Tag: Diana Krall

Title: Diana Krall – The Look Of Love (2001) [Reissue 2002]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

The Look of Love doesn’t tamper with Diana Krall’s ongoing success, continuing the emphasis on romantic ballads and embracing them with lush string arrangements. At the core, of course, is Krall’s voice. She’s developing into one of the great torch singers, with an approach that’s both direct and subtly nuanced, true to the song and yet deeply personal.

Diana Krall has a good voice and plays decent piano, but this somewhat ridiculously packaged Verve CD seems like an obvious attempt to turn her into a pop icon, and sex symbol to boot. The bland arrangements by Claus Ogerman (who conducts the London Symphony Orchestra or the Los Angeles Session Orchestra on each track) border on easy listening, while Krall and her various supporting musicians, including John Pisano, Russell Malone, Christian McBride, and Peter Erskine (among others), clearly seem stifled by their respective roles. There are plenty of strong compositions here, including standards like “I Remember You,” “The Night We Called It a Day,” and “I Get Along Without You Very Well,” but the unimaginative and often syrupy charts take their toll on the performances. What is even sillier is the label’s insistence on attempting to photograph the artist in various sultry poses, which she evidently wants to discourage by refusing to provide much of a smile (the rumor is that she’s not happy with this part of the business at all). If you are looking for unchallenging background music, this will fit the bill, but jazz fans are advised to check out Krall’s earlier releases instead.

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Title: Diana Krall – The Girl In The Other Room (2004)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by herself and new husband, Elvis Costello. Krall’s piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple “Love Me Like a Man” (written by folk-bluesman Chris Smither). But it’s the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans’s moody, impressionistic pieces. The title track, “Narrow Daylight,” “Abandoned Masquerade,” and “I’m Coming Through” all deal with love and loss. “Departure Bay,” a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads–and hearts–are better than one.

While the jazz fascists (read: purists) may be screaming “sellout” because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn’t made up of musty and dusty “classics” may irk the narrow-minded and reactionary, but it doesn’t change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison’s “Stop This World” to contemporary songs that are reinvented in Krall’s image by Tom Waits (“Temptation”), Joni Mitchell (“Black Crow”), Chris Smither (“Love Me Like a Man”), and her husband, Elvis Costello (“Almost Blue”). These covers are striking. Krall’s read of Allison’s tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither’s sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits’ “Temptation” is far more sultry than Holly Cole’s because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. “Black Crow” exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello’s “Almost Blue” takes it out of its original countrypolitan setting and brings it back to the blues. As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin’s “Summertime.” The grain in Krall’s pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In “I’ve Changed My Address,” Krall evokes the voices of ghosts such as Louis Armstrong and Anita O’Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall’s solo in the tune is stunning. “Narrow Daylight,” graced by gospel overtones, is a tentative step into hope with its opening line: “Narrow daylight enters the room, winter is over, summer is near.” This glimmer of hope is short-lived, however, as “Abandoned Masquerade” reveals the shattered promise in the aftermath of dying love. “I’m Coming Through” and “Departure Bay,” which close the set, are both underscored by the grief experienced at the loss of Krall’s mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall’s wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Anthony Wilson and the latter, in its starkness, offers memory as reflection and instruction. This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, through confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop.

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Title: Diana Krall – Love Scenes (1997) [Reissue 2004]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Like a mink draped over mahogany, Diana Krall’s luxuriously supple alto adorns the vintage songs of romance and longing found on Love Scenes with a palpable aura of glamour and late-night cool. Her ostensibly effortless command of phrasing and intonation, whether the mood is seduction or a sweet sassiness, further fortifies the opinion that the Canadian vocalist-pianist possesses one of the great female jazz voices to surface in the late 1990s… Augmented by spare but skillful instrumentation from bassist Christian McBride and guitarist Russell Malone, Krall sustains a largely quiet (though hardly sleepy) ambience throughout the CD’s 12 selections, from Irving Berlin’s “How Deep Is the Ocean (How High Is the Sky),” which she also uses as a showcase for her touch at the keyboard, to Gershwin’s “They Can’t Take That Away from Me.” Her swing is artfully subdued (“All or Nothing at All”), and her wry, expressive approach to “Peel Me a Grape” is pure charm. Yet Krall shines most luminously on languid gems such as “I Don’t Stand a Ghost of a Chance with You” and “Garden in the Rain.” Anyone in search of an album ideal for watching city lights at 2 a.m. should keep Love Scenes in mind.
Vocalist/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on “I Don’t Know Enough About You,” “I Don’t Stand a Ghost of a Chance With You,” and “How Deep Is the Ocean.” However, Krall’s earlier Nat King Cole tribute had more variety in tempos and moods and is recommended first. A decent but not essential release.

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