Music

The crooner and the pop star seemed like unlikely collaborators when they joined up in 2014. But the two masters of reinvention inspired and bolstered each other’s careers.It’s still one of the most impressive flexes I’ve ever seen a musician pull off live — and at the age of 88, no less.In 2015, during the third of four sold-out shows at Radio City Music Hall, Tony Bennett and Lady Gaga were sharing a bill, promoting their chart-topping, cross-generational 2014 duets album, “Cheek to Cheek.” They had a light, snappy chemistry on the songs they sang together, but the best parts of the night were their solo sets, each inviting their respective fan bases — Bennett’s tasteful traditionalists and Gaga’s sartorially zany but spiritually sincere Little Monsters — into the other’s world.For most of the concert, they’d been playing with a full band and orchestra, but for one number during his own set, Bennett summoned a single guitarist to join him in the snug radius of a spotlight. He told us the song was dedicated to his “best friend, Frank Sinatra,” and launched into a velvety rendition of “Fly Me to the Moon,” holding the microphone down at his side rather than bringing it to his lips. A few lines in, he set the mic down atop a piano and sang the rest without any amplification at all. The entire venue was suspended in a hush stillness, and Bennett’s voice was so strong and clear that you could hear every crystalline note, every enunciated lyric, even in the cheap seats.It was spellbinding, and so quintessentially Tony Bennett: the unshowy elegance, the inevitable name-dropping and, above all, the ease with which he suddenly transformed from the rat-a-tat every-crooner into a phenomenally gifted belter who could project like an opera singer.In August 2021, while battling Alzheimer’s disease, Bennett, who died on Friday at 96, made his final public appearance on that very same stage, again with Lady Gaga. He once again demonstrated strength and resilience, this time by simply performing at all. A poignant “60 Minutes” segment captured Bennett’s struggles in rehearsals but his ultimate triumph when he took the stage. In run-throughs, Gaga said, “He called me ‘sweetheart.’ But I wasn’t sure he knew who I was.” She witnessed a startling transformation, though, anytime the band struck the opening notes of another song and Bennett began to sing.“When the music comes on, something happens to him,” she said. “He knows exactly what he’s doing.”Here was the final act of an unlikely collaboration that had changed the trajectory of each musician’s career. When Gaga first linked up with Bennett for “Cheek to Cheek,” some skeptics saw it as nothing more than a savvy distraction, a way for a wild pop instigator to rebrand as a throwback jazz singer in the wake of her first major flop, the overblown (if, in hindsight, somewhat underrated) 2013 album “Artpop.” But the gusto, reverence and musical intelligence she brought to her work with Bennett undoubtedly won her fans and respect from an older generation of listeners. As I was filing out of Radio City that night in 2015, I couldn’t keep track of how many people I’d heard muttering versions of, “I had no idea that Lady Gaga could actually sing!”Bennett was no stranger to cannily timed reinvention, either. He stormed MTV when he was in his late 60s, recording an “Unplugged” album that featured collaborations with Elvis Costello and K.D. Lang, and that eventually won him a Grammy for album of the year. He sang with more eclectic and, in some cases, even younger musicians on his series of “Duets” albums, from 2006 to 2012. He found a kindred spirit in Amy Winehouse, but their connection was short-lived. Their great rendition of “Body and Soul,” for “Duets II,” was the last thing she ever recorded. It was released as a single posthumously, on what would have been Winehouse’s 28th birthday.Gaga satisfied Bennett’s desire to stay active and involved with a younger generation of musicians, and her professional stability made her into the most committed of his duet partners. But Gaga has also said that Bennett’s mentorship “saved” her life. The then-octogenarian’s example allowed her to think beyond the successes or failures of the present moment, and to value a musical career’s longevity. “I was so sad. I couldn’t sleep. I felt dead,” Gaga said of the time before “Cheek to Cheek.” “And then I spent a lot of time with Tony. He wanted nothing but my friendship and my voice.”It’s not that their voices or energies always blended particularly well — Gaga brought an antsy theatricality to their collaborations, while Bennett’s voice seemed to get even more laid-back and free of artifice as he aged — but the mutual admiration they shared was genuine enough to open the minds of their respective audiences and generational cohorts. With their Grammy-winning 2021 album of Cole Porter covers, “Love for Sale,” Bennett seemed to be passing the baton to Gaga, deeming her capable of continuing his lifelong task of keeping the Great American Songbook alive. And Gaga, in turn, was telling her Little Monsters to do their homework and appreciate American popular music’s rich history.One of their last, and most bittersweet, moments of mutual respect came during that 2021 Radio City show, forever immortalized in a “60 Minutes” clip that has been making the rounds on social media on Friday. After weeks of calling her “sweetheart,” the name finally came back to him when they were — where else? — onstage. “Whoa!” Bennett cried, to his duet partner’s obvious delight. “Lady Gaga!” More

In an 80-year career, he stuck with one mission: illuminating songs he cherished.Has there ever been a more purely likable pop figure than Tony Bennett?Throughout a career that began in the 1940s, Bennett, who died on Friday at 96, maintained one mission, amiably and unswervingly. He didn’t chase trends; he didn’t get defensive, either. Instead, he let listeners — and, in recent decades, much younger duet partners — come to him, generation after generation. He welcomed them to a repertoire of songs he admired, knew intimately and was happy to share.Bennett sang vintage pop standards, the pre-rock canon sometimes called the Great American Songbook. They’re songs mostly about grown-up love, about courtship, yearning and fulfillment, with elegant rhymes and ingenious melodies that invite a little improvisation. He recorded with orchestras, with major jazz musicians, with big bands and, for more than 50 years, with the pianist and arranger Ralph Sharon and his trio. He was always unplugged — a simple fact that cannily recharged his career when he played “MTV Unplugged” in 1994.Bennett’s voice made the technical challenges of his songs evaporate. As a young man, he showed off his near-operatic range and dynamic control in early recordings like “The Boulevard of Broken Dreams,” from 1950. But he wasn’t an old-fashioned crooner; his sense of swing was just as strong. And he understood that pure virtuosity can keep listeners at a distance. He soon revealed a grain in his voice that made it earthy and approachable, downplaying his precision. Very often, there was a jovial savvy in his phrasing; he’d punch out a note ahead of the beat, as if he couldn’t wait to sing it.Bennett onstage at Carnegie Hall in 1976. His long career had its share of commercial ups and downs and transient record-company pressures.D. Gorton/The New York TimesThere was always an easy strength, a self-confident baritone underpinning, in his singing. When he had a big band behind him, he was easily brassy enough to hold his own. But he didn’t steamroller through his songs. He was ever attentive to lyrics. His signature song, “I Left My Heart in San Francisco,” has two melodic peaks near the end. The first is on the line “When I come home”; he sustains “home” and tapers it off with longing in his vibrato, as if he’s feeling the distance. Soon afterward comes “Your golden sun will shine for me,” and he sings “sun” as if he knows he’ll be basking in it.Bennett’s long, long career had its share of commercial ups and downs and transient record-company pressures. As the 1960s ended, he was persuaded to record recent pop hits on the album “Tony Sings the Great Hits of Today!,” though he maintained some dignity by putting lush orchestral arrangements behind songs like George Harrison’s “Something.”After changing labels — and, in the mid-1970s, starting his own short-lived but artistically rewarding label, Improv — Bennett returned to what he did best: singing standards with musicians who brought out their jazz possibilities. Two albums he made with the harmony-probing pianist Bill Evans — “The Tony Bennett/Bill Evans Album” (1975) and “Together Again” (1977), both just piano-and-voice duets — are luminous testaments to the way Bennett never took familiar songs for granted.He was 67 when he recorded “MTV Unplugged” with Sharon’s trio and a guest appearance by Elvis Costello. It was a shrewd and satisfying move; Bennett became pop’s cool grandpa. Rock-hating Grammy voters seized their chance to give him his second album of the year award (after “I Left My Heart in San Francisco”), and current rock and pop performers embraced the chance to sing with him and learn from him. Duet albums (with K.D. Lang, Diana Krall and Lady Gaga) and individual duet tracks (with, among many others, Aretha Franklin, B.B. King, Willie Nelson, Bono, Christina Aguilera, Queen Latifah and Amy Winehouse) made clear how admired, durable, companionable and game he was; even the awkward moments are endearing.In later years, as his voice lowered and thickened, Bennett used those qualities to bring out mature perspectives. The slow-motion version of Jerome Kern’s “The Way You Look Tonight” that appears on the 2007 compilation, “Sings the American Songbook, Vol. 1,” is latter-day Bennett: a little raspy, a little tremulous and gloriously fond, an affirmation not only of “tonight” but of a longtime love. There’s a rueful chuckle as he sings, “That laugh that wrinkles your nose/Touches my foolish heart.” Those lyrics were written in 1936, and Bennett was still listening through every line, still getting closer to the song. More

Over a career of 70-plus years, the singer infused his performances with a huge range, dramatic flair, rhythmic agility and an inquisitive approach to interpreting lyrics.When Anthony Dominick Benedetto was growing up in Astoria, Queens, during the Depression, his parents couldn’t afford to pay for the singing lessons he wanted. But he had a good teacher close to home: his father, John Benedetto, an immigrant from southern Italy who loved the songs of the old country and sang them to his two sons on their front stoop.Anthony Benedetto later took the advice of the comedian Bob Hope and adopted the more Americanized stage name Tony Bennett. He enjoyed a long, prolific career until his death on Friday at 96, with plenty of ups and downs, 20 Grammys and an Emmy, in addition to being a Kennedy Center honoree and the first interpretive singer to receive the Gershwin Prize from the Library of Congress.Voice lessons, however long delayed, were important to his development. After he served in World War II, Bennett studied, thanks to the G.I. Bill, at the American Theater Wing school in Manhattan. When he was still singing in his 90s, he credited his bel canto training — an Italian vocal style that dates back to the 18th century and that emphasizes a light tone — for maintaining his instrument.Bennett was equally at home with romantic ballads and jazzy saloon songs, and whether he was singing Cole Porter or Stevie Wonder, he brought a huge range, dramatic flair, rhythmic agility and an inquisitive approach to interpreting lyrics. In 1965, Frank Sinatra told Life magazine, “For my money, Tony Bennett is the best singer in the business.” He held on to that distinction for decades to follow.Here are 10 of his greatest songs.“The Boulevard of Broken Dreams” (1950)Bennett had been singing in Bob Hope’s live revue when he was signed to a contract by Mitch Miller, the pop-minded A&R chief at the venerable Columbia Records. In his first single for the label, it’s easy to hear what impressed Miller: Bennett cuts through the Spanish-inflected arrangement of this kitschy 1930s tango with an untethered expression of postwar bravado.“Strike Up the Band” (1959)Bennett was a big Count Basie fan, and he especially admired the Basie band’s surging use of dynamics, so he was well prepared for this session. His version of George and Ira Gershwin’s characteristically tricky “Strike Up the Band” lasts just over a minute and a half, but Billy Mitchell’s tenor sax solo is dazzling and it’s hard to name another singer who could navigate the band’s hard, swinging tempo with such élan.“I’m Thru With Love” (1961)Like Frank Sinatra before him, Bennett pushed back when Miller tried to steer him toward greater commerciality. Miller was “furious” and stormed out of the recording studio, Bennett later wrote, when the singer insisted on moving away from grand orchestral arrangements to record an album with only a pianist, his sympatico collaborator Ralph Sharon. The jazz standard “I’m Thru With Love” had previously been recorded by Bing Crosby, Sarah Vaughan and Ella Fitzgerald, but Bennett optimized the song’s melancholy tone in this streamlined version.“The Best Is Yet to Come” (1962)The album-opening title song from “I Left My Heart in San Francisco” became Bennett’s signature hit, but it’s the jaunty closer that sounds fresher now. He snagged “The Best Is Yet to Come” from a flop Broadway musical called “All American,” and turned it into a standard: Sinatra covered it two years later, and Fitzgerald and Bob Dylan, among others, eventually followed. It remained a concert staple for years, and no song better exemplifies what the critic Mark Rowland once called Bennett’s “radiance of spirit.”“Don’t Get Around Much Anymore” (1967)Bennett considered Count Basie and Duke Ellington the two greatest bandleaders he’d ever heard, and with the great Milt Hinton on bass and the Basie regular Joe Newman on trumpet, he swings effortlessly and joyfully on this Ellington jazz standard. Bennett had something close to awe for great jazz musicians, which may be why he never claimed to be part of that tradition. “I’m not a jazz singer,” he often said. “I’m a singer who likes jazz.”“Something” (1971)Between 1951 and 1963, Bennett released 19 songs that reached the Top 20 of the Billboard singles chart. Then the Beatles came along and the hits stopped. The Columbia Records honcho Clive Davis pushed Bennett to cover modern pop hits, and on the day he began a new record a new record that included Beatles and Stevie Wonder songs, Bennett vomited, Davis recalled. The singer was a trouper, though; the “woo!” he interjects in the middle of George Harrison’s “Something” is almost convincing.“Some Other Time” (1975)Bennett had an affinity for pianists: Art Tatum was an enduring influence, he had a long partnership with Ralph Sharon, and he made one of his best albums with Bill Evans. Though he wasn’t a master of urban ennui on the level of Sinatra, Bennett does wring all the bittersweet rue out of this song, written by Leonard Bernstein, Betty Comden and Adolph Green for the musical “On the Town,” by singing in parallel with Evans’s lyrical, prudent piano.“I Got Lost in Her Arms” (1986)For much of the ’70s, the toll of drugs, divorce, tax problems and depression wore Bennett down. Then his son Danny took over as his manager and engineered a return to Columbia Records. Maybe more significantly, Bennett reunited with Sharon and recorded his acclaimed comeback with just piano, bass, drums and an orchestra. His voice was now rougher, but especially on his version of Irving Berlin’s “I Got Lost in Her Arms,” he adjusted by infusing his lower register with savvy understatement.“When Do the Bells Ring for Me” (1990)Bennett loved the Great American Songbook, but eventually, a prolific singer runs out of pre-rock standards and needs to find slightly younger material. So Bennett was delighted when, in a restaurant one night, he heard the piano bar stalwart Charles DeForest perform a song he’d written, “When Do the Bells Ring for Me” It became a concert showcase for Bennett, thanks to its climactic high notes, and when he sang it at the Grammys in 1991, he got a standing ovation.“I Get a Kick Out of You” (2021)Biographically, Bennett couldn’t have had less in common with Cole Porter, a Midwesterner born to substantial privilege. But Porter’s giddy use of double and triple rhymes was perfect for Bennett’s rubato trickery, so his second album with Lady Gaga was a Porter-only affair, released five years after Bennett was given a diagnosis of Alzheimer’s disease. And let’s be honest, it’s a kick to hear a 95-year-old master sing, “Some, they may go for cocaine.” More

A prolific pianist, composer and arranger who began recording in the 1950s, he was a pioneer of bossa nova but didn’t confine himself to any genre.João Donato, a Brazilian composer, musician and producer who was a pioneer of bossa nova and who went on to cross-pollinate music across the Americas, died on Monday in Rio de Janeiro. He was 88.His death, in a hospital, was announced on his Instagram page. Brazilian news media reported that the cause was pneumonia.Mr. Donato was in the coterie of Rio de Janeiro musicians — among them Antonio Carlos Jobim, João Gilberto and the guitarist Luiz Bonfá — who developed the subtle swing and harmonic sophistication of bossa nova in the mid-1950s.But Mr. Donato didn’t confine himself to any genre. In a recording career that extended from the 1950s into the current decade, he released some three dozen albums as a leader and collaborated with a wide range of artists on many more. Although he was best known as a keyboardist, he was also a singer, accordionist and trombonist.As a pianist, Mr. Donato was known for his blend of a frisky, restlessly syncopated, harmonically intricate left hand with relaxed, sure-footed right-hand melodies. As a composer, producer and arranger, he constantly — and playfully — fused and stretched idioms and production styles. He once said he had a “sweet tooth for funky ideas.”Mr. Donato played MPB (as Brazilian popular music is widely known; the letters stand for “música popular brasileira”), jazz, funk, salsa, American pop and pan-American hybrids that were entirely his own. He worked with generations of Brazilian musicians, including the singer and movie star Carmen Miranda; the singers Caetano Veloso, Gilberto Gil, Milton Nascimento and Marisa Monte; and the rapper Marcelo D2.He also recorded with Eddie Palmieri, Michael Franks, Mongo Santamaría and Ali Shaheed Muhammad from A Tribe Called Quest. Throughout his life, he sought new grooves.The president of Brazil, Luiz Inácio Lula da Silva, said on Twitter: “João Donato saw music in everything. He innovated, he passed through samba, bossa nova, jazz, forró, and in the mixture of rhythm built something unique. He kept creating and innovating until the end.”Mr. Donato’s debut album, released in 1956, was produced by Antonio Carlos Jobim, another innovator of bossa nova.João Donato de Oliveira Neto was born on Aug. 17, 1934, in Rio Branco, the capital of the state of Acre. He began playing accordion and writing songs as a child. In 1945, he moved with his family to Rio de Janeiro, where he began performing professionally in his teens.Mr. Donato began leading his own groups in the early 1950s while also working as a sideman. He played accordion on Luiz Bonfá’s first album, released in 1955, as part of a studio band that also included Antonio Carlos Jobim. Mr. Jobim produced Mr. Donato’s debut album, “Chá Dançante” (1956), and Mr. Donato wrote songs with João Gilberto, including “Minha Saudade,” which became a Brazilian standard.But by the end of the 1950s, Mr. Donato’s preferred style had grown so complex that audiences complained that they couldn’t dance to it, and he had difficulty finding work in Brazil. He accepted a job backing Carmen Miranda at a Lake Tahoe resort, and relocated to the United States.As the 1960s began, he was welcomed by Latin and jazz musicians. He recorded with Cal Tjader, Astrud Gilberto (who died in June), Tito Puente, Mongo Santamaría and Eddie Palmieri. (He played trombone in Mr. Palmieri’s La Perfecta, a brassy salsa band Mr. Palmieri called a “trombanga.”)The vibraphonist Dave Pike recorded an entire album of Mr. Donato’s compositions, “Bossa Nova Carnival,” in 1962, and the saxophonist Bud Shank put Mr. Donato in charge of his 1965 album, “Bud Shank & His Brazilian Friends.” “This is João Donato’s baby,” Mr. Shank wrote in the liner notes. “I’ve turned all the problems over to him and I just relax and play.”On his own albums for U.S. labels, Mr. Donato drew on jazz and Caribbean influences as well as Brazilian ones. His pivotal 1970 album, “A Bad Donato,” was a radical turn toward funk, merging Brazilian-rooted melodies and rhythms with electric keyboards and wah-wah guitars. The keyboardist and arranger Eumir Deodato, who worked with Mr. Donato on that album, went on to have a worldwide Brazilian funk hit with his version of “Also Sprach Zarathustra (2001).”Mr. Donato’s album “A Bad Donato,” released in 1970, merged Brazilian-rooted melodies and rhythms with electric keyboards and wah-wah guitars. Mr. Donato returned to Brazil in 1973. There, a friend persuaded him to record songs with lyrics rather than solely instrumentals, including his own modest but earnest vocals. His tuneful, easygoing 1973 album, “Quem É Quem,” was not an immediate hit, but it has been widely praised over the years; in 2007, Brazilian Rolling Stone placed it among the 100 greatest Brazilian albums.Mr. Donato’s new lyricists included two of the leading figures in the determinedly eclectic Brazilian cultural movement known as tropicália: Caetano Veloso, who put Portuguese lyrics to “O Sapo” (“The Frog”) to turn it into “A Rã,” and Gilberto Gil, who supplied lyrics for many of the songs on Mr. Donato’s 1975 album, “Lugar Comum.” Mr. Donato also wrote songs with lyrics by his younger brother, Lysias Ênio Oliveira.For the next two decades, Mr. Donato recorded almost entirely as a sideman. The singer Gal Costa recorded “A Rã” for her 1974 album, “Cantar,” and hired Mr. Donato as an arranger and bandleader for that album and her subsequent tour.Mr. Donato also recorded extensively with important Brazilian musicians like Jorge Ben, João Bosco, Chico Buarque and Martinho da Vila. He continued to perform his own music and released a live album, “Leilíadas,” in 1986. But he didn’t return to making his own studio albums until “Coisas Tao Simples” (“Such Simple Things”), released in 1994, even as he continued to do session work with songwriters including Bebel Gilberto and Marisa Monte.The albums Mr. Donato made after resuming his solo career were unpredictable and diverse. Some returned to his bossa nova-jazz fusions; some featured singers, including Wanda Sá, Paula Morelenbaum, Maria Tita and Joyce. Others had titles reflecting Mr. Donato’s fondness for musical hybrids, like “Bluchanga” (2017) and “Sambolero” (2010), which won a Latin Grammy Award for best Latin jazz album. He also received a Latin Grammy for lifetime achievement in 2010.In 2017, Mr. Donato made an album of synthesizer-centered funk, “Sintetizamor,” with his son, João Donato, known professionally as Donatinho, who survives him. Other survivors include his wife, Ivone Belém, and his daughters, Jodel and Joana Donato. He lived in Rio de Janeiro.In 2021, Mr. Donato collaborated with Jazz Is Dead, the Los Angeles-based project of Ali Shaheed Muhammad and Adrian Younge, on the album “Jazz Is Dead 7.” In 2022 he released “Serotonina,” an easygoing pop-jazz album featuring his electric piano and clavinet.On Twitter, Mr. Veloso summed up Mr. Donato’s music admiringly. It was, he wrote, “the highest achievement of extreme complexity in extreme simplicity.”Ana Ionova More

Henry Choate, an 18-year-old Black man, was hanged outside the Maury County Courthouse in Tennessee in 1927 after he was falsely accused of attacking a white girl.The new video for the country singer Jason Aldean’s song “Try That in a Small Town” takes place outside a courthouse in Tennessee where, nearly a century ago, an 18-year-old Black man was attacked by a mob and lynched.Mr. Aldean was criticized after releasing the video, which included violent news footage of looting and unrest during protests in American cities. Country Music Television pulled the video this week after accusations surfaced on social media that its lyrics and message were offensive.“I think there is a lack of sensitivity using that courthouse as a prop,” said Cheryl L. Keyes, chair of the department of African American studies and a professor of ethnomusicology at U.C.L.A.The teenager who was lynched, Henry Choate, had traveled from his home in Coffee County, Tenn., where he worked in road construction, to visit his grandfather in nearby Maury County on Nov. 11, 1927 — Armistice Day, as it was known at the time, or Veterans Day today.While he was there, he was accused — falsely, historians now believe — of raping a 16-year-old white girl.According to an account in “Lynching and Frame-Up in Tennessee,” a book by Robert Minor that was published in 1946, the girl’s family called the county sheriff, who responded by rounding up a pack of bloodhounds to track down the girl’s attacker.Before the hounds arrived, however, a group of white people went to Mr. Choate’s grandfather’s house, “called out” Mr. Choate and took him to the girl, who did not identify him as her attacker, according to Mr. Minor’s book.Once the hounds were brought in, they were “given the scent” on a street called Hicks Lane, where the attack was alleged to have taken place. But the scent did not lead the dogs to Mr. Choate’s grandfather’s house.Instead, “the trail faded out in another direction,” Mr. Minor wrote, “and the girl again said she did not recognize Henry Choate as her assailant.”One man, however, announced that he had seen Mr. Choate returning to his grandfather’s home from the direction of Hicks Lane. Mr. Choate’s arms were tied with ropes and he was led away. Eventually, he was turned over to the sheriff, who arrested him.After Mr. Choate was brought to the jail, a cook there told him to pray because “the mob is coming to lynch you,” according to Mr. Minor’s book.The courthouse in Maury County, Tenn., in 1946.Associated Press“I know they are,” Mr. Choate said.According to Mr. Minor’s account, a mob of white men gathered outside the jail, demanding the keys. The sheriff’s wife, with whom the sheriff had left the keys, initially refused because she believed Mr. Choate was innocent, Mr. Minor wrote.The mob attempted to enter the jail twice, and failed, according to a contemporaneous account of the episode in The Tennessean.One member of the mob left and returned with a sledgehammer and began beating the jailhouse door with it, Mr. Minor wrote.Terrified that the mob would dynamite the jailhouse, the sheriff’s wife relented, and the first deputy sheriff unlocked the door. Mr. Choate was beaten with a sledgehammer and dragged out of the jail.The mob used a rope to tie him to the bumper of a car and dragged him to the Maury County courthouse in Columbia, Tenn., where they hanged him from a window, according to news reports.There were about 250 men in the mob, according to research from the University of North Carolina.Two pastors, two lawyers and James I. Finney, the editor of The Tennessean, had begged members of the mob to spare Mr. Choate’s life, but to no avail, the International News Service reported.Others denounced the actions of the mob.The executive committee of a body called the Tennessee Inter-Racial Commission later said in a statement that “all available information indicates that the sheriff of Maury County failed to meet his obligations as an officer,” The Tennessean reported a little over a week after the lynching.The Maury County sheriff, who was identified in news accounts at the time as Luther Wiley, said in a statement in the days after the lynching that he was honoring a promise.“I had an agreement with the mother, brothers and the little girl not to take the criminal away from our county, but to give him a speedy trial,” he said, according to a 1927 account in The Tennessean. “And I kept my promise steadfastly.”He added that he was “overpowered by all classes of weapons,” referring to members of the mob who had armed themselves with crowbars, sledgehammers and dynamite.Ultimately, a grand jury declined to indict anyone involved with the lynching, according to a wire article that was published in The Philadelphia Tribune in December 1927.As the details of Mr. Choate’s death resurfaced this week, Mr. Aldean responded on Twitter to the criticism of his music video by denying that he had released “a pro-lynching song.”“These references are not only meritless, but dangerous,” he wrote. “There is not a single lyric in the song that references race or points to it — and there isn’t a single video clip that isn’t real news footage — and while I can try and respect others to have their own interpretation of a song with music — this one goes too far.”TackleBox Films, the company that produced the video, did not immediately respond to a request for comment.Alain Delaquérière More

Teatro Nuovo’s concerts of Donizetti’s “Poliuto” and the Ricci brothers’ “Crispino e la Comare” delight with historically informed singing.Opera fandom is often built around a preoccupation — zealous, territorial, absolute — with distinctive voices. Maria Callas, Renée Fleming, Cecilia Bartoli, Luciano Pavarotti — they’re all immediately identifiable by timbre alone. Not coincidentally, all of these singers have been major recording artists.Teatro Nuovo, the brainchild of the bel canto specialist Will Crutchfield, inverts that value system. It asks: What would happen if all of the singers onstage shared a particular school of singing and even a certain vocal quality?In semi-staged concerts of Donizetti’s “Poliuto” and Federico and Luigi Ricci’s “Crispino e la Comare” at the Rose Theater at Lincoln Center on Wednesday and Thursday, Teatro Nuovo found manifold beauties in a brand of homogeneity that aims to reconstruct bel canto style from historical sources that predate the mid-20th-century revival and its recording stars.The singers in the two casts largely shared a vocal profile and style — a trim yet colorful sound with a quick, understated vibrato and an emphasis on legato, portamento and unaspirated coloratura. They eschewed abrupt pivots in color and dynamics. And, unconstrained by the need to project over a modern orchestra in a vast hall, they rarely pushed their voices for volume, size or drama, choosing instead an unforced, even emission of sound.Teatro Nuovo’s ingenious use of projections leveraged historical set designs — the Metropolitan Opera’s 1919 production of “Crispino” and the 1840 premiere of the French version of “Poliuto” — as backdrops for each concert. It was a quick, cost-effective way to add theatrical context.Donizetti completed “Poliuto” in 1838, having already composed the operas that would make him immortal: “L’Elisir d’Amore,” “Lucia di Lammermoor” and the so-called Tudor trilogy. In its extensive recitatives, unhurried melodic elaboration and dramatic silences you can hear his well-earned confidence. After “Poliuto” riled censors in Naples for its depiction of a Christian martyr, Donizetti refashioned it in French. But the original Italian version gained a hold after his death.The tenor Santiago Ballerini embodied the virtues of Teatro Nuovo’s house style in Donizetti’s “Poliuto.”Steven PisanoAs Poliuto, Santiago Ballerini embodied the virtues of Teatro Nuovo’s house style with a pretty, graciously produced tenor capable of reaching dramatic heights. The baritone Ricardo José Rivera, as his rival Severo, had the evening’s richest instrument — powerful yet capable of softness. As Poliuto’s wife, the soprano Chelsea Lehnea dug into Paolina’s conflicting emotions with a mercurially colored, highly responsive instrument that flew seamlessly through its registers, even if some of her choices felt exaggerated. Hans Tashjian (Callistene), with a somewhat hollow bass, was hard to hear.If “Poliuto” is a prestige drama by a generational talent, one who was stretching a genre and challenging convention, then “Crispino e la Comare” is a network sitcom by a pair of brothers with a nose for diverting entertainment. Everyday character types — a down-and-out blue-collar cobbler and the smug doctors he outsmarts — are harmlessly yet incisively mocked. The score foregrounds a font of melodies over spare, efficient accompaniments; no one would mistake it for the sparkling sophistication of Rossini or Donizetti, but it has its charms.In the Riccis’ fantastical satire, a fairy godmother grants the cobbler Crispino the ability to predict whether patients will live or die, turning him into Venice’s top doctor, much to the chagrin of medical professionals. As Crispino’s self-pity — even the chorus tells him to shut up already — morphs into self-regard, he alienates everyone, including his wife, until the fairy teaches him a lesson with a quick trip to the underworld.Mattia Venni was a sensational Crispino — his handsome baritone and capacity for self-parody allowed him to evolve from the melodramatic sobs of an almost-suicide scene to the complacent patter of success. As Crispino’s wife, the soprano Teresa Castillo sang her spirited, flirty showpieces mellifluously. The mezzo-soprano Liz Culpepper’s fairy godmother, all chesty low notes and wry amusement, felt like an ancestor of Mistress Quickly in Verdi’s “Falstaff.” Dorian McCall, with his rich lows and light snobbery, and Vincent Graña, with his rubber-voiced comedic stylings, cut up as Crispino’s rivals.Venni and Liz Culpepper in “Crispino.” The backdrop projection is from the Metropolitan Opera’s 1919 production of the opera.Steven PisanoTeatro Nuovo’s period-style orchestra astonished again and again. The instruments don’t have the invincible brilliance of their modern counterparts. But something more personal, even intimate, comes across in the woody bassoons, earthy cellos, translucent violins and ravishingly rangy clarinet. Period instruments can be temperamental, but the players didn’t sacrifice tuning or polish.The orchestra’s almost musky timbre made it a versatile collaborator. In the concertato at the end of Act II of “Poliuto,” it complemented rather than competed with the singers, with transparent textures that allowed the mildly lustrous voices to come through. In “Crispino,” its rough-hewn energy gave it a sincere, good-humored quality.In the Donizetti, Jakob Lehmann, who both played violin and conducted with his bow, relished accelerating the tempo of concluding allegros and guided the music with such subtlety that even staccatos had shape to them. The maestro al cembalo Jonathan Brandani effectively conducted “Crispino” from the keyboard and let the bass and cello lead in recitatives.In a few brief seasons, Teatro Nuovo has staked out a singular place for itself by marrying the thrill of discovery with a shared sense of purpose. More

10 songs marked by aesthetic contrasts for the movies’ big opening weekend.Are you a Barbie girl in the Oppenheimer world?Universal Pictures, Warner Bros.Dear listeners,A long awaited day has finally arrived: the cinematic collision of matter and antimatter represented by the two biggest and perhaps most thematically divergent summer blockbusters opening on the same date. To all who celebrate, a very happy Barbenheimer to you.The conversation around “Barbie” and “Oppenheimer” runs the risk of relying on lazy stereotypes about gender essentialism and taste: men are from Mars, and women are from Venus; “Oppenheimer” is for boys, and “Barbie” is for girls. But what I find so amusing about a lot of the “Barbenheimer” memes is the way they also subtly make fun of those assumptions and treat the idea of “masculine” and “feminine” aesthetics as something more artificial, interchangeable and downright laughable than they might at first appear to be.I admit that the Barbenheimer memes are still making me laugh. (Well, the good ones.) Even the jokes about how ridiculously overdone the Barbenheimer memes are at this point are making me laugh. I wanted to make my own contribution. So, behold — Barbenheimer: The Playlist.Sometimes a good playlist is all about cohesion and tonal similarity. But when compiling a collection of songs, I also love playing around with aesthetic contrasts — the wilder, the better. And I definitely went a little wild on this one.Yes, this playlist segues one of Leonard Cohen’s most depressing songs ever into Natasha Bedingfield’s feel-good mid-aughts radio hit “Unwritten.” It also follows a Nine Inch Nails song with a fake pop song that interpolates (a generous word in this context) that same Nine Inch Nails song. One thing it does not contain is “Barbie Girl.” Even I know my limits.But for all its zany juxtaposition, I hope you find something to enjoy in each of this playlist’s extremes. We all contain multitudes — in each of us, an inner “Barbie” and an inner “Oppenheimer.” Here’s a soundtrack to satisfy of both them.Listen along on Spotify as you read.1. Dolly Mixture: “Baby It’s You”The Shirelles were the first group to record the sweetly swooning “Baby It’s You” — written by Burt Bacharach, Luther Dixon and Mack David — a hit, but I love the driving tempo of this version from 1980, by the underrated British post-punk band Dolly Mixture. (Get it? Dolly?) (Listen on YouTube)2. Nine Inch Nails: “Head Like a Hole”Trent Reznor’s recording career began with a gnashing roar, as this pummeling track kicked off Nine Inch Nails’ 1989 debut album “Pretty Hate Machine.” The chorus sounds like someone upending an entire drawer of cutlery, and it still absolutely and unequivocally rules. RIP J. Robert Oppenheimer; you would have loved Nine Inch Nails. Maybe. (Listen on YouTube)3. Ashley O: “On a Roll”In a 2019 episode of the sci-fi anthology show “Black Mirror,” Miley Cyrus played Ashley O, a fictitious pop star with a Barbie-pink bob and a creepy holographic alter ego. One of Ashley O’s hits, hilariously, interpolates “Head Like a Hole” and changes its most brutal lyrics to empty, #girlboss-worthy slogans: “I’m on a roll, riding so high, achieving my goals.” (Reznor, a fan of the show, approved the use of his music, including a rework of “Hurt” called “Flirt,” which, tragically, did not make the episode.) “On a Roll” is so dystopian and absurd that it is legitimately enjoyable — or at least catchier than anything heard on “The Idol.” (Listen on YouTube)4. Mclusky: “To Hell With Good Intentions”“And we’re all going straight to hell!” yells Andrew Falkous, from the middle of an inferno of guitar noise, on this propulsive and darkly funny single from the Welsh rock band’s beloved 2002 album “Mclusky Do Dallas.” (Listen on YouTube)5. Hannah Diamond: “Every Night”Excessively sugary, synthetically glossy and slightly uncanny, “Every Night,” from 2014, sounds as though it were written and performed by an AI program schooled on ’90s Jock Jams and Max Martin hits. But it’s actually the work of Hannah Diamond, the British musician and visual artist who has worked with the experimental pop collective PC Music. (Her recent single, “Affirmations,” has a slight Ashley O vibe about it, too.) (Listen on YouTube)6. Leonard Cohen: “Avalanche”The morose opening track of Cohen’s “Songs of Love and Hate,” from 1971, “Avalanche” is … definitely one of the songs of hate. (Listen on YouTube)7. Natasha Bedingfield: “Unwritten”If ever a CW coming-of-age dramadey is made about my life (it won’t be), I feel this should be the theme song. Curse “The Hills” for getting there first. (Listen on YouTube)8. Lou Reed: “Waves of Fear”Here’s Lou Reed doing his best Danzig, from his 1982 solo album “The Blue Mask” — one of the middle-period gems buried in his vast discography. The song is both cartoonishly macabre and a very convincing evocation of an anxiety attack: “Waves of fear, pulsing with death/I curse my tremors, I jump at my own step.” (Listen on YouTube)9. Sophie: “Immaterial”The great electronic performer and producer Sophie, who died in 2021, looks beyond the limitations of the material world and reaches for something transcendent and liberatory on this swirling pop fantasy. It’s from her first and only full-length album, “Oil of Every Pearl’s Un-Insides,” from 2018. (Listen on YouTube)10. The Gap Band: “You Dropped a Bomb on Me”This is the way this playlist ends. Not with a whimper, but with a jam. (Listen on YouTube)I’ve got more songs than a song convention,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“Barbenheimer: The Unofficial Playlist” track listTrack 1: Dolly Mixture, “Baby It’s You”Track 2: Nine Inch Nails, “Head Like a Hole”Track 3: Ashley O, “On a Roll”Track 4: Mclusky, “To Hell With Good Intentions”Track 5: Hannah Diamond, “Every Night”Track 6: Leonard Cohen, “Avalanche”Track 7: Natasha Bedingfield, “Unwritten”Track 8: Lou Reed, “Waves of Fear”Track 9: Sophie, “Immaterial”Track 10: The Gap Band, “You Dropped a Bomb on Me” More

From his initial success as a jazzy crooner through his generation-spanning duets, his career was remarkable for both its longevity and its consistency.Tony Bennett, a singer whose melodic clarity, jazz-influenced phrasing, audience-embracing persona and warm, deceptively simple interpretations of musical standards helped spread the American songbook around the world and won him generations of fans, died on Friday in New York City. He was 96.His publicist, Sylvia Weiner, announced his death.In February 2021, his wife, Susan Bennett, told AARP The Magazine that Mr. Bennett learned he had Alzheimer’s disease in 2016. He continued to perform and record despite his illness; his last public performance was in August of that year, when he appeared with Lady Gaga at Radio City Music Hall in a show titled “One Last Time.”Mr. Bennett’s career of more than 70 years was remarkable not only for its longevity, but also for its consistency. In hundreds of concerts and club dates and more than 150 recordings, he devoted himself to preserving the classic American popular song, as written by Cole Porter, the Gershwins, Duke Ellington, Rodgers and Hammerstein and others.From his initial success as a jazzy crooner who wowed audiences at the Paramount in Times Square in the early 1950s, through his late-in-life duets with younger singers gleaned from a range of genres and generations — most notably Lady Gaga, with whom he recorded albums in 2014 and 2021 and toured in 2015 — he was an active promoter of both songwriting and entertaining as timeless, noble pursuits.Mr. Bennett stubbornly resisted record producers who urged gimmick songs on him, or, in the 1960s and early ’70s, who were sure that rock ’n’ roll had relegated the music he preferred to a dusty bin perused only by a dwindling population of the elderly and nostalgic.Mr. Bennett was surrounded by autograph hunters as he left a performance in 1951. He reached the height of stardom in 1962 with the release of his signature song, “I Left My Heart in San Francisco.”Associated PressInstead, he followed in the musical path of the greatest American pop singers of the 20th century — Louis Armstrong, Bing Crosby, Judy Garland, Billie Holiday, Frank Sinatra — and carried the torch for them into the 21st. He reached the height of stardom in 1962 with a celebrated concert at Carnegie Hall and the release of his signature song, “I Left My Heart in San Francisco.” And though he saw his popularity wane with the onset of rock and his career went through a trough in the 1970s, when professional difficulties were exacerbated by a failing marriage and drug problems, he was, in the end, more than vindicated in his musical judgment.“I wanted to sing the great songs, songs that I felt really mattered to people,” he said in “The Good Life” (1998), an autobiography written with Will Friedwald.It’s hard to overstate Mr. Bennett’s lasting appeal. He was still singing “San Francisco” — which led many people to think he was a native of that city, though he was actually a through-and-through New Yorker — more than half a century later. He sang on Ed Sullivan’s show and David Letterman’s. He sang with Rosemary Clooney when she was in her 20s, and Celine Dion when she was in her 20s.He made his film debut in 1966, in a critically reviled Hollywood story, “The Oscar,” playing a man betrayed by an old friend. And though he did not pursue an acting career, decades later he was playing himself in movies like the Robert De Niro-Billy Crystal gangster comedy “Analyze This” and the Jim Carrey vehicle “Bruce Almighty.” He was 64 when he appeared as a cartoon version of himself on “The Simpsons.” He was 82 when he appeared on the HBO series “Entourage,” performing one of his trademark songs, “The Good Life.”A lifelong liberal Democrat, Mr. Bennett participated in the Selma-to-Montgomery civil rights march in 1965, and, along with Harry Belafonte, Sammy Davis Jr. and others, performed at the Stars for Freedom rally on the City of St. Jude campus on the outskirts of Montgomery on March 24, the night before the Rev. Dr. Martin Luther King Jr. delivered the address that came to be known as the “How Long? Not Long” speech. At the conclusion of the march, Viola Liuzzo, a volunteer from Michigan, drove Mr. Bennett to the airport; she was murdered later that day by members of the Ku Klux Klan.Mr. Bennett and Dianne Feinstein, at the time the mayor of San Francisco, hanging on to one of the city’s cable cars in 1984.Jeff Reinking/Associated PressMr. Bennett also performed for Nelson Mandela, then the president of South Africa, during his state visit to England in 1996. He sang at the White House for John F. Kennedy and Bill Clinton, and at Buckingham Palace at Queen Elizabeth II’s 50th anniversary jubilee.An ‘Elusive’ VoiceHe won his first two Grammy Awards, for “San Francisco,” in 1963, and his last, for the album “Love for Sale,” with Lady Gaga, in 2022. Altogether there were 20 of them, including, in 2001, a lifetime achievement award. By some estimates, he sold more than 60 million records.The talent that spawned this success and popularity was not so easy to define. Neither a fluid singer nor an especially powerful one, he did not have the mellifluous timbre of Crosby or the rakish swing of Sinatra. If Armstrong’s tone was distinctively gravelly, Mr. Bennett’s wasn’t quite; “sandy” was more like it. Almost no one denied that his voice was appealing, but critics strove mightily to describe it, and then to justify its appeal.“The voice that is the basic tool of Mr. Bennett’s trade is small, thin and somewhat hoarse,” John S. Wilson wrote in The New York Times in 1962. “But he uses it shrewdly and with a skillful lack of pretension.”In a 1974 profile, Whitney Balliett, the longtime jazz critic for The New Yorker, called Mr. Bennett “an elusive singer.”Performing in the Newport Jazz Festival at Carnegie Hall in 1976. Frank Sinatra once described Mr. Bennett as “the best singer in the business.”D. Gorton/The New York Times“He can be a belter who reaches rocking fortissimos,” Mr. Balliett wrote. “He drives a ballad as intensely and intimately as Sinatra. He can be a lilting, glancing jazz singer. He can be a low-key, searching supper-club performer.” But, he added, “Bennett’s voice binds all his vocal selves together.”Most simply, perhaps, the composer and critic Alec Wilder said about Mr. Bennett’s voice, “There is a quality about it that lets you in.”Indeed, what many listeners (including the critics) discovered about Mr. Bennett, and what they responded to, was something intangible: the care with which he treated both the song and the audience.He had a storyteller’s grace with a lyric, a jazzman’s sureness with a melody, and in his finest performances he delivered them with a party giver’s welcome, a palpable and infectious affability. In his presentation, the songs he loved and sang — “Just in Time,” “The Best Is Yet to Come,” “Rags to Riches” and “I Wanna Be Around,” to name a handful of his emblematic hits — became engaging, life-embracing parables.Frank Sinatra, whom Mr. Bennett counted as a mentor and friend, once put it another way.“For my money, Tony Bennett is the best singer in the business,” he told Life magazine in 1965. “He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”Mr. Bennett in London in 1972, where he filmed his “Tony Bennett at the Talk of the Town” television show.Associated PressMr. Bennett passed through life with as unscathed a public image as it is possible for a celebrity to have. Finding even mild criticism of him in reviews and interviews is no mean feat, and even his outspoken liberalism generally failed to attract vitriol from the right. (An exception was his call, after the drug-related deaths of Michael Jackson, Amy Winehouse and Whitney Houston, for the legalization of drugs, a view loudly denounced by William J. Bennett, the former drug czar, among others.)With the possible exception of his former wives, everyone, it seemed, loved Tony Bennett. Skeptical journalists would occasionally try to pierce what they perceived as his perfect veneer, but they generally discovered that there wasn’t much to pierce.“Bennett is outrageous,” Simon Hattenstone, a reporter for The Guardian, wrote in 2002. “He mythologizes himself, name-drops every time he opens his mouth, directs you to his altruism, is self-congratulatory to the point of indecency. He should be intolerable, but he’s one of the sweetest, most humble men I’ve ever met.”Son of QueensAnthony Dominick Benedetto was born on Aug. 3, 1926, in the Long Island City neighborhood of Queens, and grew up in Astoria. His father, Giovanni, had emigrated from Calabria in southern Italy at age 11, departing just two days before the eruption of Mount Vesuvius in April 1906. His mother, Anna (Suraci) Benedetto, was born in New York in 1899, having made the sea journey from Italy in the womb. Their marriage was arranged. Giovanni and Anna were cousins; their mothers were sisters.In New York, where Giovanni Benedetto became John, he was a grocer, but beleaguered by poor health and often unable to work. Anna was a factory seamstress and took in additional sewing to support the family. Anthony was their third child, their second son, and the first of any Benedetto to be born in a hospital. Giovanni, who sang Italian folk songs to his children — “My father inspired my love for music,” Mr. Bennett wrote in his autobiography — died when Anthony was 10.He was an artist, too, signing his paintings “Benedetto.” Here he worked on one in 1969 in his Manhattan apartment. Bob Wands/Associated PressHe sang from an early age, and drew and painted, too. He would become a creditable painter as an adult, mostly landscapes and still lifes in watercolors and oils and portraits of musicians he admired, signing his paintings “Benedetto.” His first music teacher arranged for him to sing alongside Mayor Fiorello La Guardia at the opening of the Triborough Bridge (now the Robert F. Kennedy Bridge) in 1936.For a time he attended the High School for Industrial Arts (now called the High School of Art and Design) in Manhattan, but he never graduated. He dropped out and found work as a copy boy for The Associated Press, in a laundry and as an elevator operator.“I couldn’t figure out how to get the elevator to stop at the right place,” he recalled. “People ended up having to crawl out between floors.”At night he performed at amateur shows and worked as a singing waiter. He had just begun to get paying work as a singer, using the stage name Joe Bari, when he was drafted.He arrived in Europe toward the end of World War II, serving in Germany in the infantry. He spent time on the front lines, an experience he described as “a front-row seat in hell,” and was among the troops who arrived to liberate the prisoners at the Landsberg concentration camp, a subcamp of Dachau.After Germany surrendered, Mr. Bennett was part of the occupying forces, assigned to special services, where he ended up as a singer with Army bands and for a time was featured in a ragtag version of the musical “On the Town” — directed by Arthur Penn, who would go on to direct “Bonnie and Clyde” and other notable films — in the opera house in Wiesbaden.Mr. Bennett at the opening of Caesars Palace in Las Vegas in 1966.Las Vegas News Bureau, via European Pressphoto AgencyHe returned to New York in August 1946 and set about beginning a career as a musician. On the G.I. Bill, he took classes at the American Theater Wing, which he later said helped teach him how to tell a story in song. He sang in nightclubs in Manhattan and Queens.A series of breaks followed. He appeared on the radio show “Arthur Godfrey’s Talent Scouts,” the “American Idol” of its day. (The competition was won by Rosemary Clooney.) There are different versions of the biggest break in Mr. Bennett’s early career, but as he told it in “The Good Life,” he had been singing occasionally at a club in Greenwich Village where the owner had offered Pearl Bailey a gig as the headliner; she agreed, but only on the condition that Joe Bari stayed on the bill.When Bob Hope came down to take in Ms. Bailey’s act, he liked Joe Bari so much that he asked him to open for him at the Paramount Theater. Hope had a condition, however: He didn’t like the name Joe Bari, and insisted it be changed. Dismissing the name Anthony Benedetto as too long to fit on a marquee, Hope christened the young singer Tony Bennett.The Hits Roll InThe producer Mitch Miller signed Mr. Bennett to Columbia Records in 1950; “Boulevard of Broken Dreams” was his first single. Miller was known for his hit-making prowess, a gift that often involved matching talented singers with novelty songs or having them cover hits by others, for which he was criticized by more serious music fans and sometimes by the singers themselves.He and Mr. Bennett had a contentious relationship. Mr. Bennett resisted his attempts at gimmickry; Miller, who believed that the producer and not the singer was in charge of a recording, applied his authority. Still, together they achieved grand success.By mid-1951, Mr. Bennett had his first No. 1 hit, “Because of You.” That same year, his version of the Hank Williams ballad “Cold, Cold Heart” also hit No. 1; three years after Williams died in 1953, Mr. Bennett performed it in his honor at the Grand Ole Opry in Nashville.Other trademark songs followed: “Rags to Riches” in 1953; “Stranger in Paradise,” from the Broadway show “Kismet,” also in 1953; Jule Styne and Sammy Cahn’s “Just in Time,” from the show “Bells Are Ringing,” in 1956. That same year, Mr. Bennett was host of his own television variety show, a summer replacement for a similar show that starred another popular Italian American crooner, Perry Como. In 1958, he recorded two albums with the Count Basie band, introducing him to the jazz audience.Mr. Bennett with his daughter, Joanna, in London in 1972.United Press InternationalIn the 1950s, Mr. Bennett toured for the first time, played Las Vegas for the first time and got married for the first time, to Patricia Beech, a fan who had seen him perform in Cleveland. The marriage would founder in the 1960s, overwhelmed by Mr. Bennett’s perpetual touring, but their two sons would end up playing roles in Mr. Bennett’s career: the older one, D’Andrea, known as Danny, became his father’s manager, and Daegal, known as Dae, became a music producer and recording engineer.In July 1961, Mr. Bennett was performing in Hot Springs, Ark., and about to head to the West Coast when Ralph Sharon, his longtime pianist, played him a song written by George Cory and Douglass Cross that had been moldering in a drawer for two years. Mr. Sharon and Mr. Bennett decided that it would be perfect for their next date, at the Fairmont Hotel in San Francisco, and it was.They recorded the song — of course it was “I Left My Heart in San Francisco” — six months later, in January 1962. It won Mr. Bennett his first two Grammys, for best male solo performance and record of the year, and worldwide fame. In “The Good Life,” he wrote that he was often asked if he ever tired of singing it.“I answer, ‘Do you ever get tired of making love?’” he wrote.Just five months later, Mr. Bennett performed at Carnegie Hall with Mr. Sharon and a small orchestra. He got sensational reviews — though The Times’s was measured — and the recording of the concert is now considered a classic.But as the 1960s proceeded and rock ’n’ roll became dominant, Mr. Bennett’s popularity began to slip. In 1969, he succumbed to the pressure of the new president of Columbia Records, Clive Davis, to record his versions of contemporary songs, and the result, “Tony Sings the Great Hits of Today!” — including the Beatles’ “Eleanor Rigby” and “Something” — was a musical calamity, a record that Mr. Bennett would later tell an interviewer made him vomit.His relationship with Columbia soured further and finally ended, and by the middle of the 1970s Mr. Bennett had formed his own company, Improv Records, on which he recorded the first of two of his most critically admired albums, duets with the jazz pianist Bill Evans. (The second one was released on Evans’s label, Fantasy.) Together the two opened the Newport Jazz Festival, which had moved to New York, at Carnegie Hall in 1976.Improv went out of business in 1977, and without a recording contract Mr. Bennett relied more and more on Las Vegas, then in decline, for regular work. His mother died that year, and the profligate life he had been living in Beverly Hills caught up with him; the Internal Revenue Service was threatening to take his house. His second marriage, a tumultuous one to the actress Sandra Grant, collapsed — she would later say that she would have been better off if she had married her previous boyfriend, Joe DiMaggio — and he had begun using marijuana and cocaine heavily.Mr. Bennett in Las Vegas in 1972. By the middle of the 1970s he had formed his own company, Improv Records, but its success was short-lived.Las Vegas News Bureau, via European Pressphoto AgencyOne day in 1979, high and in a panic, he took a bath to calm down, and nearly died in the tub. In later years he would play down the seriousness of the event, but he wrote about it in “The Good Life,” describing what he called a near-death experience: “A golden light enveloped me in a warm glow. It was quite peaceful; in fact, I had the sense that I was about to embark on a very compelling journey. But suddenly I was jolted out of the vision. The tub was overflowing and Sandra was standing above me. She’d heard the water running for too long, and when she came in I wasn’t breathing. She pounded on my chest and literally brought me back to life.”Mr. Bennett turned to his older son for help. Danny Bennett took over the management of his career, aiming to have the American musical standards that were his strength, and his handling of them, perceived as hip by a new generation.Somewhat surprisingly, the strategy took hold. An article in Spin magazine, which was founded in 1985, declared Mr. Bennett and James Brown as the two foremost influences on rock ’n’ roll, and the magazine followed up with a long, admiring profile.A Career RevivalEncouraged by executive changes at Columbia Records, Mr. Bennett returned to the Columbia fold in 1985. The next year he released the album “The Art of Excellence.” WBCN in Boston became the first rock station to give it regular airplay. Released in the emerging CD format, it spurred the sales of Mr. Bennett’s back catalog as music fans began replacing their vinyl records with CDs.In 1993, Mr. Bennett was a presenter, along with two members of the Red Hot Chili Peppers, at MTV’s Video Music Awards. The next year he gave an hourlong performance for MTV’s “Unplugged” series, which included duets with K.D. Lang (with whom he would later tour) and Elvis Costello. The recording of the show won the Grammy for album of the year.The revival of Mr. Bennett’s career was complete. Not only had he returned to the kind of popularity he had enjoyed 40 years earlier, but he had also been accepted by an entirely new audience.Mr. Bennett in 1993. He continued touring and recording well into his later years, and collaborated with singers from a range of genres and generations.Wyatt Counts/Associated PressHe recorded albums that honored musicians he admired — Duke Ellington, Louis Armstrong, Frank Sinatra and Billie Holiday — and he collaborated on standards with singers half, or less than half, his age. On the 2006 album “Duets: An American Classic,” he sang “If I Ruled the World” with Ms. Dion, “Smile” with Barbra Streisand and “For Once in My Life” with Stevie Wonder, and revisited his first Columbia single, “Boulevard of Broken Dreams,” with Sting. Five years later, on “Duets II,” his collaborators included Aretha Franklin, Queen Latifah, Willie Nelson and Ms. Winehouse.As the century changed, he was once again touring, giving up to 200 performances a year, and recording prolifically. In 2007 Mr. Bennett married a third time, to his longtime companion, Susan Crow, a teacher four decades his junior whom he had met in the late 1980s. Together they started a foundation, Exploring the Arts, that supports arts education in schools, and financed the Frank Sinatra School of the Arts, a public high school in Queens. If there was a magical quality to Mr. Bennett’s life, as suggested by David Evanier in a glowing 2011 biography, “All the Things You Are: The Life of Tony Bennett,” it is encapsulated by a story Mr. Bennett told to Whitney Balliett in 1974.“I like the funny things in life that could only happen to me now,” he said. “Once, when I was singing Kurt Weill’s ‘Lost in the Stars’ in the Hollywood Bowl with Basie’s band and Buddy Rich on drums, a shooting star went falling through the sky right over my head and everyone was talking about it, and the next morning the phone rang and it was Ray Charles, who I’d never met, calling from New York. He said, ‘Hey, Tony, how’d you do that, man?’ and hung up.” More