Jazz Reviews : Tony Bennett Gets Basic at Universal Amphitheatre

There is no September in Tony Bennett’s years. For him every season is spring, every month is May, every note is A--if not A-plus. Saturday night at the Universal Amphitheatre, he showed the strength of his roots in the values he has always represented: straight-ahead singing of quality songs, with a stronger than ever jazz orientation.

Bennett is hip enough to know that he and Frank Sinatra, and whatever other singers may survive of the so-called saloon generation, will never have to make self-conscious attempts in their repertoires to keep up with the times. True, there were a couple of beautiful and relatively recent numbers by Michel Legrand and the Bergmans, but more typically, after announcing that “now we’d like to do some new songs,” he would remove tongue from cheek and segue into “Just in Time,” vintage 1956.

Aside from a slightly cantorial ending on “Yesterdays,” there was not the slightest attempt at gimmicking up the songs. The one venture into showmanship was a totally appropriate rear-projection of Fred Astaire, dancing with Ginger Rogers and then changing partners while Bennett sang “Change Partners.” Later there was a brief and impressive screening of some of the paintings to which he appends his real name, Benedetto.

The use of a very young guest vocalist on “Puttin’ on the Ritz,” her grip on the notes somewhat loose, seemed a little misplaced, until Bennett introduced her after the song. Never mind, Antonia; it was a nice fatherly gesture to give you the break, and you’ll get it together yet.

Bennett indulged in only one brief interlude of scatting, as he made his transition from the slow tempo to an upbeat chorus in “The Man I Love,” a few lines of the lyrics suitably modified by Ira Gershwin (to “The Girl I Love”), so that there was no need to sing “ . . . and she’ll be big and strong . . . “

Ralph Sharon has spent 19 of the past 32 years as Bennett’s pianist and musical director. Accorded plenty of space, he delivered some of the most spirited solos of his distinguished career. Bennett also graciously gave time to bassist Paul Lagnosh and drummer Joe LaBarbera, the latter a Bill Evans alumnus. This admirable trio was aided now and then by a string-and-woodwind ensemble, but their role was almost subliminal.

After the last encore, it was amusing to think back to a question posed by a bystander before the concert who wanted to know: “Who’s opening for Tony Bennett this evening?” By the end of a flawless and tireless two-set performance, this 61-year-old master had made it unmistakably clear that nobody ever need open for Tony but old Benedetto himself.