BENNETT DOES CREDIT TO CLASSIC ERA TIMELESS STYLIST JOINED BY DYNAMIC NEWCOMER KRALL.

Byline: Rob Lowman Entertainment Editor

The crowd at the Hollywood Bowl on Saturday night had clearly left their hearts with Tony Bennett, but were buzzing about Diana Krall after her opening set.

With Frank Sinatra and Mel Torme gone, Bennett, who just turned 74, represents the end of an era. He recorded his first hit in 1950, ``The Boulevard of Broken Dreams.'' An outstanding stylist throughout the years, Bennett's warm personality and consummate showmanship has endeared him to fans of all ages, and indeed the audience at the Bowl ranged from the MTV crowd to retirees.

Dressed in a snappy blue suit, with a red handkerchief in the pocket, Bennett, with his quartet and the Los Angeles Philharmonic under the direction Alan Broadbent behind him, launched into ``Watch What Happens.'' While his voice has lost a bit over the years, which was evident more in the first part of his set, Bennett still can command the stage. His six-song tribute to Fred Astaire, starting with ``Steppin' Out With My Baby,'' was an appropriate reminder of how grace and style can overcome age. Even toward the end of his career as a dancer when his more athletic steps were behind him, Astaire could still dazzle on the dance floor with a combination of elegance and professionalism.

Much the same can be said about Bennett on stage. After more than 50 years treading the boards, there is still a joy in his performance that the audience feels. Of course, Bennett did some of his signature tunes - ``I Left My Heart in San Francisco'' and ``I Wanna Be Around,'' with a wonderful growling ``oh yeah'' at the end - but much of the evening was in tribute to others, from Sinatra (``I Got the World on a String'') to Judy Garland (``Somewhere Over the Rainbow'') to Billie Holiday. (``All of Me''). This speaks in part to Bennett's generous nature, which was evident in relationship with his backup band - the Ralph Sharon Quartet. Throughout the evening he gave them numerous opportunities to show off their chops.

While there are times that Bennett's song interpretations were a bit too Las Vegasy for my taste (his overdramatic reading of Charlie Chaplin's ``Smile'' for one'), watching him onstage is inspiring. Even in his 70s he's not coasting, and the passion, energy and simply delightful singing he brings to the stage goes a long way for any audience.

Krall, a Grammy winner earlier this year for her latest album, ``When I Look Into Your Eyes,'' is a talent who keeps growing. The thirtysomething Canadian is not only a singer but a dynamic pianist. Taking the stage wearing a short black dress with a slit, the blond Krall has the looks of a femme fatale, but she quickly shows you she's all business as she sits down to the piano.

Backed for the most part by her combo of bass, guitar and drums, Krall's vocals and piano playing - though the focal point - work within the group's tight arrangements. Like Bennett, Krall doesn't have a voice that is going to blow you away by itself . It's her styling, phrasing and interpretations that are constantly amazing.

Take the Cole Porter tune ``I've Got You Under My Skin,'' which Krall does with a lush Latin arrangement. There is a sensuous aching in her voice that gives the standard a seductive quality missing in most versions. And that's what makes Krall interesting. It's easy to see how accomplished she is as a musician, but it's her ability to find new things in old standards that sets her apart.

One highlight of the evening was her version of Joni Mitchell's ``A Case of You,'' which she did just accompanying herself on piano. Krall's deeper voice and intensity brought out the richness of the song. It was hard to believe how quiet the packed Bowl was. But that's a testament to how marvelous both Krall and Bennett are - they made an evening with thousands of other people an intimate occasion.

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