Adelaide Cabaret Festival 2017-07-12 Her Majesties Theatre
Peter Martin (piano), Romero Lubambo (guitar), Reginald Veal (bass) and Terreon Gully (drums)
Twelfth of Never,
The man I Love,
Our Love is Here to Stay.
One For My Baby
Waiting in Vain
Encore :You Taught My Heart to Sing
Recorded somewhere in the middle , sweet spot.
Sound is very good, there are a few whoops during the music but no other noise form audience, see below.
This show was where I decided that I wasn't going to get pissed off when people make noise when I'm taping, as you cant do anything about it, the guy two seats down from me whooped , not that noisily, but he did it a few times every song and it really made me annoyed as I knew I was going to have to try and remove those whoops. In set two I asked him if he could to possibly whoop AFTER the song was finished, he didn't, so I made a decision that fuck it, it is what it is, I will try and make the recording as good as I can but if theres excessive noise at a show I'm going to enjoy the music not let that annoy me and bugger the recording.
SP CMC-8-25 >Sony-PCM-M10> SP battery Box > wav file 16 bit >Mac Pro> Audition (volume adjustments,remove or tone down applause using spectral frequency )> xact flac transfer
. recorded. mastered and transferred by GGB
Dianne Reeves with the Dianne Reeves Quartet.
Her Majesty’s Theatre. Adelaide Cabaret Festival. June 12. 2017
Reviewed by Peter Wilkins
Imagine a river, flowing freely from the melting snow, veering into a babbling brook and splashing sparkling across the smooth stones and into a streaming current to cascade with glorious sound into the deep valley below. It is the voice of iconic jazz vocalist, Dianne Reeves, in Adelaide at the Adelaide Cabaret Festival for only one performance to a packed and ecstatic audience. With her on stage and in perfect harmony with her incandescent vocal rhythms and shifting, sliding tempos is her Dianne Reeves Quartet. Peter Martin on piano, Reginald Veal on bass, Terreon Gully on percussion and Romero Lubambo on guitar create an incomparable pattern of jazz sequences, swelling the house with seductive improvised spontaneity and unique arrangements. The audience is already transfixed before Reeves sidles onto the stage to transport us to her dreamworld of vocal magic.
Thirty four years upon the stages of the world; five Grammy Awards, including a double Grammy whammy in consecutive years and an honorary doctorate from Juilliard are testament enough to her astounding vocal talent, amazing range and dexterity and a warmth and generosity, embraced in a sung greeting at her first Adelaide concert to an enchanted and bewitched audience. “Sit back and relax” she sings in honeyed tones and we are instantly under her spell. We are in the presence of jazz royalty. Singer and musicians meld into a jazz affair of love as Reeves’ voice soars from the tribal plains of Africa to the steamy sounds of New Orleans and a kaleidoscope of Latin, magically accompanied by flamenco wizard, Lubambo on guitar, R&B and pop. She holds us in a trance with her arrangements of songs such as Johnny Mathis’s Twelfth of Never, Bob Marley’s Waiting in Vain and her idol Ella Fitzgerald’s The man I Love, backed by the “real deal” Reginald Veal on Double Bass. and Love is Here to Stay. She interrupts her song to recount the time that she walked in Ella Fitzgerald’s blue pump shoes at The Toolshed.
Through it all, we share the charisma of a singer, genuine in her love of her art, loving of people and as colourful as her outfits. Her originality shines in a number about the number 9, and the journey through the ages of 9 to her last nine before 60. By the time the next nine comes around, this jazzy woman won’t give a damn. Reeves evokes the spirit of innocence, imagination and a youthful heart: a life of peace, love and joy.
A rousing chorus of call and response fills the house and the evening is over far too soon. As she began, she sings her farewell and leaves her quartet to let seduction hang upon the rhythm and sounds of a rapturous evening in the company of the incomparable Dianne Reeves and her Dianne Reeves Quartet. Her river of song flows out to a sea of unforgettable memory.
Dianne Reeves (Adelaide Cabaret Festival)
Reeves stands masterfully in Ella Fitzgerald's shoes.
Her Majesty's Theatre, Adelaide
by Mal Byrne on June 15, 2017
Some music historians argue that after its period of cultural dominance that began with Louis Armstrong in New Orleans in the 1920s and ended with the modal jazz of Miles Davis and John Coltrane and the free jazz of Ornette Coleman in the 60s, jazz for all intents and purposes died. Yes, it was pushed from the cultural mainstream to the margins when the Beatles arrived and became a niche product, but Dianne Reeves proved in this concert that the virtuosic innovation that typifies jazz at its best can still pack a large theatre and ignite audiences.
Supported by her quartet of Peter Martin (piano), Romero Lubambo (guitar), Reginald Veal (bass) and Terreon Gully (drums) and on the last day of a three-week tour, a joyful energised Reeves treated the audience to a versatile set of traditional favourites, original songs and even a couple of vocal improvisations free of lyrics. Waiting in Vain and Cold were intriguing songs focusing on failed relationships and Nine was a wistful gaze back in time at the innocence of being that age. The improvisations were fascinating, and Lubambo’s Brazilian flare and rhythms were to the fore on the South American tune. However, the concert soared when Reeves mined the Great American Songbook – whether it was the tranquil versions of Gershwin’s The Man I Love and Our Love is Here to Stay or the power riffing on One for My Baby just before interval. McCoy Tyner’s You Taught My Heart to Sing was a gorgeous encore and farewell.
About half way through the show, Reeves recounted her days singing in The Tool Shed in the basement of The Warehouse music club in her home town of Denver. Fortunate to be allowed to see Ella Fitzgerald perform there for free, Reeves was doubly fortunate the following night when she had to fill in for the legend who was ill with altitude sickness and discovered Fitzgerald’s heels sitting in her dressing room. The temptation proved too great and Reeves literally stood in Fitzgerald’s shoes as she performed – and she continues to do so.