Diana Krall Live in Paris

terry parr · « **Reply #20 on:** 26 Apr 2014, 12:12 am »

melody gardot has that "tremolo / fast vibrato" that sounds unique. i hadn't heard it done like she does it before. if you're a jazz vocal fan, she shouldn't be overlooked, in my opinion. seems like she has listened to and absorbed quite a bit of american jazz music.

one of the things that's interesting is that a lot of american jazz players seem to be appreciated more in europe and japan than they do in the states. the paris crowd that was there for the diana krall concert that night seemed to be digging it. and that was a big hall.

Don_S · « **Reply #21 on:** 26 Apr 2014, 12:48 am »

Terry, Strange but true on some foreign audiences showing American artists more appreciation than they get at home. I searched YouTube for the Gardot clip that I loved so much. It is gone. It was from Germany. I think the bass player was German (something like Steffan Braun?). Anyway, the start was some very solid drums followed by kick ass singing and bass playing. She mixed some "Ain't no Sunshine" into the middle of "Worrisome Heart".

I found several YouTtube clips from Paris, Japan, and Stockholm. Here is the best I could come up with and it is somewhat tame compared to the German performance.

https://www.youtube.com/watch?v=I-QopBOapAA "Worrisome Heart" on Letterman. Warning, this may be too uptempo for Barber fans. Ask your doctor if Melody Gardot is safe for you.

Here is a tamer performance from the Tokyo Jazz Festival 2009. Doctor's clearance is not required. Shows how she can do the same song and make it very different.

http://www.youtube.com/watch?v=MJUIoBIz2oc

Quote from: terry parr on 26 Apr 2014, 12:12 am

melody gardot has that "tremolo / fast vibrato" that sounds unique. i hadn't heard it done like she does it before. if you're a jazz vocal fan, she shouldn't be overlooked, in my opinion. seems like she has listened to and absorbed quite a bit of american jazz music.

one of the things that's interesting is that a lot of american jazz players seem to be appreciated more in europe and japan than they do in the states. the paris crowd that was there for the diana krall concert that night seemed to be digging it. and that was a big hall.

Bob in St. Louis · « **Reply #22 on:** 26 Apr 2014, 12:59 am »

I wouldn't give "my left one" for Melody Gardot.....I've give them both. She is amazing.

I like Diana Krall very much. That's about all there is to that.

Patricia.....mmmm....I don't know.
I feel like I should have a dictionary while I listen to her music.

But then there's Eva...

I love Eva.

Bob

Don_S · « **Reply #23 on:** 26 Apr 2014, 01:11 am »

I think this is the same bass player but it still not the performance I was looking for. It is similar but the song in the middle is different and the start is different. I can't believe this is the same person who did The Absence. .

http://www.youtube.com/watch?v=4y9sg_hw8bo

airhead · « **Reply #24 on:** 26 Apr 2014, 02:09 am »

Re: your quote "one of the things that's interesting is that a lot of american jazz players seem to be appreciated more in europe and japan than they do in the states. the paris crowd that was there for the diana krall concert that night seemed to be digging it. and that was a big hall."

Indeed, Patricia Barber seems to be way more popular in France than she is here, as comments on this forum seem to confirm.

I will be nice and not quote what the New Yorker says about her (or rather, her popularity here).

terry parr · « **Reply #25 on:** 26 Apr 2014, 02:13 am »

appreciate all the clips, Don_S!

well, tip o' the hat to letterman for having her on. don't know if it was her decision (or the shows' producer) to "pick up the tempo". after all, she wasn't playing to a jazz crowd, or people who went there to hear music. or, it could have been her call. just glad to see her get on, on a mass-market tv show.

enjoyed the clip from tokyo, too. by the way, you know she comes out of that white coat! i was waiting for it! it looks like that would be a good one to have on dvd, as it seems the japanese paid attention to the sound and "the look" (as far as lighting, etc) of this show. the sound probably IS pretty good. i've heard some very good sounding japanese re-masters of american jazz, and the japanese can do a very good job
with this kind of stuff.

on the clip from stockholm, she looked like she was having a good time. she was enjoying herself. and, you're right about her seeming to want to change things up from one performance to the next. means she's versatile and wants to keep things interesting. for her and for us. (jazz fans usually don't complain if the performance doesn't sound just like the recording they have at home. most jazz fans, anyway want to get a different "take" on familiar tunes when they go see somebody). that's what makes it interesting to see someone like her perform live. i think she would be fun to see.
i liked the dress she was wearing on this clip, too. and the color of it looked real good on her.

terry parr · « **Reply #26 on:** 26 Apr 2014, 02:22 am »

oh, come on airhead. if i had to guess, i'd say patricia probably has a pretty thick skin, by now. she doesn't strike me as someone you'd have to handle with "kid gloves."

i think she could handle a critical review by the new yorker.

i'm guessing. (but i don't think i'm going out on a limb when i say that).

so, o.k., airhead. you started this, now. you've teased us.
what did the new yorker say about patricia barber? (i hope i don't regret asking).

airhead · « **Reply #27 on:** 26 Apr 2014, 03:23 am »

New Yorker on Patricia Barber,

What I was referring to wasn't a real review, just one of the "Going on About Town Blurbs" from when she was appearing at the BlueNote. I can't find it on line anymore
so I can't provide the exact quote. Basically it said: "She is simply too intelligent to have a really wide following."

So, are you sorry you asked?

I confess that her brilliant lyrics appeal a lot to me, and since she knows what they mean and they are heartfelt, I don't think they are pretentious. However, my first
exposure to her was at a live performance, and it was the sheer beauty and variety of her music that blew me away. I'll never forget her rendition of "Triste" that night
and neither will my wife. It is the music overall that I love.

PMAT · « **Reply #28 on:** 26 Apr 2014, 03:43 am »

It sounds like a great memory. I love it when I am stunned by a performance. When I saw "The Wall" by Roger Waters in San Jose it was incredible.

terry parr · « **Reply #29 on:** 26 Apr 2014, 10:11 pm »

I will be nice and not quote what the New Yorker says about her (or rather, her popularity here).
[/quote]

airhead, i took the wrong meaning from what you meant by saying this. this sounded to me like the review in the new yorker was a negative one, and since some complimentary things had been said about patricia barber here on this thread, you preferred to not quote the review in the interest of not starting an argument. but, that's not what you meant by that. i see what you meant now.

Quote from: airhead on 26 Apr 2014, 03:23 am

New Yorker on Patricia Barber,

What I was referring to wasn't a real review, just one of the "Going on About Town Blurbs" from when she was appearing at the BlueNote. I can't find it on line anymore
so I can't provide the exact quote. Basically it said: "She is simply too intelligent to have a really wide following."

So, are you sorry you asked?

I confess that her brilliant lyrics appeal a lot to me, and since she knows what they mean and they are heartfelt, I don't think they are pretentious.

Quote from: terry parr on 25 Apr 2014, 11:43 pm
patricia barber used the word "insouciance" as a song lyric in one of her songs once. not "nonchalance." "insouciance." she can get a bit pretentious at times, but on the whole i've enjoyed patricia barber. even on those albums where she tries (a bit too hard it seems at times) to be "consciously arty.") but, hey she deserves credit for stretching the boundaries a bit and should be applauded for that. at least give her credit for doing some good, original stuff. although it was her album of standards (called "nightclub") that introduced me to her. (which is an album that i've enjoyed very much). and still do.

the above quote is what i said about barber. i didn't say her lyrics as a whole are pretentious. she has written some very thoughtful songs which can be called "poetry set to music." she's obviously very talented. not only as a songwriter but as a musician. what i meant was (and you still may disagree with this, too, but) sometimes, in my opinion she tends to get just a bit "self-consciously too arty" for me. i meant that in the sense that i'm not 100% on board with every lyric from every tune that she's ever done. but, my overall opinion of her is (as i wrote earlier), a positive one.

i can name my favorite jazz pianist. but i'm not crazy about every tune i've ever heard him play. (that's how i meant the comment). that's all.

Neil G · « **Reply #30 on:** 27 Apr 2014, 12:16 am »

I used to dig all the Krall stuff until Live in Rio. That turned me off her so much that I now rarely listen to anything of hers anymore.

Don_S. I love all the Melody Gardot albums, even The Absence. It is quite different than the others, but I still think it is very good in its own way.

afterlife2 · « **Reply #31 on:** 27 Apr 2014, 01:11 am »

Quote from: terry parr on 26 Apr 2014, 12:12 am

melody gardot has that "tremolo / fast vibrato" that sounds unique. i hadn't heard it done like she does it before. if you're a jazz vocal fan, she shouldn't be overlooked, in my opinion. seems like she has listened to and absorbed quite a bit of american jazz music.

one of the things that's interesting is that a lot of american jazz players seem to be appreciated more in europe and japan than they do in the states. the paris crowd that was there for the diana krall concert that night seemed to be digging it. and that was a big hall.

Love Melody wish she'd do a dvd.

Austin08 · « **Reply #32 on:** 27 Apr 2014, 03:14 am »

"Live in Paris" is a great show but not "Live in Rio". I only watched the later one time and put the disc back to the rack ever since.

martyo · « **Reply #33 on:** 27 Apr 2014, 01:43 pm »

I almost always prefer live to studio, especially with jazz or anything improvisational. "Live in Paris" was my introduction to Diana Krall on my set. Loved it. Then came "Live at the Montreal Jazz Festival", which is still my favorite of all her recordings, then "Live in Rio", which like "Montreal" was recorded better than "Paris" but a little too laid back for me. Saw her tour of this material and even in person it was a little laid back for me. "You're My Thrill" is a killer tho. I listen to individual cuts on Paris and Rio but usually the whole concert on Montreal, which is by far the better recording of the three.

geowak · « **Reply #34 on:** 27 Apr 2014, 02:16 pm »

I have always liked Diana Krall as well. She is my favorite jazz singer, but if one were to include Eva Cassidy, she would be my second fav. The album she made "The Girl in the Other Room" was a collaborative effort with her husband Elvis Costello, and I think it's her best effort. But as mentioned previously, she is best live. I have not seen her in concert, but her live albums are great. Her version of "A Case of You" is very beautiful. With her, it's her voice and piano. But when she teams up with Elvis, she has the addition of great songwriting. That is what I wished she would do more of. That is, make original music and lyrics.

Alberto DeRoma · « **Reply #35 on:** 27 Apr 2014, 04:32 pm »

Quote from: geowak on 27 Apr 2014, 02:16 pm

I have always liked Diana Krall as well. She is my favorite jazz singer, but if one were to include Eva Cassidy, she would be my second fav. The album she made "The Girl in the Other Room" was a collaborative effort with her husband Elvis Costello, and I think it's her best effort. But as mentioned previously, she is best live. I have not seen her in concert, but her live albums are great. Her version of "A Case of You" is very beautiful. With her, it's her voice and piano. But when she teams up with Elvis, she has the addition of great songwriting. That is what I wished she would do more of. That is, make original music and lyrics.

I also consider "The Girl in the Other Room" her best effort ... and the only one I still listen to. She should do another collab with Elvis Costello.

Alberto

airhead · « **Reply #36 on:** 27 Apr 2014, 06:23 pm »

Re from Terry: patricia barber used the word "insouciance" as a song lyric in one of her songs once. not "nonchalance." "insouciance."

Do you remember what song that is? I can't place it.

By the way here is a review of her performance last night. (In Chicago, I was tempted to fly there to see it but didn't
http://my.chicagotribune.com/#section/-1/article/p2p-80029568/

Don_S · « **Reply #37 on:** 27 Apr 2014, 06:40 pm »

I used to listen to "The Girl in The Other Room" all the time. I do not know what happened but now I can't stand to listen to it. I do not think I have spun it in years. If I remember correctly, the last time I stopped it mid disk and moved on. Other than that I am living DK-free.

Quote from: Alberto DeRoma on 27 Apr 2014, 04:32 pm

I also consider "The Girl in the Other Room" her best effort ... and the only one I still listen to. She should do another collab with Elvis Costello.

Alberto

terry parr · « **Reply #38 on:** 29 Apr 2014, 07:31 am »

i just pulled out the girl in the other room and listened to a couple tunes from it. i've always enjoyed it, on the whole. whenever i'm in the mood for it. they got a good recording. i was reminded of that as soon as i started listening to it again. most of diana kralls' stuff is recorded well, anyway, i've always thought.

to airhead: sounds like you're more than just a casual fan of patricia barber. appreciated the link to the tribune and their review of the latest show of hers. sounds like the entire night would have been a lot to take in even for a serious music fan.

the song where the word "insouciance" can be heard is called: "touch of trash." it's from the modern cool album which came out in 2000. it's the very first track that leads off the album.

airhead · « **Reply #39 on:** 30 Apr 2014, 04:29 am »

Thank you very much Terry. I do know that song---it's one of her favorites, but not one of mine. (I like it well enough, but it's not as much as, for example, Winter, Postmodern Blues, Company, Silent Partner, Let it Rain....)

You are right about several things: I'm much more than a casual fan, I'm really crazy about her. Another thing you are right about, a friend of mine, who lives in Chicago, went to that show, and said it was excellent, but too long.

The original LP pressing of Modern Cool is really fantastic-sounding. Hard to get now, but if you can, and if you are into vinyl, go for it. The "presence" of her voice is amazing, esp. eg. on "Light my Fire.: However it doesn't include "Company".