DianaKrallfans.com

Is anyone here going to tell us here about the current shows in France? I tried having a look through some French newspaper sites but they either didn't seem to have anything or wanted money before they would give out any info.

Any suggestions anyone?

I believe that no one from this forum even attended any of the Olympia concerts in Paris this past weekend. What a pity. I'm sure she was great.

Has anyone contacted Remi? If anyone would have gone it would have been him...maybe there will be a review shortly...he went several times last year and he wrote a great review and story. REMI, REMI WHERE ARE YOU MI AMI, Anae

Has anyone contacted Remi? If anyone would have gone it would have been him...

Oh...no no. The frenchman refused to pay the high demanding prices of the Concerts in Paris. I think it was around 90 euros a ticket. Although we paid half a weeks earnings to go see DK in Saratoga. Ahh..the things we do for the ones we love. But, it was worth it in the end.

-Kel

johnfoyle wrote:Is anyone here going to tell us here about the current shows in France?

I didn't go to any of her concerts, but be sure I'm trying my best to find if there's news about it. (and as far as I know, I haven't seen anything in the news, on TV, etc. )

Has anyone contacted Remi? If anyone would have gone it would have been him...maybe there will be a review shortly...

As SaxLix "kindly" answered, I could have gone there if the ticket prices had been more affordable... and I'm not the only person who thinks the price is too high.

Hi, i am new here, first post!
I was at the Olympia last friday (first time i went to a diana krall concert), and it was a really great concert. i still cannot believe how great the night was, she is such a wonderful pianist, and she has such a beautiful voice... really impressive!

anyway, i found an article, sorry it is from a french newspaper, so, written in french. i just agree with everything that's been said inside!


Diana Krall, star malgré elle
LE MONDE | 22.09.04 | 14h14

Diana Krall chante, s'accompagne, joue, compose. Elle sort de cinq concerts, guichets fermés, à l'Olympia, à Paris, et file à la Halle Garnier de Lyon, le 23 septembre. Elle passe comme une tornade : insolence, fragilité et présence énorme. Elle maîtrise à peine ce qui la dépasse. Sauf en scène. Elle engage les meilleurs musiciens : Anthony Wilson (guitare), Bob Hurst (bassiste de catégorie) plus, magicien délicieux, Peter Erskine (batterie). La musique se voit. Elle attaque en force un instrumental sans pitié. Le piano résiste. Elle accroche, plaque méchamment un accord "tchécoslovaque" - ainsi parlaient les musiciens d'antan.

Diana Krall est née en 1960 à Nanaimo, une bourgade de mineurs canadiens. Les musiciens de jazz n'insistent jamais, surtout avec une vamp à succès. Alors ? Au début, on a cru que son côté vamp, sa blondeur, sa grâce rude étaient la raison. L'attachement d'un public qu'on ne voyait plus en jazz vient de là. Méfiance. La petite Canadienne insiste. Double méfiance. Elle insiste dans le style raide. Triple méfiance. Son succès la déborde. On n'est pas attentif à l'attention que lui portent Ray Brown (compositeur, mari d'Ella), Jimmy Rowles (génial accompagnateur de Billie), ou, en France, Henri Renaud. Ils ont tous disparu avant de faire savoir ce qu'ils disent d'elle depuis le début. Elle est musicienne.

Soudain, le piano l'accepte. Elle attaque The Girl in the Other Room. Paroles d'Elvis Costello et musique "de la femme d'Elvis Costello" (c'est elle). Elle parle autant qu'elle joue. Le concert bascule. Autant d'improvisations, autant d'espace. Elle décolle, spirale, prend les ascendances de plein vent. Les trois hommes l'ont rassurée. Standards, compositions costelliennes, Tom Waits, Joni Mitchell, toute sa tribu, elle se paie le luxe de célébrer Rowles, Renaud, Fats, James P. Johnson : "Je ne peux le faire qu'à Paris. Partout ailleurs, leurs noms ne disent rien à personne."

Ce n'est pas un tour de chant. C'est un acte, un concert qui prend son temps, ses valeurs, ses silences. Elle parle. Elle est drôle. Depuis huit disques, on l'attend au tournant. Au tournant, standing ovation, elle enchaîne seule, comme dans un bistrot de Vancouver, It's wonderful, On the Sunny Side of the Street, Departure Bay. Elle porte une robe à parements verts. Jamais de vert pour les blondes : pour elle, ça colle, exactement comme sa musique. Le jazz est fini ? On vous le serine. Diana Krall dément. Vous n'y pouvez rien. C'est toute l'histoire.

Francis Marmande

Welcome to the board, Francis! Thanks for the post. (I'd expect the article to be in French, so please don't apologize!)

Coda,
I nearly made the same mistake...
Francis Marmande is the author of the article, not the nickname of our new member... unless that new member is Francis Marmande!
Anyway, it's a good article, very incisive, somehow written "a la Marmande". (apart the fact Diana's DoB 1960 is once again wrong)

Unefille, toi qui es allé la voir, sais-tu si elle a souri au public et si elle a finalement dit 2/3 mots en français (chose qu'elle n'a jusqu'alors jamais faite lors de ses passages en France).
De même, n'hésite surtout pas à poster ton CR -en français ou en anglais - du concert, pour tous ceux, moi inclus, qui n'y sont pas allés.
Merci.

... Et bienvenue!

This rather crude translation tells the tale -

http://translate.google.com/translate_t


Diana Krall sings, is accompanied, played, composed. She leaves five concerts, closed counters, in Olympia, to Paris, and slips by to the Market Garnier of Lyon, September 23.

She passes like a tornado: insolence, brittleness and enormous presence. It controls hardly what exceeds it. Except in scene. It engages the best musicians: Anthony Wilson (guitar), Bob Hurst (bass player of category) more, delicious magician, Peter Erskine (battery). The music is seen. It attacks in force instrumental without pity. The piano resists. It hangs, plate maliciously a "Czechoslovakian" agreement - thus spoke the musicians about antan. Diana Krall was born in 1960 in Nanaimo, a village of Canadian minors. The musicians of jazz never insist, especially with a vamp with success.

Then? In the beginning, one believed that its side vamp, his fairness, his hard grace were the reason. The attachment of a public which one did not see any more in jazz comes from there. Mistrust. The small Canadian one insists. Double mistrust. It insists in the stiff style. Triple mistrust. Its success overflows it. One is not attentive with the attention which Ray Brown (type-setter, husband of Ella), Jimmy Rowles pay to him (brilliant guide of Billie), or, in France, Henri Renaud. They have all disappeared before letting know what they say of it since the beginning. It is a musician. Suddenly, the piano accepts it. She attacks The Girl in the Other Room. Words of Costello Elvis and music "of the woman of Costello Elvis" (it is it). It speaks as far as it plays. The concert rocks. As many improvisations, as much space. It takes off, spiral, takes the ascents of full wind. The three men reassured it.

Standards, costelliennes compositions, Tom Waits, Joni Mitchell, all its tribe, it treats to the luxury to celebrate Rowles, Renaud, Fats, James P. Johnson: "I can do it only in Paris. Everywhere else, their names do not say anything to anybody." It is not a song recital. It is an act, a concert which takes its time, its values, its silences. It speaks. It is funny. Since eight discs, one awaits it the turning. With the turning, standing ovation, it only connects, as in a bar of Vancouver, It' S wonderful, One the Sunny Side of the Street, Departure Bay. It wears a dress to green facings. Never of green for the blondes: for it, that sticks, exactly like its music. Is the jazz finished? One you it serine. Diana Krall Lunatic. You can nothing there. It is all the history.

Francis Marmande

hi there,
Rémi, you're right, my name's not francis, and i am a girl (hence the nickname, unefille!)...
so, about the concert, she did smile and talked a lot (not during the first three of four songs, she seemed completely paralysed by the audience and everything). the only thing she said in french was "merci beaucoup".
anyway, i loved the concert, my favorite part was when she sang S'wonderful alone, just playing the piano, it was completely different from the look of love version. also she improvised a lot, and it was amazing...
in the article, i love the "accord tchecoslovaque", it really doees makes sense, she caresses the piano and all of a sudden, she just does this powerful chord... but francis marmande made a great description of it!
the only thing i didn't like was the ticket price, and fortunately i was invited, but next time i'll want to go, how am i gonna do???

Sorry, unefille, for the name mistake. Thanks for your report. So I'm taking it Diana wore a green dress? Also, I don't understand the reference to Czechoslovakia. I remember from one of the old-old message boards that Michelle said the Krall family has some Czech blood. But otherwise, could someone enlighten me on the Czech chord reference? Something about soft and then loud?

I've been thinking about the ticket prices for this tour and I'm wondering: Since the last tour required so many musicians (with the orchestras at so many venues) I wonder if this tour is making up for that cost? Just a pure speculation on my part.....