Diana Krall in concert: Rich in music and performance
Hera Diani, The Jakarta Post, Jakarta
Jazz and corruptors. The connection emerged in 1995 when former president B.J. Habibie, then the state minister of research and technology, said he despised rap music because it "totally lacks in artistry, the lyrics are filthy and incompatible with our culture".
His statement sparked immediate protests, including one from noted musician Harry Roesli, who said that if rap was considered decadent for the national culture, then classical and jazz were just the same as many corruptors listen to that kind of music.
Now fast forward to last Thursday night, at the concert of Canadian jazz songstress Diana Krall at the Jakarta Convention Center.
The debate seven years ago crossed my mind again as Harry was there. And so was Rahardi Ramelan, a defendant in the State Logistics Agency (Bulog) corruption case, which involves Rp 62.9 billion (US$7.27 million).
Wearing a brown suit and tie and a wide grin, he was welcomed by concert promoter Adrie Subono, who just happens to be close to Habibie. Adrie escorted Rahardi to the VIP table.
Thankfully, the concert was quite enjoyable despite the presence of the defendant.
Krall is a virtuoso at singing, songwriting and piano playing, which has earned her awards, a Grammy included, and helped sell millions of albums.
Her rich, husky and sultry voice has also given her a solid fan base that includes the likes of Sting and Elton John.
The 30-something crooner is also a gal with character, too: Straightforward, strong-headed, but with a sense of humor.
On why she turned to more pop for her latest album The Look of Love, Krall said, "I always s--t my head on that criticism. I mean, Quincy Jones does that (mixing jazz with pop). I just felt I don't have to prove myself in playing piano.
"I wanted to do bossa nova and vocal. If it doesn't sell, unlike previous albums, so what? That's not my job to think about that. I just do what I wanna do. Fortunately, I have the freedom to do that," she said at a media conference a day before the concert.
When asked whether her appearance helped her sell albums, she laughed.
"Sure, it does help. I'm not going to deny that. I'm like every woman, working my behind off at the gym. But is that the only thing? No. I don't have MTV and VH1 rotation. I'm not like Jennifer Lopez, although I do want to look like her.
"But I have people coming to my concerts and buying my records. The music has to be something," said Krall, who was supposed to be here last June but delayed her appearance as her mother had passed away.
The Look of Love, Krall's fifth album, is easily digestible jazzy pop that is perhaps a bit too commercial for die-hard jazz traditionalists.
The album contains material from a lot of different sources: Cry Me A River by Julie London, Nat King Cole's Love Letters and jazz standards, such as Dancing In The Dark by Arthur Schwartz and Howard Dietz, I Remember You by Victor Scherzinger/John Mercer and S'Wonderful by George and Ira Gershwin.
Despite there being more pop tunes on the new album, Krall's concert last Thursday was truly a jazz performance: High on improvisation.
Everything was kept to the minimum: Her costume (jeans and blazer), the band (the classic jazz format of bass, guitar and drums), and the stage set (typical foreign artist performing here).
Everything but Krall's piano playing and singing, which was very expressive, soothing and elegant. She acted out the lyrics -- shooing, laughing, sighing and exploring the piano keys.
The 15-song set list veered heavily toward standards: All Or Nothing At All, I've Got You Under My Skin, Let's Fall In Love, East of The Sun (And West of The Moon) and Deed I Do.
Only one-third of the songs came from the orchestrated pop The Look: the title track, Maybe You'll Be There/You Call It Madness, Cry Me A River, Love Letters and the encore S'Wonderful.
Prior to launching into a song, Krall was careful to credit the songwriters: Cole Porter, Peggy Lee and Frank Sinatra.
But one name that was repeatedly mentioned was Nat King Cole's, with Krall adding: "What can I say, everything was inspired by him".
Earlier, she said that Cole was one of the most important jazz musicians who was once heavily criticized for also being too pop- oriented.
"But I would never place myself like him. He's too amazing, just perfect."
Krall's jazz hero, however is Ray Brown, the legendary bassist who discovered her talent.
"He is my hero, my mentor, my teacher and the reason why I want to play jazz. He died a few weeks ago at the age of 75 while getting ready for a gig. He played music joyfully, deeply from the heart," she said.
Krall is probably still far away from being compared to those jazz legends. But the enjoyable concert, an articulate performance and singing jazz standards like they are her own, is positive proof that she is here to stay.
And who can blame audiences, including Rahardi, if they can't resist her charm?