..:: audio-music dot info ::..


Main Page     The Desert Island     Copyright Notice
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Diana Krall: Quiet Nights

 A l b u m   D e t a i l s


Label: Verve Jazz
Released: 2009.03.31
Time:
 55:03
Category: Jazz
Producer(s): Diana Krall; Tommy LiPuma
Rating: *******... (7/10)
Media type: CD
Web address: www.dianakrall.com
Appears with:
Purchase date: 2009.11.13
Price in €: 3,00





 S o n g s ,   T r a c k s


[1] Where or When (Hart/Rodgers) - 4:10
[2] Too Marvelous for Words (Mercer/Whiting) - 4:05
[3] I've Grown Accustomed to His Face (Lerner/Loewe) - 4:48
[4] The Boy from Ipanema (DeMoraes/Gimbel/Jobim) - 4:54
[5] Walk on By (Bacharach/David) - 5:03
[6] You're My Thrill (Clare/Gorney) - 5:47
[7] Este Seu Olhar (Jobim) - 2:45
[8] So Nice (Gimbel/Valle/Valle) - 3:52
[9] Quiet Nights (Jobim/Kay/Lees) - 4:45
[10] Guess I'll Hang My Tears out to Dry (Cahn/Styne) - 4:59

Bonus Tracks:
[11] How Can You Mend a Broken Heart - 4:30
[12] Every Time We Say Goodbye - 5:18

 A r t i s t s ,   P e r s o n n e l


Diana Krall - Piano, Vocals, Producer

Nico Carmine Abondolo - Bass
John Clayton - Bass
Paulinho Da Costa - Percussion
Drew Dembowski - Bass
Jeff Hamilton - Drums
Reggie Hamilton - Bass
Ed Meares - Bass
Sue Raney - Bass
Steve Kujala - Alto & Bass Flute
Anthony Wilson - Guitar
Robert Zimmitti - Vibraphone

Claus Ogerman - Arranger, Conductor
Sid Page - Violin, Concert Master
Bruce Dukov - Violin, Concert Master
Joel Pargman - Violin
Katia Popov - Violin
Barbara Porter - Violin
Eun Mee Ahn - Violin
Charlie Bisharat - Violin
Caroline Campbell - Violin
Darius Campo - Violin
Antony Cooke - Cello, Celli
Larry Corbett - Cello, Celli
Mario Diaz de Leon - Violin
Yue Deng - Violin
Thomas Dienner - Viola
Earl Dumler - Oboe
David Ewart - Violin
Marlo Fisher - Viola
James Freebarin-Smith - Cello, Celli
Matt Funes - Viola
Alan Grunfeld - Violin
Trevor Handy - Cello, Celli
Tiffiany Yi Hu - Violin
Peter Kent - Violin
Razdan Kutumjain - Violin
Razdan Kuyumijian - Violin
Janet Lakatos - Viola
Timothy Landauer - Cello, Celli
Bill Lane - French Horn
Liane Mautner - Violin
Joe Meyer - French Horn
Todd Miller - French Horn
Dan Neufeld - Viola
Helen Nightengale - Violin
Steve Richards - Cello
Gil Romero - Violin
Geri Rotella - Alto & Bass Flute
David Shostac - Alto & Bass Flute
Dan Tobin Smith - Cello, Celli
Tereza Stanislav - Violin
Rudy Stein - Cello, Celli
Marda Todd - Viola
Rick Todd - French Horn
Doug Tornquist - Tuba
Cecilia Tsan - Cello, Celli
Mari Tsumura - Violin
Josephina Vergara - Violin
David F. Walther - Viola
Brad Warnaar - French Horn
Amy Wickman - Violin
Evan Wilson - Viola

Tommy LiPuma - Producer
Al Schmitt - Engineer, Mixing
Steve Genewick - Engineer
Doug Sax - Mastering
Sangwook "Sunny" Nam - Mastering
Rick Fernandez - Assistant Engineer
Dan Johnson - Assistant Engineer
Hollis King - Art Direction
Robert Maxwell - Photography
Daniel Behr - Photography
Chris McMillan - Hair Stylist
Melanie Inglessis - Make-Up
Evelyn Morgan - A&R
Andy Kman - Release Coordinator
John Newcott - Release Coordinator
Lisa Hansen - Release Coordinator
Shari Sutcliffe - Project Coordinator, Contractor
Joey Tierne - Wardrobe

 C o m m e n t s ,   N o t e s


2009 CD Verve 001243302
2009 LP Verve 001243301
2009 CD Verve 1798125

Recorded and mixed at Capitol Studios, Hollywood, CA. Mastered at The Mastering Lab, Ojai, CA.

Diana Krall's 12th album Quiet Nights is an intimate recording of ballads and bossa novas from the team that brought you her best-selling GRAMMY Award-winning CD The Look of Love. Accompanied by her quartet and orchestra, Diana turns her sensual vocals and consummate piano skills to "The Boy from Ipanema", "Walk on By"and other classic tunes. Quiet Nights is initially available as a limited edition CD including 2 bonus tracks - her stunning rendition of the Bee Gee's "How Can You Mend A Broken Heart" and the standard "Every Time We Say Goodbye". Also available on LP pressed on 180 Gram Vinyl.

Diana Krall is without a doubt the first lady of jazz--a household name around the world, even in households where jazz wouldn't normally find a home. Quiet Nights is her first studio album since 2006's From This Moment On, and marks a return to the stylistic and commercial success of The Girl In The Other Room. Focusing on the music of Brazil, in particular the Bossa Nova, the production team of Tommy LiPuma and Claus Ogerman have created a seductive and sensual backdrop to Diana's distinctive voice. Diana sings three Brazilian classics, adapts four standards, and adds three ballads to the mix. This special UK version of Quiet Nights includes two exclusive video performances.



Bossa nova is not unfamiliar to Diana Krall, but 2009's Quiet Nights is her first record devoted to the gently swaying rhythm. Teaming up again with arranger Claus Ogerman, who last worked with Krall on 2001's The Look of Love and who also frequently collaborated with bossa nova godfather Antonio Carlos Jobim, Krall winds up with a mellow, lazy album that recalls the relaxed late-night sophistication of Jobim's duet album with Frank Sinatra, which Ogerman also happened to arrange and conduct. It's not just the sound, it's the songs: how '60s standards like Bacharach/David's "Walk on By" sit next to three Jobim tunes, a song by Marcos Valle ("So Nice"), and a few American Songbook standards placed at the beginning, the better to ease listeners into purer bossa nova at the end. Then again, they don't need much persuasion — if any music could be called accessible it's this, with its warm intimacy and classic good taste. If anything, there may be a bit too much classic good taste on Quiet Nights — there is no reinterpretation, only homage — but that's not quite a problem because Krall knows enough to lay back, to never push, only to glide upon the gossamer surface. After all, some things are timeless for a reason; they need no updating, only replicating.

Stephen Thomas Erlewine - All Music Guide



The line between dreamy and sleepy is a fine one, and many jazz singers have fallen on the wrong side of it when attempting bossa nova. Diana Krall, however, negotiates it skillfully.... It probably has a lot to do with her honeyed voice, her laid-back delivery, and her experience.

Steve Greenlee - Boston Globe



Ich gebe zu, ich habe die Gunst der Stunde gnadenlos genutzt. Als mich am Abend des Tages, an dem die neue Diana Krall auf meinem Tisch landete, eine mir auf vielen Ebenen vertraute, gegengeschlechtliche Person besuchte, legte ich schamlos "Quiet Night" ein - ohne zu erahnen, was ich damit anrichtete. Nicht, dass mich meine Gefährtin unmittelbar überfallen hätte. Mittelbar entfaltete "Quiet Nights" jedoch seine volle Kraft. Am nächsten Tag tummelt sich in meinem Briefkasten mein Jazzporno, das Jazzthing-Magazin. "Ich wollte eine sinnliche, geradezu erotische Platte aufnehmen", schaut mir Diana Krall auf Seite 44 lasziv in die Augen. "Gelungen, Baby", ist mein erster Gedanke.

Das liegt vor allem an den unaufdringlichen Interpretationen charmanter Songs, die sich aus gediegenen Standards, eingängigen Balladen und wertbeständigen Bossa Novas zusammen setzen. Ein bisschen Bacharach ("Walk On By"), ein wenig Sinatra ("Guess I'll Hang My Tears Out To Dry") und viel Jobim: "Meine ersten Kontakte zu brasilianischer Musik kamen durch Sinatra und Jobim. Es ist wie eine Liebesaffäre zwischen mir und dem Land. Alle kennen diese Musik, die Alten, aber auch die Kids." Dazu Kralls verführerische Stimme und ihr sanftes Klavierspiel, fertig ist die Erfolgsgarantie.

Die Song-Geschichten, die sie 2004 mit ihrem Gatten Elvis Costello für "The Girl In The Other Room" komponierte, sind zwar um Welten besser als die Interpretationen auf "Quiet Nights". Aber das Publikum kauft ihre Alben nun mal am liebsten, wenn sie sich im smoothen Jazznegligee räkelt, und so werden Kralls "Stille Nächte" laufen wie geschnitten Brot.

Mit "Quiet Nights" löst Diana Krall ein Versprechen ein, das sie ihren Fans vor langer Zeit gegeben hat. Ausflüge wie auf "The Girl In The Other Room" werden zwar geduldet und offenbaren ihr gesamtes künstlerisches Potential, geliebt aber wird sie ihrer Schmachtfetzen wegen. Von denen gibt es zuhauf auf "Quiet Nights": "Das Album ist wie ein Liebesbrief an meinen Mann. Es ist ein Flüstern ins Ohr deines Geliebten, dass du glücklich bist und hier bis ans Ender der Tage sein möchtest."

Aus musikalischer Sicht ist "Quiet Nights" ein charmantes Smooth-Jazz-Album, auf dem Tonsetzer Claus Ogerman den Himmel voller Geigen hängt, die Diana Kralls Liebesbrief romantisch umrahmen: "Claus sprach im Zusammenhang mit dem neuen Album von einer Streicherorgie." Nicht nur die ist auf "Quiet Nights" deutlich gelungen, denn aus sinnlich-erotischer Sicht kann es nur ein Urteil geben: Effektiv!

Kai Kopp - laut.de
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!