Lady Gaga & Tony Bennett - Cheek to Cheek / Love for Sale | Page 138 | The Popjustice Forum

Lady Gaga & Tony Bennett - Cheek to Cheek / Love for Sale

Discussion in 'Pop & Justice' started by Retsaf, Jun 14, 2014.

  1. That 60 Minutes segment was a tear jerker. How absolutely incredible it is that he might not know where he is or what's going on, but as soon as the music starts, he is fully engaged.

    It was amazing seeing that clip of him backstage before the Radio City Music Hall show, not totally aware of what was going on, followed by the clip of him on stage when the curtain rose, and he was totally on. Something clicks for him with music and performing and it's special to see...he still has such great stage presence and vocals despite everything.

    It was so sweet seeing him say "Lady Gaga!" when she walked on stage, and how it touched her.
  2. Not it getting blocked immediately
  3. I believe the footage of her walking onstage is from night two. I don’t remember that happening at the first show. He tried to walk off when she came on actually.
    HolyWater likes this.
  4. It‘s sad to think he won‘t perform anymore so the one healing point is missing now in his life.
    HolyWater likes this.
  5. I think I know what you mean. I suppose, put another way, she lets style dominate. The lyrical content and the intent of the songs often become secondary to the sound. Which is a shame when you're singing lyrics by Cole Porter that are so rich with wit and ennui. But she clearly feels the music in her bones and even if these songs have been interpreted with greater depth and sensitivity by others, I still take some pleasure in her interpretations.
  6. Lila

    Lila Staff Member

    This is definitely it. The point of most of these songs is that when sung well, the music itself is flexible enough to open up to new interpretations, to let you be creative with your breath and phrasing. All good jazz musicians can adapt to a singer’s choices. Gaga is a perfectionist for a start, so maybe she’s too tightly wound for that kind of improvisation. But also I just don’t think she totally grasps the idea that they don’t have to be sung so sharply and that there’s room for experimentation. She sings them like pop songs, and they’re not.

    A good exercise in comparison on this point is Julie London doing Every Time We Say Goodbye to Gaga doing it on Cheek to Cheek.

    torontodj, dvno, fancygreen and 5 others like this.
  7. It’s kind of ironic how she goes on and on about how jazz can be changed every which way and that it isn’t played straight. It’s “rebellious” and that’s why she likes performing it more than pop music, which you can’t transform as much (although Madonna would beg to differ). But then she literally sings it as straight as it can possibly be dd
  8. Lila

    Lila Staff Member

    It’s funny because so many of the great and most famous jazz albums are live albums, and a lot of those feature massive amounts of improv — Ella in Berlin, for example, has repeated instances where she’s vamping because she can’t remember the words, and Sinatra at the Sands has the musicians really work around him as he changes the lines to suit his tastes. And so when you listen to these songs as much as she presumably has, she should know that they change from singer to singer! The intro they do on I Get A Kick Out Of You on this record is from the original musical version, but a lot of singers don’t do it and there are so many instances like this. And the internal rhyme schemes within the song are deliberately complex so as to allow for play within them. I personally prefer Sinatra’s take on “Flying too high with some gal in the sky is my idea of nothing to do” to Tony’s phrasing here — but that’s the point!!! She just has never seemed comfortable enough to actually do what the music and composition encourages.

    Ella forgets the words to Mack the Knife and makes new ones up on the spot:

    Last edited: Oct 4, 2021
    torontodj, dvno, Andy French and 6 others like this.
  9. Any update of how this is doing in the UK Mids?
  10. That 60 Minutes piece is really beautiful and emotional.
  11. Everything they've done so far has been respectful and has come off as celebratory as opposed to exploitative. I had slight doubts at the very beginning of this era, but the way they framed that 60 Minutes segment was beautifully done. Tony's very lucky to be surrounded by so many people who love and cherish him.
  12. I'm fully on board with all of this, and it made me think of Bang Bang as an example where, effectively or not, she seems to go out of the usual way of singing it. There's still "the tone" and it does verge on screamfest at some points, but she was giving emotion, performance, and not just Christmas-at-the-mall jazz. Which in turn makes me think of how maybe the two jazz projects so far had her be more restrained because of Tony being in them.

  13. Here is the segment on YouTube (official upload so it won't be taken down this time dd) :
  14. She did say that it's important for her to not get in the way of him/what happens to him when the music comes on, so I could definitely see her being less improvisational for that reason.
    Staticboombox and heavymetalGAGA like this.
  15. I thought it was ironic that the Apple interview played royalty free jazz music in the background of the entire hour long special since that's what Tony and Gaga's collaborations always sound like.
  16. I’m kind of obsessed with her jazz eras because of her tone/impersonation. I don’t know if it’s good jazz (probably not!), but I enjoy the camp.
  17. Don't be swayed by the last few posts, her doing things by the book doesn't make it any worse than otherwise. Just because some people expect that doesn't mean it's the "right" way.
  18. The whole talk about "tone" is my exact fear when it comes about "rock album" and so on ddd.

    I haven't listened to it yet but I saw many friends saying it's better than Cheek To Cheek in voice+production so I'm willing to give it a chance.
  19. I do wish that her approach was more in line with Julie London or Shirley Horn or Cleo Laine or Dianne Reeves or even early Margaret Whiting, rather than MUST BELT AND PROVE SINGING.

    As obviously gifted as she is, there's no kinship to an instrument in her style, nor is there any vulnerability, or wanderlust for the chordal architecture, and it's incredibly weird. There's a different mental shift that requires significant discipline when singing jazz rather than crooning (or entertaining). You know her heart is authentically in it, but it's like coloring outside the lines actually terrifies her, and instead we're left with unintentionally dabbled and self-conscious pastiche. And this isn't said to be cruel. It's really more that as noble as her ambitions with these projects have been, and as admirable and beautiful as her love for her collaborator shines on, she's falling short of her possibility. She's better than what she's delivering.

    I'm not asking her to go Betty Carter on shit, and I get wanting to be keep in check so as not to overshadow her partner, but that protective nature is also kind of reductive of what Tony Bennett is doing. Yes, he's singing relatively straight, but there are so many colors in his palette. And (heresy, I know, for wanting her to pursue more jazz) I want her to have the bravery to go to the edge of her comfort zone and realize she has to tell the story, not display the mannerism.

    TLDR: "Anything Goes" still haunts me please hjälp. [/jazzjustice]
  20. Her version of "Bang Bang" is giving me life. Will check out the new album during this week.
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