2004-05-21 Bochum, Germany, Jahrhunderthalle ?

Pretty self-explanatory
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AlmostBlue
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2004-05-21 Bochum, Germany, Jahrhunderthalle ?

Postby AlmostBlue » Sat May 22, 2004 12:19 am

Any news of the Bill Frissel "Century of a Song" with Elvis in Germany???

date verieid on elvis site

johnfoyle
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Postby johnfoyle » Sat May 22, 2004 2:36 pm

ImageRuhrtriennale mit Elvis Costello und Bill Frisell eröffnet




http://www.szon.de/news/kultur/theaterw ... &_from=rss


Bochum (dpa) - Mit einem Konzert des britischen Sängers Elvis Costello und des Jazzgitarristen Bill Frisell samt Band hat am Freitagabend in Bochum die dritte Spielzeit des Kulturfestivals Ruhrtriennale begonnen.

In der Reihe «Century of Song» gehen die Künstler musikalisch auf die Suche nach Songs, die im vergangenen Jahrhundert Stil bestimmend waren. Die Jahrhunderthalle war mit 1500 Zuhörern ausverkauft.

Ein ebenfalls bereits ausverkauftes zweites Konzert am Samstag hatte Costello kurzfristig aus persönlichen Gründen abgesagt. Stattdessen wird Frisell mit seiner Band ein Zusatzkonzert geben und dabei ein Überraschungs-Programm unter dem Motto «Americana Deluxe» präsentieren. Ende Juni werden die Songwriterin Ricky Lee Jones und der Jazz-Sänger Jimmy Scott in der Essener Lichtburg erwartet.

In der dritten und letzten Saison des ersten Triennale-Zyklus' unter Intendant Gerard Mortier sind bis zum 24. Juli insgesamt 17 Produktionen mit 74 Veranstaltungen an neun verschiedenen Spielorten zu sehen. Zwei Drittel der insgesamt 28 500 Karten sind bereits verkauft.

(Stand: 22.05.2004 11:44)

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Bochum (dpa) - with a concert of the British singer Elvis Costello and the jazz guitarist Bill Frisell including volume on Friday evening in Bochum the third play time of the Kulturfestivals Ruhrtriennale began. In the row "Century OF Song" go the artists in music on the search for Songs, which were determining in the past century style. Those century-resounds was with 1500 listeners sells off. Likewise a second concert already sold off on Saturday had called Costello off at short notice for personal reasons. Instead Frisell with its volumes an auxiliary concert will give and will present a surprise program under the slogan to "Americana Deluxe". At the end of June the Songwriterin Ricky Lee Jones and the jazz singer Jimmy Scott in the Essener light castle are expected. In the third and last season of the first Triennale cycle ' under director Gerard Mortier altogether 17 productions with 74 meetings at nine different play places are to be seen by 24 July. Two thirds that altogether 28,500 maps are already sold. (conditions: 22.05.2004 11:44)

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AlmostBlue
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Postby AlmostBlue » Sat May 22, 2004 4:04 pm

wow - that google translator is even worse that altavista / babelfish!
but what can you expect from a bunch of kids spoiled by no deadlines, unlimited junk food, scooters, and all of the over hype of something that is no better than yahoo.. but anyway.. I was hoping he would show and someone from the board would have seen it .. as "Live at The Meltdown" with Bill Frisell and Costello was a great concert, as you can purchase from songtone.com

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Postby johnfoyle » Sun May 23, 2004 5:12 pm

Joyce reports to listserv -

Photos ( too big to paste here)

http://www.joycejo.net/Elvis/Bochum_21M ... ay2004.htm


The venue was quite interesting. A huge old warehouse. As there were
big windows at the top of the place, there was natural light throughout the
building for the first half of the show. Elvis wore a paisley
green/purple shirt and no tie. He also had on a necklace with a pendant of some sort. He occasionally resorted to singing the lyrics from printed pages. Bill Frisell's band acted as Elvis' backup band. There was a violin, bass, trumpet, drums, guitar. The trumpet was the weirdest one I've seen - looked like the mouthpiece was part of the horn itself and it had some weird ornate designs all over it.

Setlist:

Painted From Memory (Bill Frisell and band instrumental)
(Elvis comes on)
Love Field
Toledo
Deep Dead Blue
You Turned To Me
Weird Nightmare ( Mingus)
The Butcher's Boy
Poor Napoleon (great!)
Radio Silence (Major funky Elvis; this song went on for ages)
(intermission)
When It Sings
Scarlet Tide (ukelele)
Someone Took The Words Away (included the story about the problems with the Lee Konnitz tribute and said that they were now playing it afterall)
Gigi (Bill Frisell/EC only)
Sweet Pear
Dust
He's Got You (lovely)
(encore 1)
Needle Time
(encore 2)
Almost Blue

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Postby johnfoyle » Sun May 23, 2004 5:33 pm

http://www.fr-aktuell.de/ressorts/kultu ... cnt=441966

Neu erleben

Elvis Costello eröffnet die Ruhrtriennale-Saison 2004

VON UDO FEIST



Gute Ideen erschöpfen sich nie, was für den guten Song genauso gilt. Ob "Yesterday", "Chelsea Morning" oder "Heartbreak Hotel": allesamt Erinnerungsspeicher, zeitlose Momente, Gefühlsgalerien und Erste Hilfe, mit denen DJs schon Leben retteten. Der popular song, klassisch ein Dreiminüter, ist das Genre des Jahrhunderts der Massenkultur, das Triebabfuhr, Besinnung, Individualität und Essenz einzigartig vereint - und seit "Like A Rolling Stone" auch nicht mehr auf drei Minuten fixiert.

Insofern ist die Reihe "Century of Song" mit Exklusivkonzerten innerhalb der RuhrTriennale ein Versprechen, das schon vergangenes Jahr die Erstausgabe imposant hielt. Die aktuelle Staffel leitet wieder Jazzgitarrist Bill Frisell, der für seine Sensibilität gleich berühmt ist wie für seine Aufgeschlossenheit - von Noise-Projekten mit John Zorn bis zu einer Country-Platte. Beste Voraussetzungen für "Century of Song", zumal er mit sehr unterschiedlichen Musikern persönlich befreundet ist.

New Wave-Legende Elvis Costello, begnadeter Songwriter, Interpret und stilistisch ein so virtuoser Ikonoklast wie Frisell, hat die RuhrTriennale-Saison in Bochum eröffnet. Im vollen Haus waren neben TV-, Polit- und Sponsorenprominenz etliche Buddy- Holly-Brillen zu sehen, zu Beginn der Karriere des bald 50-Jährigen sein Markenzeichen - als das Anreisen zu den oft schmuddeligen Clubkonzerten von Costello & The Attractions noch abenteuerlich war. Doch auch die Alltime-Fans sind nun Leute von 40 und darüber, zwar noch schlank, aber ergraut und auf den Parkplätzen mit Volvo, Saab und Benz vertreten.


Songs in voller Wirkung

Den Songs kann der Wechsel aus den Hütten in den Songpalast allerdings nichts anhaben, wie Costello gelassen und ganz im "Century of Song"-Sinn zeigte. Er präsentierte kein wohlfeiles "Best of" seit 1977, als zwischen Punk-Biss und Wave-Understatement sein Debut My Aim Is True mit Sprachwitz und bitterer Ironie zur unverwechselbaren Soul-Pubstimme in das Bewusstsein einer ganzen Generation schoss, sondern 17 zumeist neuere Songs in Arrangements, die in den drei Tagen zuvor entstanden waren.

Ron Miles (Trompete), Jenny Scheinmann (Violine), Viktor Krauss (Bass) und Matt Chamberlain (Drums) - alle deutlich jünger als Costello und Frisell - passten sie genau. Die Band spielte kompakt, diszipliniert und virtuos.

Wie ein Studioensemble, dabei spaßbefeuert, teils dirigiert von Costellos Handzeichen oder einem Nicken Frisells, kammermusikalisch dicht, jazzig oder treibend wie das HiHo eines Rockzugs in Interpretationen, die trotz zunächst tagheller Halle eine zeitvergessene Atmosphäre zwischen Jazzbar und psychedelischem Desert-Honkytonk schufen.

Songs in voller Wirkung, mächtig auf schlichter Bühne, die ihnen allen Platz ließ. Costello brachte neben Titeln seiner letzten, Jazzballaden-geprägten Platte North ("You Turned To Me" oder "Someone Took The Words Away") viele Songs, die er und Frisell schon 1995 beim Londoner Meltdown-Festival für Deep Dead Blue aufnahmen, darunter "Gigi", zu dem Crooner Costello bis ins Schmalzige brilliert, und "Poor Napoleon".


Statements für den Augenblick

Frisell serviert dazu ein Rockgitarrensolo, das zwar kräftig zitiert, aber nie parodiert. Tief in den Blues sinken beide mit "Weird Nigthmare", einem Charles-Mingus-Song. Von Painted From Memory, das Costello mit Burt "Easy Listening" Bacharach aufnahm, spielte er den Titelsong und "Toledo". "Alt" war nur die letzte Zugabe, "Almost Blue" von der 82er-Platte Imperial Bedroom, als Jazzstandard arrangiert, frisch wie gerade geschrieben.

Keine Zeitreise, sondern Statements für den Augenblick, hier und aktuell zu füllen. Das machte der Galaabend leicht, wobei Costello den explodierenden Blues "Steel Time" dem Industrieambiente zu widmen schien, vielleicht aber nur sagen wollte, dass es mit Songs immer irgendwie weiter und doch zeitlos zugeht, denn "Steel Time" ist von der Platte, an der er gerade am Mississippi arbeitet.

Sind sie demnach nur wirkmächtige Illusionen? Eine Frage, die man nicht stellt, wenn Worte, Musik und Stimme einen Sound formen, als habe Dylan mit Muddy Waters und Costello sein "Bringin' It All Back Home" neu eingespielt.

Wiedererkennen? Neu erleben schon eher, was bis Juli auch Rickie Lee Jones, Vic Chesnutt, Ron Sexsmith, Jesse Harris und Petra Haden ansteuern - im "Century of Song" mit Bill Frisell & Friends. Erleichterung auf höchstem Niveau.

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Again Elvis Costello experience open the Ruhrtriennale season

2004 FROM UDO PROTECT

property ideas are never exhausted, which applies to the good Song exactly the same. Whether "Yesterday", "Chelsea Morning" or "Heartbreak hotel": all together memory memory, timeless moments, feeling galleries and first assistance, with which DJs already saved lives. Popular song, classically a Dreiminueter, is the category of the century of the mass culture, which unites impulse removal, meditation, individuality and Essenz singularly - and since "Like A Rolling Stone" also not more on three minutes fixes. To that extent the row "Century OF Song" is with exclusive concerts within the RuhrTriennale a promise, which kept already past year the first edition imposant. The current relay leads again jazz guitarist Bill Frisell, which is just as famous for its sensitivity as for its open-mindedness - of Noise projects with John anger up to a Country plate.


Best conditions for "Century OF Song", particularly since it is personally friendly with very different musicians. New Wave legend Elvis Costello, highly gifted Songwriter, interpreter and stylistic a as virtuoser Ikonoklast as Frisell, opened the RuhrTriennale season in Bochum. In the full house were beside TV - to see Polit and Sponsorenprominenz some Buddy Holly eyeglasses at the beginning of the career soon of the 50-Jaehrigen its brand name - when that was still adventurous journeys to the often schmuddeligen club concerts of Costello & The Attractions. But also the all time fans turned grey now people of 40 and over it, still slim, but and on the parking lots with Volvo, Saab and Benz represented.

Songs in full effect the Songs can wear the change from the huts in the Songpalast to however nothing, as Costello showed calmly and completely in the "Century OF Song" sense. It did not present wohlfeiles "Best OF" since 1977, when between Punk bite and Wave Understatement its Debut My Aim Is True with language joke and bitter irony shot to the unmistakable Soul Pubstimme into the consciousness of a whole generation, but 17 mostly newer Songs in arrangements, which had developed in the three days before.

Ron Miles (trumpet), Jenny illusory man (violin), Viktor Krauss (bass) and matt Chamberlain (Drums) - all clearly younger than Costello and Frisell - they fit exactly.

The volume played compactly, disciplined and virtuos. Like a Studioensemble, fun-beaconed, partly handzeichen or nodding directs Frisells, chamber in music closely, jazzig or floating like the HiHo of a skirt course in interpretations from Costellos, which resounds despite first more day-brightly a time-forgotten atmosphere between jazz bar and psychedelischem Desert Honkytonk created.


Songs in full effect, powerfully on simple stage, which left all place to them. Costello brought apart from titles of its last, Jazzballaden coined/shaped plate North ("You Turned ton of ME "or" Someone Took The Words Away") many Songs, which he and Frisell already 1995 with the Londoner Meltdown Festival for Deep DEAD Blue took up, among them to "Gigi", to which Crooner Costello in the Schmalzige brilliert, and "Poor Napoleon". Statements for the instant Frisell served in addition a skirt-guitar-solo, which quotes strongly, but never parodiert.

Deeply into the Blues both sink with "Weird Nigthmare", a Charles Mingus Song. From Painted From MEMORY, which took up Costello with Burt "Easy Listening" Bacharach, it played the Titelsong and "Toledo". "alto" was only written the last addition, "Almost Blue" from the 8èr-Platte imperially Bedroom, when jazz standard arranges, freshly like straight. No time journey, but statement for the instant to fill here and up-to-date. That made the Galaabend easily, whereby Costello seemed to dedicate the exploding Blues "Steel time" the Industrieambiente, to perhaps however only say wanted that it continues to happen with Songs always somehow and nevertheless timeless, because "Steel time" is from the plate, on which he works straight on the Mississippi.

Are they therefore only work-powerful illusions? A question, which one does not ask, if words, music and voice form a sound, as if has Dylan with Muddy Waters and Costello to be "Bringin ' It universe bakes Home" again brought in. Recognize? Again experiences already rather, what to July also Rickie Lee Jones, Vic Chesnutt, Ron Sexsmith, Jesse Harris and Petra Haden head for - in the "Century OF Song" with Bill Frisell & Friends. Easement on highest level.

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Postby martinfoyle » Wed May 26, 2004 4:42 am

Just been listening to a tape of this show, and it's incredible. Their Meltdown collaboration appeared fairly promptly, hopefully this will too. Elvis really is on fire these days. If this any indicator of things to come, the album in the autumn will be a new high.

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Postby migdd » Wed May 26, 2004 11:43 am

From John Foyle's post on http://www.costellonews.com:

http://www.joycejo.net/Elvis/Bochum_21M ... ay2004.htm


Check out these pictures!

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Postby sweetest punch » Wed May 26, 2004 1:27 pm

martinfoyle wrote:Just been listening to a tape of this show, and it's incredible. Their Meltdown collaboration appeared fairly promptly, hopefully this will too. Elvis really is on fire these days. If this any indicator of things to come, the album in the autumn will be a new high.


When I read the setlist, I was a little disappointed.

But according to Martin, this was a fantastic concert.

Is there anybody who was there and can give us a full report?
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Postby johnfoyle » Mon May 31, 2004 12:55 am

I listened today to a recording of his show
with Bill Frisell in Germany last week - it`s
excellent! The voice is in great shape , the guitar
work is riffing all over the place etc. Sweet Pear and
Poor Napoleon go on for ever , the jazz guys really
giving it loads - the drummer just bashes seven shades
of shit out of his kit. Needle Time works great as a
group performance - a vast improvement on the
Costello/ Nieve takes that I`d heard previously. For
what it's worth I think Elvis sounded quite sincere
when he said that the next album is going to be called
South . He finished by introing Almost Blue with the
comment that it was a song that `recently a beautiful
woman ran of and stole it from me...` . Newly weds -
don`t you just love 'em?

By the way I got the recording so quickly
`cos the recorder travelled to Dublin during the week
to see Rufus Wainwright in concert with the McGarrigle
Sisters ( and Martha , his awesome sister). My visitor
taped that show also , sitting next to me. Talk about
a blatant recording technique ! An enormous
michrophone held chin high for the evening. I suppose
it helped that we were in the front row of a dimly lit
balcony ; I still spent the first half hour of the
show waiting for the bouncers to appear. Nothing
happened. I was even anxious about a guy sitting near
us , one Neil Hannon of the Divine Comedy. However he
seemed cool with it also. Apparently the resulting tape
has the added attraction of my laughs being loud and
clear - how ghastly!

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Postby Otis Westinghouse » Mon May 31, 2004 2:29 am

Sounds great, and I love the unsubtle recorder story. I'd never come acress the 'costellonews' site, looks really good (apart from the idea that Italy is somehow part of Iberia!). Why is that John Foyle's post? And why the 'vegan' ref? EC isn't a vegan, is he?

How come Bill F isn't in the photos?

Great line-up for those dates, too. Ron S and Rickie-Lee too! Lucky Ruhrpeople. How appropriate for the Century of Song to be celebrated in the 'Hundred Year Hall'.
There's more to life than books, you know, but not much more

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Postby selfmademug » Mon May 31, 2004 5:33 am

Sounds just amazing. HE'S GOT YOU-- wow. Is this something he has played much? I'm sketchy on my ALMOST BLUE-era live stuff; is this a revisit or a novelty. Great song.

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Postby verbal gymnastics » Tue Jun 01, 2004 5:05 am

I know Elvis is a non-meat eater but I'm not sure if he's veggie or vegan. He certainly doesn't seem to suffer from malnutrition.

Elvis has played He's Got You a lot periodically over the years. I've got a recorded version on the Nashville and more bootleg CD. From memory he even got a local person - in Nashville I think - to sing it on stage with him once.
international laughing stock...

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Re: 2004-05-21 Bochum, Germany, Jahrhunderthalle ?

Postby johnfoyle » Tue Mar 03, 2009 7:28 am

Elvis mentions this in a Bill Frisell liner note -

viewtopic.php?f=2&t=7596

(extract)
It is always a joy to share the stage with Bill, whether at a song festival in an old Krups armaments factory in Germany

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Re: 2004-05-21 Bochum, Germany, Jahrhunderthalle ?

Postby Man out of Time » Sat Aug 31, 2013 4:55 am

Another review here:

Kölner Stadt-Anzeiger:

"Bochumer Begegnung

Elvis Costello und Bill Frisell durchforsten das „Jahrhundert des Lieds“.

Geschickt gewählt war der Eröffnungstermin der dritten Spielzeit der Ruhrtriennale - einen Tag nach der Entscheidung für Essen und das „Revier“ als nordrhein-westfälischem Bewerber für die Kulturhauptstadt Europas 2010. Es war eine bewegende Aufführung aktueller Musik in industriehistorischer Umgebung: das Zusammentreffen des Songwriters Elvis Costello mit dem herausragenden Jazzgitarre-Barden Bill Frisell aus Seattle. Dies alles bei einem großen europäischen Festival, das sich deutlich zunehmender Akzeptanz der Region erfreut. Schauplatz des Spektakels, das sich jeder künstlichen Dramatik entzog, war die Bochumer Jahrhunderthalle, die gigantische ehemalige Gaskraftzentrale des „Bochumer Vereins“, die im Herzen der Stadt in einer riesigen Brache steht.

Viele Assoziationen löste das scheinbar ungleiche Duo auf der Bühne aus. Da der populäre Star mit der eigenwilligen, unter die Haut gehenden Stimme; und dort der Spitzenkönner des Jazz, der sich vor Zeiten bei John Zorns New-York-Projekten als ein Protagonist der Avantgarde bewiesen hatte, sich aber nun auf entspannte Songs einließ. Die Liebe zum amerikanischen Songbook, die Frisell zur Hauptfigur der im vergangenen Jahr gestarteten Reihe „Century of Song“ gemacht hat, verbindet sie. Mit Marc Ribot, Suzanne Vega, Van Dyke Parks und Loudon Wainright III. konnte er das Publikum bereits von dieser Leidenschaft überzeugen. Seit Jahren trifft er sich gelegentlich mit Costello, hat mit ihm in London im Jahr 1995 eine CD eingespielt. Deren Repertoire führten die beiden nun mit unveränderter Emphase, aber auch mit neuen Akzenten und ergänzt um neue Songs auf.

Vordergründig schien es, als agiere Costello als Chef auf der Bühne, führte das Wort, versuchte sich im Dirigieren. Doch zu erleben war vor allem die Musik des immer freundlichen Bill Frisell, die ihre folkloristischen Quellen nicht verleugnete und auch in minimalistischen Gitarrenbeiträgen ihre große Kunst belegte. Seine Band, mit Musikern wie dem Trompeter Ron Miles hervorragend besetzt, schuf im Hintergrund einen großartigen und manchmal rauschhaften Sound. Auch die Rockfans kamen schließlich mit der Zugabe „South“ auf ihre Kosten, bei der Costello mit eigenen Gitarrengriffen den Ton angab.

Das Publikum war zufrieden, dass eine mutige Intendanz einen unprätentiösen und unterhaltsamen Abend mit höchst kunstvoll verpackten Songs genutzt hatte, um die neue Spielzeit zu eröffnen. Noch dreimal können die Kulturfreunde in Bochum und Essen den Songexperten Bill Frisell erleben, mit Rickie Lee Jones und Vic Chestnutt (25., 26. Juni), Ron Sexsmith und Jesse Harris (9., 10. Juli) und mit Petra Haden (16. Juli), mit der er dann noch einmal durch alle seine Lieblingssongs führt."

Or in translation:

Bochum begins

"Elvis Costello and Bill Frisell scour the "Century of Song " .

Cleverly chosen was the opening date of the third season of the Ruhr Triennale - one day after the decision for food and the " area" to be a candidate for the North Rhine - Westphalian European Capital of Culture 2010. It was a moving performance of contemporary music in the surroundings of industrial history : the meeting of the songwriter Elvis Costello with the outstanding jazz guitar Bard Bill Frisell from Seattle . All this pleased with a major European festival, which significantly increases the status of the region. The scene of the spectacle, which eluded any artificial drama , was the Centennial Hall Bochum , the gigantic former gas power station of the ' Bochum club, " which stands in a vast wasteland in the heart of the city .

Many associations solved the seemingly disparate duo on stage. Since the popular star with the idiosyncratic voice that gets under your skin , and there the top of the jazz -rounder , who had proved in times of John Zorn's New York projects as a protagonist of the avant-garde, but now took in a relaxed songs. The love of the American Songbook , the Frisell has made ​​the main character of the series launched last year " Century of Song " , it connects . With Marc Ribot , Suzanne Vega , Van Dyke Parks and Loudon Wainwright III . He was able to convince the audience of this passion . For years, he meets occasionally with Costello and recorded a CD with him in London in 1995. Their repertoire led the two now with unchanged emphasis, but also with new accents and added new songs.

Superficially, it seemed as Outsmart Costello as chief on the stage, was the chief speaker , tried his hand at conducting. But experience was especially the music of Bill Frisell always friendly , do not deny their folkloric sources and with minimalist guitar contributions occupied their great art. His band, filled with excellent musicians like the trumpeter Ron Miles, in the background created a grand and sometimes delirious sound. Even rock fans finally came with the addition "South " at their expense , with their own guitar chords set the tone at the Costello .

The audience was satisfied that a bold artistic director had used an unpretentious and entertaining evening with most artfully packaged songs to open the new season . To three times the culture friends in Bochum and Essen the song Bill Frisell experience experts , with Rickie Lee Jones and Vic Chestnutt ( 25 , 26 June) , Ron Sexsmith and Jesse Harris ( 9th, 10th July) and with Petra Haden (16 July) , with whom he still performs once all his favorite songs."

MOOT


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