jueves, 8 de octubre de 2015
Diana Krall honours Oscar Peterson at the public
celebration of his 80th birthday on August 15 2005, HMV Toronto.
Videos by Henry Martinuk, Chernozym Video
Oscar Peterson surprised people gathered to celebrate his 80th birthday at HMV Toronto with a performance of "Requiem" in a moving tribute to friends past. August 15 2005.
Diana Krall is spectacular in London SPECIAL
London - Diana Krall, touring the world as part of her Wallflower concerts, stopped off in London for a couple of nights to play at the Royal Albert Hall. Digital Journal was wowed at the performance.
Diana Krall is a Canadian pianist and singer who, although rooted in the jazz tradition, has a superb ear for old-time music and the cream of luscious pop standards. Krall is currently touring in support of her Wallflower album, which takes her closer into pop music territory (although with a smooth and soulful twist.) For two nights the tour has been playing at London's most prestigious concert hall — the Royal Albert Hall.
Royal Albert Hall October 2015. The concert hall was opened in 1871 by Queen Victoria.
Digital Journal attended Krall's concert on October 1 and, along with the 5,300 capacity audience, was at times swinging, at times bopping, and at times mesmerized by a superb medleys of music. Following a hip warm up from Ola Onabule, Krall took to the stage and opened with a toe-tapping We Just Couldn’t Say Goodbye.
The audience take to their seats as Diana Krall's concert is about to begin. The world's leading artists from many performance genres have appeared at the Ropyal Albert Hall.
Most of the set was with Krall accompanied by a highly competent band, who played bass, keyboard, Hammond organ, Spanish guitar, and violin. This ebullient quintet were note perfect. A generous performer, Krall frequently gave space and time to he band, allowing them moments when they could play solo and display their competent skills. This was shown strongest during a 10-minute barnstorming rendition of Tom Waits' song Temptation.
Diana Krall on stage at the Royal Albert Hall as part of her Wallflower tour. October 2015.
For other songs, Krall played solo on her piano, which showed just how talented she is. At one stage she asked the audience for requests and, based on this, gave a lively, ragtime infused rendition of Fats Waller's Your Feet's Too Big.
A glimpse of the Diana Krall concert set at the Royal Albert Hall, London, in October 2015.
The music on offering spiraled from the 1920s through to 1960s and 1970s pop, including versions of a Jon Mitchell song (A Case of You) and a sultry cover of California Dreamin', the song made famous by The Mamas & the Papas. With Krall's version the song was enhanced by the soft cords of the Hammond organ. The title track of her new album, Bob Dylan's Wallflower, was given a country ballad glow.
One of the best songs played was Just Like a Butterfly That’s Caught in the Rain, during which Krall's vocals became very moving indeed. Another stand-out was Let’s Face the Music and Dance, which brought Krall's piano skills to the fore.
The set was superbly decorated with old radios and radiograms, giving it a vintage jazz club feel (quite a feat for one of the biggest venues in London.) Sometimes clips from old movies were played as a backdrop. These were superbly edited, sometimes synchronous with the music being performed.
One of the film clips played at the Diana Krall concert at the Royal Albert Hall. This one had girls, fairy-like, dancing and moving.
The encore featured three songs: the crowd-pleasing S’Wonderful, which was followed by East of the Sun and West of the Moon and a closing the night out, boogie strong Ophelia.
The most touching moment came at the end of the encore when Krall paid tribute to her family, including husband (singer-songwriter Elvis Costello) and her children. An image of her two children appeared as an thermographic image as a backdrop. With the song completed, the audience gave Krall and her band a well-deserved standing ovation.
Concert ticket for Diana Krall's 2015 Wallflower tour.
Tonight sees the much acclaimed and Grammy award winning Diana Krall bring her Wallflower Tour to Birmingham. I must admit that I wouldn’t call myself a big fan but her current album, Wallflower, sees some wonderful interpretations of songs, some would say ‘classics’, and so it was with some anticipation I arrived at the Symphony Hall, which one could argue offers one of the best musical sound experiences there is, given it was specifically built to house orchestral performances.
Tonight’s show is sold out and the boards outside the doors indicate that the show will start at 19:50, end at 21:30 with no break. I’d hope there wouldn’t be a break if that that is the length of the set. Indeed the doors open at 19:30, and a large queue of mainly sixty somethings are by now chuntering at having to wait to take their seats.
The stage is dressed to hark back to a bygone era, a large backdrop reflects an old radio tuning screen, and there are several imitation boxes on stage to look like old valve radios, they glow and dim throughout the evening to add extra ambience. Centre-left of the stage is a huge black Steinway piano and it is here that Diana places herself at the stroke of eight. There are no big entrances, no fanfares. The five piece band walks on, and she follows after them. Dressed head to toe in black, a frock coat, leather trousers and her tousled mane of blonde hair, which will be tossed, flicked and moved out of her face throughout the show.
She apologies for being late but “our truck got a flat tyre, it’s a huge truck” before opening with “We just couldn’t say goodbye”. Tinkling the piano, that familiar smoky voice fills the hall to the point that during the soft breathy parts if you close your eyes it’s almost as though she were whispering in your ear. Sadly the only person whispering in mine was the unpleasant octogenarian behind me who took umbrage to me trying to write the set-list and notes down on my very dimly lit phone.
Stand out song “Just like a butterfly” is the gentlest beautiful song I’ve heard for some time, and during the pauses the silence is such that the large fan high in the hall’s ceiling can be heard. It is a breath-taking performance. After six songs the band exit leaving Diana alone, “Let’s face the music and dance” is a magnificent rendition before she asks “so what you wanna hear” to which various songs are shouted out and none can be deciphered. She is toying with us as she says “I’ll play you this” before a spellbinding cover of Joni Mitchell’s “Case of you”, followed by “S’wonderful” and “Sit right down and write myself a letter”. However, on later seeing the set-list for tonight (courtesy of our photographer) these songs are all pre-planned and so the thought of the audience having any influence over what she may play is simply mind games making the audience think they may actually have some influence over what song she will play during this solo section.
The band returns and yet more solo’s follow, and finally after just over ninety minutes, yes an hour and a half she thanks Birmingham and takes her exit. Tickets tonight were upwards of nearly forty five pounds and for such a short set this doesn’t seem very good value, indeed even more so if you count the actual minutes minus the band solo jazz efforts, which at times gave the impression of a jam session. Even more disappointing is that tonight’s set features so few songs from the current Wallflower album, and the oddities don’t stop there.
Merchandise is limited to a T-shirt with dates on and standard release cd’s. I spoke to the merch guy about the lack of vinyl, or a signed item which many people on tour are now doing and he said ‘this is all we have’. I almost got the impression that they, be it the management or indeed Diana herself, couldn’t be bothered and to almost cement this thought the programme, at £12 was less than twelve pages in content and features details of her latest album “Glad Rag Doll” (released back in 2012). So am I being cynical to suggest the programme is actually old stock? There’s even a full page advert for Rolex watches. Make your own conclusions.
So to summarise tonight’s show was at times, when on her own, stunning. Diana Krall is hugely talented, but the short set, the high prices and the time spent filling and jamming by her backing band was very disappointing. The musicians with her are clearly very talented but at several times during the (already short) set they go off into solos, with each taking turns and during this time Diana simply sits and watches from her piano stool, as if she were a member of the audience. It seems quite unfair that the main attraction sees fit to sit for periods watching her backing band (whom she introduces no less than three times) when all we want to see and hear is her.
However, this is just my own opinion, and I’m sure many of the audience would disagree with me, but tonight was not value for money, and that seems a little rude in these times of austerity. Taking the ticket price, parking, a drink and a programme into account would see you paying almost a pound a minute. That in anyone’s view could be improved.
Review: Glenn Raybone
Photographs: Katie Foulkes
Diana Krall i els deutes pendents
Arrenca el 47è Festival Internacional de Jazz de Barcelona
YERAY S. IBORRA Barcelona ACTUALITZADA EL 27/09/2015
DIANA KRALL durant el concert d’ahir a l’Auditori del Fòrum, amb què es va inaugurar el Festival de Jazz de Barcelona. / CRISTINA CALDERER
W allflower (violer trist) és el setzè disc de Diana Krall. Un homenatge als artistes que més l’han marcat (versions de Bob Dylan, Elton John o Jim Croce) i un supervivent de la indústria musical; al febrer es va infiltrar amb privilegi a les llistes de vendes. La pianista i cantant canadenca, després de més de vint anys de carrera (Barcelona la va veure per primer cop l’any 1996), segueix tenint el públic expectant. Així ho demostra un Auditori del Fòrum que, tot i el preu -també privilegiat, de 44 a 110 euros-, presentava un ple rotund. Molts dels entusiastes de la guanyadora de cinc Grammy, de fet, portaven un any esperant-la: el setembre passat era l’encarregada d’estrenar el Voll-Damm Festival Internacional de Jazz de Barcelona però una greu pneumònia no ho va permetre. Ja recuperada, Krall no ha perdut aquest any l’ocasió d’obrir el meló de la mostra jazzística de Barcelona, que s’allargarà fins al desembre.
Espai per al jazz
Amb un guió similar al de la gira que l’ha fet recórrer el món (Wallflower World Tour), i que fa uns dies va portar-la a Madrid, Diana Krall ha passat de puntetes per sobre del disc que li ha servit d’excusa per llançar-se a la carretera. Com ja advertia a la prèvia, la contralt ha decidit deixar espai al jazz, al saber fer de la poderosa banda que l’acompanya des de fa quatre
anys. “Volem interessar”, comentava l’artista hores abans de l’actuació. I la veritat, s’ho passen bé: gestos còmplices i algun mig somriure. Amb una posada en escena austera però sofisticada (piano de cua negre ben llampant i ràdios vintage ) i uns músics disposats a jugar sobre els arranjaments, mínims i amb el silenci com una carta més (sobretot a la versió piano-veu de Fly me to the moon ), la banda es dedica a construir al llarg del repertori. We just couldn’t say goodbye, amb què van obrir el concert, va establir les bases del primer tram d’espectacle. Els pocs dubtes que quedaven sobre com s’encaixarien al xou les composicions d’estructura menys jazzística van quedar esvaïts després del tractament exuberant deTemptation (Tom Waits), amb tot el combo brillant en una cavalcada d’improvisació.
Considerada, així com Michael Bublé, una de les artistes que més han acostat la música jazz als circuits comercials (15 milions de discos despatxats al món), Diana Krall va mostrar-se pròxima tot el concert: amb la seva banda, amb les seves versions i amb un públic que, atenent l’eufòria dels aplaudiments, li ha condonat segur el deute per la baixa de l’any passat.