Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
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sweetest punch
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Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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bronxapostle
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
the shows keep coming...YAY! and with a whole 8 days between the last one before adding Montreal, can we get one kinda close to NYC please. yes, i know...i'm greedy!
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bobfrombob
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
I was out of town when this was announced so I missed it here and didn't get an email from Elvis. Gonna need to wait for a ticket drop I guess....
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scielle
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Just announced: Diana is doing one of the main free outdoor shows at this year's festival that same evening:
http://nouvelles.equipespectra.ca/blogu ... #more-7413
For those who have never been to the FIJM, these free "Événements spéciaux" concerts are massive. The main stage is set up at one of Montreal's main intersections and basically half of the city turns up. I wouldn't be surprised if EC made an appearance during her set (she's on at 9:30, so probably just as Elvis' show in the building nextdoor is over).
http://nouvelles.equipespectra.ca/blogu ... #more-7413
For those who have never been to the FIJM, these free "Événements spéciaux" concerts are massive. The main stage is set up at one of Montreal's main intersections and basically half of the city turns up. I wouldn't be surprised if EC made an appearance during her set (she's on at 9:30, so probably just as Elvis' show in the building nextdoor is over).
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sweetest punch
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Elvis will recieve the "Montreal Jazz Festival Spirit Award": http://ici.radio-canada.ca/nouvelles/ar ... fijm.shtml
(...)
Enfin, le Montreal Jazz Festival Spirit Award ira à Elvis Costello. Avec ce prix, les organisateurs du festival désirent souligner la qualité et l'innovation de l'œuvre ainsi que l'influence déterminante d'un auteur-compositeur-interprète sur l'ensemble de la musique populaire internationale. Elvis Costello proposera un concert le 29 juin à la Maison symphonique de Montréal.
(...)
Translation:
Finally, the Montreal Jazz Festival Spirit Award will go to Elvis Costello. With this award, the festival organizers want to emphasize the quality and innovation of the work and also the decisive infuence of the writer - composer - interpreter on the whole of the international pop music . Elvis Costello will offer a concert on June 29 at the Maison symphonique de Montreal.
(...)
Enfin, le Montreal Jazz Festival Spirit Award ira à Elvis Costello. Avec ce prix, les organisateurs du festival désirent souligner la qualité et l'innovation de l'œuvre ainsi que l'influence déterminante d'un auteur-compositeur-interprète sur l'ensemble de la musique populaire internationale. Elvis Costello proposera un concert le 29 juin à la Maison symphonique de Montréal.
(...)
Translation:
Finally, the Montreal Jazz Festival Spirit Award will go to Elvis Costello. With this award, the festival organizers want to emphasize the quality and innovation of the work and also the decisive infuence of the writer - composer - interpreter on the whole of the international pop music . Elvis Costello will offer a concert on June 29 at the Maison symphonique de Montreal.
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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scielle
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Me! Probably not staying until the end though because I want to see Diana at 9:30, and given that it's one of the flagship outdoor shows there is easily going to be 100,000+ people there and the crowds are going to start gathering around 7:30/8, so getting a decent spot at 9:30 will be impossible.
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And No Coffee Table
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Jazz fest: A touch of youth in night of Costello classics
Gives himself more freedom than ever on solo tour in which any number of factors influence set list
BY BERNARD PERUSSE, SPECIAL TO THE GAZETTE JUNE 27, 2014
Elvis Costello sounded amused when the number of songs he has recorded — almost 700, according to one source — was raised.
“That number seems to be getting bigger and bigger,” Costello said during a recent telephone interview. “It was 600 a week ago, so I must have recorded about 100 last week. I have no idea. Maybe they’re counting live versions and everything.”
But even if you were to lowball the figure, it’s hard not to be awed by the sheer without-a-net ambition of his current solo tour, in which he revisits, reworks and recalls an evening’s worth of songs every night, all without the basic security of a set list.
The thread between songs, which Costello said he doesn’t necessarily share with the audience, might be inspired by the room, the atmosphere or the occasion, among other things. “The more I follow this idea of trying to cut a line in my mind that threads me through the songs, I find my way to an idea that connects songs that might have been written a long time apart,” he said. As an example, he cited a show at Toronto’s Massey Hall, which took place the night before Father’s Day. “I was singing a lot about the experiences of my father and grandfather in music, several songs to do with that. But I hadn’t always programmed them close together, so I could open up a little bit of what’s behind them,” he said.
“So I talk sometimes. Sometimes I don’t. It really depends on the mood, the shape of the hall, the architecture and people’s tolerance for such things.”
Costello performed a memorable stripped-down show here in 1999, with pianist Steve Nieve, but this is truly a solo event, with only the artist himself on stage. “I have the freedom to really break things down, sometimes return to the blueprint of the song, sometimes find an entirely different rhythm in which to play the song, which can throw the story of the song into some relief,” he said. “I did a rock ’n’ roll song the other night as a ballad, and you could tell people were hearing it for the first time, because their reactions to the words was different.”
The solo tour is subtitled The Last Year of My Youth, which is also the title of a stunning song Costello recently debuted on the Late Show With David Letterman, the day after he had written it. Among its lines: “The night before, my friends had called to ask ‘Are you OK?’ / Are you running hot? Are you feeling cold? Are you out of juice? / Are you calculating your temperature? Have you checked your pulse? / Have you heard from your family doctor and his older friend Don Juan? / You’re going to be 21 / Your best days are gone.”
“Your friends will ring you on the eve of every significant birthday from the age of 21 to the age I am now,” explained Costello, who turns 60 in August. “There’s this inquiry of ‘Are you doing all right?’, as if you’d think your life is ending. Of course, every day we’re alive, we should be grateful and glad that we’re still able to do what we can do.
“Age really only gives you … more repertoire is what it gives you,” he said, chuckling. “And more ways to tell a story. I’ve got stories now I couldn’t have imagined and experiences I’ve had in music that I never could have imagined when I started out. But I’m not about taking a lap of honour. I’m about trying to make these things make sense in the moment — even if there are reflections within the songs of past experiences.”
Costello’s acclaimed body of work made it a natural for him to be among the artists recruited to work with a batch of 1967 Bob Dylan lyrics that were never put to music. Lost on the River: The New Basement Tapes is due later this year. T Bone Burnett produced and participated, as did Marcus Mumford, Jim James, Rhiannon Giddens and Taylor Goldsmith.
“I had a ball,” Costello said of the project. “It’s done with a lot of good humour, as you might imagine with lyrics from that time.”
Costello MCed the PEN New England award for song lyrics of literary excellence June 2, in a ceremony honouring Kris Kristofferson and Randy Newman, another writer Costello greatly admires. “Randy is one of the people that showed me, as an observer of songwriting, that you could be writing about the misfit or the misanthrope with as much humanity as you could find writing a beautiful love song,” he said.
Costello has developed his own set of strengths, entirely different from Newman’s, over 37 prolific years since he released his debut album. While the songwriting process has not necessarily become easier, there is a challenge, Costello said, in not relying on well-worn patterns.
“You become more able to come close to the model that you have in your mind for the song you’re writing. Perhaps sometimes you don’t stumble on those original accidents. It’s not that you become more accomplished. It’s that you have to remember not to go too close to the model — to still keep the idiot part of yourself alive,” he said.
“‘Keep the idiot part of yourself alive.’ I’m having that printed on a T-shirt.”
Elvis Costello performs Sunday at 7 p.m. at the Maison symphonique, as part of the Montreal International Jazz Festival. Remaining tickets cost $67 via 514-842-2112 or pda.qc.ca. For more information, visit montrealjazzfest.com.
Gives himself more freedom than ever on solo tour in which any number of factors influence set list
BY BERNARD PERUSSE, SPECIAL TO THE GAZETTE JUNE 27, 2014
Elvis Costello sounded amused when the number of songs he has recorded — almost 700, according to one source — was raised.
“That number seems to be getting bigger and bigger,” Costello said during a recent telephone interview. “It was 600 a week ago, so I must have recorded about 100 last week. I have no idea. Maybe they’re counting live versions and everything.”
But even if you were to lowball the figure, it’s hard not to be awed by the sheer without-a-net ambition of his current solo tour, in which he revisits, reworks and recalls an evening’s worth of songs every night, all without the basic security of a set list.
The thread between songs, which Costello said he doesn’t necessarily share with the audience, might be inspired by the room, the atmosphere or the occasion, among other things. “The more I follow this idea of trying to cut a line in my mind that threads me through the songs, I find my way to an idea that connects songs that might have been written a long time apart,” he said. As an example, he cited a show at Toronto’s Massey Hall, which took place the night before Father’s Day. “I was singing a lot about the experiences of my father and grandfather in music, several songs to do with that. But I hadn’t always programmed them close together, so I could open up a little bit of what’s behind them,” he said.
“So I talk sometimes. Sometimes I don’t. It really depends on the mood, the shape of the hall, the architecture and people’s tolerance for such things.”
Costello performed a memorable stripped-down show here in 1999, with pianist Steve Nieve, but this is truly a solo event, with only the artist himself on stage. “I have the freedom to really break things down, sometimes return to the blueprint of the song, sometimes find an entirely different rhythm in which to play the song, which can throw the story of the song into some relief,” he said. “I did a rock ’n’ roll song the other night as a ballad, and you could tell people were hearing it for the first time, because their reactions to the words was different.”
The solo tour is subtitled The Last Year of My Youth, which is also the title of a stunning song Costello recently debuted on the Late Show With David Letterman, the day after he had written it. Among its lines: “The night before, my friends had called to ask ‘Are you OK?’ / Are you running hot? Are you feeling cold? Are you out of juice? / Are you calculating your temperature? Have you checked your pulse? / Have you heard from your family doctor and his older friend Don Juan? / You’re going to be 21 / Your best days are gone.”
“Your friends will ring you on the eve of every significant birthday from the age of 21 to the age I am now,” explained Costello, who turns 60 in August. “There’s this inquiry of ‘Are you doing all right?’, as if you’d think your life is ending. Of course, every day we’re alive, we should be grateful and glad that we’re still able to do what we can do.
“Age really only gives you … more repertoire is what it gives you,” he said, chuckling. “And more ways to tell a story. I’ve got stories now I couldn’t have imagined and experiences I’ve had in music that I never could have imagined when I started out. But I’m not about taking a lap of honour. I’m about trying to make these things make sense in the moment — even if there are reflections within the songs of past experiences.”
Costello’s acclaimed body of work made it a natural for him to be among the artists recruited to work with a batch of 1967 Bob Dylan lyrics that were never put to music. Lost on the River: The New Basement Tapes is due later this year. T Bone Burnett produced and participated, as did Marcus Mumford, Jim James, Rhiannon Giddens and Taylor Goldsmith.
“I had a ball,” Costello said of the project. “It’s done with a lot of good humour, as you might imagine with lyrics from that time.”
Costello MCed the PEN New England award for song lyrics of literary excellence June 2, in a ceremony honouring Kris Kristofferson and Randy Newman, another writer Costello greatly admires. “Randy is one of the people that showed me, as an observer of songwriting, that you could be writing about the misfit or the misanthrope with as much humanity as you could find writing a beautiful love song,” he said.
Costello has developed his own set of strengths, entirely different from Newman’s, over 37 prolific years since he released his debut album. While the songwriting process has not necessarily become easier, there is a challenge, Costello said, in not relying on well-worn patterns.
“You become more able to come close to the model that you have in your mind for the song you’re writing. Perhaps sometimes you don’t stumble on those original accidents. It’s not that you become more accomplished. It’s that you have to remember not to go too close to the model — to still keep the idiot part of yourself alive,” he said.
“‘Keep the idiot part of yourself alive.’ I’m having that printed on a T-shirt.”
Elvis Costello performs Sunday at 7 p.m. at the Maison symphonique, as part of the Montreal International Jazz Festival. Remaining tickets cost $67 via 514-842-2112 or pda.qc.ca. For more information, visit montrealjazzfest.com.
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scielle
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Walked by the press area earlier today & discovered Elvis is doing a press conference re. the Spirit Award at 14:30 on Sunday. No public access but I imagine they'll post excerpts at http://www.montrealjazzfest.tv. Diana's presser is at 2pm tomorrow.
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sweetest punch
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://www.ledevoir.com/culture/musique ... du+Devoir)
Le libre arbitre d’Elvis Costello
Au moment où j’obtiens mon quinze minutes chrono, à la queue leu leu dans la salle d’attente promotionnelle, deux petites semaines avant son spectacle en solo à la Maison symphonique (ce dimanche, dès 19 h, précédant de peu sa chère Diana Krall sur la grande scène de la place des Festivals…), Elvis Costello vient d’aligner deux grosses heures et demie des chansons de son riche catalogue au chic Massey Hall de Toronto.
Autant commencer là, me dis-je. Sacré paquet de titres, plus d’une trentaine au programme, des connues (Watching the Detectives, Everyday I Write the Book) et des pointues (A Slow Drag with Josephine, quelqu’un ?), toutes époques confondues (y compris deux chansons du Wise Up Ghost de 2013), setlist que l’on se souhaite à Montréal. Ce que je veux d’abordsavoir : fera-t-il aussi chez nous, pour lancer l’affaire, la face A de son tout premier album, My Aim Is True ? On veut ça. Oh qu’on veut ça. « Je l’ai décidé sur le moment, ce n’était pas prévu, rien n’est vraiment prévu dans ce spectacle. J’y vais selon mon humeur, je prends le pouls de la salle. Et là, je me suis dit, pourquoi pas commencer par le commencement ? Mais j’ai omis un titre, semble-t-il [Blame It on Cain] alors on peut dire que le disque a sauté… »Ricanement au bout du fil.
Privilège, donc. Chanceux les Torontois. Neuvaines nécessaires pour les Montréalais. Le gaillard a les coudées plus que franches. Mais un Elvis Costello peut-il ne pas ramener, disons, Alison, fut-ce dans une soirée à géométrie variable ? Y a-t-il un cahier de charges ? « Il faut avoir cette conscience, il est vrai que certains titres piqueront assurément l’intérêt. Mais je cherche avant tout à établir des liens entre des chansons qui ont jusqu’à 40 ans d’écart : comment les lier, comment trouver le fil conducteur qui leur donne du sens, qui raconte une histoire ? Il y a toutes sortes de chemins, par toutes sortes de chansons, pour y arriver. À Montréal, je trouverai un nouveau chemin. C’est mon défi, mon travail, ma satisfaction. »
Ce ne sera pas, tient-il à préciser, une soirée à la Storytellers, cette émission où les auteurs-compositeurs-interprètes s’épanchent sur les origines des chansons, avec force anecdotes et mises en contexte. « Certains soirs, je suis intarissable, mais souvent, je la boucle et je peux enchaîner une douzaine de titres. Ça dépend de moi, de vous, de la salle. Pas de script. Pas de limite non plus. Je peux avoir très envie de m’amuser avec les gens, ou pas trop. C’est selon l’inspiration : à Massey, j’ai joué Almost Blue, pourquoi ? Parce que j’avais Jimmy Scott en tête. Il avait eu la gentillesse d’enregistrer ma chanson, je venais d’apprendre sa mort, et je voulais le saluer. À mon grand âge [relativisons : il aura 60ans le 25 août !], avec tout ce matériel que j’ai, sans compter les chansons des autres, les possibilités de permutation sont grandes… »
L’expérience McCartney
De spectacle en spectacle semble invariablement s’immiscer une chanson des Beatles. Même si Declan MacManus s’est appelé Elvis, sa pop est, de son propre aveu, d’allégeance beatlesque. Dans cette tournée en solo, le binoclard le plus célèbre depuis John Lennon allie souvent son New Amsterdam à You’ve Got to Hide Your Love Away.
« C’est plus fort que moi, j’imagine : je viens de là. » Il omet rarement Veronica, du lot de chansons créées en collaboration avec Paul McCartney à la fin des années 1980. « Je me revois en studio en face de lui. Je me pinçais pour y croire, vous comprenez ? J’avais ma place, mais j’étais le même fan qu’en 1963. C’est une collaboration qui n’a pas pleinement abouti mais produit de belles chansons, dont plusieurs demeurent inédites ou inachevées : c’est néanmoins un moment exceptionnel dans ma vie. » À Nashville le 21 juin, il a inséré dans sa liste une rareté du corpus MacManus-McCartney : Pads, Paws and Claws.
Faudra vraiment s’attendre à tout dimanche. Sauf aux textes « retrouvés » de Dylan qu’il vient de mettre en musique dans le cadre du projet des New Basement Tapes, en compagnie des T-Bone Burnett et autres Marcus Mumford. « Quelle fantastique occasion nous avons eu là, quelle joie d’enregistrer avec ces gens de qualité ! Ça va sortir en novembre, je crois. » Je lui dis avoir lu un peu partout qu’il renonçait à lancer de nouveaux albums à sa propre enseigne. « C’est exact. C’était merveilleux de faire Wise Up Ghost avec The Roots comme groupe d’accompagnement, et ces Basement Tapes, mais je crois que ma vie d’artiste ne passe plus nécessairement par les enregistrements. La scène est redevenue, comme avant le disque, le lieu d’aboutissement naturel des chansons. J’écris pour des productions spéciales, j’ai deux projets en train avec Burt Bacharach, et je vais chanter où l’on veut de moi… » Bref éclat de rire.
Le relationniste nous rejoint sur la ligne : faut conclure. Elvis a l’habitude, prend le temps de bien formuler sa pensée. « L’exploitation commerciale sur disque des chansons a perdu son sens dans le monde numérique, et ce n’est pas un si grand malheur, vous savez : la magie dumoment unique de la performance est de retour. »
------------------
Freewill Elvis Costello
When I get my fifteen minutes chrono, the leu leu tail in the waiting room of promotional, two short weeks before his solo show at the Maison symphonique (Sunday, from 19 pm, shortly before his beloved Diana Krall on the big stage of the Place des Festivals ...), Elvis Costello has put two and a half hours of great songs from his rich catalog chic Massey Hall in Toronto.
As well start there, I told myself. Whole lot of titles, more than thirty in the program, known (Watching the Detectives, Everyday I Write the Book) and sharp (A Slow Drag with Josephine, anyone?) Of all time (including two songs Wise Up the Ghost 2013) setlist that one wishes to Montreal. I want to abordsavoir: he will also with us to start the case, the A side of his debut album, My Aim Is True? We want that. Oh we want it. "I decided at the time, it was not planned, nothing is expected in this show. I'm depending on my mood, I take the pulse of the room. And then I thought, why not start at the beginning? But I missed a title, it seems [Blame It on Cain] then we can say that the disc jumped ... "sneer at the end of the wire.
Privilege, then. Lucky Torontonians. Novenas necessary for Montrealers. The guy has bent more than free. But Elvis Costello Can not bring, say, Alison, was this evening in a variable geometry? Will has a specification? "You have this awareness, it is certainly true that some titles pique interest. But I seek above all to establish links between songs that have up to 40 years apart: how to link, how to find the driver that gives them meaning thread, that tells a story? There are all sorts of ways, with all sorts of songs, to get there. In Montreal, I'll find a new path. This is my challenge, my work, my satisfaction. "
It will not, take it to specify an evening at Storytellers, this program where singer-songwriters will spread on the origins of songs, with anecdotes strength and context. "Some nights, I am endless, but often I loop and I can string together a dozen titles. It depends on me, you, the room. No script. Not limit either. I really want to have fun with people, or not too. This is according to the inspiration: Massey, I played Almost Blue, why? Because I had Jimmy Scott head. He was kind enough to record my song, I had just learned his death, and I wanted to say hello. At my age [relativize: it will 60years August 25], with all the material I have, not counting other people's songs, the permutations are great ... "
The McCartney experience
Show spectacle seems invariably intrude a Beatles song. Although Declan MacManus was called Elvis, his pop is, by his own admission, to Beatlesque allegiance. In this solo tour, the most famous bespectacled since John Lennon often combines his New Amsterdam to You've Got to Hide Your Love Away.
"It's stronger than me, I guess I come from there. "He rarely fails Veronica lot of songs created in collaboration with Paul McCartney in the late 1980s." I remember the studio in front of him. I pinched myself to believe it, you know? I had my place, but I was the same fan in 1963 This is a collaboration that has not fully completed but produces beautiful songs, many of which remain unpublished or unfinished. Nevertheless it is an exceptional moment in my life. "In Nashville on June 21, it included in its list a rarity corpus McCartney-MacManus: Pads, Paws and Claws.
Will really expect anything Sunday. Except texts "found" Dylan he just put music in the project of New Basement Tapes, along with T-Bone Burnett and other Marcus Mumford. "What a fantastic opportunity we got there, what a joy to record with these quality people! It will come out in November, I think. "I told him I read everywhere that he would launch new albums in his own name. "That is correct. It was wonderful to Wise Up Ghost with The Roots as a backing band, and the Basement Tapes, but I believe that my life as an artist no longer necessarily passes through the records. The scene is again, as before the disk, the natural outcome instead of songs. I write for special productions, I have two projects going with Burt Bacharach, and I'll sing wherever you want me ... "In short laugh.
The publicist joined us on the line: must conclude. Elvis usually takes the time to formulate his thoughts. "Commercial exploitation of the songs on disc has lost its meaning in the digital world, and it is not so great a misfortune, you know, the dumoment unique magic performance is back. "
Le libre arbitre d’Elvis Costello
Au moment où j’obtiens mon quinze minutes chrono, à la queue leu leu dans la salle d’attente promotionnelle, deux petites semaines avant son spectacle en solo à la Maison symphonique (ce dimanche, dès 19 h, précédant de peu sa chère Diana Krall sur la grande scène de la place des Festivals…), Elvis Costello vient d’aligner deux grosses heures et demie des chansons de son riche catalogue au chic Massey Hall de Toronto.
Autant commencer là, me dis-je. Sacré paquet de titres, plus d’une trentaine au programme, des connues (Watching the Detectives, Everyday I Write the Book) et des pointues (A Slow Drag with Josephine, quelqu’un ?), toutes époques confondues (y compris deux chansons du Wise Up Ghost de 2013), setlist que l’on se souhaite à Montréal. Ce que je veux d’abordsavoir : fera-t-il aussi chez nous, pour lancer l’affaire, la face A de son tout premier album, My Aim Is True ? On veut ça. Oh qu’on veut ça. « Je l’ai décidé sur le moment, ce n’était pas prévu, rien n’est vraiment prévu dans ce spectacle. J’y vais selon mon humeur, je prends le pouls de la salle. Et là, je me suis dit, pourquoi pas commencer par le commencement ? Mais j’ai omis un titre, semble-t-il [Blame It on Cain] alors on peut dire que le disque a sauté… »Ricanement au bout du fil.
Privilège, donc. Chanceux les Torontois. Neuvaines nécessaires pour les Montréalais. Le gaillard a les coudées plus que franches. Mais un Elvis Costello peut-il ne pas ramener, disons, Alison, fut-ce dans une soirée à géométrie variable ? Y a-t-il un cahier de charges ? « Il faut avoir cette conscience, il est vrai que certains titres piqueront assurément l’intérêt. Mais je cherche avant tout à établir des liens entre des chansons qui ont jusqu’à 40 ans d’écart : comment les lier, comment trouver le fil conducteur qui leur donne du sens, qui raconte une histoire ? Il y a toutes sortes de chemins, par toutes sortes de chansons, pour y arriver. À Montréal, je trouverai un nouveau chemin. C’est mon défi, mon travail, ma satisfaction. »
Ce ne sera pas, tient-il à préciser, une soirée à la Storytellers, cette émission où les auteurs-compositeurs-interprètes s’épanchent sur les origines des chansons, avec force anecdotes et mises en contexte. « Certains soirs, je suis intarissable, mais souvent, je la boucle et je peux enchaîner une douzaine de titres. Ça dépend de moi, de vous, de la salle. Pas de script. Pas de limite non plus. Je peux avoir très envie de m’amuser avec les gens, ou pas trop. C’est selon l’inspiration : à Massey, j’ai joué Almost Blue, pourquoi ? Parce que j’avais Jimmy Scott en tête. Il avait eu la gentillesse d’enregistrer ma chanson, je venais d’apprendre sa mort, et je voulais le saluer. À mon grand âge [relativisons : il aura 60ans le 25 août !], avec tout ce matériel que j’ai, sans compter les chansons des autres, les possibilités de permutation sont grandes… »
L’expérience McCartney
De spectacle en spectacle semble invariablement s’immiscer une chanson des Beatles. Même si Declan MacManus s’est appelé Elvis, sa pop est, de son propre aveu, d’allégeance beatlesque. Dans cette tournée en solo, le binoclard le plus célèbre depuis John Lennon allie souvent son New Amsterdam à You’ve Got to Hide Your Love Away.
« C’est plus fort que moi, j’imagine : je viens de là. » Il omet rarement Veronica, du lot de chansons créées en collaboration avec Paul McCartney à la fin des années 1980. « Je me revois en studio en face de lui. Je me pinçais pour y croire, vous comprenez ? J’avais ma place, mais j’étais le même fan qu’en 1963. C’est une collaboration qui n’a pas pleinement abouti mais produit de belles chansons, dont plusieurs demeurent inédites ou inachevées : c’est néanmoins un moment exceptionnel dans ma vie. » À Nashville le 21 juin, il a inséré dans sa liste une rareté du corpus MacManus-McCartney : Pads, Paws and Claws.
Faudra vraiment s’attendre à tout dimanche. Sauf aux textes « retrouvés » de Dylan qu’il vient de mettre en musique dans le cadre du projet des New Basement Tapes, en compagnie des T-Bone Burnett et autres Marcus Mumford. « Quelle fantastique occasion nous avons eu là, quelle joie d’enregistrer avec ces gens de qualité ! Ça va sortir en novembre, je crois. » Je lui dis avoir lu un peu partout qu’il renonçait à lancer de nouveaux albums à sa propre enseigne. « C’est exact. C’était merveilleux de faire Wise Up Ghost avec The Roots comme groupe d’accompagnement, et ces Basement Tapes, mais je crois que ma vie d’artiste ne passe plus nécessairement par les enregistrements. La scène est redevenue, comme avant le disque, le lieu d’aboutissement naturel des chansons. J’écris pour des productions spéciales, j’ai deux projets en train avec Burt Bacharach, et je vais chanter où l’on veut de moi… » Bref éclat de rire.
Le relationniste nous rejoint sur la ligne : faut conclure. Elvis a l’habitude, prend le temps de bien formuler sa pensée. « L’exploitation commerciale sur disque des chansons a perdu son sens dans le monde numérique, et ce n’est pas un si grand malheur, vous savez : la magie dumoment unique de la performance est de retour. »
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Freewill Elvis Costello
When I get my fifteen minutes chrono, the leu leu tail in the waiting room of promotional, two short weeks before his solo show at the Maison symphonique (Sunday, from 19 pm, shortly before his beloved Diana Krall on the big stage of the Place des Festivals ...), Elvis Costello has put two and a half hours of great songs from his rich catalog chic Massey Hall in Toronto.
As well start there, I told myself. Whole lot of titles, more than thirty in the program, known (Watching the Detectives, Everyday I Write the Book) and sharp (A Slow Drag with Josephine, anyone?) Of all time (including two songs Wise Up the Ghost 2013) setlist that one wishes to Montreal. I want to abordsavoir: he will also with us to start the case, the A side of his debut album, My Aim Is True? We want that. Oh we want it. "I decided at the time, it was not planned, nothing is expected in this show. I'm depending on my mood, I take the pulse of the room. And then I thought, why not start at the beginning? But I missed a title, it seems [Blame It on Cain] then we can say that the disc jumped ... "sneer at the end of the wire.
Privilege, then. Lucky Torontonians. Novenas necessary for Montrealers. The guy has bent more than free. But Elvis Costello Can not bring, say, Alison, was this evening in a variable geometry? Will has a specification? "You have this awareness, it is certainly true that some titles pique interest. But I seek above all to establish links between songs that have up to 40 years apart: how to link, how to find the driver that gives them meaning thread, that tells a story? There are all sorts of ways, with all sorts of songs, to get there. In Montreal, I'll find a new path. This is my challenge, my work, my satisfaction. "
It will not, take it to specify an evening at Storytellers, this program where singer-songwriters will spread on the origins of songs, with anecdotes strength and context. "Some nights, I am endless, but often I loop and I can string together a dozen titles. It depends on me, you, the room. No script. Not limit either. I really want to have fun with people, or not too. This is according to the inspiration: Massey, I played Almost Blue, why? Because I had Jimmy Scott head. He was kind enough to record my song, I had just learned his death, and I wanted to say hello. At my age [relativize: it will 60years August 25], with all the material I have, not counting other people's songs, the permutations are great ... "
The McCartney experience
Show spectacle seems invariably intrude a Beatles song. Although Declan MacManus was called Elvis, his pop is, by his own admission, to Beatlesque allegiance. In this solo tour, the most famous bespectacled since John Lennon often combines his New Amsterdam to You've Got to Hide Your Love Away.
"It's stronger than me, I guess I come from there. "He rarely fails Veronica lot of songs created in collaboration with Paul McCartney in the late 1980s." I remember the studio in front of him. I pinched myself to believe it, you know? I had my place, but I was the same fan in 1963 This is a collaboration that has not fully completed but produces beautiful songs, many of which remain unpublished or unfinished. Nevertheless it is an exceptional moment in my life. "In Nashville on June 21, it included in its list a rarity corpus McCartney-MacManus: Pads, Paws and Claws.
Will really expect anything Sunday. Except texts "found" Dylan he just put music in the project of New Basement Tapes, along with T-Bone Burnett and other Marcus Mumford. "What a fantastic opportunity we got there, what a joy to record with these quality people! It will come out in November, I think. "I told him I read everywhere that he would launch new albums in his own name. "That is correct. It was wonderful to Wise Up Ghost with The Roots as a backing band, and the Basement Tapes, but I believe that my life as an artist no longer necessarily passes through the records. The scene is again, as before the disk, the natural outcome instead of songs. I write for special productions, I have two projects going with Burt Bacharach, and I'll sing wherever you want me ... "In short laugh.
The publicist joined us on the line: must conclude. Elvis usually takes the time to formulate his thoughts. "Commercial exploitation of the songs on disc has lost its meaning in the digital world, and it is not so great a misfortune, you know, the dumoment unique magic performance is back. "
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 solo, Montréal Jazz Festival (CA), June 29, 2014
I wonder if Elvis will put in a Bobby Womack tribute.
Who’s this kid with his mumbo jumbo?
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://www.lapresse.ca/arts/festivals/f ... -diana.php
Elvis sur Diana
Elvis Costello a assisté au concert solo de sa femme, Diana Krall, au Festival de jazz de 2011. Il n'était pas surpris du tout quand, par la suite, la pianiste et chanteuse canadienne a enregistré un album au ton différent, Glad Rag Doll, puis s'est lancée dans la tournée du même nom qui s'arrêtera de nouveau à Montréal pour un concert gratuit dimanche soir, sur la grande scène de la place des Festivals.
«Je savais déjà [au concert solo] où elle voulait aller, même si la tournure que ç'a pris fut très différente de ce que pouvait suggérer le concert solo. Elle a créé son propre théâtre de vaudeville, mais nous partageons une affection pour ce genre de décor de vaudeville que vous allez également retrouver dans mon concert solo.»
Quand nous lui avons parlé la semaine dernière, Costello ne prévoyait pas aller rejoindre sa femme sur scène après son propre concert à la Maison symphonique demain: «J'espère bien que je vais finir à temps pour aller la voir, mais je ne m'invite jamais sur sa scène. On a chanté ensemble par le passé [notamment au spectacle d'ouverture du 25e Festival de jazz au Centre Bell], mais ce n'est pas prévu cette fois.»
Costello est un grand admirateur de l'artiste qu'est sa femme. «Quand on partage sa vie avec une personne, ça nous étonne toujours quand elle s'assoit et que la musique sort d'elle tout naturellement. Si j'avais une infime fraction de son talent de musicienne, j'en serais très reconnaissant. Diana fait des choses très étonnantes. Elle aime et comprend plusieurs traditions musicales différentes. Et elle est sans prétention aucune.»
Elvis Costello a depuis longtemps la réputation de surprendre même les plus fidèles de ses admirateurs. Il se méfie de ceux qui voudraient enfermer Diana Krall dans une case musicale trop étroite.
«Au cours des 10 dernières années, elle a exploré plusieurs approches différentes et c'est tout à son honneur, dit-il. Quand je l'entends boucler parfois le concert Glad Rag Doll avec sa chanson Departure Bay du disque The Girl in the Other Room, je me souviens de la stupeur et du désarroi de certains critiques de jazz qui ne connaissent absolument rien à l'écriture de chansons et qui ont été très dédaigneux quand elle s'est mise à écrire des chansons.
« Mais quand on l'entend chanter cette chanson tellement vraie et sentie et qu'on est témoin de la réaction du public, on se rend compte qu'elle était vraiment plus en phase avec sa pulsion créatrice. C'est la différence entre quelqu'un qui se tient sur les lignes de côté en montrant du doigt et quelqu'un qui peut vraiment créer.»
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Elvis Diana
Elvis Costello attended the solo concert of his wife, Diana Krall, Jazz Festival 2011. He was not surprised when, later, the Canadian pianist and singer recorded an album with a different tone, Glad Rag Doll, then embarked on the tour of the same name that will stop back to Montreal for a free Sunday evening concert on the main stage at Place des Festivals.
"I knew [solo concert] where she wanted to go, even if the turn was taken That to very different from what might suggest the solo concert. She created her own vaudeville theater, but we share a fondness for this kind of vaudeville scenery you'll also find in my solo concert. "
When we spoke to him last week, Costello did not provide to join his wife on stage after her own concert at the Maison symphonique tomorrow: "I hope I'll finish in time to go see it, but I don 'calls never on its stage. We sang together in the past [including the opening show of the 25th Jazz Festival at the Bell Centre], but it is not expected this time. "
Costello is a great admirer of the artist is his wife. "When we share his life with someone, it always surprises us when she sits down and the music comes out of it naturally. If I had a fraction of his talent as a musician, I would be very grateful. Diana is very amazing things. She loves and understands many different musical traditions. And it is unpretentious. "
Elvis Costello has long been known to surprise even the most faithful of his admirers. He is wary of those who would confine Diana Krall in too narrow a musical box.
"Over the past 10 years, she has explored many different approaches and it is to his credit, he said. When I hear sometimes looping concert Glad Rag Doll with his song Departure Bay Disc The Girl in the Other Room, I remember the astonishment and dismay of some jazz critics who know absolutely nothing about writing songs that were very dismissive when she started writing songs.
"But when you hear it sing this song so true and felt and we witnessed the reaction of the public, we realize that it was really more in tune with his creative impulse. This is the difference between someone who stands on the sidelines pointing and someone who can really create. "
Elvis sur Diana
Elvis Costello a assisté au concert solo de sa femme, Diana Krall, au Festival de jazz de 2011. Il n'était pas surpris du tout quand, par la suite, la pianiste et chanteuse canadienne a enregistré un album au ton différent, Glad Rag Doll, puis s'est lancée dans la tournée du même nom qui s'arrêtera de nouveau à Montréal pour un concert gratuit dimanche soir, sur la grande scène de la place des Festivals.
«Je savais déjà [au concert solo] où elle voulait aller, même si la tournure que ç'a pris fut très différente de ce que pouvait suggérer le concert solo. Elle a créé son propre théâtre de vaudeville, mais nous partageons une affection pour ce genre de décor de vaudeville que vous allez également retrouver dans mon concert solo.»
Quand nous lui avons parlé la semaine dernière, Costello ne prévoyait pas aller rejoindre sa femme sur scène après son propre concert à la Maison symphonique demain: «J'espère bien que je vais finir à temps pour aller la voir, mais je ne m'invite jamais sur sa scène. On a chanté ensemble par le passé [notamment au spectacle d'ouverture du 25e Festival de jazz au Centre Bell], mais ce n'est pas prévu cette fois.»
Costello est un grand admirateur de l'artiste qu'est sa femme. «Quand on partage sa vie avec une personne, ça nous étonne toujours quand elle s'assoit et que la musique sort d'elle tout naturellement. Si j'avais une infime fraction de son talent de musicienne, j'en serais très reconnaissant. Diana fait des choses très étonnantes. Elle aime et comprend plusieurs traditions musicales différentes. Et elle est sans prétention aucune.»
Elvis Costello a depuis longtemps la réputation de surprendre même les plus fidèles de ses admirateurs. Il se méfie de ceux qui voudraient enfermer Diana Krall dans une case musicale trop étroite.
«Au cours des 10 dernières années, elle a exploré plusieurs approches différentes et c'est tout à son honneur, dit-il. Quand je l'entends boucler parfois le concert Glad Rag Doll avec sa chanson Departure Bay du disque The Girl in the Other Room, je me souviens de la stupeur et du désarroi de certains critiques de jazz qui ne connaissent absolument rien à l'écriture de chansons et qui ont été très dédaigneux quand elle s'est mise à écrire des chansons.
« Mais quand on l'entend chanter cette chanson tellement vraie et sentie et qu'on est témoin de la réaction du public, on se rend compte qu'elle était vraiment plus en phase avec sa pulsion créatrice. C'est la différence entre quelqu'un qui se tient sur les lignes de côté en montrant du doigt et quelqu'un qui peut vraiment créer.»
-----------------
Elvis Diana
Elvis Costello attended the solo concert of his wife, Diana Krall, Jazz Festival 2011. He was not surprised when, later, the Canadian pianist and singer recorded an album with a different tone, Glad Rag Doll, then embarked on the tour of the same name that will stop back to Montreal for a free Sunday evening concert on the main stage at Place des Festivals.
"I knew [solo concert] where she wanted to go, even if the turn was taken That to very different from what might suggest the solo concert. She created her own vaudeville theater, but we share a fondness for this kind of vaudeville scenery you'll also find in my solo concert. "
When we spoke to him last week, Costello did not provide to join his wife on stage after her own concert at the Maison symphonique tomorrow: "I hope I'll finish in time to go see it, but I don 'calls never on its stage. We sang together in the past [including the opening show of the 25th Jazz Festival at the Bell Centre], but it is not expected this time. "
Costello is a great admirer of the artist is his wife. "When we share his life with someone, it always surprises us when she sits down and the music comes out of it naturally. If I had a fraction of his talent as a musician, I would be very grateful. Diana is very amazing things. She loves and understands many different musical traditions. And it is unpretentious. "
Elvis Costello has long been known to surprise even the most faithful of his admirers. He is wary of those who would confine Diana Krall in too narrow a musical box.
"Over the past 10 years, she has explored many different approaches and it is to his credit, he said. When I hear sometimes looping concert Glad Rag Doll with his song Departure Bay Disc The Girl in the Other Room, I remember the astonishment and dismay of some jazz critics who know absolutely nothing about writing songs that were very dismissive when she started writing songs.
"But when you hear it sing this song so true and felt and we witnessed the reaction of the public, we realize that it was really more in tune with his creative impulse. This is the difference between someone who stands on the sidelines pointing and someone who can really create. "
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
scielle
- Posts: 672
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Press release from FIJM: http://nouvelles.equipespectra.ca/blogu ... 70&lang=en
Elvis Costello Recipient of the Montreal Jazz Festival Spirit Award
Posted on 29 June 2014 by Communication
Montréal, Sunday, June 29, 2014 — The Festival International de Jazz de Montréal is proud to announce the awarding of the Montreal Jazz Festival Spirit Award to Elvis Costello. The prize will be presented to him by André Ménard, artistic director and co-founder of the Festival, at a press conference which will be held today at 2:30 p.m. in the Salle Stevie Wonder of the Maison du Festival Rio Tinto Alcan.
Elvis Costello will be the eighth artist to receive the Montreal Jazz Festival Spirit Award. Created especially on the occasion of the 27th edition of the Festival, in 2006, this special award underlines a popular artist’s extraordinary contribution to the musical world.
Elvis Costello is one of those exceptional artists who, driven by a protean talent and motivated by a wide range of interests, scoffs at labels and categories. Arriving with the punk-new wave explosion, this major singer-songwriter has magisterially written and recorded pop, rock, jazz, country and cabaret. Over the course of an almost 4 decade career, he’s released 24 albums, solo or accompanied by his Attractions or Imposters, from his brilliant 1977 debut, My Aim Is True, to his most recent, Wise Up Ghost (2013), and including such memorable discs as This Year’s Model, Armed Forces, Get Happy!! and Secret, Profane & Sugarcane. Winner of a number of awards including a Grammy for the song I Still Have That Other Girl (1999), inducted into the Rock and Roll Hall of Fame, he was ranked among the 100 Greatest Artists of All Time by Rolling Stone magazine in 2004. A rare visitor to the Festival, he returns after an 8-year absence with a solo concert—his first ever with us!—in the Maison symphonique, 10 years to the day that he shared the stage with his illustrious wife, Diana Krall, in the Centre Bell. One of the highlights of this 35th edition. Elvis Costello solo, June 29 at 7 p.m. in the Maison symphonique de Montréal (Le Festival à la Maison symphonique series).
As winner of the Montreal Jazz Festival Spirit Award, Elvis Costello follows in the footsteps of James Taylor (2012), Robert Plant (2011), Smokey Robinson (2010), Stevie Wonder (2009), Leonard Cohen (2008), Bob Dylan (2007) and Paul Simon (2006).
And an excerpt from Diana's press conference today: https://www.youtube.com/watch?v=KtCSUDqm0vY
Elvis Costello Recipient of the Montreal Jazz Festival Spirit Award
Posted on 29 June 2014 by Communication
Montréal, Sunday, June 29, 2014 — The Festival International de Jazz de Montréal is proud to announce the awarding of the Montreal Jazz Festival Spirit Award to Elvis Costello. The prize will be presented to him by André Ménard, artistic director and co-founder of the Festival, at a press conference which will be held today at 2:30 p.m. in the Salle Stevie Wonder of the Maison du Festival Rio Tinto Alcan.
Elvis Costello will be the eighth artist to receive the Montreal Jazz Festival Spirit Award. Created especially on the occasion of the 27th edition of the Festival, in 2006, this special award underlines a popular artist’s extraordinary contribution to the musical world.
Elvis Costello is one of those exceptional artists who, driven by a protean talent and motivated by a wide range of interests, scoffs at labels and categories. Arriving with the punk-new wave explosion, this major singer-songwriter has magisterially written and recorded pop, rock, jazz, country and cabaret. Over the course of an almost 4 decade career, he’s released 24 albums, solo or accompanied by his Attractions or Imposters, from his brilliant 1977 debut, My Aim Is True, to his most recent, Wise Up Ghost (2013), and including such memorable discs as This Year’s Model, Armed Forces, Get Happy!! and Secret, Profane & Sugarcane. Winner of a number of awards including a Grammy for the song I Still Have That Other Girl (1999), inducted into the Rock and Roll Hall of Fame, he was ranked among the 100 Greatest Artists of All Time by Rolling Stone magazine in 2004. A rare visitor to the Festival, he returns after an 8-year absence with a solo concert—his first ever with us!—in the Maison symphonique, 10 years to the day that he shared the stage with his illustrious wife, Diana Krall, in the Centre Bell. One of the highlights of this 35th edition. Elvis Costello solo, June 29 at 7 p.m. in the Maison symphonique de Montréal (Le Festival à la Maison symphonique series).
As winner of the Montreal Jazz Festival Spirit Award, Elvis Costello follows in the footsteps of James Taylor (2012), Robert Plant (2011), Smokey Robinson (2010), Stevie Wonder (2009), Leonard Cohen (2008), Bob Dylan (2007) and Paul Simon (2006).
And an excerpt from Diana's press conference today: https://www.youtube.com/watch?v=KtCSUDqm0vY
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://www.lapresse.ca/arts/festivals/f ... iberte.php
Elvis Costello, en toute liberté
Elvis Costello est toujours là où on ne l'attend pas. Après une tournée qui fut pour lui «l'ultime expérience de groupe», il nous revient seul pour défendre ses chansons à la Maison symphonique. Le même soir où sa femme Diana Krall a rendez-vous sur la grande scène de la place des Festivals.
Elvis Costello le reconnaît d'emblée: sa dernière visite à Montréal ne compte pas parmi les moments les plus glorieux de sa carrière. Tête d'affiche de la deuxième soirée du festival Osheaga en 2011, l'Elvis britannique a donné un show solide, mais il n'y avait plus qu'une poignée de spectateurs pour en être témoins. Rendez-vous manqué.
Costello estime qu'il n'aurait pas dû être le dernier à monter sur la scène principale d'Osheaga en ce beau samedi de juillet.
«Parfois, des organisateurs bien intentionnés sont trop respectueux envers des artistes qui ont une certaine longévité, explique-t-il au téléphone depuis son car de tournée. J'aurais préféré jouer plus tôt dans la soirée quand il y avait plus de spectateurs qui m'auraient peut-être entendu pour la première fois. Mais tout cela est du passé parce que je reviens chez vous pour jouer en salle.»
Il y a trois ans, Costello trimballait de ville en ville, sauf dans les festivals, une roue chanceuse qui, avec la complicité du hasard, lui dictait une partie des chansons à jouer avec ses fidèles Imposters.
«L'ultime expérience de groupe», nous avait-il dit à l'époque. Cette fois, c'est tout seul qu'il pigera dans son vaste répertoire à la Maison symphonique demain soir.
«Ce concert solo me donne la liberté de choisir n'importe quelle chanson parce que je n'ai pas à vérifier si la section rythmique la connaît. Si je la connais, je peux la jouer. J'essaie de trouver un thème commun à des chansons qui ont été écrites à 10, 20, 30 ou 40 ans d'intervalle: la vie en tournée indissociable de la vocation de musicien, les histoires de coeur, une vision du monde...
« À travers ça, je trouve mon chemin vers les chansons les plus appréciées de mon répertoire sans que ça devienne un rituel privé de l'immédiateté dont a besoin n'importe quelle chanson. Il s'agit pour moi de trouver de nouvelles façons de raconter une histoire et d'en faire quelque chose d'unique.»
Dylan et Bacharach
Dans ce contexte, Costello peut aussi bien chanter une chanson de son plus récent album, Wise Up Ghost, enregistré avec The Roots, qu'une autre qu'il a commencé à écrire à 17 ans.
«Elles trouvent toutes leur place dans le spectacle. C'est la beauté de la chose: chaque soir offre une nouvelle palette de possibilités. Je peux établir une liste de 25 chansons un soir donné et une autre complètement différente le lendemain. Je pourrais faire ça pendant une semaine avant de sentir que j'exagère un peu. Il y a des chansons que j'ai le goût de chanter chaque soir et que le public veut entendre, mais je fais comme si je n'étais pas limité par des attentes, y compris les miennes.»
Le chanteur apprécie la confiance de ses fans qui le suivent dans ses aventures artistiques, qu'il s'agisse d'enregistrer un disque avec un quatuor à cordes ou d'animer une émission de télé. Il ne fait rien à la légère et s'investit complètement dans tout ce qu'il aborde.
«Le coeur est la clé de toute musique, beaucoup plus que l'intellect, affirme-t-il. On cherche toujours à atteindre l'émotion et la vérité. Peut-on toujours y arriver? Bien sûr que non: personne n'est à son sommet tous les jours.»
Son prochain album promet d'être intéressant. Sous la direction de son ami réalisateur T Bone Burnett, Costello et quatre musiciens plus jeunes, dont Marcus Mumford de Mumford and Sons et Jim James de My Morning Jacket, ont mis en musique des textes inédits que Bob Dylan a écrits en 1967, à l'époque des Basement Tapes.
«On a enregistré environ 45 chansons en deux semaines et on en a retenu un certain nombre pour l'album qui va sortir en novembre. Nous avons eu beaucoup de plaisir à prendre ces textes de Bob et à leur donner des décors musicaux très contrastés. On a composé toutes ces musiques séparément, donc un même texte peut parfois être chanté sur quatre musiques différentes. Le blues de l'un peut être la musique hawaïenne de l'autre.»
Costello a également renoué avec Burt Bacharach, avec qui il avait créé l'album Painted From Memory. Chuck Lorre, créateur des sitcoms Two and a Half Men et The Big Bang Theory, a proposé d'écrire une comédie musicale inspirée de cet album de 1998, et Bacharach et Costello en ont profité pour pondre ensemble de nouvelles chansons pour ce spectacle.
«Je ne pourrai pas les jouer à Montréal parce qu'on les garde en réserve pour la première du spectacle, dit Costello. Mais vous devriez pouvoir les entendre sous peu.»
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Google translation:
Elvis Costello is always where you least expect it. After a tour that was to him "the ultimate group experience," it is up to us alone to defend his songs at the Maison symphonique. The same evening when his wife Diana Krall has an appointment on the big stage of the Place des Festivals.
Elvis Costello readily admits: his last visit to Montreal is not one of the most glorious moments of his career. Headlining the second night of the Osheaga festival in 2011, the British Elvis gave a solid show, but there were a handful of spectators to witness. Missed appointment.
Costello believes that it should not have been the last to get on the main stage at Osheaga in this beautiful Saturday in July.
"Sometimes well-meaning organizers are too respectful of the artists who have some longevity, he says by phone from his tour bus. I would have preferred to play earlier in the evening when there were more spectators who have perhaps heard me for the first time. But all this is history because I come back to you to play in a concert hall. "
There three years, Costello carted from town to town, except at festivals, a lucky wheel, with the complicity of chance, dictated some songs to play with his Imposters faithful.
"The ultimate group experience," he told us at the time. This time it is one that dip into his vast repertoire at the Maison symphonique tomorrow night.
"This solo concert gives me the freedom to choose any song because I do not have to check if the rhythm section knows. If I know I can play. I try to find a common theme songs that were written 10, 20, 30 or 40 years apart: life inseparable tour vocation as a musician, the stories of heart, a vision of the world .. .
"Through that, I found my way to the most popular songs from my repertoire without it becoming a private ritual of immediacy needed by any song. It is for me to find new ways to tell a story and make something unique. "
Dylan and Bacharach
In this context, Costello can also sing a song from his latest album, Ghost Wise Up, recorded with The Roots, another he began writing at age 17.
"They all have their place in the show. This is the beauty of it: every evening offers a new range of possibilities. I can compile a list of 25 songs on a given night and another completely different the next day. I could do that for a week before I felt that I exaggerate a little. There are songs I want to sing every night and that the public wants to hear, but I act as if I was not limited by expectations, including mine. "
The singer enjoys the confidence of his followers in his artistic adventures, whether to record an album with a string quartet or host a TV show fans. It does not matter lightly and invests completely in everything he tackles.
"The heart is the key to any music, much more than the intellect, he says. We are always looking to achieve emotion and truth. Can we still get there? Of course not. Nobody is at its peak every day "
His next album promises to be interesting. Under the direction of his friend director T Bone Burnett, Costello and four younger musicians, including Marcus Mumford of Mumford and Sons and Jim James of My Morning Jacket, were set to music unpublished texts that Bob Dylan wrote in 1967, in time of the Basement Tapes.
"We recorded about 45 songs in two weeks and has held a number for the album which will be released in November. We had a lot of fun to take these texts and Bob to their music very contrasting scenery. We wrote all the music separately, so a single text can sometimes be sung in four different music. The blues can be a Hawaiian music on the other. "
Costello has also returned to Burt Bacharach, with whom he created the album Painted From Memory. Chuck Lorre, creator of sitcoms Two and a Half Men and The Big Bang Theory, proposed to write a musical based on the 1998 album, and Bacharach and Costello took the opportunity to lay all new songs for the show.
"I can not play in Montreal because they are kept in reserve for the premiere of the show, said Costello. But you should be able to hear shortly. "
Elvis Costello, en toute liberté
Elvis Costello est toujours là où on ne l'attend pas. Après une tournée qui fut pour lui «l'ultime expérience de groupe», il nous revient seul pour défendre ses chansons à la Maison symphonique. Le même soir où sa femme Diana Krall a rendez-vous sur la grande scène de la place des Festivals.
Elvis Costello le reconnaît d'emblée: sa dernière visite à Montréal ne compte pas parmi les moments les plus glorieux de sa carrière. Tête d'affiche de la deuxième soirée du festival Osheaga en 2011, l'Elvis britannique a donné un show solide, mais il n'y avait plus qu'une poignée de spectateurs pour en être témoins. Rendez-vous manqué.
Costello estime qu'il n'aurait pas dû être le dernier à monter sur la scène principale d'Osheaga en ce beau samedi de juillet.
«Parfois, des organisateurs bien intentionnés sont trop respectueux envers des artistes qui ont une certaine longévité, explique-t-il au téléphone depuis son car de tournée. J'aurais préféré jouer plus tôt dans la soirée quand il y avait plus de spectateurs qui m'auraient peut-être entendu pour la première fois. Mais tout cela est du passé parce que je reviens chez vous pour jouer en salle.»
Il y a trois ans, Costello trimballait de ville en ville, sauf dans les festivals, une roue chanceuse qui, avec la complicité du hasard, lui dictait une partie des chansons à jouer avec ses fidèles Imposters.
«L'ultime expérience de groupe», nous avait-il dit à l'époque. Cette fois, c'est tout seul qu'il pigera dans son vaste répertoire à la Maison symphonique demain soir.
«Ce concert solo me donne la liberté de choisir n'importe quelle chanson parce que je n'ai pas à vérifier si la section rythmique la connaît. Si je la connais, je peux la jouer. J'essaie de trouver un thème commun à des chansons qui ont été écrites à 10, 20, 30 ou 40 ans d'intervalle: la vie en tournée indissociable de la vocation de musicien, les histoires de coeur, une vision du monde...
« À travers ça, je trouve mon chemin vers les chansons les plus appréciées de mon répertoire sans que ça devienne un rituel privé de l'immédiateté dont a besoin n'importe quelle chanson. Il s'agit pour moi de trouver de nouvelles façons de raconter une histoire et d'en faire quelque chose d'unique.»
Dylan et Bacharach
Dans ce contexte, Costello peut aussi bien chanter une chanson de son plus récent album, Wise Up Ghost, enregistré avec The Roots, qu'une autre qu'il a commencé à écrire à 17 ans.
«Elles trouvent toutes leur place dans le spectacle. C'est la beauté de la chose: chaque soir offre une nouvelle palette de possibilités. Je peux établir une liste de 25 chansons un soir donné et une autre complètement différente le lendemain. Je pourrais faire ça pendant une semaine avant de sentir que j'exagère un peu. Il y a des chansons que j'ai le goût de chanter chaque soir et que le public veut entendre, mais je fais comme si je n'étais pas limité par des attentes, y compris les miennes.»
Le chanteur apprécie la confiance de ses fans qui le suivent dans ses aventures artistiques, qu'il s'agisse d'enregistrer un disque avec un quatuor à cordes ou d'animer une émission de télé. Il ne fait rien à la légère et s'investit complètement dans tout ce qu'il aborde.
«Le coeur est la clé de toute musique, beaucoup plus que l'intellect, affirme-t-il. On cherche toujours à atteindre l'émotion et la vérité. Peut-on toujours y arriver? Bien sûr que non: personne n'est à son sommet tous les jours.»
Son prochain album promet d'être intéressant. Sous la direction de son ami réalisateur T Bone Burnett, Costello et quatre musiciens plus jeunes, dont Marcus Mumford de Mumford and Sons et Jim James de My Morning Jacket, ont mis en musique des textes inédits que Bob Dylan a écrits en 1967, à l'époque des Basement Tapes.
«On a enregistré environ 45 chansons en deux semaines et on en a retenu un certain nombre pour l'album qui va sortir en novembre. Nous avons eu beaucoup de plaisir à prendre ces textes de Bob et à leur donner des décors musicaux très contrastés. On a composé toutes ces musiques séparément, donc un même texte peut parfois être chanté sur quatre musiques différentes. Le blues de l'un peut être la musique hawaïenne de l'autre.»
Costello a également renoué avec Burt Bacharach, avec qui il avait créé l'album Painted From Memory. Chuck Lorre, créateur des sitcoms Two and a Half Men et The Big Bang Theory, a proposé d'écrire une comédie musicale inspirée de cet album de 1998, et Bacharach et Costello en ont profité pour pondre ensemble de nouvelles chansons pour ce spectacle.
«Je ne pourrai pas les jouer à Montréal parce qu'on les garde en réserve pour la première du spectacle, dit Costello. Mais vous devriez pouvoir les entendre sous peu.»
---------------------
Google translation:
Elvis Costello is always where you least expect it. After a tour that was to him "the ultimate group experience," it is up to us alone to defend his songs at the Maison symphonique. The same evening when his wife Diana Krall has an appointment on the big stage of the Place des Festivals.
Elvis Costello readily admits: his last visit to Montreal is not one of the most glorious moments of his career. Headlining the second night of the Osheaga festival in 2011, the British Elvis gave a solid show, but there were a handful of spectators to witness. Missed appointment.
Costello believes that it should not have been the last to get on the main stage at Osheaga in this beautiful Saturday in July.
"Sometimes well-meaning organizers are too respectful of the artists who have some longevity, he says by phone from his tour bus. I would have preferred to play earlier in the evening when there were more spectators who have perhaps heard me for the first time. But all this is history because I come back to you to play in a concert hall. "
There three years, Costello carted from town to town, except at festivals, a lucky wheel, with the complicity of chance, dictated some songs to play with his Imposters faithful.
"The ultimate group experience," he told us at the time. This time it is one that dip into his vast repertoire at the Maison symphonique tomorrow night.
"This solo concert gives me the freedom to choose any song because I do not have to check if the rhythm section knows. If I know I can play. I try to find a common theme songs that were written 10, 20, 30 or 40 years apart: life inseparable tour vocation as a musician, the stories of heart, a vision of the world .. .
"Through that, I found my way to the most popular songs from my repertoire without it becoming a private ritual of immediacy needed by any song. It is for me to find new ways to tell a story and make something unique. "
Dylan and Bacharach
In this context, Costello can also sing a song from his latest album, Ghost Wise Up, recorded with The Roots, another he began writing at age 17.
"They all have their place in the show. This is the beauty of it: every evening offers a new range of possibilities. I can compile a list of 25 songs on a given night and another completely different the next day. I could do that for a week before I felt that I exaggerate a little. There are songs I want to sing every night and that the public wants to hear, but I act as if I was not limited by expectations, including mine. "
The singer enjoys the confidence of his followers in his artistic adventures, whether to record an album with a string quartet or host a TV show fans. It does not matter lightly and invests completely in everything he tackles.
"The heart is the key to any music, much more than the intellect, he says. We are always looking to achieve emotion and truth. Can we still get there? Of course not. Nobody is at its peak every day "
His next album promises to be interesting. Under the direction of his friend director T Bone Burnett, Costello and four younger musicians, including Marcus Mumford of Mumford and Sons and Jim James of My Morning Jacket, were set to music unpublished texts that Bob Dylan wrote in 1967, in time of the Basement Tapes.
"We recorded about 45 songs in two weeks and has held a number for the album which will be released in November. We had a lot of fun to take these texts and Bob to their music very contrasting scenery. We wrote all the music separately, so a single text can sometimes be sung in four different music. The blues can be a Hawaiian music on the other. "
Costello has also returned to Burt Bacharach, with whom he created the album Painted From Memory. Chuck Lorre, creator of sitcoms Two and a Half Men and The Big Bang Theory, proposed to write a musical based on the 1998 album, and Bacharach and Costello took the opportunity to lay all new songs for the show.
"I can not play in Montreal because they are kept in reserve for the premiere of the show, said Costello. But you should be able to hear shortly. "
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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History Repeats
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
For those lucky enough to be going, word has it he will sit-in with Diana (unannounced, I assume)
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sweetest punch
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Diana confirms that Elvis will join her after his concert: http://www.lapresse.ca/arts/festivals/f ... z-elle.php
Diana Krall: de retour chez elle
Quand son avion s'est posé à Montréal, vendredi soir, Diana Krall a eu l'impression d'être de retour à la maison. La célèbre chanteuse et pianiste canadienne vit à New York avec son mari Elvis Costello et leurs jumeaux de 7 ans, et elle peut toujours se réfugier dans son chalet en Colombie-Britannique quand elle veut se détendre, mais chaque fois qu'elle revient à Montréal, elle a une pensée pour le Festival de jazz, qui lui a donné sa première chance.
Ce festival qui est chargé de plus de signification que tout autre pour elle, celui où elle a chanté avec Tony Bennett et rencontré son idole d'adolescence, Oscar Peterson. Celui, aussi, dont elle a fréquenté à peu près toutes les salles de spectacles, du Centre Bell au Cabaret du Musée Juste pour rire, où ses spectacles consacrés à Nat King Cole lui ont ouvert des portes sur une carrière insoupçonnée. Son album de l'époque, All For You, est encore à ce jour celui qu'elle préfère. «J'étais pas mal bonne dans ce temps-là», dit-elle en souriant.
Malgré le décalage horaire et le désir de retrouver bientôt sa petite famille, c'est une Diana Krall rayonnante et relaxe qui a rencontré la presse hier après-midi pour causer du Grand Événement dont elle sera la vedette sur la place des Festivals ce soir. Ce spectacle qui commencera une fois le soleil couché constitue un beau défi pour une artiste de jazz dont la musique n'incite pas nécessairement à la danse.
«Quand il fait noir, mon imagination s'en trouve stimulée et ça me permet de ne pas complètement céder à la panique», dit-elle dans une boutade. Il y a dans ce spectacle de la tournée Glad Rag Doll des projections de vieux films qui ajoutent à son dynamisme.
Diana Krall précise que son spectacle est plus théâtral que la mouture qu'on a vue à Montréal il y a un an et demi et elle vante son groupe de musiciens polyvalents avec qui elle a beaucoup de plaisir. «Je ne veux pas jouer de longs solos parce que je ne suis pas la meilleure pianiste au monde, ajoute-t-elle. Je n'ai pas autant à dire que Benny Green ou Brad Mehldau. Mais je suis très à l'aise avec eux et je peux jouer aussi bien une chanson de Nat Cole qu'une autre de The Band ou une chanson des années 20, tout en racontant des histoires et en parlant de ma famille.»
ELVIS SERA DE LA PARTIE
La dame confirme qu'elle aura un invité de marque qu'elle n'a pas vu depuis trop longtemps : son musicien de mari Elvis Costello, qui s'amènera de la Maison symphonique sitôt son concert solo terminé. Il y aura aussi à ses côtés le guitariste Marc Ribot, qui était de son disque Glad Rag Doll, mais qui n'a pas participé à la tournée subséquente.
«C'est l'un des musiciens les plus créatifs que je connaisse. Il est audacieux et, surtout, pas unidimensionnel. Je l'admire depuis que je l'ai entendu pour la première fois avec Tom Waits», dit-elle de Ribot, qui joue même de la guitare avec ses clés de voiture dans la chanson Lonely Avenue dudit album.
Diana Krall a vécu une expérience exaltante récemment quand elle a participé à la tournée de Neil Young. Elle croyait jouer une vingtaine de minutes seule au piano en début de programme, mais Young a insisté pour qu'elle joue pendant une heure. Elle a donc chanté du Dylan, du Gordon Lightfoot, deux auteurs-compositeurs dont elle reprendra des chansons sur son prochain album, à paraître le 9 septembre.
C'est pour elle un défi considérable que de faire un disque enregistré avec des musiciens classiques, un album pas jazz du tout et dans lequel elle ne touchera pas au piano, qui sera joué par David Foster, réalisateur et orchestrateur de l'album.
«J'y reprends Wallflower de Dylan, que j'ai chantée en spectacle au cours de la dernière année, ainsi qu'une chanson inédite de Paul McCartney. On l'avait répétée pour son album Kisses on the Bottom, mais elle ne s'est pas retrouvée sur le disque et je lui ai demandé si je pouvais l'enregistrer. Il y aura également un emprunt aux Eagles et la chanson Operator de Jim Croce, sur laquelle chante Graham Nash.»
Ce disque différent s'inscrit tout naturellement dans le parcours de cette artiste «pas très cérébrale» qui aime toucher à tout et donner à son public l'impression qu'elle joue pour lui comme elle ferait à la maison pour des amis.
«J'essaie de ne pas répondre aux attentes d'un certain genre musical, dit-elle. Je joue simplement de la musique. Le Festival de jazz de Montréal a toujours accueilli différents styles de musique et je me sens libre de le faire ici.»
Diana Krall, scène TD de la place des Festivals, ce soir à 21 h 30.
-------------------------
Google translation:
Diana Krall: back home
When his plane landed in Montreal on Friday night, Diana Krall felt to be back at home. The famous Canadian singer and pianist living in New York with her husband Elvis Costello and their twin 7 year old, and she can always take refuge in his cabin in British Columbia when she wants to relax, but every time she returns to Montreal she thought for a jazz Festival, which gave him his first chance.
This festival, which is responsible for more meaning than any other for her, one where she sang with Tony Bennett and met his idol teen, Oscar Peterson. He, too, which she attended almost all the theaters, the Bell Centre at the Cabaret du Musée Juste pour rire, where his shows devoted to Nat King Cole opened his doors to an unexpected career. His album of the time, All For You, is still to this day one she prefers. "I was pretty good at that time," she said, smiling.
Despite the jet lag and the desire to find his family soon, this is a relaxed and radiant Diana Krall who met the press yesterday afternoon to cause the Great Event which she will star on the Place des Festivals tonight. This show will start once the sun goes down is a great challenge for a jazz artist whose music does not necessarily encouraged to dance.
"When it gets dark, my imagination is stimulated and it allows me to not completely panic," she said in a joke. There are in this show of the tour Glad Rag Doll screenings of old films that add to its dynamism.
Diana Krall says his show is more theatrical than the grind we saw in Montreal there is a year and a half and it boasts a versatile group of musicians with whom she has a lot of fun. "I do not want to play long solos because I'm not the best pianist in the world, she added. I do not have much to say as Benny Green and Brad Mehldau. But I'm very comfortable with them and I can play a song as well as another Nat Cole The Band or song of the 20s, while telling stories and talking about my family. "
ELVIS IS PART
The lady confirmed that there will be a guest of honor she has not seen for too long: her musician husband Elvis Costello, who will bring the Maison symphonique soon finished his solo concert. There will also be at her side guitarist Marc Ribot, who was his hard Glad Rag Doll, but did not participate in the subsequent tour.
"This is one of the most creative musicians I know. It is bold and, above all, not one-dimensional. I admire since I heard it for the first time with Tom Waits, "she says Ribot, who even plays the guitar with his car keys in the song Lonely Avenue said album.
Diana Krall has had an exhilarating experience recently when she participated in the tour of Neil Young. She believed to play twenty minutes alone at the piano at the beginning of the program, but Young insisted she plays for an hour. She has sung Dylan, Gordon Lightfoot, two songwriters whose songs she will return on his next album, to be released on September 9.
It is for her considerable challenge to a recorded with classical musicians, a jazz album not at all and in which it does not touch the piano, which will be played by David Foster, director and orchestrator of the album disc.
"I will rebuke Wallflower Dylan, I sung in the show during the last year and a new song by Paul McCartney. It was repeated for his album Kisses on the Bottom, but it was not found on the disk and I asked him if I could save it. There will also be a loan to the Eagles and the song Operator Jim Croce, on which Graham Nash sings. "
The different disk fits naturally in the course of this "not very cerebral" artist who loves to touch everything and give the audience the impression that she plays for her as she would at home for friends.
"I try not to meet the expectations of a certain genre of music, she said. I just play music. The Montreal Jazz Festival has always welcomed different styles of music and I feel free to do it here. "
Diana Krall, TD stage of the Place des Festivals, tonight at 21 h 30.
Diana Krall: de retour chez elle
Quand son avion s'est posé à Montréal, vendredi soir, Diana Krall a eu l'impression d'être de retour à la maison. La célèbre chanteuse et pianiste canadienne vit à New York avec son mari Elvis Costello et leurs jumeaux de 7 ans, et elle peut toujours se réfugier dans son chalet en Colombie-Britannique quand elle veut se détendre, mais chaque fois qu'elle revient à Montréal, elle a une pensée pour le Festival de jazz, qui lui a donné sa première chance.
Ce festival qui est chargé de plus de signification que tout autre pour elle, celui où elle a chanté avec Tony Bennett et rencontré son idole d'adolescence, Oscar Peterson. Celui, aussi, dont elle a fréquenté à peu près toutes les salles de spectacles, du Centre Bell au Cabaret du Musée Juste pour rire, où ses spectacles consacrés à Nat King Cole lui ont ouvert des portes sur une carrière insoupçonnée. Son album de l'époque, All For You, est encore à ce jour celui qu'elle préfère. «J'étais pas mal bonne dans ce temps-là», dit-elle en souriant.
Malgré le décalage horaire et le désir de retrouver bientôt sa petite famille, c'est une Diana Krall rayonnante et relaxe qui a rencontré la presse hier après-midi pour causer du Grand Événement dont elle sera la vedette sur la place des Festivals ce soir. Ce spectacle qui commencera une fois le soleil couché constitue un beau défi pour une artiste de jazz dont la musique n'incite pas nécessairement à la danse.
«Quand il fait noir, mon imagination s'en trouve stimulée et ça me permet de ne pas complètement céder à la panique», dit-elle dans une boutade. Il y a dans ce spectacle de la tournée Glad Rag Doll des projections de vieux films qui ajoutent à son dynamisme.
Diana Krall précise que son spectacle est plus théâtral que la mouture qu'on a vue à Montréal il y a un an et demi et elle vante son groupe de musiciens polyvalents avec qui elle a beaucoup de plaisir. «Je ne veux pas jouer de longs solos parce que je ne suis pas la meilleure pianiste au monde, ajoute-t-elle. Je n'ai pas autant à dire que Benny Green ou Brad Mehldau. Mais je suis très à l'aise avec eux et je peux jouer aussi bien une chanson de Nat Cole qu'une autre de The Band ou une chanson des années 20, tout en racontant des histoires et en parlant de ma famille.»
ELVIS SERA DE LA PARTIE
La dame confirme qu'elle aura un invité de marque qu'elle n'a pas vu depuis trop longtemps : son musicien de mari Elvis Costello, qui s'amènera de la Maison symphonique sitôt son concert solo terminé. Il y aura aussi à ses côtés le guitariste Marc Ribot, qui était de son disque Glad Rag Doll, mais qui n'a pas participé à la tournée subséquente.
«C'est l'un des musiciens les plus créatifs que je connaisse. Il est audacieux et, surtout, pas unidimensionnel. Je l'admire depuis que je l'ai entendu pour la première fois avec Tom Waits», dit-elle de Ribot, qui joue même de la guitare avec ses clés de voiture dans la chanson Lonely Avenue dudit album.
Diana Krall a vécu une expérience exaltante récemment quand elle a participé à la tournée de Neil Young. Elle croyait jouer une vingtaine de minutes seule au piano en début de programme, mais Young a insisté pour qu'elle joue pendant une heure. Elle a donc chanté du Dylan, du Gordon Lightfoot, deux auteurs-compositeurs dont elle reprendra des chansons sur son prochain album, à paraître le 9 septembre.
C'est pour elle un défi considérable que de faire un disque enregistré avec des musiciens classiques, un album pas jazz du tout et dans lequel elle ne touchera pas au piano, qui sera joué par David Foster, réalisateur et orchestrateur de l'album.
«J'y reprends Wallflower de Dylan, que j'ai chantée en spectacle au cours de la dernière année, ainsi qu'une chanson inédite de Paul McCartney. On l'avait répétée pour son album Kisses on the Bottom, mais elle ne s'est pas retrouvée sur le disque et je lui ai demandé si je pouvais l'enregistrer. Il y aura également un emprunt aux Eagles et la chanson Operator de Jim Croce, sur laquelle chante Graham Nash.»
Ce disque différent s'inscrit tout naturellement dans le parcours de cette artiste «pas très cérébrale» qui aime toucher à tout et donner à son public l'impression qu'elle joue pour lui comme elle ferait à la maison pour des amis.
«J'essaie de ne pas répondre aux attentes d'un certain genre musical, dit-elle. Je joue simplement de la musique. Le Festival de jazz de Montréal a toujours accueilli différents styles de musique et je me sens libre de le faire ici.»
Diana Krall, scène TD de la place des Festivals, ce soir à 21 h 30.
-------------------------
Google translation:
Diana Krall: back home
When his plane landed in Montreal on Friday night, Diana Krall felt to be back at home. The famous Canadian singer and pianist living in New York with her husband Elvis Costello and their twin 7 year old, and she can always take refuge in his cabin in British Columbia when she wants to relax, but every time she returns to Montreal she thought for a jazz Festival, which gave him his first chance.
This festival, which is responsible for more meaning than any other for her, one where she sang with Tony Bennett and met his idol teen, Oscar Peterson. He, too, which she attended almost all the theaters, the Bell Centre at the Cabaret du Musée Juste pour rire, where his shows devoted to Nat King Cole opened his doors to an unexpected career. His album of the time, All For You, is still to this day one she prefers. "I was pretty good at that time," she said, smiling.
Despite the jet lag and the desire to find his family soon, this is a relaxed and radiant Diana Krall who met the press yesterday afternoon to cause the Great Event which she will star on the Place des Festivals tonight. This show will start once the sun goes down is a great challenge for a jazz artist whose music does not necessarily encouraged to dance.
"When it gets dark, my imagination is stimulated and it allows me to not completely panic," she said in a joke. There are in this show of the tour Glad Rag Doll screenings of old films that add to its dynamism.
Diana Krall says his show is more theatrical than the grind we saw in Montreal there is a year and a half and it boasts a versatile group of musicians with whom she has a lot of fun. "I do not want to play long solos because I'm not the best pianist in the world, she added. I do not have much to say as Benny Green and Brad Mehldau. But I'm very comfortable with them and I can play a song as well as another Nat Cole The Band or song of the 20s, while telling stories and talking about my family. "
ELVIS IS PART
The lady confirmed that there will be a guest of honor she has not seen for too long: her musician husband Elvis Costello, who will bring the Maison symphonique soon finished his solo concert. There will also be at her side guitarist Marc Ribot, who was his hard Glad Rag Doll, but did not participate in the subsequent tour.
"This is one of the most creative musicians I know. It is bold and, above all, not one-dimensional. I admire since I heard it for the first time with Tom Waits, "she says Ribot, who even plays the guitar with his car keys in the song Lonely Avenue said album.
Diana Krall has had an exhilarating experience recently when she participated in the tour of Neil Young. She believed to play twenty minutes alone at the piano at the beginning of the program, but Young insisted she plays for an hour. She has sung Dylan, Gordon Lightfoot, two songwriters whose songs she will return on his next album, to be released on September 9.
It is for her considerable challenge to a recorded with classical musicians, a jazz album not at all and in which it does not touch the piano, which will be played by David Foster, director and orchestrator of the album disc.
"I will rebuke Wallflower Dylan, I sung in the show during the last year and a new song by Paul McCartney. It was repeated for his album Kisses on the Bottom, but it was not found on the disk and I asked him if I could save it. There will also be a loan to the Eagles and the song Operator Jim Croce, on which Graham Nash sings. "
The different disk fits naturally in the course of this "not very cerebral" artist who loves to touch everything and give the audience the impression that she plays for her as she would at home for friends.
"I try not to meet the expectations of a certain genre of music, she said. I just play music. The Montreal Jazz Festival has always welcomed different styles of music and I feel free to do it here. "
Diana Krall, TD stage of the Place des Festivals, tonight at 21 h 30.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
scielle
- Posts: 672
- Joined: Wed Mar 24, 2004 4:14 pm
- Location: Berkeley, CA; London, UK; Montreal QC; Toronto ON; New York
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Just watched Diana's 2-hr soundcheck/ rehearsal. Elvis was there and they did Ophelia, Whispering Pines and Subterranean Homesick Blues together (all regular tunes on Diana's setlists on this last tour). EC was having a really tough time with that last one!
She sent him off to his own rehearsal with a kiss, a "have a nice show darling" and a " that's my babies' daddy" to the gathered crowd. Was sweet.
She sent him off to his own rehearsal with a kiss, a "have a nice show darling" and a " that's my babies' daddy" to the gathered crowd. Was sweet.
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
A eight minute video of a press conference Elvis gave today -
https://www.youtube.com/watch?v=4p1WVIi ... e=youtu.be
https://www.youtube.com/watch?v=4p1WVIi ... e=youtu.be
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Elvis Costello Recipient of the Montreal Jazz Festival Spirit Award
Photo Jimmy Scalia/Facebook
Sound check. Elvis Costello & Diana Krall. Amazing — at Festival International de Jazz de Montréal.
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
http://www.montrealgazette.com/entertai ... um=twitter
Jazz fest: A touch of youth in night of Costello classics
BY BERNARD PERUSSE,
SPECIAL TO THE GAZETTE JUNE 29, 2014
Gives himself more freedom than ever on solo tour in which any number of factors influence set list
Elvis Costello sounded amused when the number of songs he has recorded — almost 700, according to one source — was raised.
“That number seems to be getting bigger and bigger,” Costello said during a recent telephone interview. “It was 600 a week ago, so I must have recorded about 100 last week. I have no idea. Maybe they’re counting live versions and everything.”
But even if you were to lowball the figure, it’s hard not to be awed by the sheer without-a-net ambition of his current solo tour, in which he revisits, reworks and recalls an evening’s worth of songs every night, all without the basic security of a set list.
The thread between songs, which Costello said he doesn’t necessarily share with the audience, might be inspired by the room, the atmosphere or the occasion, among other things. “The more I follow this idea of trying to cut a line in my mind that threads me through the songs, I find my way to an idea that connects songs that might have been written a long time apart,” he said. As an example, he cited a show at Toronto’s Massey Hall, which took place the night before Father’s Day. “I was singing a lot about the experiences of my father and grandfather in music, several songs to do with that. But I hadn’t always programmed them close together, so I could open up a little bit of what’s behind them,” he said.
“So I talk sometimes. Sometimes I don’t. It really depends on the mood, the shape of the hall, the architecture and people’s tolerance for such things.”
Costello performed a memorable stripped-down show here in 1999, with pianist Steve Nieve, but this is truly a solo event, with only the artist himself on stage. “I have the freedom to really break things down, sometimes return to the blueprint of the song, sometimes find an entirely different rhythm in which to play the song, which can throw the story of the song into some relief,” he said. “I did a rock ’n’ roll song the other night as a ballad, and you could tell people were hearing it for the first time, because their reactions to the words was different.”
The solo tour is subtitled The Last Year of My Youth, which is also the title of a stunning song Costello recently debuted on the Late Show With David Letterman, the day after he had written it. Among its lines: “The night before, my friends had called to ask ‘Are you OK?’ / Are you running hot? Are you feeling cold? Are you out of juice? / Are you calculating your temperature? Have you checked your pulse? / Have you heard from your family doctor and his older friend Don Juan? / You’re going to be 21 / Your best days are gone.”
“Your friends will ring you on the eve of every significant birthday from the age of 21 to the age I am now,” explained Costello, who turns 60 in August. “There’s this inquiry of ‘Are you doing all right?’, as if you’d think your life is ending. Of course, every day we’re alive, we should be grateful and glad that we’re still able to do what we can do.
“Age really only gives you … more repertoire is what it gives you,” he said, chuckling. “And more ways to tell a story. I’ve got stories now I couldn’t have imagined and experiences I’ve had in music that I never could have imagined when I started out. But I’m not about taking a lap of honour. I’m about trying to make these things make sense in the moment — even if there are reflections within the songs of past experiences.”
Costello’s acclaimed body of work made it a natural for him to be among the artists recruited to work with a batch of 1967 Bob Dylan lyrics that were never put to music. Lost on the River: The New Basement Tapes is due later this year. T Bone Burnett produced and participated, as did Marcus Mumford, Jim James, Rhiannon Giddens and Taylor Goldsmith.
“I had a ball,” Costello said of the project. “It’s done with a lot of good humour, as you might imagine with lyrics from that time.”
Costello MCed the PEN New England award for song lyrics of literary excellence June 2, in a ceremony honouring Kris Kristofferson and Randy Newman, another writer Costello greatly admires. “Randy is one of the people that showed me, as an observer of songwriting, that you could be writing about the misfit or the misanthrope with as much humanity as you could find writing a beautiful love song,” he said.
Costello has developed his own set of strengths, entirely different from Newman’s, over 37 prolific years since he released his debut album. While the songwriting process has not necessarily become easier, there is a challenge, Costello said, in not relying on well-worn patterns.
“You become more able to come close to the model that you have in your mind for the song you’re writing. Perhaps sometimes you don’t stumble on those original accidents. It’s not that you become more accomplished. It’s that you have to remember not to go too close to the model — to still keep the idiot part of yourself alive,” he said.
“‘Keep the idiot part of yourself alive.’ I’m having that printed on a T-shirt.”
Jazz fest: A touch of youth in night of Costello classics
BY BERNARD PERUSSE,
SPECIAL TO THE GAZETTE JUNE 29, 2014
Gives himself more freedom than ever on solo tour in which any number of factors influence set list
Elvis Costello sounded amused when the number of songs he has recorded — almost 700, according to one source — was raised.
“That number seems to be getting bigger and bigger,” Costello said during a recent telephone interview. “It was 600 a week ago, so I must have recorded about 100 last week. I have no idea. Maybe they’re counting live versions and everything.”
But even if you were to lowball the figure, it’s hard not to be awed by the sheer without-a-net ambition of his current solo tour, in which he revisits, reworks and recalls an evening’s worth of songs every night, all without the basic security of a set list.
The thread between songs, which Costello said he doesn’t necessarily share with the audience, might be inspired by the room, the atmosphere or the occasion, among other things. “The more I follow this idea of trying to cut a line in my mind that threads me through the songs, I find my way to an idea that connects songs that might have been written a long time apart,” he said. As an example, he cited a show at Toronto’s Massey Hall, which took place the night before Father’s Day. “I was singing a lot about the experiences of my father and grandfather in music, several songs to do with that. But I hadn’t always programmed them close together, so I could open up a little bit of what’s behind them,” he said.
“So I talk sometimes. Sometimes I don’t. It really depends on the mood, the shape of the hall, the architecture and people’s tolerance for such things.”
Costello performed a memorable stripped-down show here in 1999, with pianist Steve Nieve, but this is truly a solo event, with only the artist himself on stage. “I have the freedom to really break things down, sometimes return to the blueprint of the song, sometimes find an entirely different rhythm in which to play the song, which can throw the story of the song into some relief,” he said. “I did a rock ’n’ roll song the other night as a ballad, and you could tell people were hearing it for the first time, because their reactions to the words was different.”
The solo tour is subtitled The Last Year of My Youth, which is also the title of a stunning song Costello recently debuted on the Late Show With David Letterman, the day after he had written it. Among its lines: “The night before, my friends had called to ask ‘Are you OK?’ / Are you running hot? Are you feeling cold? Are you out of juice? / Are you calculating your temperature? Have you checked your pulse? / Have you heard from your family doctor and his older friend Don Juan? / You’re going to be 21 / Your best days are gone.”
“Your friends will ring you on the eve of every significant birthday from the age of 21 to the age I am now,” explained Costello, who turns 60 in August. “There’s this inquiry of ‘Are you doing all right?’, as if you’d think your life is ending. Of course, every day we’re alive, we should be grateful and glad that we’re still able to do what we can do.
“Age really only gives you … more repertoire is what it gives you,” he said, chuckling. “And more ways to tell a story. I’ve got stories now I couldn’t have imagined and experiences I’ve had in music that I never could have imagined when I started out. But I’m not about taking a lap of honour. I’m about trying to make these things make sense in the moment — even if there are reflections within the songs of past experiences.”
Costello’s acclaimed body of work made it a natural for him to be among the artists recruited to work with a batch of 1967 Bob Dylan lyrics that were never put to music. Lost on the River: The New Basement Tapes is due later this year. T Bone Burnett produced and participated, as did Marcus Mumford, Jim James, Rhiannon Giddens and Taylor Goldsmith.
“I had a ball,” Costello said of the project. “It’s done with a lot of good humour, as you might imagine with lyrics from that time.”
Costello MCed the PEN New England award for song lyrics of literary excellence June 2, in a ceremony honouring Kris Kristofferson and Randy Newman, another writer Costello greatly admires. “Randy is one of the people that showed me, as an observer of songwriting, that you could be writing about the misfit or the misanthrope with as much humanity as you could find writing a beautiful love song,” he said.
Costello has developed his own set of strengths, entirely different from Newman’s, over 37 prolific years since he released his debut album. While the songwriting process has not necessarily become easier, there is a challenge, Costello said, in not relying on well-worn patterns.
“You become more able to come close to the model that you have in your mind for the song you’re writing. Perhaps sometimes you don’t stumble on those original accidents. It’s not that you become more accomplished. It’s that you have to remember not to go too close to the model — to still keep the idiot part of yourself alive,” he said.
“‘Keep the idiot part of yourself alive.’ I’m having that printed on a T-shirt.”
Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
I'll buy that t-shirt. I'm keeping that quote true more than I would like, but what are going to do. My brain hurts right now as I type this. The future is not so bright, but I'm still wearing shades. Whatever.
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docinwestchester
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Jake Sherman @Sherm102 10m
Elvis Costello @la Maison Symphonique de #Montréal #jazzfest Feeling cultured again.. pic.twitter.com/p2dur5oIlW
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docinwestchester
- Posts: 2321
- Joined: Thu Apr 08, 2010 7:58 pm
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Bernie Perusse @bernieperusse 10m
Elvis Costello set list (sort of) from a brilliant solo show at jazz fest. Review later. Off to Diana Krall #mtlfest pic.twitter.com/Hx8BmMeFG3
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docinwestchester
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Eva Blue @evablue 6m
Elvis Costello joined Diana krall for the encore. #fijm #mtlfest #mtlmoments #montreal #mtljazzfest @… http://instagram.com/p/p2lRzdPUZX/
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And No Coffee Table
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Re: Elvis solo, Montréal Jazz Festival (CA), June 29, 2014
Twitter:
Elvis Costello has joined Diana Krall for the Band's Ophelia. What a solo by Marc Ribot!
Elvis Costello and Diana Krall playing Dylan - pretty good freebie Sunday night.