Tony Bennett & Bill Evans – The Tony Bennett/Bill Evans Album
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Vocals – Tony Bennett [click here to see more vinyl featuring Tony Bennett]
Piano – Bill Evans [click here to see more vinyl featuring Bill Evans]
Written by Albert Hague (A1), Arnold B. Horwitt (A1), Ray Noble (A2), Leonard Bernstein (A3), Betty Comden (A3), Adolph Green (A3), Cy Coleman (A4), Carolyn Leigh (A4), Carl T. Fischer (A5), Frankie Laine (A5), Ned Washington (B1), Victor Young (B1), Bill Evans (B2), Gene Lees (B2), Johnny Burke (B3), Jimmy Van Heusen (B3), Henry Mancini (B4), Johnny Mercer (B4)
1LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Record Technology Incorporated
Label : Craft Recordings - Original Jazz Classics
Original Label : Fantasy
Recorded June 10-13, 1975 at Fantasy Studios, Berkeley, Ca
Engineered by Don Cody
Produced by Helen Keane
Executive-Producer – Orrin Keepnews
Remastered by Kevin Gray at Cohearent Audio
Art Direction – Phil Carroll
Photography by Tom Vano, Phil Bray
Originally released in July 1975
Reissued in December 2023
Tracks :
Side A:
- Young and Foolish
- The Touch of Your Lips
- Some Other Time
- When in Rome
- We'll Be Together Again
Side B:
- My Foolish Heart
- Waltz for Debby
- But Beautiful
- Days of Wine and Roses
Reviews :
“Having completed his relatively brief sojourn with MGM/Verve with 1973's Listen Easy, Tony Bennett was in the midst of forming his own label, Improv Records, when he made a deal with jazz pianist Bill Evans to cut two LPs, this one for Evans' label, Fantasy Records, with another to follow on Improv. The singer and his collaborator ("accompanist" does not adequately describe Evans' contribution, and in any case he received co-billing) got together in a recording studio over four days in June 1975 with no one other than the producer, Helen Keane and an engineer present, and quickly recorded one of the best albums of either's career. For Bennett, it was a dream project; for years (decades, actually), he had been balancing the demands of commerciality with his own inclinations toward jazz and affection for the songs of Broadway masters and of the Great American Songbook. Left to himself with a jazz partner, he naturally gravitated toward both interests. There were songs here that he had already recorded, but never in so unadorned and yet fully realized a fashion. Evans was an excellent accompanist, using his steady left hand to keep his singer centered, but ready, whenever the vocals were finished, to go off into his characteristically lyrical playing. Bennett could seem a bit earthbound when he came back in (he still wasn't really a jazz singer), but his obvious enthusiasm for the project, coupled with his mastery of phrasing in songs he understood perfectly made him an equal in the partnership. As far as the major-label record business was concerned, the 46-year-old singer might have been over the hill and indulging himself, but in fact he was in his prime and finally able to pursue his ambitions unfettered, and that would prove itself a major boost to his career over time. For the moment, he'd made an excellent jazz-pop hybrid in which both musicians were shown off to advantage.” AllMusic Review by William Ruhlmann
Ratings :
AllMusic : 4.5 / 5 , Discogs : 4.53 / 5