{"id":7373,"date":"2016-02-27T10:25:59","date_gmt":"2016-02-27T18:25:59","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7373"},"modified":"2016-02-28T15:59:37","modified_gmt":"2016-02-28T23:59:37","slug":"dianne-reeves-and-company-in-portand","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/02\/dianne-reeves-and-company-in-portand\/","title":{"rendered":"Dianne Reeves And Company In Portand"},"content":{"rendered":"<p>As I reported last summer, Dianne Reeves sang at the Ystad Jazz Festival in Sweden with the Norbotten big band in a balanced concert with many noteworthy moments. However, there is nothing like hearing the formidable Ms. Reeves in her preferred context\u00e2\u20ac\u201dher own quartet. Before I left the Portland Jazz Festival, I caught her at the Newmark Theatre with pianist Peter Martin, bassist Reginald Veal, drummer Terreon Gully and the remarkable Brazilian guitarist<img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-7374\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/02\/Reeves-\"\u00a92016-Mark-Sheldon.jpg\" alt=\"Reeves \"\u00a92016 Mark Sheldon\" width=\"197\" height=\"264\" \/> Romero Lubambo. Effusive and dramatic in a garment of geometric design, she appeared after the quartet warmed up with \u00e2\u20ac\u0153Summertime,\u00e2\u20ac\u009d a nice touch in wet and wintry Portland.<\/p>\n<p>In a concert characterized by her easy interaction with the band and the audience, she opened with a version Fleetwood Mac\u00e2\u20ac\u2122s \u00e2\u20ac\u0153You Will Know\u00e2\u20ac\u009d incorporating a background vocal by Gully. She followed with Harold Arlen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Stormy Weather\u00e2\u20ac\u009d and her composition \u00e2\u20ac\u0153Nine,\u00e2\u20ac\u009d during which she rapped about the joys of childhood and of aging (\u00e2\u20ac\u0153I\u00e2\u20ac\u2122m about to turn 59,\u00e2\u20ac\u009d she told the audience). Then came \u00e2\u20ac\u0153All Blues,\u00e2\u20ac\u009d \u00e2\u20ac\u0153I\u00e2\u20ac\u2122m In Love Again,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Waiting in Vain,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Beautiful\u00e2\u20ac\u009d and an encore in which she and Martin performed a duet on Sammy Cahn\u00e2\u20ac\u2122s \u00e2\u20ac\u0153You Taught My Heart to Sing,\u00e2\u20ac\u009d scatting her way out over Martin\u00e2\u20ac\u2122s rich layering of chords. But the acme of her Portland performance came in a duet with Lubambo on Gershwin\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Our Love is Here to Stay.\u00e2\u20ac\u009d To my knowledge, there is no video of the Portland version, but it was recorded last year at Spain\u00e2\u20ac\u2122s Festival de Jazz de San Javier. Toward its end, Martin, Veal and Gully join Lubambo and Ms.Reeves.<\/p>\n<div align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/zYw63HaPyZM\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: left;\">For the Rifftides review of Ms. Reeves at Ystad, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2015\/08\/ystad-2015-wrapup.html\" target=\"_blank\">go here<\/a>.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>As I reported last summer, Dianne Reeves sang at the Ystad Jazz Festival in Sweden with the Norbotten big band in a balanced concert with many noteworthy moments. However, there is nothing like hearing the formidable Ms. Reeves in her preferred context\u00e2\u20ac\u201dher own quartet. Before I left the Portland Jazz Festival, I caught her at [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-7373","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7373","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=7373"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7373\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7373"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7373"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7373"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}