{"id":28682,"date":"2023-10-30T05:16:24","date_gmt":"2023-10-30T03:16:24","guid":{"rendered":"http:\/\/blog.leonardcohen.de\/?p=28682"},"modified":"2023-10-31T04:02:53","modified_gmt":"2023-10-31T02:02:53","slug":"kw-44-2023-dylan-sings-cohen-again-dance-me-to-the-end-of-love-bob-dylan-paid-tribute-to-leonard-cohen-in-cohens-hometown-montreal","status":"publish","type":"post","link":"https:\/\/leonardcohen.de\/?p=28682","title":{"rendered":"KW-44-2023: Bob Dylan pays tribute to Leonard Cohen in Montreal \u2013 &#8222;Dance Me To The End Of Love&#8220; (bilingual Montreal concertreview (29th Octobre 2023) in Engl. &#038; German by Christof Graf)"},"content":{"rendered":"<p style=\"text-align: center;\">photos by christof graf<\/p>\n<p style=\"text-align: center;\"><strong>Review\/ Montreal, Quebec\/ Place des Arts-Salle Wilfrid-Pelletier\/ October 29, 2023<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>Review by Christof Graf<\/strong><\/p>\n<p style=\"text-align: center;\">Bob Dylan pays tribute to Leonard Cohen in Montreal \u2013 &#8222;Dance Me To The End Of Love&#8220;<\/p>\n<p><iframe loading=\"lazy\" title=\"Bob Dylan - Dance Me To The End Of Love (Leonard Cohen Cover) - Montreal, Canada (October 29th 2023)\" width=\"625\" height=\"352\" src=\"https:\/\/www.youtube.com\/embed\/c5vxf_eSJ2A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Bob Dylan&#8217;s profound homage to Leonard Cohen&#8217;s hometown of Montreal. This or something similar could be the headline of a concert review of yesterday&#8217;s concert at the sold-out Place des Arts-Salle Wilfrid-Pelletier in Montreal. And yes, the concert was one of the more profound, deepgoing and indeed a little different. The European performances on the &#8222;Rough And Rowdy Ways&#8220; tour that I experienced in Europe were a bit different from yesterday&#8217;s Montreal concert. What has remained the same is the absolute ban on mobile devices and the strict admission controls.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_135300_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28691\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_135300_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>Punctually at 8:00 p.m. local time, the classic intro sounds and the hall lights go out. Dylan&#8217;s band enters the stage. She plays the first notes of the opener &#8222;Watching The River Flow&#8220;. Perhaps it is due to the fact that it is my first Montreal concert by Bob Dylan that I am sensitized to new details in Dylan&#8217;s current concert format. Dylan enters the stage a moment later than the band. He sits down at the &#8222;Baby Grand Piano&#8220; as usual, puts his white &#8222;Dandy Stetson&#8220; hat on it and begins with the well-known lines &#8222;What&#8217;s the matter with me\/ I don&#8217;t have much to say&#8220;. The Montreal audience, which is easy to inspire from the very first moment of the concert, rises for the first standing ovation of the evening. Dylan seems to acknowledge it benevolently with an immediate joy of playing. The first verses sound a bit untidy, but Bob and the band quickly find each other.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213513_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28692\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213513_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>After &#8222;Most Likely You Go Your Way (and I&#8217;ll Go Mine)&#8220;, &#8222;I Contain Multitudes&#8220; and &#8222;False Prophet&#8220;, the protagonists quickly turned the first third of the concert evening into a melodious melange of reminiscences of Dylan&#8217;s musical past with many &#8222;Shadow Kingdom arrangements&#8220; at the latest with &#8222;When I Paint My Masterpiece&#8220;.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213547_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28693\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213547_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>The stage design was positively surprising. In the summer, the stage in Europe was still bathed in a lot of dark blue, dark red and dark green light. In Montreal it was different. Dylan and the musicians stood on a brightly lit stage. For regular Dylan concertgoers, it was a welcome change to be able to recognize the faces of the performers. For those who sat in the front rows &#8211; I sat in the middle of the 14th row &#8211; it was almost a feast to be able to watch Dylan&#8217;s facial expressions. The stage itself also looked different compared to the European version in the summer. There was no longer a curtain in the background and no more large Hollywood movie spotlights that the musicians projected onto the stage in &#8222;shadows&#8220;. The &#8222;Oscar fake statue&#8220; was also missing. For this purpose, there were four small light sources that looked like construction site lamps. They were ideally suited to give each musician so much light and space that their faces and the way they communicated with each other were recognizable even in the back rows.<\/p>\n<p>The stage setup almost seemed like an untidy backyard, where six musician friends meet to jam and to grow a session from song to song into a concert to which they invited the neighborhood. The neighborhood that evening consisted of the 3000 Montrealers who were able to attend this concert, which began as a &#8222;session&#8220; and became a sold-out concert. In the end, everyone experienced a small historical moment of glory on the &#8222;Rough And Rowdy Ways&#8220; tour.<\/p>\n<p>The band with Tony Garnier (electric and standup bass), Jerry Pentecost on drums, Bob Britt (acoustic guitar, electric guitar), Doug Lancio (acoustic guitar, electric guitar) and Donnie Herron (violin, electric mandolin, pedal steel, lap steel) was all dressed in black suits with black shirts, just like &#8222;His Bobness&#8220;.<\/p>\n<p>On the sixth song &#8222;Black Rider&#8220;, the &#8222;master&#8220; &#8222;broke through&#8220; the black by putting on the white &#8222;Stetson&#8220; and further developing the concert format with &#8222;My Own Version of You&#8220;, &#8222;I&#8217;ll Be Your Baby Tonight&#8220; and &#8222;Crossing The Rubicon&#8220;. It was often the case that the songs started quietly and slowly and the band played their way into the songs until they developed a loud but never intrusive dynamic.<\/p>\n<p>After &#8222;To Be Alone With You&#8220; I listened to my favorites &#8222;Black Rider&#8220; and &#8222;Crossing the Rubicon&#8220;, my next two favorites: &#8222;Key West&#8220; and &#8222;Gotta Serve Somebody&#8220;.\u00a0 By then, Dylan had long since sung his way in and accentuated almost every line intelligibly. The audience consisted of three generations. It reacted again and again with small standing ovations, but quickly sat down again so as not to disturb the concert enjoyment of those sitting behind it. In addition, from song to song, it was an experience how Tony and Doug interacted with each other, how Bob communicated with Bob Britt with glances, and how Jerry and Donnie atmospherically condensed the band around the &#8222;Baby Grand Piano&#8220;.<\/p>\n<p>Every now and then, Dylan would get up from the piano in the middle of the song, but quickly sit back down. He did not leave his position at the instrument during the entire concert. Gone are the days when he stepped to the edge of the stage for some songs, sang free-standing at the microphone stand or played the harmonica. Sitting is due to his age, but Bob Dylan still seems very vital in Montreal.<\/p>\n<p>Most of the audience were not yet born at the time when Bob Dylan released his debut album 61 years ago. They weren&#8217;t even born when Bob Dylan played his first concert in Montreal on June 28, 1962 in front of just 15 people at what was then the PotPourri Club. Since then, he has traveled to the Canadian metropolis twenty times. Before his first concert after the pandemic yesterday, October 29, 2023, he performed at the Bell Centre on June 30, 2017.<\/p>\n<p>His two appearances in 1975 and 1988 are legendary. Both refer to Montreal rock poet Leonard Cohen. Dylanians and Dylanologists, Cohen maniacs and Cohen lovers know about the anecdotes that outing Dylan and Cohen as &#8222;Brothers in Soul&#8220;. An earlier point of contact between Bob Dylan and Leonard Cohen dates back to 1975 and a meeting with Bob Dylan there. Bob Dylan played at Montreal&#8217;s Forum de Montr\u00e9al on December 4 as part of his &#8222;Rolling Thunder Revue&#8220; tour. There, Dylan made fun of Leonard Cohen&#8217;s immersion on the Greek island of Hydra. He dedicated the song &#8222;Isis&#8220; to Cohen with the words: &#8222;This is for Leonhard, if he&#8217;s still here.&#8220; In fact, Cohen was not on Hydra at the time, but, as Dylan knew, was in Montreal and even briefly backstage at Dylan&#8217;s invitation. Cohen met him and attended the concert, but not until the end. The statement &#8222;This Is For Leonard&#8220; can be heard on the box set &#8222;The Rolling Thunder Revue: The 1975 Live Recordings&#8220;.<\/p>\n<p>Dylan paid Cohen the greatest tribute when he sang Leonard Cohen&#8217;s &#8222;Hallelujah&#8220; in two different concerts at the beginning of his &#8222;Never Ending Tour&#8220; in 1988. Between &#8222;Stuck Inside Of Mobile With The Memphis Blues&#8220; and &#8222;Ballad Of A Thin Man&#8220;, Dylan performed a Leonard Cohen song live in concert for the first time in his career on July 8, 1988 at the Forum de Montr\u00e9al. An excerpt of a bootleg recording of it can be heard in the film &#8222;Hallelujah \u2013 A Song, A Journey&#8220;. Cohen himself has never interpreted a Bob Dylan song &#8222;Live in Concert&#8220;.<\/p>\n<p>As a self-confessed Leonard Cohen fan, I was particularly excited about the Montreal concert in 2023. And of course I was aware that you should never have an expectation with Dylan, which is usually neither positively nor negatively fulfilled anyway. And why should they? However, the setlists of the &#8222;Rough And Rowdy Ways&#8220; tour so far gave hope. Whereupon? On the fact that Bob Dylan may pay a musical homage to Leonard Cohen in Montreal. When Dylan goes on his concert tours to cities or areas where those close artists come from, he surprises them with cover songs. This was the case, for example, on October 16, 2023 in Indianapolis when Dylan interpreted John Mellencamp&#8217;s &#8222;Longest Days&#8220;.<\/p>\n<p>And yes, something like that happened in Montreal yesterday again. After &#8222;That Old Black Magic&#8220;, Dylan stands up at the piano, looks at the audience with a smile on his lips and sings the first lines of Cohen&#8217;s song &#8222;Dance Me To The End Of Love&#8220;:<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213640_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28694\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213640_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p><em><strong>Dance me to your beauty with a burning violin<\/strong><\/em><\/p>\n<p><em><strong>Dance me through the panic &#8218;til I&#8217;m gathered safely in<\/strong><\/em><\/p>\n<p><em><strong>Lift me like an olive branch and be my homeward dove<\/strong><\/em><\/p>\n<p><em><strong>Dance me to the end of love<\/strong><\/em><\/p>\n<p>The Montreal audience immediately recognizes the song and dares to let the next spontaneous standing ovation last a little longer. The song stands for the fact that everything will come to an end.\u00a0 Bob performs the waltz-like song in a very dylanesque way, without straying too far from the original. The audience is thrilled and downright grateful that Dylan pays this loving homage to his late former musical companion in his hometown. The song gives this 21st Montreal concert of Dylan a special touch, which once again reinforces the atmospheric density of the almost two-hour concert.<\/p>\n<p>After &#8222;Mother of Muses&#8220;, Dylan introduces his backing musicians by name, then intones a loud and fast &#8222;Goodbye Jimmy Reed&#8220; and a quiet &#8222;Every Grain of Sand&#8220;. Bob Dylan gets up from the piano, briefly enters the edge of the stage, looks into enthusiastic faces and leaves the stage. &#8222;Thanks For The Dance, Bob&#8220; and for the fact that the fact that everything will come to an end one way or another can sound so wonderful.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213732_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28696\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213732_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<h2><strong>Bob Dylan erweist in Montreal Leonard Cohen musikalische Ehre mit einem Cover-Songs: Dance Me To The End Of love&#8220;<\/strong><\/h2>\n<p>Bob Dylan`s tiefgehende Hommage an Leonard Cohen`s Heimatstadt Montreal. So oder \u00e4hnlich k\u00f6nnte die \u00dcberschrift einer Konzertreview \u00fcber das gestrige Konzert im ausverkauften Montrealer Place des Arts-Salle Wilfrid-Pelletier lauten. Und ja, das Konzert war eines der tiefgehenderen und in der Tat etwas anders. Die europ\u00e4ischen Performances auf der \u201eRough And Rowdy Ways\u201c-Tour, die ich in Europa erleben durfte, unterschieden sich etwas vom gestrigen Montrealer Konzert. Was gleich geblieben ist, ist das absolute Mobile-Verbot und die strengen Einlasskontrollen.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_214031_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28695\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_214031_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>P\u00fcnktlich um 20.00 Uhr Ortszeit erklingt das klassische Intro und die Saallichter gehen aus. Dylan`s Band betritt die B\u00fchne. Sie spielt erste T\u00f6ne des Openers \u201eWatching The River Flow\u201c. Vielleicht ist es der Tatsache geschuldet, da\u00df es mein erstes Montreal-Konzert von Bob Dylan ist, da\u00df ich f\u00fcr neue Details in Dylans aktuellem Konzertformat sensibilisiert bin. Dylan betritt einen Moment sp\u00e4ter als die Band die B\u00fchne. Er setzt sich wie gewohnt ans \u201eBaby Grand Piano\u201c, legt seinen wei\u00dfen \u201eDandy Stetson\u201c-Hut darauf und beginnt mit den bekannten Zeilen \u201eWhat\u2019s the matter with me\/ I don\u2019t have much to say\u201c. Das ab dem ersten Konzertmoment leicht zu begeisternde Montrealer Publikum erhebt sich schon allein daf\u00fcr f\u00fcr eine erste Standing Ovation des Abends. Dylan scheint es wohlwollend mit sofort einsetzender Spielfreude zu quittieren. Die ersten Strophen klingen noch ein wenig unaufger\u00e4umt, aber Bob und die Band finden schnell zueinander.<\/p>\n<p>Nach \u201eMost Likely You Go Your Way (and I&#8217;ll Go Mine)\u201c, \u201cI Contain Multitudes\u201c und \u201eFalse Prophet\u201c haben die agierenden Protagonisten sp\u00e4testens bei \u201eWhen I Paint My Masterpiece\u201c das erste Drittel des Konzertabends schnell zu einer wohlklindenden Melange aus Reminiszenzen an Dylans musikalische Vergangenheit mit vielen \u201eShadow Kingdom-Arrangements\u201c gestaltet.<\/p>\n<p>Positiv \u00fcberraschend war das B\u00fchnen-Design. Im Sommer war die B\u00fchne in Europa noch in viel dunkelblauem, dunkelrotem und dunkelgr\u00fcnen Licht eingetaucht. In Montreal war es anders. Dylan und die Musiker standen auf einer hell angeleuchteten B\u00fchne. F\u00fcr regelm\u00e4\u00dfige Dylan-Konzert-Besucher war es eine willkommene Abwechslung die Gesichter der Akteure erkennen zu k\u00f6nnen. F\u00fcr jene, die in den vorderen Reihen sassen, &#8211; ich sa\u00df in der 14. Reihe mittig &#8211; , war es geradezu ein Fest, Dylans Mimik beobachten zu k\u00f6nnen. Auch die B\u00fchne selbst, wirkte im Vergleich zur europ\u00e4ischen Variante im Sommer anders. Es gab keinen Vorhang im Hintergrund und keine gro\u00dfen Hollywood-Film-Scheinwerfer mehr, die die Musiker zu \u201eSchatten\u201c auf die B\u00fchne projizierten. Auch fehlte die \u201eOscar-Fake-Statue\u201c. Daf\u00fcr gab es vier kleine, wie Baustellen-Lampen wirkende Lichtquellen. Sie waren bestens dazu geeignet, jedem Musiker soviel Licht und Raum zu geben, da\u00df auch deren Gesichter und die Art, wie sie miteinander kommunizierten auch bis in hintere Reihen erkennbar waren.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213656_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28698\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213656_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213704_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28699\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213704_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213718_Gallery.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28700\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213718_Gallery-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>Fast wirkte der B\u00fchnenaufbau, wie ein unaufger\u00e4umter Hinterhof, auf dem sich sechs befreundete Musiker treffen, um zu jammen und um von Song zu Song eine Session zu einem Konzert wachsen zu lassen und zu dem sie die Nachbarschaft einluden. Die Nachbarschaft bestand an diesem Abend aus jenen 3000 Montrealern, die diesem als \u201eSession\u201c begonnenen und zum ausverkauft gewordenem \u00a0Konzert, beiwohnen konnten. Letztendlich erlebten alle eine kleine historische Sternstunde der \u201eRough And Rowdy Ways\u201c-Tour.<\/p>\n<p>Die Band mit Tony Garnier (electric and standup bass), Jerry Pentecost am Schlagzeug, Bob Britt (acoustic guitar, electric guitar), Doug Lancio \u00a0(acoustic guitar, electric guitar) und Donnie Herron ( violin, electric mandolin, pedal steel, lap steel) war ausnahmslos wie auch \u201eHis Bobness\u201c in schwarzen Anz\u00fcgen mit schwarzen Hemden gekleidet.<\/p>\n<p>Beim sechsten Song \u201eBlack Rider\u201c \u201edurchbrach\u201c der \u201eMeister\u201c das Schwarz, in dem er sich den weissen \u201eStetson\u201c aufsetzte und mit \u201eMy Own Version of You\u201c, \u201eI`ll Be Your Baby Tonight\u201c und \u201eCrossing The Rubicon\u201c das Konzertformat weiter entwickelte. Oft war es so, da\u00df die Songs leise und langsam begannen und sich die Band in die Songs hineinspielte, bis sie eine laute aber nie aufdringliche Dynamik entwickelten.<\/p>\n<p>Nach \u201eTo Be Alone With You\u201c h\u00f6rte ich nach meinen bereits geh\u00f6rten Favouriten \u201eBlack Rider\u201c und \u201eCrossing the Rubicon\u201c, meine n\u00e4chsten beiden Favoriten: \u201eKey West\u201c und \u201eGotta Serve Somebody\u201c. \u00a0Dylan hatte sich bis dahin l\u00e4ngst eingesungen und akzentuierte fast jede Zeile verst\u00e4ndlich. Das Publikum bestand aus drei Generationen. Es reagierte immer wieder mit kleinen Standing Ovations, setzte sich aber schnell wieder hin, um die dahinter sitzenden nicht am Konzertgenuss zu st\u00f6ren. Dar\u00fcber hinaus war es von Song zu Song ein Erlebnis, wie Tony und Doug miteinander interagierten, wie Bob mit Bob Britt mit Blicken kommunizierten und wie Jerry und Donnie die Band rund um das \u201eBaby Grand Piano\u201c atmosph\u00e4risch verdichteten.<\/p>\n<p>Hin und wieder stand Dylan vom Piano mitten im Song auf, setzte sich aber schnell wieder hin. Seinen Standort am Instrument verlie\u00df er das gesamte Konzert nicht. Vorbei sind die Zeiten, als er f\u00fcr einige Songs zum B\u00fchnenrand trat, am Mikrofonst\u00e4nder freistehend sang oder Mundharmonika spielte. Das Sitzen ist seinem Alter geschuldet, dennoch wirkt Bob Dylan in Montreal sehr vital.<\/p>\n<p>Die meisten im Publikum waren zu jener Zeit, als Bob Dylan vor 61 Jahren sein Debutalbum ver\u00f6ffentlichte, noch nicht auf der Welt. Sie waren auch noch nicht auf der Welt, als Bob Dylan am 28. Juni 1962 f\u00fcr sein erstes Konzert in Montreal vor gerade einmal 15 Leuten im damaligen PotPourri Club auftrat. Seitdem bereiste er die kanadische Metropole zwanzig Mal. Vor seinem ersten Konzert nach der Pandemie am gestrigen 29. Oktober 2023 trat er am 30. Juni 2017 im Bell-Centre auf.<\/p>\n<p>Legend\u00e4r sind seine beiden Auftritte in den Jahren 1975 und 1988. Beide beziehen sich auf den Montrealer Rockpoeten Leonard Cohen. Dylanianer und Dylanologen, Cohen-Maniacs und Cohen-Lovers wissen um die Anekdoten, die Dylan und Cohen als \u201eBrothers in Soul\u201c outen. Ein fr\u00fcherer Ber\u00fchrungspunkt Bob Dylans mit Leonard Cohen geht auf das Jahr 1975 und auf eine dortige Begegnung mit Bob Dylan zur\u00fcck. Bob Dylan spielte im Rahmen seiner \u201eRolling Thunder Revue\u201d-Tour am 4. Dezember im Montrealer \u201eForum de Montr\u00e9al\u201d. Dort machte sich Dylan \u00fcber Leonard Cohens Versunkenheit auf der griechischen Insel Hydra lustig. Er widmete Cohen den Song \u201eIsis\u201d mit den Worten: \u201eThis is for Leonhard, if he&#8217;s still here.\u201d Tats\u00e4chlich weilte Cohen zu der Zeit jedoch nicht auf Hydra, sondern war, wie Dylan wusste, in Montreal und sogar auf Einladung Dylans kurz Backstage. Cohen traf ihn und wohnte dem Konzert, jedoch nicht bis zum Schluss bei. Die Aussage \u201eThis Is For Leonard\u201d ist auf dem Boxset \u201eThe Rolling Thunder Revue: The 1975 Live Recordings\u201d zu h\u00f6ren.<\/p>\n<p>Die gr\u00f6\u00dfte Wertsch\u00e4tzung zollte Dylan Cohen, als er zu Beginn seiner \u201eNever Ending Tour\u201d im Jahr 1988 gleich in zwei verschiedenen Konzerten Leonard Cohen`s \u201eHallelujah\u201d geradezu dylanesque anstimmte. Zwischen \u201cStuck Inside Of Mobile With The Memphis Blues\u201d und \u201cBallad Of A Thin Man\u201d trug Dylan am 8. Juli 1988 im \u201eForum de Montr\u00e9al\u201d erstmals einen Leonard Cohen-Song in seiner Karriere live in Concert vor. Ein Ausschnitt einer Bootleg-Aufnahme davon ist im Film \u201eHallelujah \u2013 A Song, A Journey\u201d zu h\u00f6ren. Cohen selbst, hat nie einen Bob Dylan-Song \u201eLive in Concert\u201c interpretiert.<\/p>\n<p>Als bekennender Leonard Cohen-Fan war ich also auf das Montrealer Konzert 2023 besonders gespannt. Und nat\u00fcrlich war ich mir bewu\u00dft, da\u00df man bei Dylan niemals eine Erwartungshaltung haben darf, die eh zumeist weder positiv noch negativ erf\u00fcllt wird. Warum auch? Die bisherigen Setlists der \u201eRough And Rowdy Ways\u201c-Tour machten aber Hoffnung. Worauf? Darauf, da\u00df Bob Dylan in Montreal Leonard Cohen wom\u00f6glich eine musikalische Hommage erweisen wird. Wenn Dylan auf seinen Konzertreisen in St\u00e4dte oder Gegenden kommt, aus denen jene nahestehenden K\u00fcnstler stammen, \u00fcberrascht er dort mit Cover-Songs. So war das z.B. am 16. Oktober 2023 in Indianapolis als Dylan John Mellencamp`s \u201eLongest Days\u201c interpretierte.<\/p>\n<p>Und ja, so etwas geschah dann auch in Montreal. Nach \u201eThat Old Black Magic\u201c steht Dylan am Piano auf, schaut mit einem L\u00e4cheln auf den Lippen ins Publikum und stimmt die ersten Zeilen von Cohens Song \u201eDance Me To The End Of Love\u201c an:<\/p>\n<p><strong><em>Dance me to your beauty with a burning violin<\/em><\/strong><\/p>\n<p><strong><em>Dance me through the panic &#8218;til I&#8217;m gathered safely in<\/em><\/strong><\/p>\n<p><strong><em>Lift me like an olive branch and be my homeward dove<\/em><\/strong><\/p>\n<p><strong><em>Dance me to the end of love<\/em><\/strong><\/p>\n<p>Das Montrealer Publikum erkennt den Song sofort und wagt die n\u00e4chste spontane Standing Ovation etwas l\u00e4nger dauern zu lassen. Der Song steht f\u00fcr die Tatsache, da\u00df alles einmal ein Ende haben wird. \u00a0Bob tr\u00e4gt den Walzerhaften-Song sehr dylanesque vor, ohne da\u00df er sich zu weit vom Original entfernt. Das Publikum ist begeistert und ist geradezu dankbar, da\u00df Dylan seinem einstigen musikalischen und 2016 verstorbenen Weggef\u00e4hrten in dessen Heimatstadt diese liebevolle Hommage erweist. Das Lied gibt diesem 21. Montrealer Konzert von Dylan eine besondere Note, die die atmosph\u00e4rische Dichte des knapp zweist\u00fcndigen Konzertes ein weiteres Mal verst\u00e4rkt.<\/p>\n<p><a href=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213640_Gallery-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-28697\" src=\"http:\/\/blog.leonardcohen.de\/wp-content\/uploads\/2023\/10\/Screenshot_20231030_213640_Gallery-1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n<p>Nach \u201eMother of Muses\u201c stellt Dylan seine Begleitmusiker namentlich vor, intoniert danach, ein lautes und schnelles \u201eGoodbye Jimmy Reed\u201c und ein leises \u201eEvery Grain of Sand\u201c. Bob Dylan steht vom Piano auf, betritt kurz den B\u00fchnenrand, schaut in begeisterte Gesichter und verl\u00e4\u00dft die B\u00fchne. \u201eThanks For The Dance, Bob\u201c und daf\u00fcr, da\u00df die Tatsache, da\u00df alles so oder so zu einem Ende f\u00fchren wird, so wundervoll klingen kann.<\/p>\n<p><iframe loading=\"lazy\" title=\"Bob Dylan - Dance Me To The End Of Love (Leonard Cohen Cover) - Montreal, Canada (October 29th 2023)\" width=\"625\" height=\"352\" src=\"https:\/\/www.youtube.com\/embed\/c5vxf_eSJ2A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Die Setlist:<\/strong><\/p>\n<p>&nbsp;<\/p>\n<table width=\"500&quot;\" cellspacing=\"2\" cellpadding=\"2\">\n<tbody>\n<tr align=\"CENTER\" valign=\"TOP\">\n<td><span style=\"font-size: xx-large;\"><strong>Montreal, Quebec<\/strong><\/span><strong><br \/>\n<span style=\"font-size: x-large;\">Place des Arts-Salle Wilfrid-Pelletier<\/span> <\/strong><strong> <span style=\"font-size: x-large;\">October 29, 2023<\/span><\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<table width=\"420&quot;\" cellpadding=\"0\">\n<tbody>\n<tr>\n<th><\/th>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>1.<\/strong><\/td>\n<td><strong>Watching The River Flow<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>2.<\/strong><\/td>\n<td><strong>Most Likely You Go Your Way (and I&#8217;ll Go Mine)<\/strong><span style=\"font-size: xx-small;\"><br \/>\n(Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>3.<\/strong><\/td>\n<td><strong>I Contain Multitudes<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>4.<\/strong><\/td>\n<td><strong>False Prophet<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>5.<\/strong><\/td>\n<td><strong>When I Paint My Masterpiece<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>6.<\/strong><\/td>\n<td><strong>Black Rider<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEF\" valign=\"TOP\">\n<td><strong>7.<\/strong><\/td>\n<td><strong>My Own Version of You<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEF\" valign=\"TOP\">\n<td><strong>8.<\/strong><\/td>\n<td><strong>I&#8217;ll Be Your Baby Tonight<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>9.<\/strong><\/td>\n<td><strong>Crossing The Rubicon<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>10.<\/strong><\/td>\n<td><strong>To Be Alone With You<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>11.<\/strong><\/td>\n<td><strong>Key West (Philosopher Pirate)<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEF\" valign=\"TOP\">\n<td><strong>12.<\/strong><\/td>\n<td><strong>Gotta Serve Somebody<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>13.<\/strong><\/td>\n<td><strong>I&#8217;ve Made Up My Mind To Give Myself To You<\/strong><span style=\"font-size: xx-small;\"><br \/>\n(Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>14.<\/strong><\/td>\n<td><strong>That Old Black Magic<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>15.<\/strong><\/td>\n<td><strong>Dance Me To The End Of Love<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) (song by Leonard Cohen) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>16.<\/strong><\/td>\n<td><strong>Mother of Muses<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>&#8212;<\/strong><\/td>\n<td><strong><span style=\"font-size: small;\">Band introductions<\/span><\/strong><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>17<\/strong><\/td>\n<td><strong>Goodbye Jimmy Reed<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano) <\/span><\/td>\n<\/tr>\n<tr align=\"LEFT\" valign=\"TOP\">\n<td><strong>18.<\/strong><\/td>\n<td><strong>Every Grain of Sand<\/strong><span style=\"font-size: xx-small;\"> (Bob on baby grand piano and harp) <\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: small;\">Bob Dylan &#8211; piano, harp<br \/>\nTony Garnier &#8211; electric and standup bass<br \/>\nJerry Pentecost &#8211; drums<br \/>\nBob Britt &#8211; acoustic guitar, electric guitar<br \/>\nDoug Lancio &#8211; acoustic guitar, electric guitar<br \/>\nDonnie Herron &#8211; violin, electric <\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>photos by christof graf Review\/ Montreal, Quebec\/ Place des Arts-Salle Wilfrid-Pelletier\/ October 29, 2023 Review by Christof Graf Bob Dylan pays tribute to Leonard Cohen in Montreal \u2013 &#8222;Dance Me To The End Of Love&#8220; Bob Dylan&#8217;s profound homage to Leonard Cohen&#8217;s hometown of Montreal. This or something similar could be the headline of a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":28683,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-28682","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein"],"_links":{"self":[{"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/posts\/28682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28682"}],"version-history":[{"count":9,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/posts\/28682\/revisions"}],"predecessor-version":[{"id":28702,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/posts\/28682\/revisions\/28702"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=\/wp\/v2\/media\/28683"}],"wp:attachment":[{"href":"https:\/\/leonardcohen.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28682"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=28682"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/leonardcohen.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=28682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}