All Laughed."
Although Bennett has done these songs thousands of times, there was a freshness to the performances that stemmed from the creative influence of his band.
Pianist Lee Musiker, bassist Paul Langosch, drummer Harold Jones and guitarist Gray Sargent were given ample turns in the spotlight. The reward was a set that elevated the songs and yielded an intimacy that was almost like a living-room jam session.
The pinnacle of the band’s contribution was the round of solos that ignited a breakneck run through Duke Ellington’s "It Don’t Mean a Thing (If It Ain’t Got That Swing)."
Bennett followed it with an impressive "Fly Me to the Moon" that he performed without a microphone, accompanied only by Sargent’s soft guitar.
Like much of his singing, it asserted its brilliance in a quiet way that makes Bennett a genuine American idol -- if not a flashy one..