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Diana Krall: The Girl in the Other Room

 A l b u m   D e t a i l s


Label: Verve Jazz
Released: 2006.
Time:
 51:36
Category: Jazz
Producer(s): Tommy LiPuma. Diana Krall
Rating: *******... (7/10)
Media type: CD
Web address: www.dianakrall.com
Appears with:
Purchase date: 2007.10.14
Price in €: 8,99



 S o n g s ,   T r a c k s


[1] It Could Happen to You (J.Burke/J.Van Heusen) - 3:28
[2] Isn't This a Lovely Day (I.Berlin) - 6:07
[3] How Insensitive (V.De Moraes/N.Gimbel/A.C.Jobim) - 5:20
[4] Exactly Like You (D.Fields/J.McHugh) - 3:02
[5] From This Moment On (C.Porter) - 3:23
[6] I Was Doing Alright (G.Gershwin/I.Gershwin) - 5:12
[7] Little Girl Blue (L.Hart/R.Rodgers) - 5:39
[8] Day in Day Out (R.Bloom/J.Mercer) - 4:01
[9] Willow Weep for Me (A.Ronell) - 5:39
[10] Come Dance with Me (S.Cahn/J.Van Heusen) - 4:24
[11] It Was a Beautiful Day in August / You Can Depend on Me (R.Brown/Ch.Carpenter/L.Dunlap/E.Hynes) - 5:16

 A r t i s t s ,   P e r s o n n e l


Diana Krall - Vocals, Piano, Arranger, Producer

Gerald Clayton - Piano
Tamir Hendelman - Piano
John Clayton - Bass, Arranger, Conductor

The Clayton/Hamilton Jazz Orchestra
     Rhythm Section:
Anthony Wilson - Guitar
Robert Hurst - Bass
Jeff Hamilton - Drums
     Saxophones:
Jeff Clayton - Lead Alto Saxophone, Flute, Alto Flute
Keith Fiddmont - Alto Saxophone, Clarinet
Rickey Woodard - Tenor Saxophone, Clarinet
Charles Owens - Tenor Saxophone, Clarinet
Lee Callet - Baritone Saxophone, Bass Clarinet
     Trumpets / Flügelhorns:
Bijon Watson - Trumpet, Flugelhorn
Sal Cracchiolo - Trumpet, Flügelhorn
Gilbert Castellanos - Trumpet, Flügelhorn
Clay Jenkins - Trumpet, Flugelhorn
Kye Palmer - Trumpet, Flugelhorn
Terell Stafford - Trumpet, Flügelhorn
     Trombones:
George Bohanon - Trombone
Ira Nepus - Trombone
Ryan Porter - Trombone
Maurice Spears - Trombone
     Tubas:
Tommy Johnson - Tuba
George Thatcher - Tuba
     French Horns:
Rick Todd - French Horn
David Duke - French Horn
Marilyn L. Johnson - French Horn
Paul Klintworth - French Horn
Yvonne S. Moriarty - French Horn
Stephanie  O'Keefe - French Horn
James Thatcher - French Horn
Brad Warnaar - French Horn
     Precussion:
Robert Zimmitti - Percussion


Shari Sutcliffe - Project Coordinator, Contractor
Chris Walden - Orchestration on
David Blumberg - Orchestration on [10]
Kim Richmond - Orchestration on [8]

Tommy LiPuma - Producer
Al Schmitt - Engineer, Mixing
Doug Sax - Mastering
Steve Genewick - Digital Editing
Rick Fernandez - Assistant Engineer
Daniel Johnston - Assistant Engineer
Bill Airey Smith - Assistant Engineer
Paul "Scooby" Smith - Assistant Engineer
Darrell Gilmour - Release Coordinator
John Newcott - Release Coordinator
Kelly Pratt - Release Coordinator
Coco Shinomiya - Design
Hollis King - Art Direction
Evelyn Morgan - A&R
Bruce Weber - Photography
Sam Taylor Wood - Photography
Sandrine VanStee - Make-Up
Charlie Pichon - Make-Up
Didier Malige - Hair Stylist
Nicole Clarke - Hair Stylist
Hannah Teare - Wardrobe Assistant


 C o m m e n t s ,   N o t e s

2006 CD Verve 007323
2006 CD Universal 170504
2007 LP Classic 7323
2007 LP Classics Fr 73231

Eighth studio album from highly regarded Canadian jazz pianist and singer follows 2004's 'The Girl In The Other Room'. Whilst that album, a collaboration with her husband Elvis Costello, saw her flirting with pop material, on this release she goes back to doing what she does best - playing the standards. As such, it sees classic material by the likes of Berlin, Jobim, Porter, Gershwin and Rodgers & Hart performed inher inimitable sultry, languorous style.

From This Moment On is an 11-song collection that captures the Canadian-born sensation in full swing, in great company, and at the top of her game. It could also be called her strongest, most cohesive release to date. Krall - for the few still unknowing - is the 41-year old sensation whose cool, heavy-lidded vocals and strikingly sensitive piano-playing has helped her transcend barriers of genre to become a popular artist of the first order who has carved herself a permanent position at the top of the jazz charts. In songs, mood, and delivery, From This Moment On reveals Krall's personal ardor for that golden era of song-making, when Frank Sinatra, Ella Fitzgerald, and (especially) Nat "King" Cole were in their prime. It's musical territory that Krall has often explored, but this album was certainly not a case of simply repeating past formulas: Krall's A-team of support - producer Tommy LiPuma, engineer Al Schmitt, and arranger/bandleader John Clayton - were on hand to ensure that inspiration was kept on an edge, unhindered by the studio environment.



This album appears in the footsteps of 2004's The Girl in the Other Room but doesn't sound like a follow-up. Whereas The Girl saw the pianist-singer abandon the Great American Songbook for more personal pastures, From This Moment On sees 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 on The Girl loosened 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 - Amazon.com



So ist es einfach am besten: Diana Krall, Jazz-Standards aus dem American Songbook, und eine sagenhafte Big Band (Clayton/Hamilton Orchestra), nach der man sich alle Finger leckt. Das war schon bei Frank Sinatra ein Magnet - fantastische Blechbläser, ein technisch und musikalisch herausragendes Jazzorchester, das homogen phrasiert und absolut perfekt zusammenspielt. Diana Krall hat schon letztes Jahr zu Weihnachten eine erfrischende Christmas-CD in diesem Stil herausgebracht - vielleicht ihre beste überhaupt bisher? Diesmal gibt es allerdings keine Evergreens von Santa Claus, sondern berühmte Jazzstandards, fast nur Balladen. Was etwas schade ist, denn die Big Band legt nur einmal, bei "From This Moment On" von Cole Porter, so richtig los. Versöhnung bringen wunderschöne Interpretationen von "How Insensitive", "Willow Weep For Me" oder "Ecately Like You". Das ist genau ihr Ding - klassischer Swing; traditionelle Arrangements, super gespielt und - selbstverständlich - makellos aufgenommen. Diana Krall hat den Jazz im Blut. Sie ist nicht Sarah Vaughan - aber sie ist eine würdige Repräsentantin des Erbes der großen Swing- und Bopsängerinnen.

Katharina Lohmann - Amazon.de



Elegant, virtuos, sinnlich: der Versuch einer stimmlichen Eingrenzung. Doch sie ist weit entfernt von einer wirklichen Charakterisierung der Stimme von Diana Krall. Man könnte sie mit dieser vergleichen, von jener abgrenzen; ihr selbst wäre es vermutlich egal. Die Königin des Vocalswing könnte den Text einer Müslipackung singen - immer würde einem jene hingehauchte, abgebrühte Laszivität jedes einzelne Haar am Körper in Habachtstellung bringen. Am wohlsten fühlt sich die werdende Mutter (eines Elvis-Costello-Nachkommen) in tiefsten Altlagen, wenn sie Cole Porter, Gershwin, Rodgers & Hart interpretiert. Abgesehen davon, dass "From this Moment on" richtig viel Spaß macht beim Hören, hat das aktuelle, mit dem Clayton/Hamilton Jazz Orchestra eingespielte Krall-Album auch einen wohltuend ordnenden Effekt für die gesamte Branche der Swingchanteusen: Wer hier auch nur annähernd mithalten will, braucht weit mehr als Haarspray, eine große Klappe und einen Schlitz im Glitzerkleid.

(rh) - kulturnews.de



Returning to the large ensemble sound of her 2005 success, Christmas Songs, pianist/vocalist Diana Krall delivers a superb performance on 2006's From This Moment On. Although having received a largely positive critical response for her creative departure into original singer/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops. But it's not just that her phrasing and tone are well-schooled. Having long drawn comparisons to such iconic and icy jazz singers as Julie London and Peggy Lee, Krall truly earns such high praise here. In fact, tracks like "Willow Weep for Me" and "Little Girl Blue" are drawn with such virtuosic melancholy by Krall as to be far and away some of the best ballads she's put to record. Similarly impressive big swing numbers like "Come Dance with Me" showcase her muscular rhythmic chops both vocally and on the keys. Backing her here is the always wonderful Clayton-Hamilton Jazz Orchestra, featuring some punchy and solid solo spots by trumpeter Terell Stafford, as well as the rhythm section talents of guitarist Anthony Wilson, bassist Robert Hurst, and drummer Jeff Hamilton.

Matt Collar - All Music Guide



After her ambitious 2004 release The Girl in the Next Room, which featured original songs and contemporary music touches, Diana Krall returns to the sound that made her the jazz diva of choice for a new generation. Collaborating with both the crack Clayton/Hamilton Jazz Orchestra and her own fine quartet, Krall essays tried-and-true standards in the inimitable cool-yet-committed tone that sets her apart from all competitors. Sharing production chores with Tommy LiPuma, Krall finds the right mix of ballads and light swingers to showcase her intimate vocals. The repertoire is A-list all the way, calling on Porter, Gershwin, Berlin, Rodgers and Hart, and other Great American Songbook masters while also finding room for Jobim’s bossa nova masterpiece “How Insensitive.” That Krall touches on Sinatra territory in her choice of material displays how assured she remains as a personal stylist. It’s good to have Krall back on familiar territory, doing what she does best.

William Pearl - Barnes & Noble



Entertainment Weekly (p.78) - "[S]unnier than usual....John Clayton's arrangements add bounce and pack punch." -- Grade: B+

Mojo (p.111) - 3 stars out of 5 -- "[V]ocally she knows her way around a neatly turned lyric, her phrasing is immaculate and she's aware of light and shade in her delivery."

Down Beat (p.80) - 4 stars out of 5 -- "FROM THIS MOMENT ON finds her swinging through 11 love songs, and sounding more relaxed and confident than at any time in her 13-year recording career."

JazzTimes (p.66) - "Krall has always sounded impressively rich and unfailingly polished. Never before, though, have her vocals or her playing evoked such profound contentment and easy self-assurance."

 

 L y r i c s


It Could Happen To You

Hide your heart from sight,
Lock your dreams at night,
It could happen to you.

Don't count stars,
Or you might stumble.
Someone drops a sigh,
And down you'll tumble.

Keep an eye on spring,
Run when church bells ring.
It could happen to you.

All I did was wonder how your arms would be,
And it happened to me.

Hide your heart from sight,
Lock your dreams at night,
It could happen to you.

Don't count stars,
Or you might stumble.
Someone drops a sigh,
And down you'll tumble.

Keep an eye on spring,
Run when church bells ring.
It could happen to you.

All I did was wonder how your arms could be,
And it happened, and it happened,
And it happened to me.


Isn't This A Lovely Day


The weather is fright'ning
The thunder and lightning
Seem to be having their way
But as far as I'm concerned, it's a lovely day
The turn in the weather
Will keep us together
So I can honestly say
That as far as I'm concerned, it's a lovely day
And everything's O.K.

Isn't this a lovely day
To be caught in the rain?
You were going on your way
Now you've got to remain

Just as you were going, leaving me all at sea
The clouds broke, they broke and oh!
What a break for me

I can see the sun up high
Tho' we're caught in the storm
I can see where you and I
Could be cozy and warm

Let the rain pitter patter
But it really doesn't matter
If the skies are gray
As long as I can be with you it's a lovely day

Isn't this a lovely day
To be caught in the rain?
You were going on your way
Now you've got to remain

Just as you were going, leaving me all at sea
The clouds broke, they broke and oh!
What a break for me

I can see the sun up high
Tho' we're caught in the storm
I can see where you and I
Could be cozy and warm

Let the rain pitter patter
But it really doesn't matter
If the skies are gray
As long as I can be with you
As long as I can be with you
As long as I can be with you
It's a lovely day


How Insensitive

How insensitive
I must have seemed
When he told me that he loved me
How unmoved and cold
I must have seemed
When he told me so sincerely
Why he must have asked
Did I just turn and stare in icy silence
What was I to say?
What can you say
When a love affair is over?

Now he's gone away
And I'm alone
With a memory of his last look
Vague and drawn and sad
I see it still
All the heartbreak in his last look
How he must have asked,
Did I just turn and stare in icy silence
What was I to say?
What can you say
When a love affair is over?


Exactly Like You

I know why I've waited
Know why I've been blue
I pray each night for someone
Exactly like you

Why should we spend some money
On a show or two
No one plays those love scenes
Exactly like you

You make me feel so grand
I wanna give the world to you
You make me understand
Every foolish little dream I'm dreaming
Every scheme I'm scheming

I know why my mother
Taught me to be true
She meant me for someone
Exactly like you

I know why I've waited
Know why I've been blue
I pray each night for someone
Exactly like you

Why should we spend some money
On a show or two
No one plays those love scenes
Exactly like you

You make me feel so grand
I wanna give the world to you
You make me understand
Every foolish little dream I'm dreaming
Every scheme I'm scheming

I know why my mother
Taught me to be true
She meant me for someone
My baby, exactly like you


From This Moment On

From this moment on you for me dear
Only two for tea dear from this moment on
From this happy day no more blue songs
Only hoopty-do songs from this moment on

For you got the love I need so much
Got the skin that I love to touch
Got the arms to hold me tight
Got the sweet lips to kiss me good night

Oh oh, from this moment on, you and I babe
We'll be riding high babe
Every care is gone
From this moment on

For you got the love I need so much
Got the skin that I love to touch
Got the arms to hold me tight
Got the sweet lips to kiss me good night

Oh oh, from this moment on, you and I babe
We'll be riding high babe
Every care is gone
From this moment on


I Was Doing All Right

I was doing all right
Nothing but rainbows in my sky
I was doing all right
Until you came by.
Had no cause to complain
Life was as sweet as cherry pie
Never minded the rain
Until you came by.

Now whenever you're away
Can't sleep nights and suffer all the day
I just sit and wonder
If love isn't one big blunder.
But when you hold me tight
Tingling all through, I feel somehow
I was doing all right
But I'm doing much better now.


Little Girl Blue

Sit there and count your fingers
What can you do
Old girl you're through
Just sit there and count your little fingers
Unlucky little girl blue.

Just sit there and count the raindrops
Falling on you
It's time you knew
All you can count on
Are the raindrops
That fall on little girl blue

No use old girl
You may as well surrender
Your hopes are getting slender
Why won't somebody send a tender blue boy
To cheer up little girl blue

No use old girl
You may as well surrender
Your hopes are getting slender
Why won't somebody send a tender blue boy
To cheer up little girl blue


Day in - day out

That same old voodoo follows me about
That same old pounding in my heart, whenever I think of you
And baby I think of you
Day in and day out

Day out - day in
I needn't tell you how my days begin
When I awake I get up with a tingle
One possibility in view
That possibility of maybe seeing you

Come rain - come shine
I meet you and to me the day is fine
Then I kiss your lips, and the pounding becomes
An oceans roar, a thousand drums
Can't you see it's love, can there be any doubt
When there it is, day in - day out


Willow weep for me

Willow weep for me
Bend your branches green along the stream that runs to sea
Listen to my plea
Hear me willow and weep for me

Gone my lovers dream
Lovely summer dream
Gone and left me here to weep my tears into the stream
Sad as I can be
Hear me willow and weep for me

Whisper to the wind and say that love has sinned
Left my heart a-breaking, and making a moan
Murmur to the night to hide its starry light
So none will see me sighing and crying all alone

Weeping willow tree
Weep in sympathy
Bend your branches down along the ground and cover me
When the shadows fall, hear me willow and weep for me


Come Dance With Me

Hey there cutes, put on your dancin' boots
And come dance with me
Come dance with me, what an evenin' for some Terpsichore
Pretty face, I know a swingin' place
Come on, dance with me

Romance with me cross a crowded floor
And while the rhythm swings
What lovely things I'll be sayin'
'Cause what is dancin' but makin' love
Set to music... playin'

When the band begins to leave the stand
Folks start to roam
As we waltz home, cheek to cheek we'll be
Come on, come on, come on
Come on and dance with me


You Can Depend On Me

Oh though you say we're through
I'll always love you
And you can depend on me
Though someone you've meet
Has made you forget
You know you can count on me

I wish you success and
Loads of happiness
But I must confess' I'll be lonely
But if you ever need a friend
I'm yours 'til the end
And you can depend on me

I wish you success
Loads of happiness
But darling I must confess I'll be lonely
But if you ever need a friend
I'm yours 'til the end
And you can depend on me
 

 M P 3   S a m p l e s


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