Once-angry Costello is now wildly eclectic
Early in his career, in his days as an angry English punk, Elvis Costello seemed to reserve his strongest venom for music journalists. The mutual disrespect between Costello and the press came to a head in early spring 1979, in New York, when Costello was pushed into a press conference to explain away some rude comments he had made about Ray Charles, James Brown and other gods of American music to rocker Stephen Stills. Costello, 24 and already at odds with the media and under the spotlight for his remarks, instead of apologizing, turned on the press and let loose with the sort of rage evident in his music at the time.”The press were looking for something to crucify me with, and I fed myself to the lions,” Costello told Rolling Stone.Some years later, Costello would provide another perfect means for the press to vilify him. This time it was artistic.
Costello had shown experimental tendencies from the beginning, but in the early ’90s he came fully unmoored from the sneering brand of New Wave/punk that had established his name. The straying started with 1993’s “The Juliet Letters,” a cycle inspired by “Romeo and Juliet” and recorded with the classical group, the Brodsky Quartet. Any rock musician can expect a torrent of criticism when venturing into such serious waters, and Costello was probably bracing for more than his share. Instead, he earned mostly praise: Spin ranked “The Juliet Letters” with Costello’s best; Newsweek called him “a songwriter beyond genre.”Costello probably didn’t need such positive reinforcement to proceed down the non-pop music path. But showing the contrarian, devil-may-care spirit that marked his early albums, he boldly claimed a broader terrain than any musician who comes to mind. Perhaps inspired by his father, a big-band singer who had to absorb a variety of styles, Costello tackled it all.”Kojak Variety” covered Bob Dylan, the Supremes and the Great American Songbook. “Painted From Memory” was a duets album with Burt Bacharach. On “For the Stars,” a collaboration with Swedish mezzo-soprano Anne Sofie von Otter, and “North,” Costello emerged as an honest jazz balladeer. Not all reviewers loved all the work, though each album drew a good amount of critical applause. But Costello was at least taken seriously in his efforts.In recent years, Costello has returned now and then to his roots, most successfully on 2002’s “When I Was Cruel.” His most notable work, however, has come from outside the pop realm, and sometimes way outside. “Il Sogno,” a 2004 ballet score after “A Midsummer Night’s Dream,” was recorded by the London Symphony Orchestra and conductor Michael Tilson Thomas and earned respect in the classical world. That same year, he co-wrote much of the material on “The Girl in the Other Room,” an exquisite jazz recording by Mrs. Elvis Costello, Grammy-winning singer-pianist Diana Krall. Last year’s “The Delivery Man” was a brilliant take on alt-country, featuring guest singers Emmylou Harris and Lucinda Williams.Topping it all was last year’s “My Flame Burns Blue,” a live recording of Costello with the Metropole Orkest that ingeniously reimagines a jazz orchestra as an avant-rock instrument. Fans of the “old” Elvis should get a kick out of radically reworked versions of “Watching the Detectives” and “Clubland.”Costello’s latest, “The River in Reverse,” finds him wandering again, this time to the damaged music capital of New Orleans. He has stretched in this direction before; 1989’s “Spike” was recorded partly there and featured the city’s Dirty Dozen Brass Band. Costello has also worked with Rebirth Brass Band. On “The River in Reverse,” released earlier this month, Costello teams again with New Orleans’ Allen Toussaint, who had added a memorable piano part to “Spike.” The album – which represents another new twist, Costello as the socially conscious artist – will be the focus of the Jazz Aspen June Festival concert, which features Costello’s band, the Imposters, and Toussaint as a special guest.(Much of the above came from the highly recommended 2004 biography “Complicated Shadows,” by Graeme Thomson.)
Costello has become accustomed to frequent shifts in musical direction. Trey Anastasio is getting there.In 2004, Anastasio announced that Phish, the quartet which had ruled the jam-band realm since the mid-’90s, had come to an end. Late last year, Anastasio showed he had not run out of air, releasing a worthy solo album, “Shine.””Shine” represented a different method of working for Anastasio. It was produced by Brendan O’Brien, who had worked previously with straight-ahead rockers like Bruce Springsteen and Pearl Jam. O’Brien instructed Anastasio to leave Vermont – his longtime home, and site of the Barn, where Phish usually recorded – and camp out in Atlanta for the sessions. For a change, Anastasio, who had always been the focal point of Phish, the primary singer and songwriter, didn’t feel the need to share artistic responsibilities with bandmates.
“One of the interesting things I had to process, it was less of a democratic process,” said Anastasio in a phone conversation with The Aspen Times. “There had been some [Phish] records that were not democratic. ‘Farmhouse’ – [Phish bassist] Mike Gordon was making a movie, so I took over. But I felt so guilty about it, because it was a band. This time, I didn’t have that guilt. I said what I wanted to say. I put it down and that was the end of that.”More conspicuous than the lack of guilt was just what Anastasio said in “Shine,” and maybe even more so, how he said it. “Shine” was intended as a message to various factions of people: fans, members of Phish, the Phish staff who lost their jobs when the group disbanded. Anastasio wanted to respond to all those upset by the breakup, to assure them it was a step forward, and perhaps a necessary one.”I know it was a positive move,” said Anastasio, who appears with his six-piece band Sunday, June 25, at Jazz Aspen’s June Festival, his first Aspen gig since Phish played the Wheeler Opera House March 17, 1992. “I loved Phish; I love Mike, Jon, Page [his former bandmates], and especially the connection we have with the audience.”When this rush of anger came back at me, I wanted to tell people, ‘Hey, it’s OK.'””Hey, it’s OK” is the running theme through the upbeat “Shine.” Most remarkable is how Anastasio gets that message across – in lyrics that reveal the songwriter’s emotions in a way that Phish’s hardly ever did.”I was becoming more desperate to say what was on my mind,” said Anastasio, adding that he had gotten “a little sick” of the goofiness of Phish lyrics. “I wanted to say things that were closer to me heart.”
Other new touches at the June Festival: British singer-keyboardist Jamie Cullum makes his local debut to kick off the festival. Opening for Cullum is vocalist Lizz Wright, who was scheduled to appear at the June Festival two years ago, but had to cancel and is only now making her Aspen debut.Diana Krall, who performs Friday, June 23, is a Jazz Aspen veteran. But this marks the first time she appears on a festival bill with her husband of two-and-a-half years, Costello. Who knows what onstage sparks might fly, with the two scheduled for back-to-back days?Opening for Anastasio on the final day is funk saxophonist Maceo Parker, a Jazz Aspen favorite who has been absent from local stages for several years. Rounding out the bill is honky-tonker Delbert McClinton, making his second Jazz Aspen appearance opening for Costello.Stewart Oksenhorn’s e-mail address is firstname.lastname@example.org
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