Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Pretty self-explanatory
sweetest punch
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Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://www.elviscostello.com/#/dance-card


July 25, 2013 - 48 Heineken Jazzaldia - San Sebastian (Spain)
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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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by krm »

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Otis Westinghouse
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by Otis Westinghouse »

Wow, tempting to get a cheap flight to attend it! Gorgeous city, lovely time of year, should be heavenly.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by krm »

Diana Krall is also playing the same festival. This one has NOT free entrance!!! hmmmm.......

http://www.heinekenjazzaldia.com/en/art ... a-krall-3/
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by The imposter »

Anyone else coming to this ?

Full programme here http://www.heinekenjazzaldia.com/wp-con ... a_desc.pdf

On this, his 3rd visit to Jazzaldia, Elvis plays the Green Stage, rather than the Plaza de Trinidad. Elvis set to hit the stage at 00:30 last time I saw him play on a beach at Malaga, he played till around 2am then made his excuses as he had a flight to Rotterdam 3 hours later. There will be entertainment continuing through the night at various venues. This is likely to be a big crowd, Bob Dylan pulled in around 80,000 when he played the same "venue".

Green Stage Schedule

http://www.heinekenjazzaldia.com/en/venue/green-stage/

Other acts on the "Green Stage" include Jamie Cullum (wed 930pm) and Belle & Sebastian (Fri 0030) Support to Elvis will be local band "Belako" around 930pm.

http://belakomusic.bandcamp.com/

http://www.youtube.com/watch?v=DY-lOR7yRlg

Of course Diana Krall appears on Sunday at 530pm at the nearby Kursaal (indoor venue)price 62 euros.

All set to be a wonderful few days entertainment in the beautiful city of San Sebastian. As in previous years,an edited TV broadcast is also likely to appear on Spanish TVE towards the end of August.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by Otis Westinghouse »

The imposter wrote:Anyone else coming to this ?
Only in my dreams. Have fun! Hope they love him.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by johnfoyle »

Soooo wish I could be there!
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by johnfoyle »

Tragic happenings in this area - will tonight's show go ahead?
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by Santi »

johnfoyle wrote:Tragic happenings in this area - will tonight's show go ahead?
Not exactly this area but 700 km away. I'm pretty sure the show will go on.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by johnfoyle »

Agreed Santi. Me 'n a friend are doing the Camino walk is stages and we started in San Sebastian , so I associate the site of the train crash - the end of the walk - with it.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by johnfoyle »

The imposter
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by The imposter »

Setlist
1 I can't stand up
2 high fidelity
3 rAdio radio
4.everyday I write the book
5.alison inc you've been cheating, wind cried Mary, somewhere, somewhere over the rainbow
6.green shirt
7.detectives
8.bedlam
9.shipbuilding ( dedicated to the victims of Santiago train crash )
10. She
11. Josephine
12. Almost blue
13. Oliver's army
14. Beyond belief
15. Clubland inc how insensitive
16. Stella hurt
17. Chelsea
18. Pump it up
19 PLU

Set list as I remember apologies for shorthand
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by MOJO »

No problem, The Imposter. It appears that you are on a "permanent vacation", so you don't have to care or make any excuses for grammar, critic, etc. Carry on.
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://www.diariovasco.com/jazzaldia/no ... 50314.html

Costello conquista La Zurriola

Elvis Costello En su cuarta visita a Donostia, el genio incansable viene por fin con su banda más legenderia, The Imposters

Le hemos visto en San Sebastián con los efímeros The Rude 5, entre los que se encontraba, casualidad, el Marc Ribot que tocará en este Jazzaldia con John Zorn y la propia esposa de Costello, Diana Krall. Fue en 1991 en el Poliderportivo de Anoeta. Le hemos visto también en fructífera colaboración con Allen Toussaint en su primera visita al Jazzaldia en 2007. Regresó al Jazzaldia en 2010, pero vestido de country, con la banda The Sugarcanes y el añadido, histórico, de cantar con Kris Kristofferson.

Todos ellos fueron conciertos extraordinarios. Pero esta noche cuando, por fin, Elvis Costello vino acompañado por su banda básica, su auténtico grupo de compañeros y amigos, hermanos prácticamente, con quienes se lanzó en la marea ‘new wave’ de finales de los años 70, y emergió como uno de los mayores talentos que el pop y el rock ha dado nunca. Esa banda es The Attractions, reconvertida en The Imposters desde que el bajista original Bruce Thomas dejó el grupo por diferencias con Costello, y fue sustituido por Davey Faragher, que como Steve Nieve (teclados) y Pete Thomas (batería) es desde hace muchos años prácticamente parte del cuerpo y la mente de Costello. La capacidad asombrosa para adaptarse a todos los estilos que maneja el jefe, y la determinante personalidad de cada uno de ellos, se evidencia aún más en directo, como se pudo comprobar esta noche.

Todas sus épocas

Pocos directos tan imponentes y sustanciosos se pueden encontrar hoy en día como el que ofrecen Elvis Costello & the Imposters: supone sacar a relucir el vastísimo repertorio que el músico británico de 58 años ha acumulado desde su primer y ya brillante álbum, ‘My Aim Is True’ (1977). Un repertorio cargado de canciones fundamentales en la música británica, de ‘Alison’ a ‘Shipbuilding’, de ‘Pump It Up’ a ‘Oliver’s Army’, de las que llevan el pop a la categoría de arte mayor. Con The Attractions, o The Imposters, Costello ha elaborado su faceta más accesible y excitante.

Cada concierto de Elvis Costello &The Imposters es diferente, tienen a mano más de un centenar de canciones y pueden tocar cualquiera de ellas, según el impulso del momento. Una fiesta pop-rockera en la que se cuelan muchos éxitos, pero también canciones inesperadas y aún versiones de otros, a pesar de que Costello sea un compositor muy versioneado por otros y su propio repertorio daría para gozar hasta el amanecer.

El cuarteto de Costello llegó a San Sebastián en pleno recorrido de festivales veraniegos, tras hacer parada en Glastonbury y en Hyde Park a primeros de este mes. También actuará en Madrid y Barcelona, aunque ninguno de ellos es, desde luego, con entrada gratuita como el de esta noche y en un marco como el de la playa de La Zurriola.

El incansable grupo que actúa como si estuviera compuesto por impulsivos jovenzuelos, dedicó el mes de junio a recorrer toda Inglaterra, una veintena de actuaciones, con su espectáculo The Spinning Wheel Tour, que ya recuperaron el año pasado:se trataba de volver a la ingeniosa idea que Costello puso en marcha en 1987, llevando en escena una enorme ruleta con los títulos de 50 canciones, e invitando al público a subir al escenario para hacer girar el artilugio y ayudar al azar a elegir la canción que Costello y colegas interpretan inmediatamente.

Pero con ruleta o sin ella, la inmediatez y la tensión de los conciertos de Costello es la misma. también su capacidad para pasar por todas sus épocas, y por todos los estilos en los que se ha zambullido con éxito, con especial detenimiento en fundamentales discos de los años 80, como ‘Get Happy!’, ‘Imperial Bedroom’ o ‘Blood and Chocolate’.

Para los seguidores de Costello resulta un poco chocante, que algunos le consideren simplemente ‘el marido de Diana Krall’, pero esa relación parece haber dado nuevos bríos a quien durante un tiempo coqueteó incluso con la música clásica (ahí está todo un álbum orquestal, ‘Il Sogno’) aunque siempre se ha mantenido fiel al espíritu de la cultura rock, entendida en sus más amplias dimensiones. Hijo de un músico de una banda de jazz («mi trabajo no es muy diferente del suyo, voy dando vueltas por el mundo con mis canciones», dice), aprendió a amar desde niño las melodías que su padre escuchaba en discos de 78 rpm. Y así, toda la música popular desde el comienzo del siglo XX hasta hoy, del swing al hip-hop, le han influido y las ha adaptado a su inigualable voz.

Capaz de componerle todo un Lp a Wendy James en un fin de semana, colaborador de una interminable lista de grandes músicos de todos los géneros (Paul McCartney, Burt Bacharach, Allen Toussaint, Bill Frisell, o Anne Sophie Von Otter han grabado discos a medias con él; ha tenido como invitados en sus grabaciones a Chet Baker o Robert Wyatt; ha compartido escenario con Bob Dylan, Bruce Springsteen, The Who, Dave Grohl y decenas de grandes músicos que le admiran, incluidos Tony Bennett y Jamie Cullum, quien declaró ayer en San Sebastián su verdadera devoción por el que considera «un jazzman»), Costello es un creador hiperactivo que no para de idear nuevos proyectos.

Ya no es el airado joven que se enfrentaba a la prensa cuando algo no le gustaba, haciendo gala de su afilada ironía, y llegó a negarse a dar entrevistas para evitar discusiones. Será la madurez, aunque es una palabra que no le gusta nada. «Es una palabra que nunca ha ido conmigo. Como ‘conformidad’ y ‘satisfacción’. Son palabras que implican decaimiento, aposentarse. Y eso no cuadra conmigo». Tampoco se rinde en la batalla:sigue interpretando con convicción canciones que hizo contra la política de Margaret Thatcher, como la estremecedora ‘Shipbuilding’ o ‘Tramp the Dirt Down’, en la que soñaba con el día en que pudiera ir a visitar la tumba de la ‘dama de hierro’.

Tener a Elvis Costello de nuevo en San Sebastián ha sido otra ocasión de disfrutar de uno de los mayores talentos de la música, aún pleno de energía y pasión después de más de 35 años de carrera imparable. Se podría decir que está en su mejor momento. Su sentido del espectáculo es innato, combina las maneras del maestro de ceremonias encantado de juguetear con el público, la elegancia del ‘crooner’, la vitalidad del pop, y la furia rockera. El hombre de las gafas de pasta es infalible.
----------------------
Google translation:

Costello conquest Zurriola

Elvis Costello in his fourth visit to Donostia, tireless genius finally comes legenderia his band, The Imposters

We have seen in San Sebastian with the ephemeral The Rude 5, among which was, coincidentally, the Marc Ribot will touch on this Jazzaldia with John Zorn and Costello's wife, Diana Krall. It was in 1991 in Anoeta poliderportivo. We have seen also in fruitful collaboration with Allen Toussaint on his first visit to the Jazz Festival in 2007. He returned to the Jazz Festival in 2010, but country dress, with the band The Sugarcanes and added historical, singing with Kris Kristofferson.

They were all extraordinary concerts. But tonight when, at last, Elvis Costello was accompanied by his core band, their true peer group and friends, practically brothers, with whom he launched in the tide 'new wave' of the late 70s and emerged as one of the greatest talents the pop and rock has ever given. That band is The Attractions, The Imposters converted from the original bassist Bruce Thomas left the band due to differences with Costello, and was replaced by Davey Faragher, who like Steve Nieve (keyboards) and Pete Thomas (drums) has for many years practically part of the body and mind of Costello. The amazing ability to adapt to all styles that handles the head, and decisive personality of each of them, they live further evidence, as witnessed tonight.

All times

Few such imposing and substantial direct can be found today as they offer Elvis Costello & the Imposters: means bringing up the vast repertoire that British musician of 58 years has accumulated since his first and already brilliant album, "My Aim Is True '(1977). A repertoire of songs uploaded fundamental British music of 'Alison' to 'Shipbuilding', of 'Pump It Up' to 'Oliver's Army', from which they have the pop to the category of high art. With The Attractions, and The Imposters, Costello has made his most accessible and exciting.

Each concert of Elvis Costello & The Imposters is different, they have to hand over a hundred songs and can play any of them, according to the impulse of the moment. A pop-rock festival in which slip many successes, but also unexpected and even songs from other versions, although Costello versioning to be a songwriter for others and give your own repertoire to enjoy until dawn.

The quartet arrived in San Sebastian Costello in full summer festivals tour, after making stops at Glastonbury and Hyde Park earlier this month. Also performing in Madrid and Barcelona, ​​although none of them is, of course, with free admission as tonight and in a context like the Zurriola Beach.

The tireless group acting as if composed of impulsive youngsters, spent the month of June to travel around England, a dozen performances, with his show The Spinning Wheel Tour, which recovered last year: it was back to the ingenious Costello idea launched in 1987, carrying a huge roulette scene with the titles of 50 songs, and inviting the audience to the stage to rotate the random contraption and help you choose the song that Costello and colleagues interpreted immediately.

But with roulette or wrongly, the immediacy and tension Costello concert is the same. also their ability to go through all times, and all the styles that has dived successfully fundamental special caution in the '80s albums such as' Get Happy! ',' Imperial Bedroom 'or' Blood and Chocolate '.

For fans of Costello is a bit shocking, that some consider him simply 'the husband of Diana Krall', but that relationship seems to have given new impetus to whom for a time even flirted with classical music (there is an entire orchestral album, 'Il Sogno') but has always remained true to the spirit of rock culture, understood in its broadest dimensions. The son of a musician in a jazz band ("my work is not very different from yours, I'm going around the world with my songs," he says), he learned to love as a child his father melodies heard in 78s . And so, all popular music from the early twentieth century until today, from swing to hip-hop, have influenced and adapted to your unique voice.

Able componerle whole Lp to Wendy James on a weekend contributor a long list of great musicians of all genres (Paul McCartney, Burt Bacharach, Allen Toussaint, Bill Frisell, or Anne Sophie Von Otter half have recorded albums with him has had as guests on their recordings to Chet Baker or Robert Wyatt, has shared the stage with Bob Dylan, Bruce Springsteen, The Who, Dave Grohl and dozens of great musicians who admire him, including Tony Bennett and Jamie Cullum, who declared San Sebastian yesterday his true devotion to that considered "a jazzman"), Costello is a hyperactive creator for not devising new projects.

No longer the angry young man who faced the press when something did not like showing his sharp irony, and came to refusing to give interviews to avoid arguments. It will be the maturity, but is a word that does not like anything. "It is a word that has never been me. As 'compliance' and 'satisfaction'. These words imply decay, aposentarse. And that does not fit me. " Nor is rendered in the battle continues to interpret songs conviction made against the policy of Margaret Thatcher, as the shocking 'Shipbuilding' or 'Tramp the Dirt Down', which dreamed of the day when I could go to visit the grave of the 'Iron Lady'.

Having Elvis Costello back in San Sebastian has been another chance to enjoy one of the greatest talents in music, still full of energy and passion after more than 35 years of unstoppable career. You could say it is in their best. His showmanship is innate, combines emcee ways happy to toy with the public, the elegance of the 'crooner', the vitality of pop, rock and fury. The man with the horn-rimmed glasses is infallible.

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://www.diariovasco.com/jazzaldia/no ... 60934.html

Elvis costello, enorme y esencial en Donostia

Volvió a regalar un concierto memorable en el Festival de jazz de San Sebastián. Homenajeó a las víctimas del accidente de tren de Santiago interpretando 'Shipbuilding', acompañado sólo al piano

Elvis Costello, enorme, volvió a regalar un concierto memorable en el Festival de Jazz de San Sebastián, esta vez con una recopilación de las esencias de su extensa trayectoria, de una carrera apoyada en unos magníficos directos.

El de anoche, el primero de su minigira por España, ha estado arropado por unos cuantos miles de seguidores en la playa de La Zurriola, en las horas más tardías de una jornada que ha dado también otras actuaciones destacadas, la del quinteto de Steve Swallov y la del madrileño Jorge Pardo en la plaza de la Trinidad.

Costello ofreció en sus dos paradas anteriores en el Heineken Jazzaldia, en 2007 junto a Allen Toussaint y en 2010 con The Sugarcanes, facetas distintas a la de esta madrugada, en que la que ha optado por un concierto mucho más eléctrico, que ha girado por el epicentro de su historia creativa acompañado por los nuevos Imposters.

El artista británico ha dado cuenta de lo más genuino de su casi inabarcable lista de canciones, en la que no han faltado títulos como 'Alison', 'She', 'Chelsea' y 'I Can't Stand Up for Falling Down', con la que abría con puntualidad británica, 30 minutos después de la medianoche, su impresionante actuación.

A ritmo frenético se sucedieron después 'Hihg Fidelity', 'Radio, Radio' y 'Every Day I Write de Book', en un repaso a sus temas de los 80, que ha incluido también 'Green Shirt' y 'Watching The Detectives'.

Cuando llegó 'Bedlam' ya había cambiado varias veces de guitarra, pero tras esta canción el 'show' dio un giro. Costello saludó al público, dijo que es un placer volver a San Sebastián pero que sentía hacerlo en «circunstancias tan tristes», al día siguiente de la tragedia ferroviaria de Santiago de Compostela.

A sus víctimas las ha homenajeado con 'Shipbuilding', acompañado sólo al piano. A este tema siguió 'She', maravillosamente cantada como el resto, y luego, creciendo de nuevo el ritmo, 'A Slow Drag With Josephine' y 'Oliver's Army'.

Con 'Almost Blue' llegó de nuevo el tiempo lento, la música para su esposa, Diana Krall, que recordó que el próximo domingo estará en la jornada de clausura del Heineken Jazzaldia.

No todos los que estaban en la playa, uno de los escenarios gratuitos del Festival, coreaban los temas del artista británico, muchos aún no habían nacido cuando lo hicieron algunas de sus composiciones, pero el poder imparable de este gran músico los ha mantenido atentos en la arena, pese a que una casi imperceptible lluvia iba calando poco a poco.

El final, pura energía. A 'Red Shoes', enlazada con una versión del 'Purple Rain' de Prince, le siguieron 'Pum it Up' y la fabulosa 'Peace, Love and Understanding', de Nick Lowe, que hace tiempo incorporó a su repertorio.

Elvis Costelloha encajado su programa en hora y media justa. No ha habido bises, una verdadera pena. Si alguien desea repetir, este viernes actúa en Barcelona y, el sábado, en Madrid.
---------------------------
Google translation:

Elvis Costello, huge and essential in Donostia

He give a memorable concert at the Jazz Festival San Sebastian. Paid tribute to the victims of the train accident in Santiago performing 'Shipbuilding', accompanied only by piano

Elvis Costello, huge, again giving a memorable concert at the Festival de Jazz de San Sebastián, this time with a collection of essences of his long career, a career supported by direct magnificent.

The last night, the first of its mini-tour of Spain, has been embraced by a few thousand followers in Zurriola Beach in the late hours of a day that has also other outstanding performances, the quintet of Steve Swallov and Jorge Pardo in Madrid's Plaza de la Trinidad.

Costello offered in his two previous stops in the Heineken Jazz Festival in 2007 with Allen Toussaint and in 2010 with The Sugarcanes, different facets to this morning, in which he has chosen a much more electric concert, which has toured the epicenter of creative history accompanied by new Imposters.

The British artist has realized the most genuine of his almost boundless list of songs, in which there have been titles like 'Alison', 'She', 'Chelsea' and 'I Can not Stand Up for Falling Down', with which he opened with British punctuality, 30 minutes after midnight, his impressive performance.

A frantic pace came after 'Hihg Fidelity', 'Radio, Radio' and 'Every Day I Write the Book', in a review of its 80 issues, which also included 'Green Shirt' and 'Watching The Detectives' .

When it was 'Bedlam' and had changed several times guitar, but after this song the 'show' took a turn. Costello greeted the audience, said it is a pleasure to return to San Sebastian but I felt it in "such sad circumstances," the day after the rail tragedy of Santiago de Compostela.

A has honored the victims with 'Shipbuilding', accompanied only by piano. This subject was 'She', beautifully sung as the rest, and then growing back up, 'A Slow Drag With Josephine' and 'Oliver's Army'.

With 'Almost Blue' came again the slow time, the music for his wife, Diana Krall, who recalled that next Sunday will be on the closing day of the Heineken Jazz Festival.

Not all who were on the beach, one of the Festival's free scenarios chanted the British artist issues, many were not even born when they did some of his compositions, but the unstoppable power of this great musician has kept vigilant in sand, although a faint rain was seeping slowly.

The end, pure energy. A 'Red Shoes', linked with a version of 'Purple Rain' by Prince, followed 'Pum it Up' and the fabulous 'Peace, Love and Understanding' by Nick Lowe, who has long incorporated into his repertoire.

Elvis Costelloha your program embedded in just half hour. There was no encore, a real shame. If someone wants to repeat acts in Barcelona on Friday and Saturday in Madrid.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://rollingstone.es/concerts/view/el ... cualquiera

Elvis Costello en Jazzaldia 2013: un mal día lo tiene cualquiera

Elvis Costello actuó con sus Imposters en el Festival de Jazz de San Sebastian, luchando contra varias circunstancias adversas... Y perdiendo la batalla ante un público muy poco implicado.

El idilio entre Elvis Costello y el festival de jazz de San Sebastián se remonta unos años. Su paso por el emblemático escenario de la Plaza de la Trinidad (junto al gran Allen Toussaint en 2007 y en un muy recordado concierto con sus Sugarcanes en 2010) es uno de los hitos de la programación no jazzística del festival. Por eso, la posibilidad de ver a Costello en el escenario más grande del festival –el de la playa de la Zurriola–, y de forma completamente gratuita además, es algo a lo que resulta muy difícil resistirse. Y más con lo que, sobre el papel, se avecinaba: un bolo de temazos clásicos junto a sus Imposters, que no son sino los Attractions de toda la vida, con Davey Faragher (ex-Cracker) sustituyendo al bajo a Bruce Thomas. ¿Qué podría salir mal? Pues casi todo.

El bolo empezó puntual y como un tiro, con el I can't stand up for falling down que grabó en su mítico Get Happy, pero enseguida notamos que algo no iba bien. Costello sonaba cansado, con la voz forzada y fuera de tiempo. Como si la canción fuese más rápido de lo que él podía cantarla. Y no sólo eso: Costello desafinaba y su voz se quebraba antes de llegar a la nota adecuada. Sonaba como un hombre viejo, oxidado, incapaz de sacar adelante sus propias canciones.

A ver, aquí no estamos hablando de Milli Vanilli o de Paulina Rubio. Hablamos del jodido Elvis Costello, un tipo que canta extraordinariamente y con mucho rollo. Un puñetero clásico. Y no porque escribiese un hit hace treinta y cinco años, sino por mantenerse en forma y en primera fila durante décadas. Y su directo, según le consta a quien esto escribe, es tremendo. Entonces, ¿qué pasó en Donostia?

Claramente, la capacidad vocal de Costello estaba mermada. Una gripe, demasiada tralla en los últimos bolos... Es difícil de saber. Después, daba la sensación de que había algún problema de monitorización en el escenario y, por último, y tal vez lo más importante, no había ningún tipo de feedback por parte del público. Tan poco feedback, que en el cuarto tema de la noche, el mítico Everyday I write the book, Costello buscó la complicidad del público una y otra vez sin obtener ningún tipo de respuesta. Por si esto no fuese suficientemente frustrante, justo después cayó Alison, tal vez el tema más emblemático del británico, y la reacción del público fue la misma; o sea, ninguna. Esto es como si en un concierto de U2 tocan With or without you y el público está de charla. Y éste es el peligro de los conciertos gratuitos: que uno no sabe quién la va a ir a ver, ni si quiénes le van a ir a ver han escuchado alguna de sus canciones.

Tampoco es culpa del público, porque Costello debería (y en condiciones óptimas, hubiese podido) haberle conquistado, por circunstancial que este fuese. Casi lo consiguió con el aire reggae de Watching the detectives, pero ni así: estábamos en caída libre, especialmente el propio Costello. La catarsis llegó con una emotiva y muy acertada mención a las víctimas del trágico accidente de tren en Santiago, a quienes dedicó el precioso Shipbuilding. Enlazó con el She de Charles Aznavour (grabada por Costello para la banda sonora de Notting Hill), se fue por el rock'n'roll countrificado de A slow drag with josephine y desembocó en un gran momento, dedicando a su mujer Diana Krall –que actúa en el Jazzaldia dentro de un par de días– el maravilloso Almost blue. Por un instante, la voz resquebrajada y deshilachada de Costello trajo a la memoria aquella emocionante versión del tema que grabó Chet Baker en sus últimos días para la banda sonora del Let's get lost de Bruce Weber.

En realidad, el concierto seguía siendo un completo desastre, pero tampoco importaba mucho. Costello volvió a sus temazos clásicos de los Attractions con el single más exitoso de la historia del grupo, Oliver's Army, de su álbum Armed Forces. Pero sin el componente sentimental, el concierto comenzó a caer de nuevo hasta el rockero Stella hurt, en el que Costello se permitió desfasar a lo Hendrix con la guitarra. Ahí entramos en la traca final, ya con la banda y el público (contra todo pronóstico) calientes, mediante una ristra de temas impecable: (I don't want to go to) Chelsea, Red shoes, Pump it up y (What's so funny 'bout) Peace, Love and understanding de Nick Lowe, con una divertida parada en mitad para hacerse un trozo del Purple rain de Prince, con letra medio inventada, por supuesto.

Fin de fiesta bien arriba para un concierto absolutamente desastroso. Pero, eh, es Elvis Costello. Respeto. Un mal día lo tiene cualquiera.
---------------------------------
Google translation:

Elvis Costello Jazz Festival 2013: a bad day I have any

Elvis Costello Imposters performed with the Festival de Jazz de San Sebastian, fighting several adverse circumstances ... And losing the battle to an audience very little involved.

(3 stars out of 5)

The romance between Elvis Costello and the Jazz Festival San Sebastian a few years back. His tenure in the iconic setting of the Plaza de la Trinidad (with the great Allen Toussaint in 2007 and greatly missed by his Sugarcanes concert in 2010) is one of the highlights of the festival programming is not jazz. So the chance to see Costello in the biggest stage of the festival-the beach Zurriola-, completely free and it is also something that is very hard to resist. And thus, on paper, was coming: a bolus of great songs with his Imposters classics, which are but the Attractions of a lifetime, with Davey Faragher (Cracker former) replacing Bruce Thomas on bass. What could go wrong? Well almost everything.

The bolus began punctual and like a shot, with the I can not stand up for falling down he recorded in his mythical Get Happy, but then we noticed that something was wrong. Costello sounded tired, his voice strained and out of time. As if the song was faster than he could sing. And not only that: desafinaba Costello and his voice broke before reaching the right note. It sounded like an old man, rusty, unable to move forward with their own songs.

Let's see, here we are not talking about Milli Vanilli or Paulina Rubio. We talk about the fucking Elvis Costello, a guy who sings very dramatically and roll. A fucking classic. And not because he wrote a hit thirty-five, but by staying fit and in the front row for decades. And their live show, as he has to this writer, is tremendous. So what happened in Donostia?

Clearly, Costello's vocal ability was impaired. A cold, too whiplash in recent bowls ... It is difficult to know. Then, it seemed that there was some problem of monitoring on stage and finally, and perhaps most importantly, there was no type of feedback from the public. So little feedback, that the fourth theme of the night, the legendary Everyday I write the book, Costello sought the public's complicity and over again without getting any response. As if this was not frustrating enough, right after Alison fell, perhaps the most iconic British subject, and the audience reaction was the same, ie, no. This is like a play U2 With or without you and the audience is to talk. And this is the danger of free concerts: one does not know who is going to go see, not even who you are going to see have heard some of his songs.

Nor is it the fault of the public, because Costello should (and in optimal conditions, could have) conquered him, for this was circumstantial. Almost made it to air reggae Watching the detectives, but even so: we were in free fall, especially Costello himself. The catharsis came with an emotional and very accurate mention of the victims of the tragic train accident in Santiago, who dedicated the beautiful Shipbuilding. She laced with Charles Aznavour (recorded by Costello for the soundtrack of Notting Hill), he went by the rock'n'roll countrificado A slow drag with josephine and led to a great time, devoting his wife Diana Krall - acting on the Jazzaldia within a couple of days, the wonderful blue Almost. For a moment, his voice cracked and frayed Costello brought to mind this exciting version of the song recorded by Chet Baker in his last days to the soundtrack of Let's Get Lost by Bruce Weber.

In fact, the concert was still a disaster, but it did not matter much. Costello returned to his classic temazos the Attractions with the most successful single of the band's history, Oliver's Army, from their album Armed Forces. But without the emotional component, the concert began to fall back to hurt Stella rocker, in which Costello was allowed to offset Hendrix on guitar. So we get into the final fireworks, and with the band and the audience (against all odds) hot, through a string of flawless topics: (I do not want to go to) Chelsea, Red shoes, Pump it up and (What's So funny 'bout) Peace, Love and understanding of Nick Lowe, with a fun stop in the middle to get a piece of Prince's Purple Rain with lyrics half invented, of course.

Well up finale for a concert absolutely disastrous. But, hey, it's Elvis Costello. Respect. A bad day I have any.

Image
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://www.noticiasdegipuzkoa.com/2013/ ... imposters-

10.000 espectadores presenciaron el concierto de Elvis Costello & The Imposters

El concierto de Elvis Costello & The Imposters que se ha celebrado este pasado jueves en el Escenario verde ubicado en la Playa de la Zurriola de Donostia dentro del Heineken Jazzaldia, acogió la presencia de un total de 10.000 espectadores.

Según han informado desde el Heineken Jazzaldia, la totalidad de los conciertos celebrados este jueves registraron la participación de 30.409 espectadores, siendo el de Elvis Costello el más multitudinario, seguido del concierto del grupo vizcaíno Belako también en la Playa de la Zurriola con 4.500 personas.

----------------
Google translation:

10,000 spectators watched the concert of Elvis Costello & The Imposters

The concert of Elvis Costello & The Imposters which was held this past Thursday at the Green Stage located on the beach of Donostia Zurriola within the Heineken Jazz Festival, welcomed the presence of a total of 10,000 spectators.

As reported from the Heineken Jazz Festival, all the concerts held on Thursday recorded the participation of 30,409 spectators, being the most massive Elvis Costello, followed by the concert of Biscay group also Belako Zurriola Beach with 4,500 people.

I Can't Stand Up: http://vimeo.com/71083631
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sweetest punch
Posts: 5964
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://blogs.diariovasco.com/mononcle/2 ... os-belako/

Jazzaldia (2): Inmensos Elvis Costello & the Imposters, apasionante Vijay Iyer, recios Belako

Esa maquinaria imparable y brillante que son Elvis Costello & the Imposters estuvo el jueves a medianoche a pleno rendimiento de principio a fin, en un concierto compacto, intensísimo, plagado de éxitos y también, cómo no, con alguna sorpresa. Llovía al empezar, y llovió durante todo el concierto, aunque solo un genuino sirimiri, cuando Costello salió como un huracán y, tras un rápido saludo, y prometer alguna canción sobre la lluvia, se lanzó en plan Ramones: one, two, three, four y una tanda de pildorazos infalibles de ‘new wave’ rabiosa y energética: I Can’t Stand Up (For Falling Down), High Fidelity y Radio, Radio, y enlazando también con el maravilloso soul blanco de Everyday I Write the Book. Una canción, por cierto, que en su anterior visita a San Sebastián con The Sugarcanes hizo de forma radicalmente distinta, muy country. Fue un comienzo más o menos habitual, dentro de la variación diaria que Costello practica en sus setlist, pero sorprendió que a continuación atacase ya con Alison, sobre todo tratándose de un lugar al aire libre, la playa de la Zurriola, y su gigantesco Escenario Verde, con su punto de frialdad y distancia.

Y aquí hay que señalar el problema de este tipo de conciertos gratuitos: el público solo en una pequeña parte es fan, hay mucho parloteo insufrible por parte de gente que estaría mejor en un bar, y es más difícil en esas circunstancias crear la comunión colectiva. Al ser Elvis Costello uno de los grandes, pero no con la popularidad, ni la ceremonia rockera, ni el repertorio de estadio de un Bruce Springsteen, por ejemplo, faltó calor y entrega en el público a la altura del conciertazo compacto y musculoso que ofrecieron Elvis Costello & The Imposters.

Seguramente conocedor de todo eso, Costello se movió en su repertorio más popular, que no facilón, y por supuesto sin renunciar a las sorpresas. Y así, continuó en plan nuevaolero de finales de los 70 con Green Shirt y el excitante e inmarchitable reggae-rock-pop de Watching the Detectives, con su vibrante y afilado guitarreo. Acudió por fin a sus discos recientes con Bedlam, pero solo por un momento: había que hacer un alto en uno de los momentos emocinantes de la noche. Lo es la canción en sí, impresionante como pocas, esa Shipbuilding que Costello compuso en plena era antithatcheriana contra la guerra de las Malvinas y en doloroso homenaje a los soldados que allí murieron. Y ayer la dedicó a las víctimas del accidente de tren de Santiago, recordando además las veces que ha tocado allí y en Vigo. La gravedad de la hermosísima canción y el homenaje que conllevaba, de poner la piel de gallina de principio a fin, no fue óbice para que algunos de los parloteadores siguieran a lo suyo. Ni por esas.

Costello siguió en tono de balada, pero intentó relajar el dramatismo comentando que, como podíamos comprobar en la gran pantalla al fondo del escenario que amplia las imágenes del concierto, “mi cara solo puede enamorar a una madre”, pero le da igual y es capaz de cantar una balada amorosa tan enternecedora como She, quizás el mayor éxito popular de Costello, aunque la canción sea de Charles Aznavour.

Dispuesto a demostrar que puede hacer de todo (aunque no hizo todo lo que es capaz de hacer, hubiera necesitado varias horas), lanzó su broma habitual: “Vamos a hacer rock & roll…de los años 20, lo que sonaba en San Sebastián en 1922″. Y atacó la divertida y cabaretera Slow Drag To Josephine, antes de volver al tiempo más lento e intimista en la que para mí fue la elección más sorprendente de la noche, Almost Blue, la balada derrotada de 1982 que parecía una composición ideal para ser cantada y tocada por Chet Baker, y que así hizo el genial trompetista y cantante años más tarde. Costello la presentó hablando de su mujer, Diana Krall, “que va a tocar aquí al lado en un par de días”, en referencia al Kursaal. “Ella está ahora viajando de Madrid a Cap Roig, y suele cantar también esta canción”. Conexión musical y sentimental en la distancia, por tanto, en esta curiosa circunstancia de que el matrimonio esté girando por los mismos países pero distintas ciudades a la vez.

Se comprobó desde el minuto uno, pero en lo que vino a continuación se hizo irrefutable la absoluta maestría de The Imposters, con el que probablemene sea el mejor teclista del mundo, Steve Nieve, capaz de hacer cualquier cosa, y cada día distinta, con el piano, el órgano, los sintetizadores y hasta el theremin. Lo suyo es realmente grandioso, y aunque esté por debajo de la voz y la guitarra de Costello, todo lo que hace resulta prodigioso. Y la contundencia del batería Pete Thomas a sus casi 60 años es de envidiar por cualquier jovenzuelo rockero, máxime teniendo en cuenta que se puede pasar así tres horas. Y qué finura, por otra parte. Y en perfecta armonía con Davey Faragher, el hombre que consiguió que no se eche de menos a Bruce Thomas. Sí, también creo que The Imposters es la mejor banda de rock (en el sentido más amplio) del mundo, sobre todo porque es capaz de tocar absolutamente todos los estilos como si nada, y en perfecta comunicación extrasensorial con su boss. No les hace falta ni mirarse para enlazar una canción tras otra en permanente climax.

En algún momento le flaqueó su inmensa voz a Costello, producto seguramente del mes y pico que lleva actuando casi a diario, o del sirimiri, o de la hora (empezar a las doce y media de la noche es un poco ‘too much’) pero fue pecata minuta, solo ocasional y moderado. La siguiente traca ochentera fue otra gloria: la contagiosa y maravillosa Oliver’s Army, la intrincada Beyond Belief y Clubland, con una de sus exhibiciones de lo buen y cañero guitarrista que Costello sabe ser.

El segundo y último tema de la década de los 2000 que sonó fue Stella Hurt, tremendamente vibrante, y de ahí subidón total con (I Don’t Want To Go To) Chelsea y otra avalancha de excitante guitarreo rockero, más la también primeriza y coreable (The Angels Wanna Wear My) Red Shoes.

Seguía lloviendo, y Costello se sacó un as de la manga: el Purple Rain de Prince. Aunque suele tocarla a veces, fue una sorpresa perfecta para la ocasión, celebrada colectivamente.

Costello seguía intentando que aquello fuera un mar de brazos en alto y expresión de colectiva de felicidad, pero el público era demasiado frío o demasiado variopinto para ello. Y llegó ya, demasiado pronto para los que esperábamos un concierto de al menos dos horas, la traca final con las apotesósicas Pump It Up y Peace, Love and Understanding, cuyo autor, Nick Lowe, también la tocó a su modo en el teatro Principal hace unos meses, e hizo entonces referencia a las visitas de Costello a San Sebastián. Los fans, enloquecidos, pero no toda la masa, como está acostumbrado Costello. Hora y media exacta y se despidieron.

Y lo que es realmente insólito en Costello, que ha llegado a hacer bises de 17 canciones, no hubo regreso. Sea por la hora, por la lluvia (aunque realmente esto no pareció importar mucho al público) o, poco probable, por exigencias de la organización, el caso es que se nos quedó un poco corto de tiempo, aunque la intensidad y calidad fue tal que nos pudimos dar por plenamente satisfechos.

Una incógnita: la organización suele repartir a la prensa el setlist que los músicos le entregan antes del concierto; muchas veces no corresponde con lo que tocan después, por una razón o por otra. Pero llama la atención que en el caso de Costello, hay bastantes más canciones en esos apuntes de las que tocó finalmente, como si se hubiera ido saltando temas sobre la marcha (aunque también tocó Beyond Belief que no figura en esa lista). Y, en esas promesas estaba Less Than Zero, God Give Me Strength y, ¡oh desesperación! I Want You. Bueno, es igual, Elvis Costello & the Imposters estuvieron inmensos. Ahora que vuelvan al Kursaal.

---------------------------
Google translation:

Jazzaldia (2): Huge Elvis Costello & the Imposters, Vijay Iyer exciting, tough Belako

Such machines are unstoppable and brilliant Elvis Costello & the Imposters was Thursday at midnight at full capacity from beginning to end, in a concert compact, intense, full of successes and, of course, with some surprise. It was raining at the start, and it rained throughout the concert, but only a genuine sirimiri when Costello came like a hurricane and after a quick hello, and promise a song about the rain, was launched in Ramones plan: one, two, three, four and a batch of pildorazos infallible 'new wave' rabid and energy: I Can not Stand Up (For Falling Down), High Fidelity and Radio, Radio, and also linking with the wonderful white soul Everyday I Write the Book. A song, by the way, who in his previous visit to San Sebastian with The Sugarcanes made radically different, very country. It was a more or less regular start within the daily variation in their setlist Costello practice, but then surprised and attacked with Alison, especially for an outdoor venue, the beach Zurriola, and his gigantic Scenario Green, with its point of coldness and distance.

And here we must point out the problem of this type of free concerts: the public only in a small part is a fan, there is much chatter insufferable by people who would be better in a bar, and is more difficult in these circumstances create collective communion . When Elvis Costello a major, but not the popularity or rock ceremony, nor the repertoire of a Bruce Springsteen stadium, for example, lacked warmth and delivery in public at the height of the great show that featured compact and muscular Elvis Costello & The Imposters.

Surely knowing all that, Costello moved into its most popular repertoire, not too easy, and of course without giving surprises. And so nuevaolero plan continued in the late '70s with Green Shirt and the exciting and unfading reggae-rock-pop Watching the Detectives, with its vibrant and sharp guitar playing. He came at last to their recent albums with Bedlam, but only for a moment: he had to make a stop at one of the moments of the night emocinantes. What is the song itself, impressive as few, that he composed Costello Shipbuilding era antithatcheriana against the Falklands war and painful tribute to the soldiers who died there. And yesterday was dedicated to the victims of the train accident Santiago, also recalling the times he has played there and Vigo. The severity of the beautiful song and tribute entailed, to put goosebumps from start to finish, did not prevent some of the parloteadores follow for himself. Not for that.

Costello ballad followed in tone, but tried to relax the drama commenting that, as we could see on the big screen at the back of the stage that extends the images of the concert, "my face only a mother could love," but he does not care and is able to sing a love ballad as heartwarming as She, perhaps the greatest popular success Costello, although the song is by Charles Aznavour.

Determined to prove he can do everything (though he made all that is able to do, would have required several hours), launched his standard joke: "Let's make rock & roll ... of the 20, which sounded in San Sebastian 1922 ". And the fun and cabaret attacked Slow Drag To Josephine, before returning to the slowest time and intimate in which for me was the most amazing election night, Almost Blue, defeated the 1982 ballad that seemed an ideal composition to be sung and played by Chet Baker, and so did the great trumpeter and singer years later. Costello introduced talking about his wife, Diana Krall, "which will play next door in a couple of days", referring to the Kursaal. "She is now traveling from Madrid to Cap Roig, and also this song is sung." Musical and romantic connection in the distance, therefore, in this curious fact that marriage is rotating by the same countries but different cities at once.

It was found from minute one, but what came next was the absolute master irrefutable The Imposters, with which probablemene be the best keyboardist in the world, Steve Nieve, able to do anything, and every day different, with the piano, organ, synthesizers and even the theremin. Theirs is really great, and although it is below the voice and guitar of Costello, all it does is prodigious. And the strength of drummer Pete Thomas to his nearly 60 years is to be envied by any youngster rocker, especially considering that you can go on for three hours. And what finesse, on the other hand. And in perfect harmony with Davey Faragher, the man who got it not cave under Bruce Thomas. Yes, I also believe that The Imposters is the best rock band (in the broadest sense) in the world, mainly because it is able to play absolutely every style as usual, and in perfect extrasensory communication with your boss. They do not need or look to link one song after another in constant climax.

At some point you immense voice wavered Costello, product safely the peak month and has been acting almost daily, or drizzle, or time (start at half past twelve is a bit 'too much') but was volcanic chump, only occasional and moderate. The following fireworks eighties was another glory: the infectious and wonderful Oliver's Army, the intricate Beyond Belief and Clubland, with its exhibits of what good and sugarcane guitarist Costello knows how to be.

The second and final issue of the 2000s that sounded was Stella Hurt, extremely vibrant, and hence total rush (I Do not Want To Go To) Chelsea and another avalanche of exciting guitar playing rocker, plus the also first-and coreable (The Angels Wanna Wear My) Red Shoes.

It was still raining, and Costello pulled a trump card: the Purple Rain by Prince. Although often touching at times, it was a surprise for the occasion, held collectively.

Costello was trying to make this were a sea of ​​arms raised and collective expression of happiness, but the audience was too cold or too varied for that. And it was already much too soon for those who expected a concert of at least two hours, the final fireworks with apotesósicas Pump It Up, Peace, Love and Understanding, whose author, Nick Lowe, also played his way into the main theater a few months ago when he made reference to Costello visits to San Sebastian. The fans, crazed, but not all mass is used as Costello. Exact hour and a half and said goodbye.

And what is really unusual for Costello, who has come to do encores of 17 songs, there was no return. Whether by the hour, by rain (although this does not really seem to matter much to the public) or unlikely, requirements of the organization, the fact is that we fell a little short of time, although the intensity and quality was such we could assume fully satisfied.

One unknown: the organization is often spread setlist reporters that musicians will deliver before the concert, often do not match what you play then, for one reason or another. But it is striking that in the case of Costello, there are many more songs in those notes which finally touched, as if he had been jumping issues on the fly (though also played Beyond Belief that is not on that list). And in those promises was Less Than Zero, God Give Me Strength and despair oh! I Want You. Well, anyway, Elvis Costello & the Imposters were immense. Now we return to the Kursaal.

Almost Blue: http://www.youtube.com/watch?v=puTqUfZP ... r_embedded
Clubland: http://www.youtube.com/watch?v=b5nGd8ng ... r_embedded
Purple Rain: http://www.youtube.com/watch?feature=pl ... VUGVr1QLeE
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sweetest punch
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

http://www.elmundo.es/elmundo/2013/07/2 ... 25828.html

Elvis Costello, enorme en la segunda noche del Jazzaldia

*El artista británico reconoció que es un placer volver a San Sebastián
*Homenajeó a las víctimas del accidente de tren de Santiago


Elvis Costello, enorme, ha vuelto a regalar un concierto memorable en el Festival de Jazz de San Sebastián, esta vez con una recopilación de las esencias de su extensa trayectoria, de una carrera apoyada en unos magníficos directos.

El de esta noche, el primero de su minigira por España, ha estado arropado por unos cuantos miles de seguidores en la playa de La Zurriola, en las horas más tardías de una jornada que ha dado también otras actuaciones destacadas, la del quinteto de Steve Swallov y la del madrileño Jorge Pardo en la plaza de la Trinidad.

Costello ofreció en sus dos paradas anteriores en el Heineken Jazzaldia, en 2007 junto a Allen Toussaint y en 2010 con The Sugarcanes, facetas distintas a la de esta madrugada, en que la que ha optado por un concierto mucho más eléctrico, que ha girado por el epicentro de su historia creativa acompañado por los nuevos Imposters.

El artista británico ha dado cuenta de lo más genuino de su casi inabarcable lista de canciones, en la que no han faltado títulos como "Alison", "She", "Chelsea" y "I Can't Stand Up for Falling Down", con la que abría con puntualidad británica, 30 minutos después de la medianoche, su impresionante actuación.

A ritmo frenético se sucedieron después "Hihg Fidelity", "Radio, Radio" y "Every Day I Write de Book", en un repaso a sus temas de los 80, que ha incluido también "Green Shirt" y "Watching The Detectives".

Cuando llegó "Bedlam" ya había cambiado varias veces de guitarra, pero tras esta canción el "show" dio un giro. Costello saludó al público, dijo que es un placer volver a San Sebastián pero que sentía hacerlo en "circunstancias tan tristes", al día siguiente de la tragedia ferroviaria de Santiago de Compostela.

A sus víctimas las ha homenajeado con "Shipbuilding", acompañado sólo al piano. A este tema siguió "She", maravillosamente cantada como el resto, y luego, creciendo de nuevo el ritmo, "A Slow Drag With Josephine" y "Oliver's Army".

Con "Almost Blue" llegó de nuevo el tiempo lento, la música para su esposa, Diana Kraall, que recordó que el próximo domingo estará en la jornada de clausura del Heineken Jazzaldia.

No todos los que estaban en la playa, uno de los escenarios gratuitos del Festival, coreaban los temas del artista británico, muchos aún no habían nacido cuando lo hicieron algunas de sus composiciones, pero el poder imparable de este gran músico los ha mantenido atentos en la arena, pese a que una casi imperceptible lluvia iba calando poco a poco.

El final, pura energía

. A "Red Shoes", enlazada con una versión del "Purple Rain" de Prince, le siguieron "Pum it Up" y la fabulosa "Peace, Love and Understanding", de Nick Lowe, que hace tiempo incorporó a su repertorio. Elvis Costello ha encajado su programa en hora y media justa. No ha habido bises, una verdadera pena. Si alguien desea repetir, este viernes actúa en Barcelona y, el sábado, en Madrid.
----------------------------
Google translation:

Elvis Costello, huge on the second night of Jazzaldia

*British artist acknowledged that it is a pleasure to return to San Sebastian
*Paid tribute to the victims of the train accident in Santiago


Elvis Costello, huge, has returned to give a memorable concert at the Festival de Jazz de San Sebastián, this time with a collection of essences of his long career, a career supported by direct magnificent.

The tonight, the first of their mini-tour in Spain, has been embraced by a few thousand followers in Zurriola Beach in the late hours of a day that has also other outstanding performances, the quintet of Steve Swallov and Jorge Pardo in Madrid's Plaza de la Trinidad.

Costello offered in his two previous stops in the Heineken Jazz Festival in 2007 with Allen Toussaint and in 2010 with The Sugarcanes, different facets to this morning, in which he has chosen a much more electric concert, which has toured the epicenter of creative history accompanied by new Imposters.

The British artist has realized the most genuine of his almost boundless list of songs, in which there have been titles like "Alison", "She", "Chelsea" and "I Can not Stand Up for Falling Down" with which he opened with British punctuality, 30 minutes after midnight, his impressive performance.

A frantic pace came after "Hihg Fidelity," "Radio, Radio" and "Every Day I Write the Book", in a review of their songs of the 80s, which also included "Green Shirt" and "Watching The Detectives" .

When it was "Bedlam" had already changed several times guitar, but after this song the "show" took a turn. Costello greeted the audience, said it is a pleasure to return to San Sebastian but I felt it in "so sad circumstances", the day after the rail tragedy of Santiago de Compostela.

In his victims has honored with the "Shipbuilding", accompanied only by piano. This subject was "She", beautifully sung as the rest, and then growing back up, "A Slow Drag With Josephine" and "Oliver's Army".

With "Almost Blue" came back the slow time, the music for his wife, Diana Kraall, who recalled that next Sunday will be on the closing day of the Heineken Jazz Festival.

Not all who were on the beach, one of the Festival's free scenarios chanted the British artist issues, many were not even born when they did some of his compositions, but the unstoppable power of this great musician has kept vigilant in sand, although a faint rain was seeping slowly.

The final pure energy

.A "Red Shoes", linked with a version of "Purple Rain" by Prince and followed him "Pum It Up" and the fabulous "Peace, Love and Understanding" by Nick Lowe, who has long incorporated into his repertoire. Elvis Costello conceded its program in just half hour. There was no encore, a real shame. If someone wants to repeat acts in Barcelona on Friday and Saturday in Madrid.

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sweetest punch
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by sweetest punch »

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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verbal gymnastics
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by verbal gymnastics »

What's the How Insensitive song that The imposter said was in Clubland? Unfortunately the link posted doesn't include it within the song.
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Otis Westinghouse
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by Otis Westinghouse »

sweetest punch wrote:Elvis Costelloha
Elvis in Hawaii!
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by johnfoyle »

What's the How Insensitive song that The imposter said was in Clubland?

http://www.elviscostello.info/wiki/inde ... Insensatez
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Otis Westinghouse
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Re: Elvis & Imposters, San Sebastian (Spain), July 25, 2013

Post by Otis Westinghouse »

Song with a great pedigree, incl. William Shatner!

What I'd never noticed was that he's done a medley of Radio Radio with the Jam's In The CIty. Over the last few years. Couldn't find a youtube clip of this. Anyone know of one?
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