Cole achieves sense of irony

From page 22

I'm not. i'd have to change the
entire intention of the song.
Musically ¢ love it. I’m just not
looking for a man to take care of
me, so for that reason it’s not
something | choose to sing.”’
Music Now: Is it generally a
good time to bea jazz singer
in Canada?
Cole: “‘Canada is not well-known
for being a big jazz country, that’s
for sure. But it’s coming back into
vogue now. Western-world wide,
it’s the everything- old-is-new-
again mentality.”
Music Now: I'm struck by the
crisp precision of your singing

) style. is that something you
strive for?

’ Cole: “Other people point that

Out too, 1 think it's a taste thing.

- with me and also the lyrics are

‘very important to me. | really like

people to be able to hear them. A

__ lot.of times if people want some-
.thing to be languid, people will

-' ‘sacrifice enunciation and sacrifice’

’

the audience being able to hear.’
Music Now: Why did you you
choose to open Blame !t On

My Youth with Trust In Me,

the snake’s seduction song
from Disney’s Jungle Book?
Cole: “The version in the movie,
which is the only version | know,
is not even really sung — it’s kind
of hissed

Music Now: Did you cheer for
the snake as a child?

Cole: “Ya, | always fight for the
bad guy.”

Music Now: The song seems to
set the tone for the emotional
color of what follows. ts that
what you were looking for?

Cole: “That song has a strong
sense of irony. It’s very much a
matter of questioning quite strong-
ly the person who is singing. A lot
of the songs on the record have a
sense of irony like that.”

Music Now: Generations have
grown up with the notion that
songs like I’ll Be Seeing You

and On the 3treet Where You
Live are about as romantic as

you can get with a lyric. How

did you come upon the
subversive side of those senti-
ments?

Cole: ‘‘That's the most interesting
thing about it, exploring that side
that | think is really there. But
people tend to opt for the safer
version. Everyone is going to like a
love song. Certainly those are love
songs, but there are other things
there too in the lyric.”

Music Now: Vehat appeals to

you about the tric configura-
tion?

Cole: You get to hear the beautiful
instruments, really purely hear
them. It frees you up. When
you're only three ycu know that
you can really go out on a limb °
and know that you probably won’t
fall flat on your face — especially
when you've been working
together for six years. We have a
musical rapport and we can try
different things and have a basic
idea of where that person is going
to go.’’

| Imaginative twists put.on old themes

 Frompage34
-- .tadle look like those of a tipsy fe-
“mate dancer dressed in a sexy
variety of Spandex.-

‘The cool effect of the innovative. -
‘glassware, metal accessories, and.
ceramic dishes, is carefully
: . balanced by the warm and com-

. forting influence of the rich and
lustrous wooden products.

"_.\¢ The latter are particularly well

a ‘exemplified in jane Goco’ $

Magnolia Mantei Form, a magniti-
cent walnut carving, Po Shun
Leong’s Landscape Container, an

. exquisite construction of cherry

burl and a variety of more exotic
.weeds, and Beth Yoe’s Chinese/
Makintosh Chair, the archetype of
elegance assembled from a mix-
ture of leather, brass and ash.
This is an invigorating show, in
part because the unrestrained,
post-modern mix of materials and

PITCH-IN

_RECYCLE

styles injects imaginative : twists in-
to old themes.
Above all, however, the calibre

of the exhibition is determined by

exceptionally fine craftsmanship,
the making of things as well as
they can be made.

It is gratifying-to see such pro-
ducts emerging from a culture that
is known more for the mass-
marketing of throw-away things.

Once Savoured

Wednesday, November 6, 1991 ~ North Shore News - 35

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