Variety, April 15, 2007: Difference between revisions

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{{:US magazines index}}
{{:US magazines index}}
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{{Bibliography article header}}
<center><h3> Rosanne Cash/ Elvis Costello </h3></center>
<center><h3> Rosanne Cash / Elvis Costello </h3></center>
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<center> David Sprague</center>
<center> David Sprague </center>
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'''Artists often go to great pains to scout offbeat locations to stage "special" performances, only to turn up and turn in the same old song and dance -- a pitfall Rosanne Cash and Elvis Costello deftly sidestepped at this conceptually driven program.'''
'''Artists often go to great pains to scout offbeat locations to stage "special" performances, only to turn up and turn in the same old song and dance -- a pitfall Rosanne Cash and Elvis Costello deftly sidestepped at this conceptually driven program.'''
{{Bibliography text}}
{{Bibliography text}}
Intimate is a word that’s often thrown around in reference to small-room gigs, but it’s unlikely that either of this bill’s marquee names had ever staged a Gotham perf with a closeness so extreme that neither amplification nor microphones were used. That was the case during this 70-minute show, a fundraiser for the Rubin Museum, an institution dedicated to preserving the art of the Himalayas.
Intimate is a word that's often thrown around in reference to small-room gigs, but it's unlikely that either of this bill's marquee names had ever staged a Gotham perf with a closeness so extreme that neither amplification nor microphones were used. That was the case during this 70-minute show, a fundraiser for the Rubin Museum, an institution dedicated to preserving the art of the Himalayas.


Cash opened the evening with a dissertation on the importance of “magic numbers” in the practice of Buddhism before launching into a sultry, torch song-like rendition of Harry Nilsson’s “One.” Her slightly downcast manner was tempered by the appearance of a surprisingly avuncular Elvis Costello, who announced his presence with a surprisingly swinging, grit-laced take on the soul classic “99 and a Half.”
Cash opened the evening with a dissertation on the importance of "magic numbers" in the practice of Buddhism before launching into a sultry, torch song-like rendition of Harry Nilsson's "One." Her slightly downcast manner was tempered by the appearance of a surprisingly avuncular Elvis Costello, who announced his presence with a surprisingly swinging, grit-laced take on the soul classic "99 and a Half."


The pair — augmented by guitarist and frequent Cash collaborator John Leventhal — swapped lead vocals smartly throughout the show, drawing from sources as diverse as The Lovin’ Spoonful (whose “Six O’Clock” took on a Mersey-ish lilt in Costello’s hands) and Marc Cohn’s “Three Steps Down” (which Cash rendered as an extended, poignant sigh).
The pair — augmented by guitarist and frequent Cash collaborator John Leventhal — swapped lead vocals smartly throughout the show, drawing from sources as diverse as The Lovin' Spoonful (whose "Six O'Clock" took on a Mersey-ish lilt in Costello's hands) and Marc Cohn's "Three Steps Down" (which Cash rendered as an extended, poignant sigh).


They only joined forces a few times over the course of the show — most successfully on a bittersweet version of The Bee Gees’ “New York Mining Disaster 1941.” That avoidance was probably a wise idea, since Costello unintentionally overpowered Cash’s fragile, measured delivery when he cut loose — as he invariably did — at full lung power.
They only joined forces a few times over the course of the show — most successfully on a bittersweet version of The Bee Gees' "New York Mining Disaster 1941." That avoidance was probably a wise idea, since Costello unintentionally overpowered Cash's fragile, measured delivery when he cut loose — as he invariably did — at full lung power.


There was no sense of one-upmanship in Costello’s manner, however. In fact, he seemed more playful and self-effacing than at any time in recent memory — particularly when he tested his breath control (not to mention his memory) with a sped-up take on “Seventy-Six Trombones.”
There was no sense of one-upmanship in Costello's manner, however. In fact, he seemed more playful and self-effacing than at any time in recent memory — particularly when he tested his breath control (not to mention his memory) with a sped-up take on "Seventy-Six Trombones."


Cash, who exhibited a bit more gravity during most of her leads — a mood she attributed to the fresh loss of both a close friend and the childhood home that burned to the ground earlier in the week — perked up a bit by set’s end as well, romping through an earthy “Six Days on the Road.”
Cash, who exhibited a bit more gravity during most of her leads — a mood she attributed to the fresh loss of both a close friend and the childhood home that burned to the ground earlier in the week — perked up a bit by set's end as well, romping through an earthy "Six Days on the Road."


The loosey-goosey attitude displayed by the performers — combined with the offbeat repertoire choices — turned what could have been a hokey exercise into an irresistible sonic buffet, and transformed a museum space into a perfect spot for a hootenanny.
The loosey-goosey attitude displayed by the performers — combined with the offbeat repertoire choices — turned what could have been a hokey exercise into an irresistible sonic buffet, and transformed a museum space into a perfect spot for a hootenanny.
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'''Cast:''' Musicians: Rosanne Cash, Elvis Costello, John Leventhal.
'''Cast:''' Musicians: Rosanne Cash, Elvis Costello, John Leventhal.


 
{{tags}}[[Rosanne Cash]] {{-}} [[Rubin Museum Of Art]] {{-}} [[One's Too Many (And A Hundred Ain't Enough)]] {{-}} [[John Leventhal]] {{-}} [[The Lovin' Spoonful]] {{-}} [[Six O'Clock]] {{-}} [[Marc Cohn]] {{-}} [[Three Steps Down]] {{-}} [[Bee Gees]] {{-}} [[New York Mining Disaster 1941]] {{-}} [[Seventy-Six Trombones]] {{-}} [[Six Days On The Road]]  
{{Tags}}[[Rosanne Cash]] {{-}} [[Rubin Museum Of Art]] {{-}} [[One's Too Many (And A Hundred Ain't Enough)]] {{-}} [[John Leventhal]] {{-}} [[The Lovin' Spoonful]] {{-}} [[Six O'Clock]] {{-}} [[Marc Cohn]] {{-}} [[Three Steps Down]] {{-}} [[Bee Gees]] {{-}} [[New York Mining Disaster 1941]] {{-}} [[Seventy-Six Trombones]] {{-}} [[Six Days On The Road]]  
{{cx}}
{{cx}}


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{{Bibliography notes}}
{{Bibliography notes}}
{{Bibliography next
|prev = Variety, June 19, 2006
|next = Variety, May 3, 2007
}}
'''Variety, April 15, 2007
'''Variety, April 15, 2007
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[[David Sprague]] reviews Elvis Costello & [[Rosanne Cash]] with [[John Leventhal]], Friday, [[Concert 2007-04-13 New York|April 13, 2007]], Rubin Museum of Art, New York, NY.
[[David Sprague]] reviews Elvis Costello and [[Rosanne Cash]] with [[John Leventhal]], Friday, [[Concert 2007-04-13 New York|April 13, 2007]], Rubin Museum of Art, New York.


{{Bibliography no images}}
{{Bibliography no images}}

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Rosanne Cash / Elvis Costello

David Sprague

Artists often go to great pains to scout offbeat locations to stage "special" performances, only to turn up and turn in the same old song and dance -- a pitfall Rosanne Cash and Elvis Costello deftly sidestepped at this conceptually driven program.

Intimate is a word that's often thrown around in reference to small-room gigs, but it's unlikely that either of this bill's marquee names had ever staged a Gotham perf with a closeness so extreme that neither amplification nor microphones were used. That was the case during this 70-minute show, a fundraiser for the Rubin Museum, an institution dedicated to preserving the art of the Himalayas.

Cash opened the evening with a dissertation on the importance of "magic numbers" in the practice of Buddhism before launching into a sultry, torch song-like rendition of Harry Nilsson's "One." Her slightly downcast manner was tempered by the appearance of a surprisingly avuncular Elvis Costello, who announced his presence with a surprisingly swinging, grit-laced take on the soul classic "99 and a Half."

The pair — augmented by guitarist and frequent Cash collaborator John Leventhal — swapped lead vocals smartly throughout the show, drawing from sources as diverse as The Lovin' Spoonful (whose "Six O'Clock" took on a Mersey-ish lilt in Costello's hands) and Marc Cohn's "Three Steps Down" (which Cash rendered as an extended, poignant sigh).

They only joined forces a few times over the course of the show — most successfully on a bittersweet version of The Bee Gees' "New York Mining Disaster 1941." That avoidance was probably a wise idea, since Costello unintentionally overpowered Cash's fragile, measured delivery when he cut loose — as he invariably did — at full lung power.

There was no sense of one-upmanship in Costello's manner, however. In fact, he seemed more playful and self-effacing than at any time in recent memory — particularly when he tested his breath control (not to mention his memory) with a sped-up take on "Seventy-Six Trombones."

Cash, who exhibited a bit more gravity during most of her leads — a mood she attributed to the fresh loss of both a close friend and the childhood home that burned to the ground earlier in the week — perked up a bit by set's end as well, romping through an earthy "Six Days on the Road."

The loosey-goosey attitude displayed by the performers — combined with the offbeat repertoire choices — turned what could have been a hokey exercise into an irresistible sonic buffet, and transformed a museum space into a perfect spot for a hootenanny.

Rosanne Cash/ Elvis Costello
Rubin Museum of Art; 155 capacity; $65.
Production: Presented in-house. Reviewed April 13, 2006.
Crew:
Cast: Musicians: Rosanne Cash, Elvis Costello, John Leventhal.


Tags: Rosanne Cash  •  Rubin Museum Of Art  •  One's Too Many (And A Hundred Ain't Enough)  •  John Leventhal  •  The Lovin' Spoonful  •  Six O'Clock  •  Marc Cohn  •  Three Steps Down  •  Bee Gees  •  New York Mining Disaster 1941  •  Seventy-Six Trombones  •  Six Days On The Road

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Variety, April 15, 2007

David Sprague reviews Elvis Costello and Rosanne Cash with John Leventhal, Friday, April 13, 2007, Rubin Museum of Art, New York.

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