Gaga and Tony deliver their take on the 1941 Eden Ahbez classic, "Nature Boy". The track is a change of pace from the previous offerings released as teasers for Cheek to Cheek, out September 23rd. This time Tony and Gaga slow it down a bit. Check it out below!

Check out some of Gaga's tweets about the origin of the song, and some information on how she and Tony recorded it! Check out the rest!

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Here is Lady Gaga and Tony Bennett's HSN special for Cheek to Cheek! The special gives viewers and fans an inside look into the recording process for the album, and features new interviews with Tony and Gaga! Cheek to Cheek sold over 15,000 copies during the hour long broadcast and is expected to sell even more during repeated airings!

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Lady-Gaga-and-Tony-Bennett---Chameleon-and-Lion-Sample-Songbook

Another day, another interview for Tony Bennett and Lady Gaga. Check out this new feature from the New York Times, where writer Nate Chinen tags along with our favorite jazz duo while they tape their upcoming Cheek to Cheek LIVE! PBS special, set to air on October 24th.

Tony Bennett was waiting, in a Brioni tuxedo and an uncertain silence, onstage at Frederick P. Rose Hall in Manhattan. Moments earlier, he’d been singing the Tin Pan Alley tune “Goody Goody,” while Lady Gaga — polymorphic pop star, supersize cult hero and, for the moment, his co-headliner — muttered coquettish protestations from an enormous rocking chair, cartoon-chic in a pink cocktail dress, a wide-brim black hat and satiny opera gloves.

Then she tottered off for her fourth costume change in six songs, leaving several stagehands to contend with the chair. Mr. Bennett stood and watched the changeover, one hand resting on the curve of a grand piano, before his gaze turned to the audience, at which point he tossed off a deadpan line: “I can’t wait to get back in show business.”

Mr. Bennett, who turned 88 last month, and Lady Gaga, 60 years his junior, had set up shop at the Rose Theater one night this summer to tape a forthcoming episode of “Great Performances” on PBS. Accompanied by a big band, a combo and an orchestra, with set and lighting design by the director Robert Wilson, they made the concert into a full-dress preview of their plush new album, “Cheek to Cheek.”

The album, due out Sept. 23 on Streamline/Columbia/Interscope, represents the latest pop dalliance with the Great American Songbook, something Mr. Bennett, probably more than anyone, knows all about. It also suggests a determinedly classy reboot for Lady Gaga, whose most recent solo release, “Artpop,” fell short of her usual blockbuster standards, delivering no transcendent single on the level of “Bad Romance.” From a distance, the collaboration can look like a tactical maneuver for both artists.

Up close and in person, that suspicion gets softened, if not entirely dispelled, by the affectionate rapport between the singers and by their earnest exaltation of the songbook and its attendant jazz style. “I think it’s just much truer to my nature to sing this way,” Lady Gaga said the morning after the PBS taping.

“I mean, I was telling Tony, ‘Can you imagine if you had the career that you’ve had, but for the first 10 years you couldn’t sing out?’ I wasn’t using my instrument to its full capacity.” Glancing at Mr. Bennett, she added: “I feel set free. I feel let out of a cage.”

Check out the rest!

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Don't forget to tune into HSN's special broadcast of the making of Cheek to Cheek with Lady Gaga and Tony Bennett. The special airs this Saturday night at 11pm ET/8PT on the Home SHopping Network, or you can stream it live on AOL.

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Tony-Bennett-&-Lady-Gaga--Cheek-To-Cheek-LIVE!-Photos

Check out these new photos of Tony Bennett & Lady Gaga's concert special, coming to PBS on October 24. The special was filmed in front of a live audience at Jazz at Lincoln Center’s Frederick P. Rose Hall on July 28, and features selections from the duo's upcoming album Cheek to Cheek, out September 23rd!

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Lady-Gaga-and-Tony-Bennett-Talk-Trust-and-Friendship-with-Parade-Magazine

Lady and Tony are on another cover! This time for Parade Magazine. Check out their interview, where they talk loss, finding friendship, and staying true to oneself.

At first (or even second) glance, it’s an unlikely pairing. He’s the elegant, gentlemanly jazz icon who left his heart in San Francisco, singing classics from the Great American Songbook. She’s the dance-pop sensation known for flamboyant costumes (a meat dress, a Kermit the Frog jacket), fame-themed hits (“Paparazzi,” “Applause”), and fans dubbed Little Monsters. Yet Tony Bennett, 88, and Lady Gaga, 28, actually have a lot in common. They’re both proud Italian-American New Yorkers who cherish family; they’ve sold millions of albums, won multiple Grammys, and weathered career ups and downs; they even live near each other on Manhattan’s Central Park South. And they share a love of the music written by American masters like Duke Ellington, Cole Porter, and Irving Berlin that has resulted in a close friendship and a tuneful collaboration.

How did you each start out in music?
TB: I attended the American Theatre Wing School in New York [after serving in combat in World War II]. The first thing they taught me is to only sing quality—intelligent songs. Never treat the audience disrespectfully. It was a wonderful lesson. I had a teacher on 52nd Street, Mimi Spear; she said to me, “Don’t imitate another singer, because you’ll just be one of the chorus if you do. To learn how to phrase, study musicians—a piano player, a saxophone player—and see how they’re phrasing.” I took her advice. It sounds so simple, but if you just be yourself, you’re different than anyone else.
LG: I studied art history and music at NYU. After one year, I said, “I already know about music. I need to go out and play it.” My parents were very mad at me. I said, “Just give me a year to make something happen.” And I got jobs—a coatroom girl, a waitress. Were you a singing waiter, Tony?
TB: [laughs] Oh, yeah. We did the same thing!
LG: I tried to get gigs downtown, and after a few years I had a little following. Then some people tried to control me. On my earlier records they wanted to make my voice more electronic and auto-tuned for radio. That’s why this album with Tony is so amazing, because he’s hearing me sing raw, without any of that. And he’s protecting me from people trying to control what I sound like.

Tony, you sang in jazz clubs. But Lady Gaga, when you started making it, you had to fill stadiums, right?
LG: I didn’t have to, but I feel fortunate that my first album [2008’s The Fame] sold 17 million. Who knows why? [laughs] Yes, we filled stadiums, but that doesn’t mean it will last a lifetime.

You don’t believe it will?
LG: I want it to. I have to make music; I love it.

On Cheek to Cheek, Lady Gaga, you sing a poignant jazz classic, “Lush Life.”
TB: Lady said, “That’s one song I have to do.” She nailed it. You can hear her whole life in it.
LG: When I was 13, I’d sing [that song] with the Regis High School boys’ choir. I didn’t understand what the lyrics were about, but I understood the melody in a very intense way. Now I know everything that song is about. When I sang it [on this album] for the first time in 15 years, I started crying. I came into the control room, had my whiskey, and Tony held me and I cried in his arms. I kept saying, “Am I a mess, Tony? I don’t want to be a mess. I want to make you proud.” He said, “No, you’re not a mess. You’re a sophisticated lady.”

“Lush Life” is about loss, failure, and heartache. Did the song hit you as hard as it did because you’ve had some problems recently? [Lady Gaga had hip surgery last year and in November ­parted ways with her manager.]
LG: It’s heartbreaking. Six months ago I didn’t even want to sing anymore.
TB: Do you know what Duke Ellington said? He said, “Number one, don’t quit. Number two, listen to number one.”
LG: Right! The other day, Tony said, “I’ve ­never once in my career not wanted to do this.” It stung. Six months ago I didn’t feel that way. I tell Tony every day that he saved my life.

You felt like giving up? Why?
LG: I’m not going to say any names, but people get irrational when it comes to ­money—with how they treat you, with what they expect from you. … But if you help an artist, it doesn’t give you the right, once the artist is big, to take advantage of them. … I was so sad. I couldn’t sleep. I felt dead. And then I spent a lot of time with Tony. He wanted nothing but my friendship and my voice. [She begins to cry.]
TB: [quietly] I understand. [He holds her hand.]
LG: It meant a lot to me, Tony. I don’t have many people I can relate to.

People you can relate to, or people you can trust?
LG: Both.

How do famous people know if someone truly loves them and isn’t just using them?
TB: Well, you stay close to your family. Lady does. That’s what I did. [In 1979, Bennett’s career and finances were in turmoil, and his sons helped him turn things around.] I made a very good move when I said, “I’m going to have my son [Danny] manage me.” My other son [Dae] is my engineer on my ­recordings—he’s fantastic.
LG: What Tony’s trying to say in a nice way is that you can’t trust anybody.

No one?
LG: You can trust your family. You know, there were people I was sure were my friends. … I’m still learning. Now I’m a lot more careful.
TB: I have a great friend from when I was a singing waiter in Astoria [in Queens]. He has a little group that plays on Thursdays in a restaurant there. He’s still the same guy; I’m still the same. It has nothing to do with fame or success. He’s just happy to see me. And that’s the real thing.

What’s the most important thing you’ve learned from each other?
TB: Nobody has communicated with the public more than Lady Gaga. Ever. I trust the audience, and I’m very impressed. As far as they’re concerned, she’s part of their family. The only guy who ever did that was Bing Crosby, years ago.

What have you learned from Tony?
LG: That it’s important to stay true to yourself. When I came into this with Tony, he didn’t say, “You’ve got to take off all the crazy outfits and just sing.” He said, “Be yourself.”… You know, people wrote a lot of things about my last album, Artpop, which was very controversial. If it didn’t grab the whole world the way The Fame Monster did, that’s okay, because I know it’s good. That’s what Tony has taught me, that my intuition is right. When he talks about the 66 albums he’s put out, the peaks and valleys, and how it’s not about having a hit record—it’s the most inspiring thing.

Read the full interview over at Parade's website!

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