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Tracks It Could Happen to You Isn’t This A Lovely Day How Insensitive Exactly Like You From This Moment On I was Doing All Right Little Girl Blue Day In Day Out Willow Weep For Me Come Dance With Me You Can Depend On Me
This album appears in the footsteps of 2004'sThe Girl in the Other Roombut doesn't sound like a follow-up. WhereasThe Girlsaw the pianist-singer abandon the Great American Songbook for more personal pastures,From This Moment Onsees her working out on standards done in traditional arrangements. Although the tracks here are by the likes of Cole Porter, Jimmy Van Heusen and Sammy Cahn, and the Gershwins, Krall sounds more at ease than ever before; perhaps digging deep inside onThe Girlloosened her up. Backed by the Clayton/Hamilton Jazz Orchestra on seven tracks, Krall sings off the big band with ease. On the title track, she keeps up with a galloping bass and explosive brass arrangements and even ventures into scatting toward the end of the song. Her voice has also acquired a wonderfully worn texture in the past few years, and it works wonders on the ballads (just listen to "Isn't This a Lovely Day" and "Little Girl Blue" for instance). When standards are done like this, there's just nothing like 'em.--Elisabeth Vincentelli
Used to Love Diana Krall Her new CD is not representative of her previous ones. She tries to swing by using a word and changing notes on it. It doesn't work. She should go back to her old "jazz" singing.
SIBILANT SOUNDS STIFFLE SULTRY SINGER HOW DID TIS WIN A GRAMMY UNLESS THE ACADEMY IS MADE UP OF SSSSSSNAKES!! a good TRAINED singer would leave there sibilant s behind. Listen to Liza for how a Pro does it, peo-ple!!Enchanting. Diana Krall's big strengths when she first emerged were a musicality about lyrics that savoured the weight of every syllable, an instrumentalist's timing and ideas (though her piano-playing isn't up to her singing, it's been a crucial complement to it) and a delicate intimacy that made every member of an audience feel they were getting her personal attention. Success has swelled the budgets, and risked overwhelming her fragile eloquence and jazz instincts. But though this set drops into the dinner-jazz and easy-listening boxes, there's enough subtle orchestral arrangement and sharp horn soloing to engage the big-band buffs, plenty of Krall at her smokiest, and three crisp tracks just for quartet. A breezy version of" Day In and Day Out" gets a lively Count Basie treatment, piano tinkling over chugging guitar. Diana Krall affection for lyrics add new turns to "Exactly Like You" and "I Was Doing Alright", and her oddly frank, confiding whisper makes "Little Girl Blue" the best thing on the album. An eerie brass fanfare (suggesting the approach of Gil Evans' and Miles Davis's Porgy and Bess) turns out to be the overture to "Willow Weep for Me" - a beautiful arrangement imparting a mysterious and faintly sinister quality to the song. "From This Moment On" is full of classy execution, but it's familiar territory for Krall and her fans.
