Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Pretty self-explanatory
johnfoyle
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Postby johnfoyle » Mon Sep 11, 2006 4:50 pm

Here's how the show's venue looked-

Image

Image

Hmmm... the Quo , The Moody Blues...such riches!

The only one of my concert photos that came out in any way decent was this -

Image
In a certain light he looks like........

I told you about the Wednesday morning I scouted out the venue, not succeeding in getting the all important ticket for the second show. I returned to the venue, about 20 minutes by train from Amsterdam central, at about 5.45. An A4 sign was displayed in the window of the still locked venue

It read

Elvis Costello and The Metropole Orkest , September 6 2006

18.30 Deuren open
20.15 1e deel Elvis Costello and The Metropole Orkest
21.15 Paeze
21.45 2e deel Elvis Costello and The Metropole Orkest
22.45 Einde show , ' ganze open' ( my hand written note is unclear)

...and a more text in Dutch about something .

I went to a pub in the square outside the venue, getting a outdoor table and ordering a Heineken (medium - I didn't want to be snoring during the gig). After a while I noticed excellent food being served and ordering a omelette and chips. Scoffing this down in the balmy, warm conditions, kids playing in nearby, netted in basketball court, people coming and going from the sporting and electronic goods stores it was no time before I could see the venue was open. Passing over the dessert menu - reluctantly - I was getting the bill when I noticed a couple having a smoke and waiting forone of the now all in service tables. One of them was wearing a Metrople Orkest t-shirt. I waved them to my table, asking him if he was with the Orkest. He wasn't but his companion told me she was, playing violin. I said how I was looking forward to the show and was hoping to get a ticket for the second one. They suggested I try the box office, having clearly not got the hint that they should invite me, their New Best Friend , to be their guest etc. I thanked them and went into the venue.

I adopted the upfront approach ie. me rabid fan, have travelled barefoot many miles etc. , any chance of a ticket ? That is when I got my turn. There was the usual scene at the desk, the same the world over, where some self important people where doing the eye-rolling, do-you-know-who-I-am routine as they expressed their credulity that they were not on the guest list etc. They were , as usual, sad old hippies with expensive hair arrangements and wearing 'down wiv the kids' florescent clothes and track shoes. My request was, initially, greeted with a heartening response of ' Yes , sir, no problem, my colleague here will sort it out for you'. As I stood aside , waiting for a 'phone call to be made to check something , the next saddo barked at the patient assistant. As this was being taken care of the word came that the' second show was private'
And they couldn't sell me a ticket. This was hastily said, as Next Saddo got increasingly petulant at the assistant daring to pause in her attention to him to tell me. I said thank you and gave up.

I hung around the entrance for a while longer. I was hoping Richard Groothuizen of ECIS (the Holland based Costello fanzine) would spot the 'North' t-shirt I was wearing and introduce himself. I didn't know what he looked like and didn't have a mobile 'phone with me so had arranged this point of identification. Alas he never found me so I went in.

I had thought my seat was in the front row of the balcony. I wasn't - it was front row , literally at Elvis' feet. Indeed the balcony was not opened that evening, with most of the back section downstairs empty also. I adjusted to people smoking indoors , something not allowed back home , but it wasn't too bad. Then I got a tap on my shoulder and it was Sweetest Punch who had spotted me somehow. He and Mrs SP were sitting the row behind me. Excellent!

We watched Milo doing things with Elvis' guitars, bringing out glasses and jugs and bottles 'n towels to Elvis' stand and Steve's piano. A one point a older lady, using a stick, accompanied by a very McManus looking male, came from the stage side , walking around by us at our level and proceeding to , I presume , a side seat.

The show proceeded as described elsewhere, starting at about 8.20. At the interval we were late to the bar. Then I realised it operated on a disc system, to be purchased from a machine nearby. In the end it was while before we got chatting. A stall selling merchandise was playing a DVD of the '04 North Sea Jazz Show. We were discussing the Belgian education system when I realised the sound of the music seemed louder than usual...the show had re-started!

We dashed in, learning, at the song-end, that we had missed Still and most of Green Shirt. Drat!

After the show it was time for another quick drink and then the 'Punchs had to leave to drive back to Belgium. I remembered Verbal's suggestion here (or was it a PM?) about meeting at the stage door and was greeted by him and friend ( first time we've met , they still spotted me.....the’ North' t-shirt maybe?) and we had our encounters with Steve 'n Elvis. The comment about Dublin may seem harsh but I'm now inclined (deluded enough?) to think it was a comic riposte from a tired artist who had just been fending of banter about not playing in the U.K. Y'know , like, if I'm not playing the U.K. I could hardly be playing Ireland, that sort of thing. Whatever.

Then on the late train and so on.

The next day, after a very late start and a lazy day of aimless tram rides to see the city and environs ( I had a three day pass and a great book, Joe Boyd's White Bicycle) and more eating I got back, after a late afternoon nap ( I'm soooo old) , to the venue , arriving there at 6. The same sign was up in the venue. I sat nearby, intending to find out quickly if I had any hope and go back to town for a movie ( or whatever....) .

I sat on bollard type thing (see above photo) and read a U.K ‘paper. Looking up I realised Milo was walking towards me, eating a ice cream cone. I looked down again, wondering if he had spotted me. He was with Steve the evening before when I gave him my name and he asked me if I was 'with that website'. Elvis appearing and having to dash to get his autograph etc abruptly curtailed my positive response to that. Had Steve screwed up the piece of paper and told Milo I was a stalker/saddo/intrusive reptile etc, I wondered. I looked up again and Milo had turned around and was walking away.

The venue opened and I approached the box office. I explained how I knew it was a private show but I had spoken to one of the musicians the evening before and he'd see what he could etc. They didn't have a list yet they told me ............but they were actually selling a few tickets for the show. I said 'Gimme One!’.....or something like that. So I don't know if Steve did do something or whatever.

Skipping for joy (well , almost) I headed out to find a public phone , to let Martin back in Dublin know. A barman told me there was one at the other side of railway line. Heading there, around by the venue, I nearly ran into Milo again. This time he was just standing there, pen in hand , looking through a spiral notebook. I passed him, proceeded through the building site under the railway line and found the phone. Coming back I'm wending my way through the fenced of passageway through the site and who should be ambling towards me but, you guessed it, Milo. Whistling nervously, I pass him (notebook closed, preoccupied look on face) and walk smartly back to the venue.

The balcony seat was two rows from the back. A more extreme contrast with the night before couldn't have been more possible. It was like going from up-close pan scan to windscreen on a TV screen. It was a much older audience. Joking aside, there were some really elderly people around me. Remembering the volume level of the night before I was curious about their reactions. They also smoked a lot. Without any noticeable air conditioning I really noticed the clouds of smoke billowing up.

The couple next to me were Dutch resident Italians. The last show they had seen was Eros Ramozatti in Rotterdam. They hadn't seen Elvis before, didn't really know him ( 'He is English?' I was asked), had merely been attracted by the coupon on their credit card bill. Curiously enough they had paid exactly the same as I what I had paid for each night, c. €49 each. The only 'special offer' aspect that seems to have applied was exclusive access to the show. They had arrived at the venue to find that they (and the couple to the other side of them) had been assigned separate, non-pairing, seats downstairs. They had objected and had been offered paired seats in the balcony. That might explain why, though the back few rows of nearly full balcony were, eventually, nearly full you could see a few individual empty seats downstairs.

The show was, as I've told you, great. Afterwards I headed around to the stage door , to find I was the only one there. Orkest members appeared, some smiling at me, going to a bus. As time passed I was getting anxious about making that last 12.05 train to Amsterdam. Come 11.55 two swish cars mount the pavement and park by the door. A man appeared and told the drivers who is getting Elvis 'n co. and who is getting Jill Taylor (Elvis’ manager) and co. Eventually they all appear out together . I managed to catch Steve's attention. He signed my ticket and asked me 'So, what did you think of tonight's show?' . It was all too hectic to clarify whether he recognised me and knew I had seen the previous show. I didn't tell him about buying the ticket, just in case he had put name on a list or whatever. I babbled something about how I wasn't going to say it was better because last night was great but tonight’s show was tighter, more focused etc. In my nervousness I tried to be light-hearted and said ' You could take that show to Vegas!'. Steve frowned/smiled at me. I could see Elvis was going to get into the car and headed over to him.

He agreed to sign my ticket. The night before he had used a black marker Verbal had with him. Tonight I had a very thin, felt tipped one. Elvis' couldn't get it to write. Eventually he got a bit of a scrawl out of it on my ticket. Nothing came out when he tried to sign the MFFB Cd sleeve. 'Y'see , that’s what comes from being leftie ' he said . 'Ah well, at least it (the sleeve) is engraved'. I thanked him, said 'great show' and he said 'yeah', turning away to his car.

I then ran like hell and got the train with a minute to spare.
Milo was not there to wave me of.

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Postby VonOfterdingen » Tue Sep 12, 2006 6:48 am

"Actually VanOfterdingen I don't know Elvis but due to the freak of nature that is my face, Elvis and recognises me, as does Steve."


Ok - cool. I guess :)
I'm not buying my share of souvenirs

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Postby verbal gymnastics » Tue Sep 12, 2006 9:05 am

Thanks John.

Was the music as well received on the second night as it was on the first?

I'm not sure I agree with your spin on what will now be known as The Dublin Comment (:lol: ). I think it was fully meant. Elvis didn't seem tired or agitated in any way and I'm not sure (and at what time) people would have been asking him when he's playing in the UK.

By the way was that Jill Taylor who kept telling Elvis that he had to leave when we were at the stage door?

I certainly hope Elvis and Allen play on the continent next year although Mrs VG may not be too happy...
It’s such a shame you had to break the heart you could have counted on

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Postby johnfoyle » Tue Sep 12, 2006 3:21 pm

Was the music as well received on the second night as it was on the first?


Yes. Old and unfamiliar as most of the crowd were with him they lapped up a very polished and emotional show, the revived 'doo doo' at the end giving full testament to that.

I'm not sure I agree with your spin on what will now be known as The Dublin Comment

You're probably right!
By the way was that Jill Taylor who kept telling Elvis that he had to leave when we were at the stage door?

Can't remember , sorry!

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Postby verena » Wed Sep 13, 2006 1:43 pm

Thank u all for the reports. I wish I would have been there (if only to listen to "I want you", I like this song :oops: ).

Whatever did you oldtimers from ecfans do to generate questions such as "You're not from this site, are you ? " :?:

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Postby johnfoyle » Thu Sep 14, 2006 4:46 pm

After my encounters with Milo I was delighted to see this ; reading the full text helps put it in context!

http://comment.independent.co.uk/column ... 523052.ece

The Independent ( London)

Brian Viner: Country Life

Published: 13 September 2006

Bonnie the West Highland terrier has quickly made herself at home, weeing and pooing with abandon all over the house.

It's amazing what a stench is created by the smallest puppy excretion. My mother is staying with us at the moment and last night she announced at a few minutes after 10pm that she was going to bed.

It seemed a little early, but seconds after she had left the room, Jane and I were hit by an olfactory howitzer that had clearly been launched from just behind the sofa where my mum had been cheerfully reading her book.

She was first in the line of fire. However, she was too polite to say that she was going upstairs to escape the disgusting smell, so she feigned tiredness. And what was responsible for the offending pong? A tiny bit of poo about the size and shape of a jelly bean, not that there's much chance of confusing the two.

Bonnie will no doubt soon be house-trained, but in the meantime she has committed the more heinous crime of digging up the jasmine in the conservatory that I carefully planted six months ago and have since been devotedly nurturing. I've even talked to it.

Like everyone else I willingly subscribed to the idea that Prince Charles was a bit barmy when he admitted talking to his plants and vegetables, but now I'm on his side entirely. The jasmine and I got along famously before it was uprooted. But now it seems unlikely to survive, having been severely and probably fatally traumatised by a puppy no bigger than a guinea pig.

Since mine was the lone voice opposing Bonnie's arrival I would have been perfectly entitled to throw a wobbly following the jasmine episode, but of course I'm as smitten by her as the rest of the household, with the hissing exception of Tiger Lily, the cat. And Ralph the hamster would be wise to be wary of her, too.

Our retriever, Fergus, is very sweet with Ralph, and the spectacle of them rubbing noses is priceless. But Bonnie, I suspect, would have her little terrier teeth into Ralph in no time.

Bonnie, Fergus, Ralph... I never realised when we moved to the country just how many more names we would have to bestow.

We'd finished conceiving children so I didn't think we'd need the books of baby names any more.

How wrong I was. Since then we've either had or still have Tess the cat, Zoe the pony, Nigel the snake, Tommy and Teddy the goldfish, Milo the retriever and Paddy the Jack Russell, although we at least stopped naming the chickens once we'd got more than four of them. We're up to 13 chickens now, so the naming business would have become rather tiresome.

There are so many things you have to think about when naming a pet, not least of which is: how's it going to sound when you call them?

That is never likely to be a problem with Tommy and Teddy, but Milo and Paddy had to be regularly and loudly summoned, and the same goes for Fergus and Bonnie. At least we don't know any human beings with the same names.

Our friend Avril has a teenage son called Milo and she never failed to find it disconcerting, while out dog-walking, when Jane would suddenly shriek: "Milo, for God's sake stop rolling in that cowpat."

Teenage boys have some unsavoury habits, it is true, but cowpat-rolling isn't usually one of them.

If we had named one of our sons Hugo then things would have got truly confusing, because that's the name of Avril's dog.

Maybe the answer is not to give human names to animals at all. These problems would never arise with a Bonzo.

Moreover, I have described before the occasion when Milo and Paddy went missing on a weekend when we had our friends Paul and Jacky staying with us.

We were all outside yelling their names and Paul and Jacky, musicians who frequently work with Elvis Costello, later confided that the great man has a couple of long-serving roadies called Milo and Paddy. They half-expected a pair of hairy Irishmen to emerge from the wood at the bottom of our garden, carrying amplifiers and wondering what the fuss was all about.


------------------------------------------------------------------------------------

Presumably 'Paul and Jacky' are Paul Cassidy and Jacquline Thomas of The Brodsky Quartet.

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Postby verbal gymnastics » Fri Sep 15, 2006 5:35 am

verena wrote:Whatever did you oldtimers from ecfans do to generate questions such as "You're not from this site, are you ? " :?:


There is a member on this Board called Steve Nieve but I don't know if it actually is the man himself (if it is Steve, give me a sign :lol: ).

Steve initiated the conversation with us and it was him who said to John "You're not from that website are you?". It wasn't a malicious comment.

It's a shame you didn't come verena; we could have gone on a drinking session again :wink: :lol:
It’s such a shame you had to break the heart you could have counted on

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Postby martinfoyle » Sat Feb 24, 2007 7:49 pm


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Re: Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Postby Man out of Time » Tue Nov 19, 2013 7:28 pm

Another Dutch review:

http://cultuurpodiumonline.nl/2006-09-09/elvis-costello-metropole-orkest-heineken-music-hall in translation here:

"Elvis Costello & Metropole Orchestra - Heineken Music Hall

By Aukje

Elvis Costello and the Dutch Metropole Orchestra, it seems like a strange combination for someone that has his roots in the punk rock and new wave. But Elvis Costello has in recent years proven to have many musical sides and his hand not to run for classical, opera or jazz. Now he is also married to the famous jazz singer Diana Krall, so jazz is no longer an obstacle. And it is not an obstacle, we hear during his performance at the Heineken Music Hall, where he is accompanied by the Metropole Orchestra. "An orchestra and big band together," he says. They performed together once before. In 2004, at the North Sea Jazz Festival and at Lincoln Center in New York. They worked well, and some of the fruits of it appeared this year on the CD "My flame burns blue.

A jazz artist usually records the band started with an instrumental. Similarly here. Listening and watching the Metropole Orchestra has been a musical experience in itself. Conducted by Alan Broadbent we hear a variety of instruments, including drums, which are perfectly attuned to each other. As they start the second track 'Clubland' Elvis Costello enters the stage to loud applause. In his tuxedo with bow tie he begins to sing. The orchestra and the voice of Elvis Costello seem equally unable to find, if not their sounds merge each other. But perhaps the combination of getting used to.

The third number is the habituation and there is only qualitatively better. Especially the part after the break, a lot more exciting than the part called for it. In the second part he sings ballads even four in a row, unprecedented for the Elvis Costello fan. A true jazz singer is not. Costello Not even a real singer, some say. But he brings with his voice emotions like few can. The gasp was audible is his voice. And though he does not have the traditional jazz timing, he compensates with lots of guts. He fills the room regularly with hard high pitched, alternating with a soft whisper. Sometimes he tells in brief about the emergence of a number. In the beautiful 'She' had the writers Charles Aznavour and Herbert Kretzmer warned him that the song soundtrack for the film Notting Hill, would ruin his career. The unexpected happened: in many countries it was a number-one listing. The reggae song 'Watching the Detectives' which appeared on his debut album 'My aim is true' in 1977, is firmly underway and turned into jazz number. The gentleman next to me has a big laugh, but passionately sings loudly. In "Almost Blue", which sounds a bit messy, he takes the piano part from his pianist Steve Nieve who in turn solos on melodion.

The end of the second set ends with "God give me strength" that crank out the hall, so good. It would be the perfect ending to the evening, except that Elvis Costello comes back twice for several encores. The encores do not always sound good, and the level of the late evening drops something. As he for the microphone with his guitar, ready to start one of the last songs of the evening, a lady from the audience shouts "I want you! '. The audience favourite is not brought to sing. He smiles. "Sorry love, I'm taken," he replied dryly, that he is the first show of the same, always beautiful number bet. Not all texts he knows by heart, he peeks regularly to the pages on the music stand in front of his nose. The names of the sole ran orchestra members must always ask the violinist beside him. It belongs to him, like his clownish features that are enhanced by its large size and glasses. He might as well go for stand up comedian. The end of the evening, even though traditionally, fully acoustically sealed. A few songs earlier, he had already called everyone to leave his seat and front to come stand now shows why: there is unreinforced played and sung. It makes the atmosphere more intimate, especially if he lets sing the public. Three hours later, leaving the audience with a good sense of the room. It was a long ride, but it felt absolutely not.

MOOT

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Re: Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Postby verbal gymnastics » Wed Nov 20, 2013 7:05 pm

It was great to reread this thread.
It’s such a shame you had to break the heart you could have counted on

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Re: Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Postby Man out of Time » Tue Jan 28, 2014 5:00 pm

Another Dutch review from Trouw:

http://www.trouw.nl/tr/nl/4512/Cultuur/archief/article/detail/1706847/2006/09/08/Costello-rsquo-Metropole-is-uniek-rsquo.dhtml

Costello: ’Metropole is uniek’
Hans Nauta − 08/09/06
RECENSIE

Elvis Costello en Metropole Orkest olv Alan Broadbent. Gezien: woensdag 6/9 in de Heineken Music Hall.

Elvis Costello reist sinds maart de wereld rond, van orkest naar orkest, om zijn muziek naar een hoger plan te tillen. Deze week stond hij tweemaal in de Heineken Music Hall met het Metropole Orkest, en hij stak dat orkest met een fiks gat in de begroting een hart onder de riem: „In het buitenland vertel ik hoe uniek ze zijn: een big band, met strijkers en houtblazers, dat biedt zoveel mogelijkheden.”

Costello benutte die door te openen met passages uit zijn balletscore ’Il Sogno’, geschreven bij ’A Midsummer Night’s Dream’. Maar oei, het versterkte geluid klonk alsof het eerst nog onder een strijkbout doorging. Wonderwel lukte het de geluidsman dat bij te stellen, en zo klommen Costello en orkest, met triomfantelijk solerende blazers (onder meer in het New Orleans-feestje ’That’s how you got killed before’) toch nog bij elkaar op schoot.

Deze productie was een reprise van een optreden op North Sea Jazz 2004, waarvan dit jaar de cd ’My Flame Burns Blue’ verscheen. Een project dat past bij Costello’s verlangen om de diepte in te gaan. Wel meer popzangers willen dat, zo komt Sting binnenkort met een cd vol luitliederen van de componist John Dowland. Maar Costello is toch wel het fanatiekst. Na zijn begintijd als angry young man, eind jaren zeventig, verschoof zijn interesse in de jaren tachtig van new wave via country richting klassiek. Hij werkte samen met het Brodsky Kwartet en de Zweedse mezzosopraan Anne Sofie von Otter. Vorig jaar schreef hij een opera over Hans Christian Andersen, en ook doet hij aan jazz.

Hij trekt zich niks aan van zijn reputatie of verwachtingen, vertelde hij over zijn cover van ’She’, bekend van Charles Aznavour: „Net zoiets als Philip Seymour Hoffman in de Clooney-rol”, vond hijzelf.

Verder vertelde hij over de oorsprong van de liedjes en arrangementen. Zo herinnerde hij zich de hotelkamer in een regenachtig Honolulu waar hij ’All This Useless Beauty’ opnieuw arrangeerde. Het begon nu als een speeldoosje met steeds meer dansende strijkers.

’Almost Blue’, 25 jaar geleden geschreven voor Chet Baker, had van Metropole-dirigent Vince Mendoza een prachtig nachtjazz-arrangement gekregen. Costello’s vaste pianist Steve Nieve eindigde het met een solo op melodica, met toonbuigingen die je nooit hoort als popbandjes het instrument hanteren. Jazz-zangeres Diana Krall, sinds 2003 zijn vrouw, had het lied geleend, hij leende het even terug, zei Costello.

Hij doet alles vol overgave. Toch zat er vast een kern van waarheid in zijn grap zich ’beter te voelen’ na een noisy gitaarsolo. Zoals ook zijn stem bevrijd klinkt als hij brutaler uitpakt, in ’Episode of Love’ bijvoorbeeld.

Pas in de toegift kwam er publiek overeind, om te swingen op ’Hora Decubitus’ en de tekst te vieren: ’Life is a beautiful thing’. Maar de avond was te formeel om dat tot motto te verheffen.

and in "English" via Google Translate:

Costello: "Metropole is unique '
Hans Nauta
Review

Elvis Costello and Metropole Orchestra conducted by Alan Broadbent. Views: Wednesday 6/9 in the Heineken Music Hall.

"Elvis Costello travels in March around the world, from orchestra to orchestra, to lift his music to a higher level This week he was twice in the Heineken Music Hall with the Metropole Orchestra, and he put that band with a hefty hole in the budget heartened "Abroad, I tell how they are a unique big band, with strings and woodwinds, which offers so many possibilities. "

Costello unused opening with excerpts from his ballet score "Il Sogno", written by 'A Midsummer Night's Dream. " But oops, the amplified sound sounded like it went by an iron first . The sound guy perfectly managed that set, and so climbed Costello and orchestra, with the sole triumphantly ran blowers (including in the New Orleans-party "That's how you got killed before ') still together on lap.

This production was a revival of a show at North Sea Jazz 2004, which appeared on this year's album 'My Flame Burns Blue'. A project that suits Costello's desire to go into depth. However, more pop singers like that, as soon Sting will release a CD full of lute songs by composer John Dowland. But Costello has to be the most fanatical. Following his early days as an angry young man in the late seventies, his interest in the eighties new wave shifted by classic country direction. He collaborated with the Brodsky Quartet and Swedish mezzo-soprano Anne Sofie von Otter. Last year he wrote an opera about Hans Christian Andersen, and he does to jazz.

He cares nothing for his reputation or expectations. He spoke about his cover of 'She', made famous by Charles Aznavour: "Something like Philip Seymour Hoffman in the George Clooney role", said he.

He also talked about the origins of the songs and arrangements. So he remembered the room in a rainy Honolulu where he arranged "All This Useless Beauty 'again. It now begins as a music box with ever more dancing strings.

Metropole conductor Vince Mendoza had a wonderful night jazz arrangement of "Almost Blue" 25 years ago written for Chet Baker. Costello's pianist Steve Nieve ended with a solo on melodica, pitch bends that you never hear when pop bands use the instrument. Jazz singer Diana Krall, his wife since 2003 had lent the song, he lent it to go back, said Costello.

He does everything diligently. Yet there was a solid core of truth in his joke about "feeling better" after a noisy guitar. As his voice sounds like he freed bolder turns out, in 'Episode of Love' for example.

Only in the encore did the audience come up to hear "Hora Decubitus "and celebrate the text: 'Life is a beautiful thing." But the evening was too formal to elevate. Motto that up."

MOOT

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Re: Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Postby johnfoyle » Mon Apr 29, 2019 3:25 pm

Image

Kees Den Heijer‎ posts on ELVIS COSTELLO COLLECTORS/ Facebook -

27 April

Just found these stacked away in my cupboard. The Heineken Music Hall in Amsterdam used to mint two-sided coins with the artist’s name on one side and the HMH logo on the other. You could use these when buying drinks. One for the September 6 2006 show and one for the September 18 2002 show. Anybody else has these?

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Re: Elvis/Metropole Orkest in Amsterdam, Sept. 6 '06

Postby sulky lad » Mon Apr 29, 2019 3:45 pm

Kees - the legend of Going Through the Motions with Richard G !!!!!

Ask him about the missing tapes from my 40 year project that were listed in GTTM , John and ask if he's still got them all - I shall cycle and swim to Holland to do thorough research if needs be : after all, no more 40 year concerts until next spring ( apart from a few European and ferry ones :wink: )


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