Diana Krall closes the Colorado Symphony’s summer series at Red Rocks (photos, review)
Evan Semon August 13, 2015
CSO during Pink Martini’s opening set. Pink Martini’s range of music — which includes everything
from opera, jazz standards, and tango — didn’t seem to phase Dragon. This gives new hope to the
CSO faithful who feared losing the leadership of conductor Scott O’Neil.
As an added treat for the audience, Krall had guest conductor Alan Broadbent take the reigns
of the CSO for her set. A grammy winner himself, Broadbent’s resume includes working with
greats such as Krall, Natalie Cole and Paul McCartney.
Showcasing her wide range of talent, Krall’s set list was all over the place. She started the evening
with traditional arrangements by Claus Ogerman.
The crowd tapped their toes and danced in their seats to the recognizable “Samba de Verão,”
(Marcos Valle, 1964), but it was the arrangement of “Love Letters” (Victor Young, 1945) that really
showcased the CSO’s ability to accent Krall’s music with their wide sweeping string section.
“I really enjoyed that, guys!” Krall said as she turned to the CSO. “And I get a front row seat at
Then it was on to the “folk” portion of the evening. Krall played a selection off her latest album,
“Wallflowers” released in February.
The audience clamored when she announced she would be doing a Bob Dylan cover, but seemed
disappointed when the song selected was the obscure “Wallflower,” which Dylan recorded in 1971
and released in 1991 on a bootleg compilation box set.
Krall picked the crowd back up with covers of the Mamma’s and Papa’s “California Dreaming”
(1965) and Jim Croce’s “Operator (That’s Not the Way it Feels).” (1972)
Krall’s piano playing ranks among the greats. Just when you think a solo might be over, or a stanza
complete, she gives the listener another surprise run. The stage show is like one you might see at
a local jazz club with each member of her band getting a solo during each song.
Guitarist Anthony Wilson and fiddle player Stuart Duncan particularly stood out in a rendition
of Tom Waits’ “Temptation.”
Frequent looming clouds teased the potential for rain, but it was the wind that proved to be the only
weather factor on Wednesday. Numerous times Krall had to catch sheet music flying from her
In a humorous response to the winds, Krall tapped out a medley of Wizard of Oz songs, including
“We’re Outta The Woods” and “The Lollipop Guild.” (1939)
The show ended with Krall and her band inviting conductor Broadbent and the CSO to take a bow,
followed up by a single song encore of “Corcovado” known in english as “Quiet Nights of Quiet
Stars.” (Antônio Carlos Jobim, 1960)