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Tony Bennett and Lady Gaga: Cheek To Cheek

4.7 4.7 out of 5 stars 5,192 ratings

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Track Listings

1 Anything Goes
2 Cheek To Cheek
3 Nature Boy
4 I Can't Give You Anything But Love
5 I Won't Dance
6 Firefly
7 Lush Life
8 Sophisticated Lady
9 Let's Face The Music And Dance
10 But Beautiful
11 It Don't Mean A Thing (If It Ain't Got That Swing)

Editorial Reviews

CD

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.55 x 4.92 x 0.47 inches; 3.25 ounces
  • Manufacturer ‏ : ‎ Streamline/Columbia/Interscope
  • Original Release Date ‏ : ‎ 2014
  • Date First Available ‏ : ‎ August 19, 2014
  • Label ‏ : ‎ Streamline/Columbia/Interscope
  • ASIN ‏ : ‎ B00MFU3EY2
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.7 4.7 out of 5 stars 5,192 ratings

Customer reviews

4.7 out of 5 stars
5,192 global ratings

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Came Damaged.
4 out of 5 stars
Came Damaged.
Came with a damaged corner, and as a collector I do NOT appreciate that ESPECIALLY with how much I paid for it. Other than that it’s a great product with some good stuff that comes with it!
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Top reviews from the United States

  • Reviewed in the United States on September 28, 2014
    Yes, Tony Bennett's concert at Milwaukee's Riverside Theater in june of 2014 was, for this listener, the musical highlight of the present millennium. Apparently most in attendance shared the conviction that "swing is still king," and "The Great American Songbook" is still the good book. And Tony Bennett is the only remaining artist who embraces both endangered species without compromise or apologies for the entirety of his performances. Unfortunately, "swing," whether used as a noun or verb, is disappearing from public consciousness and from the language itself (as a musician, I can attest that the word once represented the ultimate litmus test of the qualifications of any aspiring jazz musician (the earliest examples are the 1920s recordings of Louis Armstrong, whose sense of swing is frequently spotlighted because of the hokey "jive" being played by the clueless musicias surrounding him (with notable exceptions like Earl Fatha Hines).

    As for the Great American Songbook, most people I talk to don't seem to know what it really is--and what distinguishes it from the music that began to replace it in the 1960s--music by "performer-composers" such as Bob Dylan, The Beatles, The Stoness, Willie Nelson, etc. Fortunately, the Songbook is now more accessible than swing, thanks to numerous studies that have followed on the heels of Alec Wilder's groundbreaking "The American Popular Song" and the vast treasury of show tunes that became "standards" because of "jazz singers" like Tony Bennett and all of the predecessors he so persuasively honors--namely, Louis, Bing and Sinatra as well as Billie, Ella and Sarah. Thanks to them we can revisit the irony and wit, the lyricism and harmonic intricacy of the 32-bar American Popular Song that was invented by Irving Berlin and subsequently developed by Kern, Ellington, Arlen, Gershwin, Porter, Richard Rodgers and Lorenz Hart (who knew why the Lady simply MUST "find California damp" and therefore "be a Tramp" to maintain her unique identity and free spirit. (Changing the word to "Champ"--which Lady Gaga, to her credit, does NOT do--is to completely miss the point of the song. In fact, calling her a "Champ" is patronizing and condescending, an insult to both the Lady and to the listener who can understand the subtle and clever ironies of Hart's lyric.

    The "booklet" that comes with the 15-track edition is short on information but long on pictures--primarily from a single photo-shoot portraying Gaga in a kind of drunken / Dionysian / "let's party" mode with her entourage while Tony sits by like a good sport. It makes it especially tempting--and convenient--to characterize the music on the album as second place to Lady Gaga's own ambitions. The Los Angeles Times critic, in a review identifying the pair as a "bad dream team," chooses to go that route, but the musical evidence suggests otherwise. Regardless of Gaga's motives, the sincerity of her love of jazz and of the treasures of the Great American Songbook simply don't support such a negative conclusion about the music on this disc.

    It's true that to close followers of the jazz singing of Ella and Sarah, or Ann Hampton Calloway and Roberta Gambarini, Gaga will probably come across as sounding, at times, somewhat theatrical and "forced," as on "I Can't Give You Anything But Love," when she sounds less like a jazz singer than how she "thinks" a jazz singer is supposed to sound, And though Gaga's version of "Lush Life"-- perhaps the most notable expression of ennui, boredom, and "Weltschmerz" in the American Songbook--misses the meaning of Billy Strayhorn's lyric, Gaga brings to the challenging piece such conviction and passion that a listener could be forgiven for admitting a wholly new interpretation of what's at stake for those "who strive," only to "rot away...in some small dive."

    The point is that the few missteps do not detract from the enjoyability of a program that's professionally performed and well paced (many of the songs under 3 minutes). And the pre-released videos and published interviews of the pair implying a mutual admiration between the two, seem borne out in each spirited performance (some of which--Tony's "Don't Wait Too Long" and GaGa's "Nature Boy"--are poignant and genuinely touching).

    Of all the performances on Bennett's two "Duets" albums the track with Tony and Gaga was the closest thing not merely to jazz but to its vital heartbeat--"swing." I can also attest, after attending a number of jazz concerts this year (including Kurt Elling and Newport 60), that Tony Bennett's appearance in Milwaukee--especially with the support of super-accompanist Mike Renzi --offered by far the most uninterrupted, continuous "swing."

    Most jazz performers these days have come to understand the rock-inspired beat that elicits a physical response from listeners, as evidenced by heads bobbing on 1 and 3. By contrast, "swing" is at once more subtle and more levitating. Duke Ellington would, at some point during virtually all of his concerts, directly address the audience and demonstrate what swing is all about: to be "hip," he said, "just click your fingers on 2 and 4 (a good drummer's high hat "clap" can be your guide); then he went on, to be "really hip," nod your head "to one side or the other on 1 and 3 while you continue to snap your fingers on 2 and 4." Thus Duke both explained and demonstrated what he meant when, way back in 1934 he wrote the anthem for an entire era: "It Don't Mean a Thing If It Ain't Got That Swing." The crowd that caught Tony in MIlwaukee clearly didn't require such coaching (I only wish there had been greater diversity in terms of the ages of those in attendance). They were swinging with Tony and company all the way--in step with both the walking 4/4 bass and with Harold Jones' firm hi-hat catching each of the off-beats. For a jazz aficionado that's the only beat that counts, offering artists the freedom to express themselves, to improvise in the moment and without clutter, to create solos with a beginning, middle and end.

    There's enough of that spirit on this album to suggest that rather than using Bennett to raise her profile as a pop phenomenon, it is Bennett who is passing the flame to a young musician of influence and, just as importantly, of talent. Given the digitally depressing sounds of much that passes for jazz these days--even on albums released by musicians acclaimed for their jazz chops--we should be celebrating a release like "Cheek to Cheek," on which the wise but still "cool" 88-year-old crooner has at once raised the level of not just Gaga's game but the music-listening public's as well.

    The new "Down Beat Magazine" (the monthly Bible of the jazz world) has just appeared with this album as its cover story! Sometimes it feels especially gratifying to receive validation from the right sources--so it was not surprising that Tony mentioned Down Beat's listing his group as "the #1 group in jazz today." What Tony did not say was that the magazine, in its feature story about the 50 greatest "living legends" in jazz, listed Tony himself as #1 (ahead of Sonny Rollins, Ornette Coleman, Roy Haynes, Jimmy Heath, Monty Alexander, Keith, Herbie, Chick, etc.).

    It was a well-deserved honor and, from the evidence of the concert itself, an incontrovertible one--even though Tony decided to report that it belonged, not to him personally, but to his "group" of 4 musicians. A slight misrepresentation on Tony's part, but certainly forgivable.
    9 people found this helpful
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  • Reviewed in the United States on January 13, 2025
    Love this vinyl, a must have for all Little Monsters
  • Reviewed in the United States on November 23, 2015
    It could and should have been Amy Winehouse. It could have been Mariah Carey. It could have been Adele. It could have been Gwen Stefani. It could have been Pink. It could have been Nicki Yanofsky. It could have been Charlotte Church. It could have been Faith Hill or Carrie Underwood. It could have been Madonna. It was k d Lang. Well, thank the powers that be that now it's, of all people, Lady Gaga. All these women who have voices for the ages, could have done this, but this album with Lady Gaga joining the, it seems, immortal Tony Bennett, for very classy arrangements of jazz and pop classics is one for the ages. It will be around forever and, as with Tony's work with k d Lang, it will never go out of style.
    I give huge props to Lady Gaga for taking the chance or risk, to do such an album with Tony Bennett and display just how great a singer she is and what a great voice she has, so very different from what we usually get from the Gaga.
    Want to know my favorite cut? It's whatever is playing. I will say that their version of "Goody, Goody," is exceptional. As is the title track. The closing track of "It Don't Mean a Thing (If It Ain't Got That Swing)", is the perfect ending to as close to a perfect album could be.
    I know this review is a bit late, but better late than never. I have to admit it was the joy that their TV ad (for a competitor who shall remain nameless), got me to go and get this album. It is just beautiful. All I can say is go out and get it and then "Face The Music and Dance".
    24 people found this helpful
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  • Reviewed in the United States on December 10, 2014
    I am 59 and have a wide range of musical tastes. Been attending live shows since the early 70's. Mostly rock: Led Zeppelin (twice), Pink Floyd (twice), Emerson Lake and Palmer, Journey (many times), Van Halen (twice), Elton John, Tina Turner, Tower of Power (so many times I have lost count), Stevie Guitar Miller, J. Geils Band, Rush, etc. A lot of live jazz such as the old CTI Jazz Tours and new stuff, mostly at Jazz Alley (Seattle). I have a musical background in jazz, band (saxophone), and singing. Not by profession, just something I like to do. I listen to primarily jazz and rock but also listen to country western, hip hop, soul, funk, R&B, heavy metal, classical. I have the honor to serve on the board of a symphony orchestra. I have a tremendous appreciation for those who have exceptional musical talent who produce albums that contain music that is not always main stream or popular with everyone: Prince, Little Richard, Elton John, Michael Jackson, George Clinton, Eddie Van Halen (and his brother), Quiincy Jones, Frank Zappa. Lady Gaga is such a person. And she has barely scratched the surface of her potential with the albums she has put out thus far. If you only like the teenie bopper stuff she put out early on, then you probably lack the capacity to appreciate good jazz. This album is produced as a classic jazz vocal album with top back up musical accompaniment, and the great Tony Bennett. Who'd have thunk it? Only a musical genius like Lady Gaga! I love this lovely lady! She is going to go places and I can't wait for her next album.
    7 people found this helpful
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  • Reviewed in the United States on February 4, 2024
    Personal pleasure

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  • Fiona Macleod
    5.0 out of 5 stars Fabulous duets!
    Reviewed in Canada on August 11, 2024
    Great cd. What’s not to love— Lady Gaga & Tony Bennett..
  • Mrs. Pj Dilworth
    5.0 out of 5 stars Superb recording
    Reviewed in the United Kingdom on January 2, 2025
    Superb recording from this great pair of singers
  • Philippe L.
    5.0 out of 5 stars Excellent.
    Reviewed in France on December 2, 2024
    Voilà le cadeau pour mon père à Noël. Il a beaucoup apprécié car c'est son genre de musique plus que ce propose Gaga seule beaucoup plus rock.
  • Greenwolf77
    5.0 out of 5 stars Prodotto Ottimo
    Reviewed in Italy on July 27, 2024
    Preso per un regalo, chi lo ha ricevuto è stato contentissimo...qualità top e Lady Gaga è una garanzia...consigliato
  • Denis Rodrigues Gazeta
    5.0 out of 5 stars Chique é pouco pra definir este trabalho!
    Reviewed in Brazil on June 23, 2021
    Gaga faz e acontece, isso é inegável. O que não sabíamos é dessa faceta só revelada depois do equivocado Artpop, que trouxe aos acompanhantes do Pop de Vanguarda uma vontade imensa de conferir o que Stephanie Germanotta é capaz de entregar pros seus fãs em se tratando de material de regravações de sucessos standards, proposta bem batida na música americana, porém surpreendente aos fãs de Gaga, que podem ver o quanto ela pode ser grande quando se despe de suas fantasias e entra de cara limpa no palco, com uma faceta New Jazz. Chique, demais!