Boston Globe Review of Saturday Night's Show

[christratton]

The Globe's review is more generous than I, but then, he likely did not see Thursday's show.

-CS

(c) 2007, Boston Globe/The New York Times Company

Krall makes jazz simply great
By Christopher John Treacy
Sunday, July 15, 2007 - Updated: 01:29 AM EST

Diana Krall’s simple delivery provides the perfect portal to musical sophistication for the otherwise jazz-phobic.

Jazz isn’t for simpletons. But Krall woos her listeners with short, decisive piano keystrokes, restrained dramatics and a personable delivery that’s helped her transcend the lines between artist and entertainer: She is both. Strain as you may to conjure other examples, very few successfully wear both hats, and even fewer look so attractive in them.

In front of a nearly full house last night at Bank of America Pavilion, she stuck to the tasteful standards that have been the bread and butter of her career.

The fast-talking opener, Peggy Lee’s “I Love Being Here With You,” provided the perfect launching pad for her triumphant 90-minute set, and guitarist Anthony Wilson’s babbling fretwork came into the spotlight straight away.

Krall touched on the composers that inspire her most, including a pair of Nat King Cole Trio favorites, Dorothy Fields’ “Exactly Like You” and the Hirsh/Rose charmer “Deed I Do.” The latter featured a powerhouse solo from drummer Jeff Hamilton, who later skillfully brushed out a locomotive rhythm for Bob Dorough’s “Devil May Care.”

No worries - motherhood hasn’t stripped Krall of her wit. Actually, it provides her with new comic material. She joked about wearing a “sexy tunic,” noting that those who assured her breastfeeding could help shed the extra weight from pregnancy were all liars.

Her warm, honey-lubed contralto was in tip-top shape, brewing a sultry, heavy-lidded feeling for “You Call It Madness.” For Joni Mitchell’s classic “A Case of You,” Krall’s weathered resignation and piano delivery created a delicious gospel refrain, making the song her own. The same could be said for her closer, a stunning, goose-pimple-worthy cover of the Bee Gees’ “How Can You Mend a Broken Heart” that proves once and for all Krall’s interpretive gifts stretch beyond any specific time period or genre.

The rapport her quartet shared on stage is the product of many years together. Tightly rehearsed but not inspiration-challenged, its spicy samba reworking of “Let’s Face the Music and Dance” showcased impeccable improv skills. Legendary bassist John Clayton made playful use of his upright all night, at one point rosining a bow and playing a melody up high on his fret board.

ctreacy2003@yahoo.com

Diana Krall At the Bank of America Pavilion, last night.

[jazzygal karla]

Oh, thanks for sharing that review, chris!

From the review, it sounds like it was an excellent concert.

[christratton]

Yes, both Boston Globe reviews were fond. I personally gave Sat's show a grumpy review for a number of reasons, chiefly because Thurs's show was the best I've ever seen by anyone, so I set expectations too high (it was a lovely one for my first DK show ever), and because of the poor venue. But I sure do love Diana, though.

-CS