Other episodes are equally as revelatory. One instance during Costello’s chat with Tony Bennett does, though, point to one of the show’s periodic annoyances: that would be Costello’s sometimes too-overwrought and convoluted interview technique, denoted by his (usually) gentle but conspicuous display of the “academic” in his questioning (this is music after all). Thus, when he begins to ask Bennett about the idea of music and its translation to an audience and what happens in between, Bennett stops him — saying, in essence, that question’s too intellectual for me; let’s just talk about the music. (Of particular note in that episode, Bennett asks Costello’s wife, Diana Krall, who apparently sits rapt at each taping, to come on stage and sing a song with him. It’s a magical moment, and Costello is graceful enough to stand in the wings and simply listen.)
Each show opens with Costello doing a solo routine that has some tie-in to the guest, and often there is a duet between host and guest. This can make for truly magical entertainment. Bill Clinton was a guest on an early episode (sadly, no duet here), and if you think the former President may be an odd choice, think again. As he has proven all these years, there’s very little (is there anything?) Bill Clinton does not know something about — in this case Arkansas musicians. He is also extremely knowledgeable about jazz, his music of preference.
Shows like Spectacle rejuvenate and enhance television. Even if you’re not a music wonk, so to speak, you’ll find Spectacle to be illuminating and often riveting. And, depending on the bill, you may also be witness to some small history being made.
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