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[title] => Zlatko Gall: I nakon ljubljanskog koncerta neopozivo tvrdim - osim sipe s bobom, najviše volim Bob s Dylanom
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[fulltext] => I nakon ljubljanskog koncerta neopozivo tvrdim: osim sipe s bobom, najviše volim Bob s Dylanom. Na “beskrajnoj turneji” koja traje desetak godina – prekinuta tek redovnim odlascima u studio i snimanjima novih albuma uvijek dostojnim ugleda legende koja hoda –
Bob Dylan i njegov combo sjajnih glazbenika predvođenih gitaristom
Charlijem Saxtonom, aktualnim je dvodijelnim koncertnim setom iznenadio čak i okorjele dylanofile.
Ovogodišnja turneja, naime, ima fokus na prigušenom materijalu te sfumatoznoj atmosferi naglašenoj i minimalističkom, no izrazito efektnom rasvjetom, koja je i prostor sportske dvorane pretvarala u kabaretsko-teatarsku scenu. Priznajem, trebale su mi dvije skladbe – “Things Have Changed” i “She Belongs To Me” – prije negoli me, poput usisivača “cento gradi”, Dylan usisao u svoj glazbeni spleen, snolike aranžmane i prigušenu izvedbu fascinantnih tema “Beyond Here Lies Nothing”, “Workingman’s Blues #2”, “Duquesne Whistle”, “Waiting For You”, “Pay In Blood”, “Tangled Up In Blue” i Sinatrin cover “I’m A Fool To Want You”.
Od odličnog
k savršenom
Dylan koji je barem pola vremena proveo za klavirom – ne propuštajući priliku da povremeno skladbe oboji upečatljivom svirkom usne harmonike – prvim je koncertnim setom pokazao zašto je za posljednju studijsku eskapadu odabrao materijal vremešnih Sinatrinih brojeva.
Glazbenik koji je još tamo šezdesetih i sedamdesetih bio jedan od najvećih ikonoklasta popularne glazbe, tvrdoglavo brodeći mimo svake struje neočekivanim i radikalnim promjenama smjera, već gotovo okruglo desetljeće na svoj poseban način propitkuje i vlastitu pjesmaricu ne pristajući biti sankrosanktnim totemom niti okaminom, ali i povijest popularne glazbe.
Uronjen u pedesete i rane šezdesete, slobodoumno posežući i za croonerskim standardima, jazzom, western swingom, countryjem, korijenskim bluesom pa i produkcijom Tin Pan Alleya, kao da s dubokim umišljajem nastoji promijeniti uvriježene percepcije glazbenih stilova i razdoblja, poništiti pregratke i predrasude i pokazati da zapravo postoji samo dobra i loša glazba. Naravno, i veliki glazbenici koji u njoj znaju naći nadahnuće za duboko osobne interpretacije i autorski iskaz.
Ako je prvi dio koncerta bio gotovo pa izvanzemaljsko, onostrano glazbeno iskustvo, u drugom dijelu – nakon “strateške” teatarske pauze – i Dylan i band su nadmašili sebe. Čudesni aranžmani, u kojima je posebno mjesto pripalo slide i pedal-steel gitaristu
Donaldu Herronu,
koji je zamijenio “štrajhove” i slojevitu orkestraciju, te maestralno poigravanje s klasičnim bluesom, western swingom, korijenskim bluesom... morali su zadovoljiti i najprobirljivije dylanofile.
Posebice zaključnim dijelom seta, atmosferski rasplinutim temama poput snene “Scarlet Town” te sugestivnim izvedbama “Spirit On The Water”, “Soon After Midnigh”, “Long And Wasted Years” ili coverom Montandove “Autumn Leaves”. “Love Sick” i posve pretumbana klavirska izvedba amblematične “Blowing In The Wind”, ostavljene za “bis”, zaokružile su koncert koji, čak i mjerenog visokim dylanovskim standardima, valja ocijeniti – savršenim!
ZLATKO GALL
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[text] => {OCMSplitter}I nakon ljubljanskog koncerta neopozivo tvrdim: osim sipe s bobom, najviše volim Bob s Dylanom. Na “beskrajnoj turneji” koja traje desetak godina – prekinuta tek redovnim odlascima u studio i snimanjima novih albuma uvijek dostojnim ugleda legende koja hoda –
Bob Dylan i njegov combo sjajnih glazbenika predvođenih gitaristom
Charlijem Saxtonom, aktualnim je dvodijelnim koncertnim setom iznenadio čak i okorjele dylanofile.
Ovogodišnja turneja, naime, ima fokus na prigušenom materijalu te sfumatoznoj atmosferi naglašenoj i minimalističkom, no izrazito efektnom rasvjetom, koja je i prostor sportske dvorane pretvarala u kabaretsko-teatarsku scenu. Priznajem, trebale su mi dvije skladbe – “Things Have Changed” i “She Belongs To Me” – prije negoli me, poput usisivača “cento gradi”, Dylan usisao u svoj glazbeni spleen, snolike aranžmane i prigušenu izvedbu fascinantnih tema “Beyond Here Lies Nothing”, “Workingman’s Blues #2”, “Duquesne Whistle”, “Waiting For You”, “Pay In Blood”, “Tangled Up In Blue” i Sinatrin cover “I’m A Fool To Want You”.
Od odličnog
k savršenom
Dylan koji je barem pola vremena proveo za klavirom – ne propuštajući priliku da povremeno skladbe oboji upečatljivom svirkom usne harmonike – prvim je koncertnim setom pokazao zašto je za posljednju studijsku eskapadu odabrao materijal vremešnih Sinatrinih brojeva.
Glazbenik koji je još tamo šezdesetih i sedamdesetih bio jedan od najvećih ikonoklasta popularne glazbe, tvrdoglavo brodeći mimo svake struje neočekivanim i radikalnim promjenama smjera, već gotovo okruglo desetljeće na svoj poseban način propitkuje i vlastitu pjesmaricu ne pristajući biti sankrosanktnim totemom niti okaminom, ali i povijest popularne glazbe.
Uronjen u pedesete i rane šezdesete, slobodoumno posežući i za croonerskim standardima, jazzom, western swingom, countryjem, korijenskim bluesom pa i produkcijom Tin Pan Alleya, kao da s dubokim umišljajem nastoji promijeniti uvriježene percepcije glazbenih stilova i razdoblja, poništiti pregratke i predrasude i pokazati da zapravo postoji samo dobra i loša glazba. Naravno, i veliki glazbenici koji u njoj znaju naći nadahnuće za duboko osobne interpretacije i autorski iskaz.
Ako je prvi dio koncerta bio gotovo pa izvanzemaljsko, onostrano glazbeno iskustvo, u drugom dijelu – nakon “strateške” teatarske pauze – i Dylan i band su nadmašili sebe. Čudesni aranžmani, u kojima je posebno mjesto pripalo slide i pedal-steel gitaristu
Donaldu Herronu,
koji je zamijenio “štrajhove” i slojevitu orkestraciju, te maestralno poigravanje s klasičnim bluesom, western swingom, korijenskim bluesom... morali su zadovoljiti i najprobirljivije dylanofile.
Posebice zaključnim dijelom seta, atmosferski rasplinutim temama poput snene “Scarlet Town” te sugestivnim izvedbama “Spirit On The Water”, “Soon After Midnigh”, “Long And Wasted Years” ili coverom Montandove “Autumn Leaves”. “Love Sick” i posve pretumbana klavirska izvedba amblematične “Blowing In The Wind”, ostavljene za “bis”, zaokružile su koncert koji, čak i mjerenog visokim dylanovskim standardima, valja ocijeniti – savršenim!
ZLATKO GALL
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11. svibanj 2024 08:34
