“I’m all pumped up full of steroids,” croaked a bronchitis-ridden Diana Krall to a sold-out Sonoma crowd on Saturday night, “so you’re gonna have to put up with my shitty piano playing the whole show.”
A woman in the audience yelled something about smoking.
“Oh—do you want me to stop talking?” asked Krall. “Is it like nails on a chalkboard. . . or too sexy you can’t stand it?”
It speaks volumes about Krall’s immense popularity that during an absolutely classic performance in Sonoma, her singing voice never wavered in the slightest—in spite of the fact that Krall’s speaking voice, which offered an ongoing stream of self-deprecating quips, sounded more like Edward G. Robinson. One could interpret this either as the resilience of a seasoned vocalist or one of the fringe benefits of having, in Kralls’ own words, a “smoky, sultry, cool sound.” Bronchitis would level most singers, but for Krall—who along with nighttime film-noir pianist-singers Holly Cole and Patricia Barber rarely, if ever, pushes her vocal chords—it never once hindered the show.
Though Krall acknowledged her bronchitis (announcing and then slipping into a Tom Waits impersonation during “Exactly Like You”), most of the time it worked in her favor. A fading whisper of the word “darling” during a spellbinding solo version of Joni Mitchell’s “A Case of You,” a particular husk to “The Look of Love”—these touches only added to what she does best.
With a few stride-piano intros—to “Frim Fram Sauce” and “I Don’t Know Enough About You”—that faltered greatly in tempo, Krall’s piano playing may have been lessened, but not enough to keep her from quoting Charlie Parker songs in solos which played well into her rhythm section’s impeccable backing. But it was her descriptions of motherhood and of breastfeeding her two children—she had twins a year and a half ago with Elvis Costello—which truly tickled the mostly middle-aged crowd.
“They’re both grown up now,” she joked. “They’re out in the hotel playing cards and smoking cigars. They look like their dad!” (“I’m sorry!” shouted the woman in front of me.)
At the end of the night, after a practically begged-for encore at the hands of a long standing ovation, Krall had triumphed. She even cast aside her sad, tortured persona for a split second—at the end of the bowed bass solos, sharp rim shots and dazzling guitar lines during the night’s closer “Gee Baby, Ain’t I Good to You,” the 43-year-old mother squirmed on the piano bench, opened her mouth, and squealed like a little girl.
Photos and set list below.
The lineup for the Fourth Annual Sonoma Jazz Festival has been announced. Let the bickering begin!
Thursday, May 22: Kool and the Gang
Friday, May 23: Herbie Hancock
Saturday, May 24: Diana Krall
Sunday, May 25: Bonnie Raitt, Keb’ Mo
Yup—as in each of the first three years of the festival, there’s a couple of acts in the Memorial Day Weekend lineup who could hardly be classified as “jazz.” At this point, it’s a local tradition that seems frivolous to argue, but it nonetheless consistently succeeds in getting hardcore jazz fans riled up to the nth degree.
Steve Winwood and Boz Scaggs, both headliners at the 2005 inaugural festival, rose the eyebrows early. Steve Miller and B.B. King stoked the fumes in 2006. Last year may have been the harshest of all: LeAnn Rimes and Michael McDonald.
Maybe that’s why festival directors have changed the name – slightly. Much like the Strictly Bluegrass Festival in Golden Gate Park became “Hardly Strictly Bluegrass,” the Sonoma Jazz Festival is officially known as “Sonoma Jazz +.”
As residents of the “Jazz” arena, both Diana Krall and Herbie Hancock are making return appearances at the festival, with the indefatigable Hancock recently handed a what-the-hell Album of the Year Grammy Award for his Starbucks-friendly sort-of-Joni-Mitchell tribute River: The Joni Letters.
Kool and the Gang, Bonnie Raitt and Keb Mo are gonna have to be content with the “+” category, although after scoping out the crowd in previous years, I hardly think that the average Sonoma Jazz attendee will mind all that much. As for the expensively-dressed and well-Chardonnayed woman sitting behind us last year who continually talked on her cell phone, well, I doubt she’d even notice.
But I have to personally hand it to the directors of this crazy weekend festival. Whatever your take on their choice of booking, they’re bringing world-class talent to an event with an impeccably well-run yet laid-back atmosphere—I mean jeez, it’s held in a tent on a baseball diamond, fer cryin’ out loud. The mood around the festival is jovial and swank, the shows are often sold out, and everyone generally leaves happy.
Here’s another thing you can’t argue with: to reward local residents, tickets go on sale in the town of Sonoma on Saturday, March 8 at the Sonoma Community Center from 2-6pm. Out-of-towners, positively hungry to boogie down to “Ladies’ Night” and “Celebration,” have to wait until the nationwide release of tickets, two days later, on March 10. Pricing and ticket info for the general public is served up here, but the March 8 pre-sale for locals is a strictly in-the-know kind of thing. Cool deal.