Diana Krall’s whispering slow closes the Jazzaldia

San Sebastián (Spain), 25 July (EFE).- Diana Krall has offered a selection of jazz de siempre con su estilo susurrado acompañada de músicos sobresalientes como el guitarrista Anthony Wilson en el concierto que ha cerrado el Jazzaldia, en una jornada en la that he veteran Herbie Hanckok showed himself in great shape.

As usual, the Canadian singer and pianist filled the Plaza de la Trinidad in San Sebastián (north) during her seventh visit to the San Sebastian festival, which saw her grow musically and which she attended for the first time. in 1997, the year she released the album “Love Scenes” which elevated her to the rank of jazz performer who sold the most records.

Krall has toured the sound of the evenings of the 1940s and 1950s with standard jazz themes a thousand times taken up by artists like Franck Sinatra or Peggy Lee, which she transposes into her field.

“Where or when”, a song from the 1930s, opens the recital where she is accompanied, in addition to guitarist Anthony Wilson, by Robert Hurst, on bass, and Karriem Riggins, on drums, who carry the weight of jazz improvisations with mastery.

They were followed by slows like “All or Nothing at All”, “I’ve Got You Under Skin”, by Cole Porter, as well as “You Call it Madness” or “LOVE” by his beloved Nat King Cole.

Tracks in which Krall’s muted contralto vocals were counterbalanced by Antony Wilson’s pristine pinch, Robert Hurts’ booming bass and Riggins’ vigorous drumming.

Krall remembered fellow countryman Joni Mitchell with a personal version of “Coort and Spark” and went on to recreate songs like “Boulevard of Broken Dreams” and “Check to Check,” Irving’s wonderful theme that immortalized Louis Armstrong, Ella Fitzgerald and Franck Sinatra among others, with whom he won over a convinced audience from the start.

As the concert lasted for over an hour and a half, it started to rain lightly, although it quickly stopped, an incident before which the singer offered the audience “Isn’t This A Lovely Day “.

Different, but also with the rearview mirror on the masters, was the proposal that preceded it: the young saxophonist Lakecia Benjamin, who paid tribute to John Coltraine and his wife Alice Coltraine.

The arrangements, collected on her latest album “Pursuance”, were soundtracked, which Benjamin herself made to songs by “los Coltraine”, with avant-garde influences, but “above all very spiritual”, as she put it. explained to the press this morning.

Benjamin’s alto sax with the piano, bass and drums trio that accompanied him was well received by the public, who appreciated his improvisations and his moments of lyricism on songs like “Alabama”, “Liberia” or “My favourites”. ”.

The last day of this edition of Jazzaldia, which meant a return to normal after two years of limitations, featured another of jazz legends: pianist Herbie Hanckok.

On this occasion he attended the event in San Sebastian with James Genus on bass, Lionel Loueke on guitar, Justin Tyson on drums and Terence Blanchard on trumpet, who is also the author of many soundtracks of films, including several by director Spike Lee.

Hanckok was talkative and displayed a great sense of humor which he wanted to share with the audience, which he flattered by saying he was “the fifth member of the group”, and let it be known on the occasion of his 82nd birthday in April that Innovation is not a question of age.

After a long song entitled “Overture”, a combination of several of his works, the 2006 Donostiako Jazzaldia Prize returned to songs from the 60s and 70s like “Footprints”, composed by saxophonist Wayne Shorter and recorded for the first time for his album “Adam’s Apple” in 1966, or “Actual Proff” with the famous “Chamaleon” from his album “Head Hunter” in 1973.

Hanckok ended his performance by descending to the stalls with his keytar while performing a furiously funky rhythm theme.

Mona Watkins

"Travel fan. Gamer. Hardcore pop culture buff. Amateur social media specialist. Coffeeaholic. Web trailblazer."

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