With A Friend Like This, Who Needs A "BUDDY?"

Have you read the new Phil Collins autobiography "Not Dead Yet?" I breezed through it a few weeks ago and was mesmerized in particular by the parts about the real-life anger and emotion that fueled his smash hit In The Air Tonight. If you're like me you'll chuckle aloud after reading the surprise "twist ending" during Phil's european big band tour with the one and only Tony Bennett (see Tony below crooning with the one and only Lady Gaga).

Here's an excerpt from Phil's book.

"On the Both Sides tour Tony Bennett and I come into each other's orbit. This was the beginning of the legendary crooner's new career as a hit MTV generation artist. A transformation savvily steered by his son, Danny, after he took over management of his father's career.

At one point I saw him on tv saying, "There are some great songwriters today; Phil Collins being one of them." I remember thinking, "Blimey, Tony Bennet's heard of me."

As this idea gains momentum, I imagine a dream billing on the front of a concert hall:

THE PHIL COLLINS BIG BAND CONDUCTED BY QUINCY JONES WITH GUEST VOCALIST TONY BENNETT

One of the times our paths crossed was in Australia when we were staying at the same hotel,and I left Mr. Bennett a note. I said I was thinking about forming my own big band and should that ever come to pass, I'd be honored if he would consider singing with us. Word came back that Tony would be very interested in such a project.

Now that the idea has some flesh on its bones we contact Bennett Sr. and Jr. and again word comes back that Tony is keen. So, much to my amazement,and honor, it seems that we have our headline artist. Although Tony's son won't 100% confirm his dad's participation until the 11th hour.

Now, what are we going to perform? Harry Kim my trumpet player has the foresight to hit the nail on the head. If we attempt the songs that Count Basie et al had done, there is frankly a significant chance we'll fall well short. Those were some of the best players and vocalists in history. I know every note of Buddy Rich's Swinging New Big Band Album having listened to it constantly since first hearing it in 1966. It was my gateway drug to a wonderful new world and it set me on a path of discovery that would lead to Count Basie, Sonny Payne, Harold Jones, Joe Jones, Duke Ellington and so many more. I and not about to trample on that sacred ground.

So, Harry suggests let's do something that no one else can do: rearrange instrumental versions of my stuff, both solo material and Genesis songs. Harry meets me, he has lots of serious musical contacts who can help with the arrangements and he and I discuss the choice of material. We decide that he will farm out the chosen songs to his contacts and see what comes back.

I round out the skilled line-up that would enable The Phil Collins Big Band to play Phil Collins material in a big band style. Joining Quincy and Tony as a special guest is David Sanborn on lead saxophone. The others in the band are Harry on trumpet, Dan Fornero, also on trumpet, Luiss Conti, percussion, Daryl Stuermer, guitar, Nathan East, base, Brad Cole, piano, Arturo Velasco, trombone, Andrew Woofo, saxophone, and the rest will be made up by the WDR big band. That's around 20 players altogether.

With that number of musicians sharing a stage, I should have anticipated there might be some inter-personnel issues. I probably wouldn't have anticipated they'd come from the top of the tree. We book 8 shows. The first of them at London's Royal Albert Hall on the 11th of July, 1996 as part of a concert being held to honor South African president Nelson Mandela's first official visit to the UK. He had declared that he hadn't wanted a state dinner - he wanted a party.

President Mandela will be in attendance as will The Queen, Prince Philip, Prince Charles, and the president's daughter, Zenani. The evening also raises funds for The Nation's Trust, a charity set up to raise money to help disadvantaged South African youth. I might have picked a more low-key less pressurized moment to unveil my new direction.

In early July the band gather in Montreux for rehearsals. We rehearse until we drop. We take this very seriously. It's a very serious business this musical freedom. Tony Bennett joins us the last day to run through his songs. The plan is, he'll come onstage in the middle of the show and sing a handful of his standards. I have no intention of asking Mr. Bennet to have a crack at In The Air Tonight, or Sussudio, no matter how jazzily artful the new arrangements.

During rehearsals, Tony is singing like a bird and dressed as sharp as a tack. To play drums behind him singing his songs is a dream come true for me. Quincy is, as I'd expect he would be, unflappable and totally into the idea, he's a talismanic figure. Claude is there too, so it feels like a star chamber of jazz greats.

Between run-throughs there are conversations around the grand piano. The swapping of personal anecdotes featuring walk-ons from some of my all-time musical heroes: "I remember the time Sinatra..." or "Basie said to me..." I"m thrilled beyond belief. I feel like I've really grown up, a musician accepted at the top table and also that I'm as far away from faxes, taxes and tabloid headlines as is possible to get right now - it's a blessed relief.

After a few songs with Tony on solo vocals including Over the Rainbow, Old Devil Moon and The Lady Is In Love With You, he suggests we do a song together. "No no, sorry Tony, I'm not singing on this tour." Tony persists, suggesting we do Duke Ellington's Don't Get Around Much Anymore as a duet. Ahh, alright, I say reluctantly, how does it go?

I'm not sure it really works, but maybe it gives Tony an idea of how it might work. Fifteen years later he records it as a duet with Canadian crooner Michael Buble and then again the following year with Panamanian actor-singer Miguel Bose.

We fly to London and the sound check for the Mandela gig at the Royal Albert Hall. I'm confident we're on top of our game and despite the pressure, the show is great. Legendary South African trumpeter Hugh Masekela joins us for a version of Two Hearts and Quincy has a ball at what is in fact his first ever appearance on a British stage. Afterwards there's a meet and greet with president Mandela and the royal family. It's been a groundbreaking evening, a great gig, an auspicious debut and a privileged encounter with a true political giant.

Our second and third shows are at the soon to be swish Sporting Club in Monte Carlo. Unfortunately the front of the venue only announces the appearance of The Phil Collins Big Band. No Quincy, no Tony! I panic. Neither will be impressed at their sudden lacking of a billing. Some quick thinking is in order and so is a rummage in the tool cupboard. Before the jazzers and nabobs of Monte Carlo begin to arrive for that evening's show, the correct billing has been mounted above the entrance: The Phil Collins Big Band With Quincy Jones and Tony Bennett. Their name isn't quite up there in lights, it's in black gaffer tape, but you've never know it from the pavement.

Then another problem, post-show one of Tony's team idles up with a concerned look on his face. It seems that onstage I haven't been giving Mr. Bennett enough of an introduction. I need to ramp it up a bit! make more of a song and dance! "OK, got it."

Then another problem. After the second show in Monte Carlo, Ralph Sharon, Tony's piano player for 40 years visits me in the dressing room. "Phil, I got good news and bad news. It sounds fantastic, but it's a bit loud for Tony." In rehearsals, we were even louder, and Tony was happily singing his socks off. The first two shows were also conducted at a decent volume, and again Tony seemed perfectly at ease. So I can't understand why and how this problem has arisen.

Then I'm tipped the wink: Someone's told Tony that I'm a huge fan of Buddy Rich. In the great Frank (Sinatra) vs. Tony rivalry Buddy was always firmly in the Sinatra camp. As you'd expect from Old Blue Eyes' regular drummer. But apparently one time Buddy played with Tony, and at the end of Tony's 4 or 5 songs Buddy, being the uh, provocateur that he was, shouted to Tony as he went offstage "Nice try Tony." So from then on, Tony hated Buddy; and here I am seemingly trying to be Buddy. Which means that by extension Tony is now a bit unsure about my bonafides.

I suggest it's a bit of a stretch to tie me with Buddy's brush, but I'm coming to understand that this new musical world that I've entered has its own special rules. Among the big beasts of the genre old enemies and enmities die hard. All is fair in love and jazz. Rock & Roll politics have nothing on this.

So, we tone it down, night after night on each of his remaining six shows.

"Yeah, Phil. It's still a bit loud."

We get so quiet...we're barely playing. You could hear a tie pin drop.

In Perugia, Italy, there's just time for one more gaffe: Because Danny Bennett didn't confirm Tony's involvement until very late in the day, the Italian promoters had to go ahead and commission the concert posters without knowing fully who would be appearing. So hedging their bets, they printed them up just using my name. Tony arrives at the venue, sees the poster bearing only the legend The Phil Collins Big Band, and states to me in no uncertain terms:

"I could walk right now!"

"Oh, what's the matter Tony?"

"My contract says 50% billing. But I'm not on any of these posters and I haven't been the whole tour."

"Well, that's because your son didn't commit till the last minute."

I'm out of my comfort zone here, not to mention thoroughly tired of all this pussyfooting. So I call in a professional: Tony Smith, skilled negotiator extraordinaire sits Tony Bennet down, they discuss it and they resolve it.

Mr. Bennet though, old hand that he is, has the last laugh: As we're getting to the end of Tony's show with us, I ask him for a picture and an autograph. He obliges, signing it:

To Phil,

My "Buddy"

the "Buddy" pointedly in inverted comas."