Steve Dulson wrote:
> ...she also threw in some of her favorite curve balls, most
> >impressively a moving version of Joni Mitchell's "A Case of You" that did
> >find a deep end.
>
> Uh...isn't that sort of mixing metaphors? Curve balls in the deep end?
That is confusing, since a reference to "deep end" was in the previous paragraph.
Makes sense only if you read more of the review, which I've copied below. Sounds
like the only song the reviewer was moved by was Diana's version of ACOY. No
wonder. It's a great song, no matter who does it.
And to Bob, new FBI head:
> Congrats on the new fed job, too. :)
I second that. Anything you want to tell us about now? Any J. Edgar Hoover-ish
pink feather boas in your closet maybe? We won't tell anyone... not even the
Enquirer reporter with LOTS of cash...
Debra Shea
NP: Carly Simon's "Like a River" from Letters Never Sent. Whoa, it suddenly has
me in tears. Didn't expect that.
>From Neil Strauss's review in NYTimes:
Her stage presence undramatic, understated, almost cautious was not unlike
her technique. Her attitude recalled tales of a young Mabel Mercer, whose stiff
shyness contributed to rather than detracted from her empathy for and
understanding of the material. She sang with grace, poise and respect clearly
punctuating each word and note rather than singing with rabidity, showiness and
competition. More confident as a precise, preternatural pianist, Ms. Krall always
erred on the side of caution as she sang, tending to interpret in a breathy
whisper and occasionally a more dramatic rasp. Sometimes the effect was something
like that of stepping into a wading pool warmed by the sun: it's a safe,
comfortable body of water, an easy place to relax and drift off without worrying
about drowning, but it lacks a deep end.
In a step away from the intimacy and subtlety of past jazz festival performances,
Ms. Krall was backed by an orchestra (in addition to her quartet). Though this
enabled her to conjure up some of the studio perfection of her Grammy-winning
album "When I Look in Your Eyes," the chemistry between her and the orchestra was
often lacking. Her 16-song set included tunes made famous by Frank Sinatra, Peggy
Lee and Julie London, though she also threw in some of her favorite curve balls,
most impressively a moving version of Joni Mitchell's "A Case of You" that did
find a deep end. She also offered a sneak preview of her long-awaited next
record, "The Look of Love," singing a purposefully unseductive version of the
title song and a stirring "Love Letters."
