Toronto Globe and Mail, June 28, 2006: Difference between revisions
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In Vancouver on Sunday and Monday''' | In Vancouver on Sunday and Monday''' | ||
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'We want to thank you for making it a special night," Elvis Costello told a capacity crowd at Vancouver's [[Orpheum Theatre (Vancouver)|Orpheum Theatre]] Monday night. | 'We want to thank you for making it a special night," Elvis Costello told a capacity crowd at Vancouver's [[Orpheum Theatre (Vancouver)|Orpheum Theatre]] Monday night. | ||
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Being married to a jazz musician gives Costello better bona fides than most. | Being married to a jazz musician gives Costello better bona fides than most. | ||
Although emphasizing Costello's current album, a collaboration with Toussaint called ''The River in Reverse'', the performance drew deeply from both artist's catalogues. Costello unearthed such chestnuts as [[Watching The Detectives|Watching the Detectives]], [[Clubland]] and a version of [[Alison]] that included an interpolation of Smokey Robinson's [[Tracks Of My Tears|The Tracks of My Tears]], while the Toussaint selections ranged from a solo piano [[Tipitina And Me|Tipitina and Me]] to full-band versions of [[Play Something Sweet | Although emphasizing Costello's current album, a collaboration with Toussaint called ''The River in Reverse'', the performance drew deeply from both artist's catalogues. Costello unearthed such chestnuts as [[Watching The Detectives|Watching the Detectives]], [[Clubland]] and a version of [[Alison]] that included an interpolation of Smokey Robinson's [[Tracks Of My Tears|The Tracks of My Tears]], while the Toussaint selections ranged from a solo piano [[Tipitina And Me|Tipitina and Me]] to full-band versions of [[Play Something Sweet (Brickyard Blues)|Brickyard Blues]] and [[Yes We Can Can]]. | ||
Thanks to the horn arrangements (mostly by Toussaint), Costello's songs took on a mild R&B flavour, and his singing was unusually supple and expressive -- though not quite as slyly soulful as Toussaint's. Still, it was more than enough to get much of the crowd on its feet and dancing for the last third of the show. | Thanks to the horn arrangements (mostly by Toussaint), Costello's songs took on a mild R&B flavour, and his singing was unusually supple and expressive -- though not quite as slyly soulful as Toussaint's. Still, it was more than enough to get much of the crowd on its feet and dancing for the last third of the show. |
Latest revision as of 00:50, 13 February 2021
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