sábado, 24 de diciembre de 2011
domingo, 21 de agosto de 2011
Photos: Diana Krall at Blackcreek Festival 2011
Hi Sergio.
Regardless of the watermark on the image you are licensed/contacted me (as a copyright owner of the images) to have a permission to use.
Watermark clearly says that photos are COPYRIGHTED. And it is not permitted to use without proper license. I am Entertainment Photographer making my living on taking these pictures and getting paid for their editorial usage.
I will now allow to use my images without payment.
Please remove images immediately or inquire for the price specifying the usage you need.
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viernes, 12 de agosto de 2011
domingo, 3 de julio de 2011
Diana Krall & Tony Bennett @ CapitalOne BlackCreek Festival reviewed by Stanley Fefferman
Saturday, July 2, 2011. Rexall Centre, Toronto.
Diana Krall, fast and sassy in a little black dress crosses the stage before 7000 fans at the Rexall amphitheatre in Toronto, sits down at the keyboard and shows she’s got chops. She’s also shows great taste in her set-list—picked flowers from the Great American Songbook, which she jazzes, often to a Bossa Nova beat, and vocally styles in a way that’s all her own. She delivers “I’ve Grown Accustomed to Her Face” (My Fair Lady—Lerner and Loewe, 1956) in a blue-tinged style, improvising the melody as she sings, flattening it, extending some vowels, cutting others short: in short, a jazz musician’s performance—intelligent and full of soul.
Ms. Krall gives her band lots of room to shine: Robert L. Hurst III on bass, Anthony Wilson on guitar, and drummer K. Miggins (who does some great bare meat bongo beating on “Exactly Like You” (Dorothy Fields, Jimmy MacHugh, 1930). During her keyboard solo, a low-flying airbus added it’s bass-drone to the proceedings. Ms. Krall looked up from the keyboard, scoped it thoughtfully, then, with her signature wry smile, started singing lines from “Let’s Get Away From it All,” and (homage to Tony Bennet or Mary Ford) “Fly Me To The Moon.” A moment of high performance art IMHO.
From there she fearlessly went to the surrealistic “Jockey Full of Bourbon” from Tom Waits’ 1985 Album Rain Dogs, even singing through cupped hands to get Waits’ bullhorn effect. She merged that tune with Joni Mitchell’s reverent, hyper-Canadian 1970 love-song “A Case of You,” and finished the set cheeky and classy with Irving Berlin’s 1935 Fred Astaire movie hit “Cheek To Cheek.”
Tony Bennett is Tony Bennett is Tony Bennett. Just for being who he is, when he smiles with that flash of verve, he gets a standing ovation. At this point, his way of delivering a song relies on a smooth, rhythmic recitation that can suddenly soar for those screaming high notes, where ( as Bing Crosby used to say about the low notes) ” the money is.” When Mr. Bennett sings,”I’ve Got Rythmn”(Gershwins, Porgy & Bess, 1930) you think he’s singing to you, for you, about the way he feels. He can make you relive musical history in a setlist that includes “Steppin’ Out With My Baby” (Irving Berlin, Easter Parade,1948); his own 1950 hit of a 1930′s song “Sing, You Sinners,” and, also from 1950, “Cold, Cold Heart,” that Hank Williams brought to the top of the country-music chart and Bennett brought to the top of the Billboard Pop chart.
Alas, when real-time thunder, lightning and rain interrupted all this hand-on-heart enjoyment, streams of senior fans, umbrellas unfurled, flowed from the stadium to their cars, and despite Mr. Bennett’s trooper stance, and a wet but willing remnant of fans, there was no singing in the rain. The concert was cancelled. Too bad: I might have heard Tony Bennett live doing my favourite of his lines “Because of you, there’s a song in my heart….”
*****
International Festival de Jazz - Montreal 2011
The Diana Krall concert was spectacular. Our third time seeing her, and each time has been so very different. This was a solo performaance, she played piano and sang. But for her encore she demonstrated her nascent skills on the ukelele.
We waited for her at the artists' exit/entrance, and watched someone else have her photograph taken with Canada's national treasure.
Fuente: margaretevansporter.blogspot.com
sábado, 2 de julio de 2011
jueves, 30 de junio de 2011
Krall enthralls crowd with intimate performance
By JEFF HEINRICH, The Gazette June 27, 2011
Diana Krall's Sunday-night show was the first of her three sold-out jazz fest concerts.
Photograph by: DAVE SIDAWAY THE GAZETTE, The Gazette
Diana Krall invited her audience into the living room of her childhood home in Nanaimo, B.C. and, alone at the grand piano with only her dad's gramophone as a prop for company, played the music she loved as a girl.
It was an intimate show Sunday night at Théâtre Maisonneuve, as Krall put a sold-out hall at ease with standards and surprised with some not-so-standards of the Great American Songbook.
Opening with Peel Me a Grape, she soon launched into a medley of Fats Waller tunes, stamping her black stiletto heels as she pounded away at the keyboard, boogie-woogie style, tossing her blond curls to the rhythm.
Form-fitting, sleeveless black dress aside, it was a far cry from that old Chrysler ad and The Look of Love, more a return to the roots of Krall's 1995 fest debut when she proved her love for Nat King Cole.
In between songs, she talked fondly of learning her chops from Jimmy Rowles and jamming in Oscar Peterson's basement, recalled how she was a disaster on third clarinet in her high-school band, and reminisced about listening to jazz on her father's reel-to-reel tape player and 78-rpm records.
If the audience didn't always get her jazz references, Krall forgave them. "Thanks for listening to songs you might not have heard before," she said after introducing something by Bix Beiderbecke and getting no response.
No matter. Whether it was a familiar tune like Don't Fence Me In or an unfamiliar one like the vintage ode to dope, Reefer Song, Krall's performance - her first full-length solo concert ever - pulled the crowd into her world.
She closed her 15-song, 80-minute uninterrupted set with a lovely but obscure 1938 movie tune called As Long As I Love and came back for a three-song encore playing - guess what? - a ukulele. Why? Because her childhood hero, Groucho Marx, played one.
She and her husband, Elvis Costello play the instrument in bed, she explained, before softly strumming All I Do Is Dream of You and encouraging her fans to sing along. Few knew the words.
Then it was back to the piano for Krall's own Departure Bay and, as an adieu, a Prairie Lullaby for her twin boys, Dexter and Frank. Sweet dreams, all.
jheinrich@ montrealgazette.com
© Copyright (c) The Montreal Gazette
miércoles, 29 de junio de 2011
Gallery: Diana Krall Jazz Fest concert
Fuente: www.montrealgazette.com
Montreal Jazz Festival: Diana Krall holds crowd in thrall in solo show
By Jeff Heinrich, The Gazette June 28, 2011Diana Krall enthralled the crowd at Théâtre Maisonneuve Sunday night with a set that referenced her childhood. The Grammy-winning songstress performs again on Monday and Tuesday.
It was an intimate show Sunday night at Théâtre Maisonneuve, as Krall put a sold-out hall at ease with standards and surprised with some not-so-standards of the Great American Songbook.
Opening with Peel Me a Grape, she soon launched into a medley of Fats Waller tunes, stamping her black stiletto heels as she pounded away at the keyboard, boogie-woogie style, tossing her blond curls to the rhythm.
Form-fitting, sleeveless black dress aside, it was a far cry from that old Chrysler ad and The Look of Love, more a return to the roots of Krall’s 1995 fest debut when she proved her love for Nat King Cole.
In between songs, she talked fondly of learning her chops from Jimmy Rowles and jamming in Oscar Peterson’s basement, recalled how she was a disaster on third clarinet in her high-school band, and reminisced about listening to jazz on her father’s reel-to-reel tape player and 78-rpm records.
If the audience didn’t always get her jazz references, Krall forgave them. “Thanks for listening to songs you might not have heard before,” she said after introducing something by Bix Beiderbecke and getting no response.
No matter. Whether it was a familiar tune like Don’t Fence Me In or an unfamiliar one like the vintage ode to dope, Reefer Song, Krall’s performance – her first full-length solo concert ever – pulled the crowd into her world.
She closed her 15-song, 80-minute uninterrupted set with a lovely but obscure 1938 movie tune called As Long As I Love and came back for a three-song encore playing – guess what? – a ukulele. Why? Because her childhood hero, Groucho Marx, played one.
She and her husband, Elvis Costello play the instrument in bed, she explained, before softly strumming All I Do Is Dream of You and encouraging her fans to sing along. Few knew the words.
Then it was back to the piano for Krall’s own Departure Bay and, as an adieu, a Prairie Lullaby for her twin boys, Dexter and Frank. Sweet dreams, all.
jheinrich@
montrealgazette.com
© Copyright (c) The Montreal Gazette
miércoles, 22 de junio de 2011
Concert: Harrah's, San Diego, 19-06-2011
