Festival de Jazz: le seul et unique Elvis Costello (PHOTOS)
Le Huffington Post Québec | Par Jean-François Cyr Publication: 29/06/2014 23:25 EDT | Mis à jour: 29/06/2014 23:34 EDT
Le Britannique Elvis Costello avait livré une bonne performance sur la grande scène du Festival Osheaga comme tête d’affiche en ce samedi d’été 2011, mais les jeunes spectateurs présents n’étaient pas des plus accoutumés à son travail. À l’époque, Costello était accompagné du groupe de musiciens The Imposters, qu’il a grandement apprécié. Trois ans plus tard, c’est dans une formule complètement différente qu’il partage son œuvre imposante à la Maison symphonique, dans le cadre du Festival international de Jazz (FIJM).
La beauté du travail scénique de Costello repose grandement dans l’idée qu’il adore improviser. Chaque soir est en quelque sorte unique. Jamais il ne propose le même programme de chansons. D’autant plus que le spectre est immense entre les premières chansons écrites à l’adolescence et celles composées pour son plus récent disque intitulé Wise Up Ghost (pas son meilleur album), enregistré avec l’excellent groupe rap américain The Roots.
Detour
Sur la scène, une enseigne lumineuse posée sur un trépied indique ON AIR. À cinq mètres à droite une seconde enseigne porte l’écriteau DETOUR. Le concept est simple, mais il a le mérite d’être clair. Derrière lui, sept ou huit guitares de toutes sortes sont disposées sur les planches. Au-devant de la scène, un clavier. De l’autre côté, une chaise et un second micro où Elvis Costello se sera assis le temps de quelques chansons.
Elvis Costello, de son vrai nom, Declan Patrick MacManus, est arrivé sur scène en pleine forme. Malgré son air décontracté et son joli complet noir (sans oublier le beau chapeau blanc), nous comprendrons 20 morceaux plus tard que l’homme de 60 ans n’était pas au FIJM pour parader. Mieux encore, il a été brillant.
À Toronto, deux semaines auparavant, il avait offert une performance de deux heures et demie, mais ici, à Montréal, c’était décidé depuis le début du concert : « il avait 90 minutes ». Exigences du Festival, fort probablement.
N’empêche, c’était amplement suffisant pour goûter au talent fort versatile de cet auteur-compositeur-interprète.
Au début de la soirée, il a notamment joué Jack of All Parades (album King of America) et la pièce 45 (album When I Was Cruel).
Un peu plus loin, Costello a envoyé une de ses nombreuses anecdotes qui ont pimenté la soirée : « C’est une des premières chansons de moi-même que j’ai entendues à la radio. J’étais tellement gêné que j’ai rapidement fermé les lumières de la cuisine! » Il envoyait Poison Moon.
Spirit
Dès le début, il était facile de réaliser que la scène est pour Elvis Costello un véritable terrain de jeu. Charismatique à souhait, il aime à lancer des blagues, à prendre des pauses et à se balader en interpelant les spectateurs. Il bouge encore bien et semble adorer son travail.
À ce point confortable, qu’il s’est même permis de s’envoyer une gomme à mâcher avant de commencer l’interprétation de You’ve Got to Hide Your Love Away, des Beatles. Superbe performance, d’ailleurs.
« Je vous aime tellement que je vais jouer un morceau que je déteste », a-t-il ironisé juste avant d’aller plus loin avec la chanson Everyday I Write a Book.
À mi-chemin du spectacle, le directeur artistique et vice-président du FIJM, André Ménard, est venu lui remettre le Spirit Award, qui souligne « la qualité et l’innovation de l’œuvre de l’artiste ainsi que l’influence déterminante d’un auteur-compositeur-interprète sur l’ensemble de la musique populaire internationale ». Le chanteur succède à James Taylor (2012), Robert Plant (2011), Smokey Robinson (2010), Stevie Wonder (2009), Leonard Cohen (2008), Bob Dylan (2007), et Paul Simon (2006). Quand même!
En fin de spectacle, de nombreux amateurs ont été comblés lorsque Costello a commencé les premières notes de la magnifique Alison, parue en 1977 sur l’album My Aim Is True. Ovation.
Le Britannique a livré en rappel l’énergique Come The Meantimes, Shipbuilding, l’électrique The Last Year Of My Youth, (What’s So Funny ‘Bout) Peace, Love and Understanding et enfin Jimmie Standing In the Rain.
Très cool.
Google translation:
Jazz Festival: the one and only Elvis Costello (PHOTOS)
The Huffington Post Canada | By Jean-François Cyr Posted: 06/29/2014 11:25 p.m. EDT | Updated: 06/29/2014 11:34 p.m. EDT
Britain's Elvis Costello had delivered a good performance on the big stage of the Osheaga Festival as headliners on this summer Saturday in 2011, but the young spectators were not more accustomed to his work. At the time, Costello was accompanied by live band The Imposters, which he greatly appreciated. Three years later, it is in a completely different formula he shares his impressive work at the Maison symphonique, under the International Jazz Festival (Jazz Fest).
The scenic beauty of the work of Costello relies heavily on the idea that love to improvise. Every night is somehow unique. He never offers the same program of songs. Especially since the spectrum is huge between the first written in adolescence and those composed songs for his latest album entitled Wise Up Ghost (not his best album), recorded with the great American rap group The Roots.
Detour
On stage, a neon sign on a tripod indicates ON AIR. Five meters right one second sign carries the DETOUR sign. The concept is simple, but it has the merit of being clear. Behind him seven or eight guitars of all kinds are arranged on the boards. In front of the stage, a keyboard. On the other side, a chair and a second microphone that Elvis Costello will be sitting on a few songs.
Elvis Costello, real name Declan MacManus Patrick arrived on stage in full form. Despite its casual look and her pretty black suit (not to mention the beautiful white hat), 20 pieces we will understand later that the 60 year old man was not FIJM to parade. Better yet, it was brilliant.
In Toronto, two weeks earlier, he had offered a performance two and a half hours, but here in Montreal, it was decided from the beginning of the concert: "It was 90 minutes." Requirements Festival, most likely.
Still, it was enough to taste the very versatile talent of this author-songwriter.
At the beginning of the evening, he played Jack of All Parades (album King of America) and part 45 (album When I Was Cruel).
A little later, Costello sent one of his many anecdotes that have peppered the evening: "This is one of the first songs to myself that I heard on the radio. I was so embarrassed that I quickly closed the lights of the kitchen! "He sent Poison Moon.
Spirit
From the beginning, it was easy to realize that the scene is a true Elvis Costello playground Charismatic wish, he likes to throw jokes, taking breaks and walking in heckling spectators. It moves so much and seems to love his job.
At this comfortable point he was even allowed to send a chewing gum before you start interpreting You've Got to Hide Your Love Away Beatles. Superb performance, too.
"I love you so much that I will play a song I hate," said he joked just before going further with the song Everyday I Write a Book.
Halfway through the show, the artistic director and vice president of FIJM André Ménard, came to give him the Spirit Award, which recognizes "the quality and innovation of the work of the artist and the influence determining a songwriter and performer throughout the international popular music. " The singer succeeds James Taylor (2012), Robert Plant (2011), Smokey Robinson (2010), Stevie Wonder (2009), Leonard Cohen (2008), Bob Dylan (2007) and Paul Simon (2006). Anyway!
At the end of the show, many fans were delighted when Costello began the first notes of the beautiful Alison, published in 1977 on the album My Aim Is True. Ovation.
The Briton delivered reminder energetic Come The meantimes, Shipbuilding, electrical The Last Year Of My Youth (What's So Funny 'Bout) Peace, Love and Understanding and finally Jimmie Standing In The Rain.
Very cool.
Photo gallery: http://quebec.huffingtonpost.ca/2014/06 ... 42431.html
Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
A few seconds of "Ophelia": http://vine.co/v/MFdmtX5bODq
And a few more seconds of "Ophelia": http://vine.co/v/MFdKIn7vaed
And a few more seconds of "Ophelia": http://vine.co/v/MFdKIn7vaed
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Krall owns the night, and Montreal
BY MARK LEPAGE, SPECIAL TO THE GAZETTE JUNE 29, 2014 11:49 PM
The summer wind came blowin’ in
Under darkness, the world’s most popular jazz artist took her seat at the piano.
It lingered there to touch your hair
And walk with 100,000-plus on a sultry, sweltering night to the TD Grand Event on the Place des Festivals for Diana Krall’s first-ever massive free outdoor show for the 35th anniversary of the festival that has become intimately associated with her. It was even that rare event — a massive free outdoor jazz-type concert, and easily the largest at the Montreal International Jazz Festival in recent memory. That’s a good thing.
Krall met the weather with the vintage-themed When The Curtain Comes Down, bomped measuredly into We Just Couldn’t Say Goodbye with her crack quintet raising the tempo, and we were wrapped in a ménage — a three-way love affair between artist, festival and audience. “This is the best place in the world for a jazz festival — or anything else!”
Krall had joined jazz fest co-founder and artistic director André Ménard in a news conference Sunday. Looking as lovely as ever in head-to-toe black (they both were), she’d thanked him because “It’s so difficult these days for artists to get opportunities like I had. And this festival is why I’m here.”
She’s come a long way in the 20 years since Ménard and the jazz fest took a flyer and put her Nat King Cole tribute in the Cabaret Juste Pour Rire. This was Krall’s biggest-ever gig here and although she’s the only jazz artist to have headlined the Bell Centre and “I’ve played the Hollywood Bowl before, it’s not the same as playing the Montreal International Jazz Festival. It’s goosebumps.”Were there nerves about the scale? “Outdoors? It will be dark out, that always helps my imagination and helps me not freak out.”
As if. The crowd, it must be said, was mammoth even for one of these blowouts. The red curtain backdrop was perfectly elegant, when not parted for vintage B&W visuals. She announced a set of songs from “the ’20s, ’30s, ’40s, ’50s, ’60s, ’70s, ’80s …” before shuffling into Just Like A Butterfly Caught in the Rain, and announcing she’d leave the soloing to her quintet, anchored by the brilliant Marc Ribot on guitar — a band so good “I don’t even have to show up. …”
So this was a much looser Krall, joking about the mini-bar in her piano. “How’ve you been since I saw you last?” The idea was to create a “drive-in cinema” ambience for a zillion people. I Know Ev’rything’s Made For Love was on ukulele, which “I like to play at home, after I fill the bathtub with gin. And the lower the bath gets, the better I sound. And feel!”
She’ll have a new album of non-jazz songs produced by David Foster and featuring Dylan’s Wallflower, a new unrecorded McCartney song. For this show, though, she would go on to bomp through generations of vintage love and lose-lost songs, on a night that she owned. Let It Rain, described as the “Bridge Over Troubled Water of 1928,” anchored the crowd in the bliss of a summer night. The ridiculously raw Ribot and violinist Stuart Duncan tore a blistering hole through Tom Waits’s Temptation. She was solo and spellbinding in Let’s Face the Music And Dance, dramatic in Neil Young’s A Man Needs A Maid/Heart of Gold. The crowd picked up the chorus.
Goosebumps. It was a Montréal Moment, and owned the 35th edition. There was a hearty “Ah, shit!” when she booted a Fats Waller lick. And with some inevitability, there was another Moment when hubby Elvis Costello strolled onstage in the encore to share Ophelia, Whispering Pines and Subterranean Homesick Blues (!) with the missus. With the warmth, comfort level, humour and heart, disliking this would have been like cheering against summertime.
Simple confirmation of how completely Krall and Montréal fit together.
In that newser, she’d been asked: could you imagine your career without “the greatest jazz festival in the world?”
“Do I have to?”
BY MARK LEPAGE, SPECIAL TO THE GAZETTE JUNE 29, 2014 11:49 PM
The summer wind came blowin’ in
Under darkness, the world’s most popular jazz artist took her seat at the piano.
It lingered there to touch your hair
And walk with 100,000-plus on a sultry, sweltering night to the TD Grand Event on the Place des Festivals for Diana Krall’s first-ever massive free outdoor show for the 35th anniversary of the festival that has become intimately associated with her. It was even that rare event — a massive free outdoor jazz-type concert, and easily the largest at the Montreal International Jazz Festival in recent memory. That’s a good thing.
Krall met the weather with the vintage-themed When The Curtain Comes Down, bomped measuredly into We Just Couldn’t Say Goodbye with her crack quintet raising the tempo, and we were wrapped in a ménage — a three-way love affair between artist, festival and audience. “This is the best place in the world for a jazz festival — or anything else!”
Krall had joined jazz fest co-founder and artistic director André Ménard in a news conference Sunday. Looking as lovely as ever in head-to-toe black (they both were), she’d thanked him because “It’s so difficult these days for artists to get opportunities like I had. And this festival is why I’m here.”
She’s come a long way in the 20 years since Ménard and the jazz fest took a flyer and put her Nat King Cole tribute in the Cabaret Juste Pour Rire. This was Krall’s biggest-ever gig here and although she’s the only jazz artist to have headlined the Bell Centre and “I’ve played the Hollywood Bowl before, it’s not the same as playing the Montreal International Jazz Festival. It’s goosebumps.”Were there nerves about the scale? “Outdoors? It will be dark out, that always helps my imagination and helps me not freak out.”
As if. The crowd, it must be said, was mammoth even for one of these blowouts. The red curtain backdrop was perfectly elegant, when not parted for vintage B&W visuals. She announced a set of songs from “the ’20s, ’30s, ’40s, ’50s, ’60s, ’70s, ’80s …” before shuffling into Just Like A Butterfly Caught in the Rain, and announcing she’d leave the soloing to her quintet, anchored by the brilliant Marc Ribot on guitar — a band so good “I don’t even have to show up. …”
So this was a much looser Krall, joking about the mini-bar in her piano. “How’ve you been since I saw you last?” The idea was to create a “drive-in cinema” ambience for a zillion people. I Know Ev’rything’s Made For Love was on ukulele, which “I like to play at home, after I fill the bathtub with gin. And the lower the bath gets, the better I sound. And feel!”
She’ll have a new album of non-jazz songs produced by David Foster and featuring Dylan’s Wallflower, a new unrecorded McCartney song. For this show, though, she would go on to bomp through generations of vintage love and lose-lost songs, on a night that she owned. Let It Rain, described as the “Bridge Over Troubled Water of 1928,” anchored the crowd in the bliss of a summer night. The ridiculously raw Ribot and violinist Stuart Duncan tore a blistering hole through Tom Waits’s Temptation. She was solo and spellbinding in Let’s Face the Music And Dance, dramatic in Neil Young’s A Man Needs A Maid/Heart of Gold. The crowd picked up the chorus.
Goosebumps. It was a Montréal Moment, and owned the 35th edition. There was a hearty “Ah, shit!” when she booted a Fats Waller lick. And with some inevitability, there was another Moment when hubby Elvis Costello strolled onstage in the encore to share Ophelia, Whispering Pines and Subterranean Homesick Blues (!) with the missus. With the warmth, comfort level, humour and heart, disliking this would have been like cheering against summertime.
Simple confirmation of how completely Krall and Montréal fit together.
In that newser, she’d been asked: could you imagine your career without “the greatest jazz festival in the world?”
“Do I have to?”
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
They worked in a tiny bit of Pump it up into Subterranean Homesick Blues. Was pretty special.
Some videos (not mine):
http://www.youtube.com/watch?v=LqvdN8LNSPM
http://www.youtube.com/watch?v=3kIFVx_uDVY
http://www.youtube.com/watch?v=n4DEcbIb6WM
Some videos (not mine):
http://www.youtube.com/watch?v=LqvdN8LNSPM
http://www.youtube.com/watch?v=3kIFVx_uDVY
http://www.youtube.com/watch?v=n4DEcbIb6WM
Last edited by scielle on Mon Jun 30, 2014 2:09 am, edited 3 times in total.
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
EC's solo setlist according to setlist.fm:
01. Jack Of All Parades
02. 45
03. Either Side Of The Same Town
04. Veronica
05. Poison Moon
06. Everyday I Write The Book
07. Walkin' My Baby Back Home
08. Ascension Day
09. New Amsterdam / You've Got To Hide Your Love Away
10. Beyond Belief
11. Ghost Train
12. Watching The Detectives
13. Alison
Encore 1
14. Come The Meantimes
15. Shipbuilding
16. The Last Year Of My Youth
17. (What's So Funny 'Bout) Peace, Love And Understanding?
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
01. Jack Of All Parades
02. 45
03. Either Side Of The Same Town
04. Veronica
05. Poison Moon
06. Everyday I Write The Book
07. Walkin' My Baby Back Home
08. Ascension Day
09. New Amsterdam / You've Got To Hide Your Love Away
10. Beyond Belief
11. Ghost Train
12. Watching The Detectives
13. Alison
Encore 1
14. Come The Meantimes
15. Shipbuilding
16. The Last Year Of My Youth
17. (What's So Funny 'Bout) Peace, Love And Understanding?
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
I'm not sure that's exactly how the order went, but the content seems about right.And No Coffee Table wrote:EC's solo setlist according to setlist.fm:
01. Jack Of All Parades
02. 45
03. Either Side Of The Same Town
04. Veronica
05. Poison Moon
06. Everyday I Write The Book
07. Walkin' My Baby Back Home
08. Ascension Day
09. New Amsterdam / You've Got To Hide Your Love Away
10. Beyond Belief
11. Ghost Train
12. Watching The Detectives
13. Alison
Encore 1
14. Come The Meantimes
15. Shipbuilding
16. The Last Year Of My Youth
17. (What's So Funny 'Bout) Peace, Love And Understanding?
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
André Ménard came out, to Elvis' (feigned?) surprise, during EC's "and now I'd like to introduce my special guest for tonight" speech, and presented him with the Spirit Award. EC accepted very graciously and pointed out the statuette is of Miles holding a trumpet, which meant a lot to him given the trumpet playing pedigree in the family, etc.
I have to say that the acoustics were amazing. Sounded much better than Carnegie Hall earlier this week.
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Ophelia: http://www.youtube.com/watch?v=n4DEcbIb6WM
Subterranean Homesick Blues: http://www.youtube.com/watch?v=LqvdN8LNSPM
Whispering Pines (apparently from soundcheck): http://www.youtube.com/watch?v=kJUPdaKKxto
Subterranean Homesick Blues: http://www.youtube.com/watch?v=LqvdN8LNSPM
Whispering Pines (apparently from soundcheck): http://www.youtube.com/watch?v=kJUPdaKKxto
-
And No Coffee Table
- Posts: 3528
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
This review adds "The Comedians" to the setlist.
Montreal International Jazz Festival 2014: Elvis Costello at the Maison Symphonique de Montréal; June 29, 2014
By Bernard Perusse
June 30, 2014. 3:15 am • Section: Words And Music
Perhaps the best way to approach Elvis Costello’s solo performance Sunday night at the Maison Symphonique de Montréal is to get the puzzling bits out of the way first.
No, the performance wasn’t entirely off the cuff, as our recent interview with the man might have led one to believe. There was a set list circulating before the show, so the basic framework of the concert had clearly been planned.
But the list was evidently not written in stone. Costello, as one might have expected under the circumstances, went off script a few times. The baffling part is that he did it by dropping 11 songs. Missing in action were King Horse, Watch Your Step, Almost Blue, Jesse Winchester’s Quiet About It, a song listed as For More Tears (but which might have been Tears, Tears and More Tears), Man Out of Time, Suit of Lights, A Slow Drag with Josephine, For the Stars, Couldn’t Call It Unexpected No. 4 and I Want You.
The show that had stretched into the two-and-a-half-hour range in some cities landed at roughly an hour and a half here. And that was including a pause in the action where festival co-founder Andre Ménard presented Costello with the Spirit Award, honouring quality and musical innovation in popular artists.
The reason for the substantial song omissions is unknown at this point, but rest assured that it was not because Costello wasn’t feeling it. The show he did deliver – which, let’s be fair, was of a reasonable length – sounded as committed, intense and passionate as any he ever gave here.
Actually, make that more. Of everything.
Costello joked and reminisced, shouted and whispered his vocals, pounded and caressed his guitar and generally played to the back rows – including those seated behind the stage.
Opening with Jack of All Parades, with its bolero-ish, pulsating chord foundation and dashing right into an almost Kinks-ish version of 45, Costello leaped 16 years and served notice that we might be making stops all over the back catalogue – linked thematically, we were told, to the theme of life in exile.
The theme might have been love and deceit, Costello explained, “but then we only have 90 minutes. I have four days worth of songs for that,” he quipped.
The range of material spanned 39 years – from the 1975 song Poison Moon, which predates his first album, to the recently-written The Last Year of My Youth, an instant classic.
In the first of a few delightful stories, an affable and talkative Costello prefaced Poison Moon, a soft country-ish ballad, by recalling the feeling of hearing his demo material on the radio and turning off the kitchen light because he was embarrassed, watching the street light shining on the linoleum floor.
More than once, he returned to the subject of his father and grandfather, both musicians, sharing their stories and bringing their spirit into the room (the one about his dad going hippie and ordering him to grow his hair was warmly received.)
But the focus, inevitably, was the songs. This was a stripped-down celebration of one of rock’s most rewarding catalogues and an artist of almost limitless scope. With only Costello, his guitars and a keyboard on stage, this clearly wasn’t the occasion to bring in the Brodsky Quartet for a few tunes from The Juliet Letters, his brilliant 1993 collaboration with the string ensemble, but the evening was nonetheless a reminder of how rich Costello’s body of work, even without accompaniment, really is.
It is, as we have always known, all about the songs.
The tuneful 1980 gem New Amsterdam, for example, was faithfully strummed and easily blended with the Beatles’ You’ve Got to Hide Your Love Away. Right after that came another lesser-known beauty, Ascension Day, from 2006.
The dynamics were mostly inspired. There was a sonic glitch as Costello’s guitar amplification breathed its last during a tenderly-picked Everyday I Write the Book, but the philosophical singer seemed to shrug it off and moved to the followup selection, The Comedians, which was all power, worthy of its definitive version by Roy Orbison.
Some opportunities for rediscovery were especially welcome, including a folky version of Beyond Belief, the oddball melody of Ghost Train and the dramatic Shipbuilding, played on electric piano.
Fans of the more well-worn material had to be delighted by the presence of Watching the Detectives, played loud and boosted with raunchy effects-pedal loops, the still-beautiful Alison and the ever-touching Nick Lowe-written anthem (What’s So Funny `Bout) Peace, Love and Understanding?
The evening ended with Costello talking about his grandfather’s days playing on a cruise ship. He then revisited a recent recording, the haunting and overlooked Jimmie Standing In the Rain, from the 2010 disc National Ransom.
Costello, an underrated singer, delivered the final verse of the song off mic, drawing the audience into his world even farther. In the end, it was all quite perfect. And if he couldn’t do every song everyone might want to hear, well …. let’s just hope there’ll be another night like this.
Montreal International Jazz Festival 2014: Elvis Costello at the Maison Symphonique de Montréal; June 29, 2014
By Bernard Perusse
June 30, 2014. 3:15 am • Section: Words And Music
Perhaps the best way to approach Elvis Costello’s solo performance Sunday night at the Maison Symphonique de Montréal is to get the puzzling bits out of the way first.
No, the performance wasn’t entirely off the cuff, as our recent interview with the man might have led one to believe. There was a set list circulating before the show, so the basic framework of the concert had clearly been planned.
But the list was evidently not written in stone. Costello, as one might have expected under the circumstances, went off script a few times. The baffling part is that he did it by dropping 11 songs. Missing in action were King Horse, Watch Your Step, Almost Blue, Jesse Winchester’s Quiet About It, a song listed as For More Tears (but which might have been Tears, Tears and More Tears), Man Out of Time, Suit of Lights, A Slow Drag with Josephine, For the Stars, Couldn’t Call It Unexpected No. 4 and I Want You.
The show that had stretched into the two-and-a-half-hour range in some cities landed at roughly an hour and a half here. And that was including a pause in the action where festival co-founder Andre Ménard presented Costello with the Spirit Award, honouring quality and musical innovation in popular artists.
The reason for the substantial song omissions is unknown at this point, but rest assured that it was not because Costello wasn’t feeling it. The show he did deliver – which, let’s be fair, was of a reasonable length – sounded as committed, intense and passionate as any he ever gave here.
Actually, make that more. Of everything.
Costello joked and reminisced, shouted and whispered his vocals, pounded and caressed his guitar and generally played to the back rows – including those seated behind the stage.
Opening with Jack of All Parades, with its bolero-ish, pulsating chord foundation and dashing right into an almost Kinks-ish version of 45, Costello leaped 16 years and served notice that we might be making stops all over the back catalogue – linked thematically, we were told, to the theme of life in exile.
The theme might have been love and deceit, Costello explained, “but then we only have 90 minutes. I have four days worth of songs for that,” he quipped.
The range of material spanned 39 years – from the 1975 song Poison Moon, which predates his first album, to the recently-written The Last Year of My Youth, an instant classic.
In the first of a few delightful stories, an affable and talkative Costello prefaced Poison Moon, a soft country-ish ballad, by recalling the feeling of hearing his demo material on the radio and turning off the kitchen light because he was embarrassed, watching the street light shining on the linoleum floor.
More than once, he returned to the subject of his father and grandfather, both musicians, sharing their stories and bringing their spirit into the room (the one about his dad going hippie and ordering him to grow his hair was warmly received.)
But the focus, inevitably, was the songs. This was a stripped-down celebration of one of rock’s most rewarding catalogues and an artist of almost limitless scope. With only Costello, his guitars and a keyboard on stage, this clearly wasn’t the occasion to bring in the Brodsky Quartet for a few tunes from The Juliet Letters, his brilliant 1993 collaboration with the string ensemble, but the evening was nonetheless a reminder of how rich Costello’s body of work, even without accompaniment, really is.
It is, as we have always known, all about the songs.
The tuneful 1980 gem New Amsterdam, for example, was faithfully strummed and easily blended with the Beatles’ You’ve Got to Hide Your Love Away. Right after that came another lesser-known beauty, Ascension Day, from 2006.
The dynamics were mostly inspired. There was a sonic glitch as Costello’s guitar amplification breathed its last during a tenderly-picked Everyday I Write the Book, but the philosophical singer seemed to shrug it off and moved to the followup selection, The Comedians, which was all power, worthy of its definitive version by Roy Orbison.
Some opportunities for rediscovery were especially welcome, including a folky version of Beyond Belief, the oddball melody of Ghost Train and the dramatic Shipbuilding, played on electric piano.
Fans of the more well-worn material had to be delighted by the presence of Watching the Detectives, played loud and boosted with raunchy effects-pedal loops, the still-beautiful Alison and the ever-touching Nick Lowe-written anthem (What’s So Funny `Bout) Peace, Love and Understanding?
The evening ended with Costello talking about his grandfather’s days playing on a cruise ship. He then revisited a recent recording, the haunting and overlooked Jimmie Standing In the Rain, from the 2010 disc National Ransom.
Costello, an underrated singer, delivered the final verse of the song off mic, drawing the audience into his world even farther. In the end, it was all quite perfect. And if he couldn’t do every song everyone might want to hear, well …. let’s just hope there’ll be another night like this.
-
sweetest punch
- Posts: 5988
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://journalmetro.com/culture/518340/ ... -guitares/
Elvis Costello, l’homme aux sept guitares
«Je vous aime tellement, je vais chanter une chanson que je déteste. Je l’ai écrite en 10 minutes, ç’a été un grand succès. Je me sens coupable.» – Elvis Costello, en blaguant avant de commencer Everyday I write the book.
Elvis Costello s’est produit dimanche sur la scène de la Maison symphonique, dans un spectacle solo intimiste.
Sur la scène, sept guitares attendent l’homme. Un clavier aussi, et sur une petite table, une bouteille d’eau, une boîte de mouchoirs et un porte-voix, qui demeurera malheureusement inutilisé.
C’est avec un simple «Bonsoir» (en français) que Costello, un chapeau blanc sur la tête, vêtu d’un habit noir, s’est d’abord adressé à la foule. Après 45, il a enchaîné rapidement avec Either Side of the Same Town, puis, juste avant Veronica, s’est aventuré à prononcer quelques mots en français «Merci beaucoup, comment ça va?» Poursuivant en anglais, il a décrit aux spectateurs son concept pour la soirée. «J’aime suivre un thème et le tisser pendant la soirée. Ça pourrait être “amour et déception”, mais j’ai seulement 90 minutes. Or, j’aurais assez de ces chansons pour quatre jours!» a-t-il blagué.
Costello plongeait de temps en temps dans ses souvenirs, évoquant notamment son père, lui aussi chanteur et musicien, et son grand-père, joueur de trompette; anecdotes qui ont révélé son talent de conteur et ont donné envie d’en entendre toujours plus. Malgré cela, le «fil» en question n’est pas toujours apparu très clairement. Les chansons interprétées faisaient des bonds dans le temps, ratissant à travers les époques et passant des succès de ses premier albums jusqu’à son plus récent, Wise Up Ghost, avec la pièce Come the Meantimes. Les titres choisis, pas toujours les plus connus, étaient interprétés avec simplicité. Le public a pu entendre Poison Moon, New Amsterdam, Walking my Baby Back Home, Wave a White Flag et plusieurs autres.
Après une heure, le spectacle tirait déjà à sa fin, avec la pièce Alison qui a suscité sifflements et applaudissements nourris. Sans compter les rappels, bien sûr, parmi lesquels on a pu entendre entre autres Come the Meantimes, Shipbuilding (au clavier, avec beaucoup d’émotion) et What’s so funny about Peace, Love and Understanding.
--------------------------------------------
Google translation:
Elvis Costello, the man with seven guitars
"I love you so much, I'll sing a song I hate. I wrote it in 10 minutes, it has been a great success. I feel guilty. "- Elvis Costello, joking before starting Everyday I write the book.
Elvis Costello occurred Sunday at the scene of the Maison symphonique in an intimate solo show.
On stage seven guitars waiting man. As a keyboard, and a small table, a bottle of water, a box of tissues and a megaphone, which unfortunately remain unused.
It is a simple "Hello" (in French) Costello, a white hat on his head, wearing a black coat, was first addressed the crowd. After 45, he quickly chained with Either Side of the Same Town, then, just before Veronica, ventured to say a few words in French "Thank you, how are you?" Continuing in English, he described his viewers concept for the evening. "I like to follow a theme and weave during the evening. It could be "love and disappointment," but I only 90 minutes. Now I have enough of these songs for four days! "Has he joked.
Costello plunged from time to time in his memories, recalling especially his father, also a singer and musician, and his grandfather, trumpet player; anecdotes that reveal his talent as a storyteller and gave always want to hear more. Despite this, the "thread" in question is not always very apparent. The songs performed were leaps in time, raking through the ages and passing success of his first album until later, Wise Up Ghost, with room Come the meantimes. Not always the most well-known titles chosen, were interpreted with ease. The public has heard Poison Moon, New Amsterdam Walking my Baby Back Home, Wave White Flag and many others.
After an hour, the show is already drawing to a close, with Alison piece that sparked whistles and applause. Besides reminders, of course, among which we could hear from the other meantimes Come, Shipbuilding (keyboard, with great emotion) and What's so funny about Peace, Love and Understanding.
Elvis Costello, l’homme aux sept guitares
«Je vous aime tellement, je vais chanter une chanson que je déteste. Je l’ai écrite en 10 minutes, ç’a été un grand succès. Je me sens coupable.» – Elvis Costello, en blaguant avant de commencer Everyday I write the book.
Elvis Costello s’est produit dimanche sur la scène de la Maison symphonique, dans un spectacle solo intimiste.
Sur la scène, sept guitares attendent l’homme. Un clavier aussi, et sur une petite table, une bouteille d’eau, une boîte de mouchoirs et un porte-voix, qui demeurera malheureusement inutilisé.
C’est avec un simple «Bonsoir» (en français) que Costello, un chapeau blanc sur la tête, vêtu d’un habit noir, s’est d’abord adressé à la foule. Après 45, il a enchaîné rapidement avec Either Side of the Same Town, puis, juste avant Veronica, s’est aventuré à prononcer quelques mots en français «Merci beaucoup, comment ça va?» Poursuivant en anglais, il a décrit aux spectateurs son concept pour la soirée. «J’aime suivre un thème et le tisser pendant la soirée. Ça pourrait être “amour et déception”, mais j’ai seulement 90 minutes. Or, j’aurais assez de ces chansons pour quatre jours!» a-t-il blagué.
Costello plongeait de temps en temps dans ses souvenirs, évoquant notamment son père, lui aussi chanteur et musicien, et son grand-père, joueur de trompette; anecdotes qui ont révélé son talent de conteur et ont donné envie d’en entendre toujours plus. Malgré cela, le «fil» en question n’est pas toujours apparu très clairement. Les chansons interprétées faisaient des bonds dans le temps, ratissant à travers les époques et passant des succès de ses premier albums jusqu’à son plus récent, Wise Up Ghost, avec la pièce Come the Meantimes. Les titres choisis, pas toujours les plus connus, étaient interprétés avec simplicité. Le public a pu entendre Poison Moon, New Amsterdam, Walking my Baby Back Home, Wave a White Flag et plusieurs autres.
Après une heure, le spectacle tirait déjà à sa fin, avec la pièce Alison qui a suscité sifflements et applaudissements nourris. Sans compter les rappels, bien sûr, parmi lesquels on a pu entendre entre autres Come the Meantimes, Shipbuilding (au clavier, avec beaucoup d’émotion) et What’s so funny about Peace, Love and Understanding.
--------------------------------------------
Google translation:
Elvis Costello, the man with seven guitars
"I love you so much, I'll sing a song I hate. I wrote it in 10 minutes, it has been a great success. I feel guilty. "- Elvis Costello, joking before starting Everyday I write the book.
Elvis Costello occurred Sunday at the scene of the Maison symphonique in an intimate solo show.
On stage seven guitars waiting man. As a keyboard, and a small table, a bottle of water, a box of tissues and a megaphone, which unfortunately remain unused.
It is a simple "Hello" (in French) Costello, a white hat on his head, wearing a black coat, was first addressed the crowd. After 45, he quickly chained with Either Side of the Same Town, then, just before Veronica, ventured to say a few words in French "Thank you, how are you?" Continuing in English, he described his viewers concept for the evening. "I like to follow a theme and weave during the evening. It could be "love and disappointment," but I only 90 minutes. Now I have enough of these songs for four days! "Has he joked.
Costello plunged from time to time in his memories, recalling especially his father, also a singer and musician, and his grandfather, trumpet player; anecdotes that reveal his talent as a storyteller and gave always want to hear more. Despite this, the "thread" in question is not always very apparent. The songs performed were leaps in time, raking through the ages and passing success of his first album until later, Wise Up Ghost, with room Come the meantimes. Not always the most well-known titles chosen, were interpreted with ease. The public has heard Poison Moon, New Amsterdam Walking my Baby Back Home, Wave White Flag and many others.
After an hour, the show is already drawing to a close, with Alison piece that sparked whistles and applause. Besides reminders, of course, among which we could hear from the other meantimes Come, Shipbuilding (keyboard, with great emotion) and What's so funny about Peace, Love and Understanding.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
sweetest punch
- Posts: 5988
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
This article is posted before, but the photos are great. ( http://quebec.huffingtonpost.ca/2014/06 ... 42431.html )
Last edited by sweetest punch on Mon Jun 30, 2014 1:22 pm, edited 1 time in total.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
sweetest punch
- Posts: 5988
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://www.ledevoir.com/culture/musique ... du+Devoir)
La version courte du show marathon
Une belle heure et demie pas chiche d’Elvis Costello en solo, 21 titres joués avec la délicatesse voulue, grattés avec toute la vigueur nécessaire, et poussés à pleins poumons. Des échantillons d’humour britannique de haute volée, quelques belles anecdotes et quelques mises en contexte brillamment tournées, et surtout les morceaux qu’on voulait le plus et qu’on a eus (Veronica, Everyday I Write The Book, Watching The Detectives, Alison) : c’est absolument satisfaisant, normalement.
Et les gens étaient passablement contents ce dimanche à la Maison symphonique, ça ovationnait chaleureusement quand notre Elvis, à 20h32, est parti rejoindre sa belle, « my gal playing across town » comme il l’a dit pour ne pas nommer sa Diana Krall, laquelle se préparait à présenter son grand spectacle extérieur à 21h30.
Une heure et demie pleine et entière et satisfaisante, oui, quand on ne sait pas que partout ailleurs, c’est un show marathon de deux heures et demie que l’Elvis propose, jusqu’à 38 titres le 25 juin dernier à Carnegie Hall. Mais quand on sait ?
Tout le monde va fureter du côté de setlist.fm, de nos jours, le fan autant que le spectateur lambda, surtout quand l’intéressé parle dans les entrevues d’un show solo sans limite, à géométrie très variable, avec moult permutations selon l’inspiration du moment : ça rend curieux.
On compare. Lesquelles a-t-il ressorties au Ryman de Nashville, au Massey Hall de Toronto ? On se prépare, on s’excite, on fait des prédictions. Fera-t-il l’une de ses chansons créées avec Burt Bacharach ? Ou toute la face A de l’album My Aim Is True, osée récemment ?
Forcément, on s’attend à autant. À différent, mais autant. On va voir le gaillard jouer le jeu du spectacle imprévible, mais long tout le temps. Quand on a le vaste et riche répertoire d’un Elvis Costello, tout semble possible, sauf d’écourter.
Pensait-on. À tort.
Notons : il a lui-même annoncé assez tôt un « 90-minute show ». Près de la fin, il promettra de « revenir et toutes les jouer ». On ne hasardera pas de suppositions, mais le fait est que, dans la conduite fournie aux journalistes, il y avait 31 titres. Parmi les prévues et retranchées : King Horse, Watch Your Step, Almost Blue, Quiet About It, Man Out Of Time, Suit Of Lights, For The Stars, d’autres encore…
Ne pas savoir, elles ne nous manqueraient pas : seulement voilà, elles ont toutes été données ailleurs, la plupart des soirs…
Qu’avons-nous eu, tout de même ? Beaucoup, et du bon, avouons. Une entrée certes un peu précipitée, avec Jack Of All Parades, 45 et Either Side Of The Same Town en rafale, puis Veronica, la belle créée avec McCartney, que l’on a eu tout juste le temps d’apprécier. Après, l’homme s’étant calmé, ça se goûtait chanson après chanson.
On se dit qu’il avait lâché prise, et s’occupait à rendre à sa formidable manière ce qui restait : j’ai retenu le picking délicat dans Poison Moon, le chouette medley New Amsterdam/You’ve Got To Hide Your Love Away (ou comment du Beatles peut sonner comme du Costello), une série de jolis morceaux ragtime (le standard Walking My Baby Back Home, et sa propre Jimmie Standing In The Rain, évoquant son grand-père qui jouait dans les orchestres des grands paquebots).
Il y a aussi eu l’orgie du générateur de boucle dans la très électrique Watching The Detectives, l’exquise Alison, la poignante Shipbuilding, l’immense The Last Year Of My Youth. Et la remise du Montreal Jazz Festival Spirit Award par André Ménard, qui a su faire vite. De quoi repartir à la fois content et… un peu interloqué.
--------------------------------------------
Google translation:
The short version of the show marathon
A nice hour and a half not stingy Elvis Costello solo 21 tracks played with due delicacy, scraped with the necessary vigor and pushed his lungs. Of British humor fly high samples, some nice anecdotes and some contextualised brilliantly shot, especially songs we wanted more and we had (Veronica Everyday I Write The Book, Watching The Detectives, Alison): this is absolutely satisfactory, normally.
And people were quite happy this Sunday at the Maison symphonique, it warmly ovationnait when our Elvis at 8:32 p.m., left to join his sister, "my gal playing across town," as he told her not to name Diana Krall which was preparing to present its greatest outdoor show at 21:30.
An hour and a full and satisfactory half, yes, when you do not know anywhere else, this is a show marathon half past two that Elvis proposes up to 38 titles on June 25 at Carnegie Hall . But when you know?
Everyone will browse towards setlist.fm, nowadays, the fan as much as the lambda spectator, especially when the person speaks in interviews of a solo show limitless geometry very variable, with many permutations according the inspiration of the moment: it makes curious.
Are compared. Which he has emerged at the Ryman Nashville, at Massey Hall in Toronto? It prepares you get excited, it makes predictions. Will he one of his songs created with Burt Bacharach? Or side A of the album My Aim Is True, recently daring?
Obviously, as it is expected. In different but the same. We'll see the guy play the game show imprévible but along all the time. When was the rich repertoire of Elvis Costello, everything seems possible, except to shorten.
Was thought. Wrongly.
Note: he himself announced an early "90-minute show." Near the end, he will promise to "return and all play." We do not venture assumptions, but the fact is that, in the conduct provided to journalists, there were 31 titles. Among the planned and entrenched: King Horse, Watch Your Step, Almost Blue, Quiet About It, Man Out Of Time, Suit Of Lights, For The Stars, and others ...
Do not know, they do not fail us: only here, they have all been given elsewhere, most nights ...
What did we get, anyway? Much, and good, admittedly. An entry admittedly a bit rushed, with Jack Of All Parades, 45 Either Side Of The Same Town burst and Veronica, the beautiful created with McCartney, we had just enough time to enjoy. After, the man having subsided, it's tasted song after song.
It is said that he had let go, and looked to make his great way that remained: I retained the delicate picking in Poison Moon, the owl medley New Amsterdam / You 've Got To Hide Your Love Away (or how the Beatles might sound like Costello), a series of beautiful ragtime pieces (the standard Walking My Baby Back Home, and his own Jimmie Standing In the Rain, referring to his grandfather who played in the orchestras of the great liners) .
There has also been an orgy generator loop in the very electric Watching The Detectives, Alison exquisite, poignant Shipbuilding, the immense The Last Year Of My Youth. And delivery of the Montreal Jazz Festival Spirit Award by André Ménard, who was able to quickly. What leave both happy and ... a little taken aback.
La version courte du show marathon
Une belle heure et demie pas chiche d’Elvis Costello en solo, 21 titres joués avec la délicatesse voulue, grattés avec toute la vigueur nécessaire, et poussés à pleins poumons. Des échantillons d’humour britannique de haute volée, quelques belles anecdotes et quelques mises en contexte brillamment tournées, et surtout les morceaux qu’on voulait le plus et qu’on a eus (Veronica, Everyday I Write The Book, Watching The Detectives, Alison) : c’est absolument satisfaisant, normalement.
Et les gens étaient passablement contents ce dimanche à la Maison symphonique, ça ovationnait chaleureusement quand notre Elvis, à 20h32, est parti rejoindre sa belle, « my gal playing across town » comme il l’a dit pour ne pas nommer sa Diana Krall, laquelle se préparait à présenter son grand spectacle extérieur à 21h30.
Une heure et demie pleine et entière et satisfaisante, oui, quand on ne sait pas que partout ailleurs, c’est un show marathon de deux heures et demie que l’Elvis propose, jusqu’à 38 titres le 25 juin dernier à Carnegie Hall. Mais quand on sait ?
Tout le monde va fureter du côté de setlist.fm, de nos jours, le fan autant que le spectateur lambda, surtout quand l’intéressé parle dans les entrevues d’un show solo sans limite, à géométrie très variable, avec moult permutations selon l’inspiration du moment : ça rend curieux.
On compare. Lesquelles a-t-il ressorties au Ryman de Nashville, au Massey Hall de Toronto ? On se prépare, on s’excite, on fait des prédictions. Fera-t-il l’une de ses chansons créées avec Burt Bacharach ? Ou toute la face A de l’album My Aim Is True, osée récemment ?
Forcément, on s’attend à autant. À différent, mais autant. On va voir le gaillard jouer le jeu du spectacle imprévible, mais long tout le temps. Quand on a le vaste et riche répertoire d’un Elvis Costello, tout semble possible, sauf d’écourter.
Pensait-on. À tort.
Notons : il a lui-même annoncé assez tôt un « 90-minute show ». Près de la fin, il promettra de « revenir et toutes les jouer ». On ne hasardera pas de suppositions, mais le fait est que, dans la conduite fournie aux journalistes, il y avait 31 titres. Parmi les prévues et retranchées : King Horse, Watch Your Step, Almost Blue, Quiet About It, Man Out Of Time, Suit Of Lights, For The Stars, d’autres encore…
Ne pas savoir, elles ne nous manqueraient pas : seulement voilà, elles ont toutes été données ailleurs, la plupart des soirs…
Qu’avons-nous eu, tout de même ? Beaucoup, et du bon, avouons. Une entrée certes un peu précipitée, avec Jack Of All Parades, 45 et Either Side Of The Same Town en rafale, puis Veronica, la belle créée avec McCartney, que l’on a eu tout juste le temps d’apprécier. Après, l’homme s’étant calmé, ça se goûtait chanson après chanson.
On se dit qu’il avait lâché prise, et s’occupait à rendre à sa formidable manière ce qui restait : j’ai retenu le picking délicat dans Poison Moon, le chouette medley New Amsterdam/You’ve Got To Hide Your Love Away (ou comment du Beatles peut sonner comme du Costello), une série de jolis morceaux ragtime (le standard Walking My Baby Back Home, et sa propre Jimmie Standing In The Rain, évoquant son grand-père qui jouait dans les orchestres des grands paquebots).
Il y a aussi eu l’orgie du générateur de boucle dans la très électrique Watching The Detectives, l’exquise Alison, la poignante Shipbuilding, l’immense The Last Year Of My Youth. Et la remise du Montreal Jazz Festival Spirit Award par André Ménard, qui a su faire vite. De quoi repartir à la fois content et… un peu interloqué.
--------------------------------------------
Google translation:
The short version of the show marathon
A nice hour and a half not stingy Elvis Costello solo 21 tracks played with due delicacy, scraped with the necessary vigor and pushed his lungs. Of British humor fly high samples, some nice anecdotes and some contextualised brilliantly shot, especially songs we wanted more and we had (Veronica Everyday I Write The Book, Watching The Detectives, Alison): this is absolutely satisfactory, normally.
And people were quite happy this Sunday at the Maison symphonique, it warmly ovationnait when our Elvis at 8:32 p.m., left to join his sister, "my gal playing across town," as he told her not to name Diana Krall which was preparing to present its greatest outdoor show at 21:30.
An hour and a full and satisfactory half, yes, when you do not know anywhere else, this is a show marathon half past two that Elvis proposes up to 38 titles on June 25 at Carnegie Hall . But when you know?
Everyone will browse towards setlist.fm, nowadays, the fan as much as the lambda spectator, especially when the person speaks in interviews of a solo show limitless geometry very variable, with many permutations according the inspiration of the moment: it makes curious.
Are compared. Which he has emerged at the Ryman Nashville, at Massey Hall in Toronto? It prepares you get excited, it makes predictions. Will he one of his songs created with Burt Bacharach? Or side A of the album My Aim Is True, recently daring?
Obviously, as it is expected. In different but the same. We'll see the guy play the game show imprévible but along all the time. When was the rich repertoire of Elvis Costello, everything seems possible, except to shorten.
Was thought. Wrongly.
Note: he himself announced an early "90-minute show." Near the end, he will promise to "return and all play." We do not venture assumptions, but the fact is that, in the conduct provided to journalists, there were 31 titles. Among the planned and entrenched: King Horse, Watch Your Step, Almost Blue, Quiet About It, Man Out Of Time, Suit Of Lights, For The Stars, and others ...
Do not know, they do not fail us: only here, they have all been given elsewhere, most nights ...
What did we get, anyway? Much, and good, admittedly. An entry admittedly a bit rushed, with Jack Of All Parades, 45 Either Side Of The Same Town burst and Veronica, the beautiful created with McCartney, we had just enough time to enjoy. After, the man having subsided, it's tasted song after song.
It is said that he had let go, and looked to make his great way that remained: I retained the delicate picking in Poison Moon, the owl medley New Amsterdam / You 've Got To Hide Your Love Away (or how the Beatles might sound like Costello), a series of beautiful ragtime pieces (the standard Walking My Baby Back Home, and his own Jimmie Standing In the Rain, referring to his grandfather who played in the orchestras of the great liners) .
There has also been an orgy generator loop in the very electric Watching The Detectives, Alison exquisite, poignant Shipbuilding, the immense The Last Year Of My Youth. And delivery of the Montreal Jazz Festival Spirit Award by André Ménard, who was able to quickly. What leave both happy and ... a little taken aback.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
sweetest punch
- Posts: 5988
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Photos of Diana and Elvis: http://www.montrealgazette.com/entertai ... story.html
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
sweetest punch
- Posts: 5988
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Diana and Elvis graced pretty much all the local newspaper covers today. Not surprising seeing as that concert brought downtown Montreal to a standstill (depending who you believe, 100-200,000 in the audience). I’ve definitely seen her play better shows, but you can’t beat that kind of atmosphere. Lots of TV coverage too, though mostly en francais, except this rather obnoxious CityTV
Excerpts from both shows and press conferences are at http://www.montrealjazzfest.tv (and some longer presser excerpts here)
Plenty of videos on YouTube, including this one of the entirety of Ophelia & Whispering Pines: http://www.youtube.com/watch?v=EP571RrhagU
Excerpts from both shows and press conferences are at http://www.montrealjazzfest.tv (and some longer presser excerpts here)
Plenty of videos on YouTube, including this one of the entirety of Ophelia & Whispering Pines: http://www.youtube.com/watch?v=EP571RrhagU
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Thanks for all the links, Scielle! Do you have any links to French-language TV clips?scielle wrote:Diana and Elvis graced pretty much all the local newspaper covers today. Not surprising seeing as that concert brought downtown Montreal to a standstill (depending who you believe, 100-200,000 in the audience). I’ve definitely seen her play better shows, but you can’t beat that kind of atmosphere. Lots of TV coverage too, though mostly en francais, except this rather obnoxious CityTV
Excerpts from both shows and press conferences are at http://www.montrealjazzfest.tv (and some longer presser excerpts here)
Plenty of videos on YouTube, including this one of the entirety of Ophelia & Whispering Pines: http://www.youtube.com/watch?v=EP571RrhagU
Dave
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Can’t really find any of the stuff I saw on TV online except this CBC story (but that’s live from 11pm news so before EC came out for the encore).
I have some soundcheck videos which I'll try to upload shortly.
Also, someone posted this bit referred to earlier.
There are some nice photos from both shows at http://www.montrealjazzfest.com/multime ... fault.aspx
Can't post a direct link because it's Flash, so you have to scroll down and click through the Photos section.
I have some soundcheck videos which I'll try to upload shortly.
Also, someone posted this bit referred to earlier.
There are some nice photos from both shows at http://www.montrealjazzfest.com/multime ... fault.aspx
Can't post a direct link because it's Flash, so you have to scroll down and click through the Photos section.
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
I finally got around to uploading my videos from the soundcheck:
Subterranean Homesick Blues 1
Subterranean Homesick Blues 2
Ophelia 1
Ophelia 2
Ophelia 3 (entire tune)
Whispering Pines
Here is an audio of André Ménard presenting the Spirit Award during EC’s show at the Maison Symphonique: http://youtu.be/L1FXPmRGZ00
Also, found this story which includes some video from EC's show along with Tony Bennett's: https://www.youtube.com/watch?v=vwl97YsRh-g
And on a separate note now that the fest is tout fini – favourite discoveries: Valerie June, Lemon Bucket Orkestra, Lyre le Temps. Other highlights: Laila Biali, Coeur de Pirate, Rufus Wainwright… and my friend sitting in on piano with the brass section of Michael Buble’s band at last night’s jam session!
This city is absolutely amazing in the summer – Jazz Fest, Circus Fest, Just for Laughs, Francofolies, Tam Tams, street performers galore, brilliant street art and best cafés this side of the Atlantic… was glad to be back here for a bit. Highly recommended!
Subterranean Homesick Blues 1
Subterranean Homesick Blues 2
Ophelia 1
Ophelia 2
Ophelia 3 (entire tune)
Whispering Pines
Here is an audio of André Ménard presenting the Spirit Award during EC’s show at the Maison Symphonique: http://youtu.be/L1FXPmRGZ00
Also, found this story which includes some video from EC's show along with Tony Bennett's: https://www.youtube.com/watch?v=vwl97YsRh-g
And on a separate note now that the fest is tout fini – favourite discoveries: Valerie June, Lemon Bucket Orkestra, Lyre le Temps. Other highlights: Laila Biali, Coeur de Pirate, Rufus Wainwright… and my friend sitting in on piano with the brass section of Michael Buble’s band at last night’s jam session!
This city is absolutely amazing in the summer – Jazz Fest, Circus Fest, Just for Laughs, Francofolies, Tam Tams, street performers galore, brilliant street art and best cafés this side of the Atlantic… was glad to be back here for a bit. Highly recommended!