O.C. Jazz Review : Bennett Flies ‘Em to the Moon

He’s the current darling of the MTV set, seen crooning recently in the company of k.d. lang, Elvis Costello, Dinosaur Jr.’s J. Mascis and members of the Red Hot Chili Peppers.

But Tony Bennett’s heart is still with the generation that’s followed his career for its entire 45-year run. And theirs are still with him, as was apparent during his appearance with Rosemary Clooney on Tuesday at the Anaheim Convention Center in front of 6,000 members of the American Assn. of Retired Persons.

That Bennett, 67, has such cross-generational appeal should come as no surprise.

He pushes the “great American songbook,” the music of the ‘30s, ‘40s and ‘50s from such respected composers as Cole Porter, the Gershwins, Irving Berlin and Jerome Kern that can speak across the years.

But it’s Bennett’s enthusiasm for the material, and the sheer strength with which he presents it, that makes him a national musical treasure.

With two oversized video screens on either side of the stage, Bennett was introduced by Clooney as a friend who “never compromised” and “has no peer.”

Cupping the microphone in both hands close to his heart, Bennett swung into “Old Devil Moon,” trailing teasingly behind the beat, then delivering an impressively long-held tone while the 16-piece orchestra swirled through its closing.

The singer’s tone might not be as pure as it once was. But its attractive qualities--a woody timbre and clean, often vibrato-less delivery--are beautifully intact. And Bennett’s phrasing has never been better, as he moved in and around the rhythms with the greatest of ease.

Often when beginning tunes, he was interrupted by applause that greeted the first line of familiar lyrics. Yet he managed to fit in every word without a missed beat after waiting for it to subside.

He continued with songs that drew “ahs” and some singing from the crowd as each one’s identity became apparent: “It Had to Be You,” “Just in Time,” “Fly Me to the Moon.” But he also did newer numbers, such as Charles DeForest’s “When Do the Bells Ring for Me,” that fit easily into the popular American canon.

All were delivered with the passion that has made Bennett famous, and the big endings that have become his trademark. He was especially moving through a ballad-paced version of “Autumn Leaves.”

Bennett showed his skill at jazz rhythms during a trio of Duke Ellington tunes that featured the members of his excellent touring trio: pianist and musical director Ralph Sharon, bassist Doug Richeson and drummer Clayton Cameron, who put on a dramatic technical display with a single snare drum and a pair of brushes.

In a scene reminiscent of arena rock concerts (as well as the big-band swing era), a crush of fans crowded in front of the stage as Bennett drew his set to a close. With cries of “Tony! Tony!” echoing from autograph seekers, the vocalist signed what programs he could while continuing his performance.

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The opening appearance by Clooney was more satisfying for its nostalgic value than its musical attributes. Though Clooney’s voice has gone south since her heyday, she, like Bennett, doesn’t let it keep her from delivering with conviction.

Appropriately, she opened with “Sentimental Journey,” then progressed through “They’re Either Too Young or Too Old,” “I’ll Be Seeing You” “Hey There” (from “The Pajama Game”), and “How Are Things in Glocca Morra?” before doing her bygone hit “Come On-a My House.”

As with Bennett, Clooney’s greatest strength is her phrasing. She has an assured, jazzy way with a lyric and knows how to place a word just so for maximum effect. Her voice was at its best during “Our Love Is Here to Stay,” when her tone regained some of its attractive, youthful clarity.

Clooney’s most entertaining moments came between numbers as the 65-year-old singer chatted easily with the crowd about her grandchildren (“Grandparents and their grandchildren get along so well because they have a common enemy”), life next door to Ira Gershwin and how she’s often asked to do songs popularized by other singers of her generation (“I get a lot of requests for (the Patti Page hit) ‘How Much Is That Doggie in the Window’ ”).

Bennett, whose between-song banter often seemed contrived, could take a lesson from her.

If the MTV generation is looking for icons to embrace in addition to Bennett, it would do well to look to Clooney, a survivor who has maintained her dignity despite a number of well-publicized problems.

One can’t help but wish that Kurt Cobain could have found a way out of his despair by reading Clooney’s autobiography and seeing the determination with which she’s faced her career and life.