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Diana Krall: When I look in Your Eyes

 A l b u m   D e t a i l s


Label: Verve Jazz
Released: 1990
Time:
 50:34
Category: Jazz
Producer(s): Tommy LiPuma, Johnny Mandel
Rating: *********. (9/10)
Media type: CD
Web address: www.dianakrall.com
Appears with:
Purchase date: 2000.02.05
Price in €: 16,99



 S o n g s ,   T r a c k s


[1] Let's Face the Music and Dance (Berlin) - 5:18
[2] Devil May Care (Dorough) - 3:20
[3] Let's Fall in Love (Arlen/Koehler) - 4:19
[4] When I Look in Your Eyes (Bricusse) - 4:31
[5] Popsicle Toes (Franks) - 4:28
[6] I've Got You Under My Skin (Porter) - 6:10
[7] I Can't Give You Anything But Love (Fields/McHugh) - 2:32
[8] I'll String Along with You (Dubin/Warren) - 4:45
[9] East of the Sun ( and West of the... (Bowman) - 4:57
[10] Pick Yourself Up (Fields/Kern) - 3:02
[11] Best Thing for You (Berlin) - 2:37
[12] Do It Again (DeSylva/Gershwin) - 4:35

 A r t i s t s ,   P e r s o n n e l


DIANA KRALL - Piano, Arranger, Vocals

JEFF HAMILTON - Drums
RUSSELL MALONE - Guitar
LEWIS NASH - Drums
LARRY BUNKER - Vibraphone
JOHN CLAYTON - Bass
EDDIE KARAM - Conductor
JOHNNY MANDEL - Arranger, Conductor
BEN WOLFE - Bass

DOUG SAX - Mastering
AL SCHMITT - Engineer, Mixing
KOJI EGAWA - Assistant Engineer
ISABELLE WONG - Graphic Design
RORY ROMANO - Assistant Engineer
HOLLIS KING - Art Direction
ANTHONY RUOTOLO - Assistant Engineer
MARSHA BLACK - Project Coordinator

 C o m m e n t s ,   N o t e s


1998 CD GRP 90137
1999 CS GRP 304

Recorded at Avatar Studios, New York, New York.

WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year and for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical.
Diana Krall, the jazz singer-pianist who garners nearly as much attention for her striking blond appearance, won for jazz vocal performance for "When I Look in Your Eyes.''

WHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's "Let's Face The Music And Dance," one might think he had accidentally put on a Getz/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.

But Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including "Let's Fall In Love," "I've Got You Under My Skin," and "Pick Yourself Up" among others, is enhanced by fine session musicians and Johnny Mandel's tasteful arrangements. While Krall is more than comfortable with a sly swing (Michael Franks' "Popsicle Toes"), it is the stirring ballads-like the title track-that show her skill to best advantage. Krall is a considerable talent, and the time-tested, well-loved sound that characterizes these tracks should ensure her success.



With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on 8 of the 13 tracks. It is the latest attempt to push Krall to an ever wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery and George Benson, among others, went this route. Wonder if she'd agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall's voice is sweet and sexy. She's also flexible within her range, and at times a bit kitchy, mostly the hopeless romantic. On this CD of love songs, it's clear she's cool, but very much in love with this music. Bob Dorough's "Devil May Care" and the insistent "Best Thing For You" really click. This stringer's faves are a decent Shearing-esque "Let's Fall In Love" with vibist Larry Bunker, a suave slow bossa on the opening number "Let's Face The Music," the lusher-than-lush title track, and especially an incredible horn fired fanfare intro/outro on the hip "Pick Yourself Up." Some might call this fluff or mush, and it depends soley on your personal taste. This will certainly appeal to Krall's fans, lovers, and lovers at heart.

Michael G. Nastos - All Music Guide



"Sie artikuliert die Texte ihres überwiegend aus Jazzstandards bestehenen Programms so großartig, als habe sie bei Altmeister Frank Sinatra persönlich gelernt. Musik zum Träumen."

W. Stiefele in Audio 7/99



Diana Krall's When I Look In Your Eyes is perhaps her finest and most sophisticated work to date. Featuring her breathtakingly subtle piano work, the masterful guitar of Russell Malone and orchestrations from the legendary Johnny Mandel, the album has lush, smooth, romantic sound that frames the singer's sultry voice in the best possible light -- romantic, yearning and intimate. Krall has created a classic jazz vocal album that is able to cross commercial barriers and enter the mainstream music world.

© 1978-1999 College Media Inc. All rights reserved.



"...silken set of familiar standards....the best-selling stylist demonstrates the quiet strength of her understated delivery." - Rating: B

Entertainment Weekly (6/11/99, p.69)



Nem illö, hogy a kritikus olvasói elé tárja lelkét, s a saját nyavalyáival hozakodjon elö ahelyett, hogy a bírálandó müröl és müvészröl beszélne. Vétve ez íratlan szabály ellen, most mégis ki kell jelentenem: nem vonz különösebben a feladat, hogy nagy sztárok munkáiról szóljak. Kicsit zavarnak. A hírnév olyan magasba emeli öket, ahová már nem látok el tisztán. Amikor beszélek róluk, nemcsak a muzsikus, hanem a divatjelenség is eszembe jut, s energiám egy részét kénytelen-kelletlen arra használom, hogy megpróbáljam elkülöníteni a müvészt egy müvészeti kultusz tárgyától, a személyt a személyen kívülitöl.

Jelen írásom tárgya sztár. Korábban az Impulse! kiadó legféltettebben örzött kincse, ma az Impulse!-t is magába fogadó Verve Music Group egyik csillaga, akit a májusi Down Beat lakonikusan "label darling"-nak nevez. Ismereteim szerint a mai jazz csupán két énekesnöt ismer, aki efféle jazz-megasztárnak nevezhetö: a másik Cassandra Wilson.

A fekete Cassandra sötétségelvü, obskúrus, zenéje nekem néha kicsit fülledt. A Time of the Seasont utánozhatatlanul búgja a fülembe. Dalait nem lehet nagy adagokban fogyasztani. Amikor egy örökzöldet vagy egy régi popslágert kifordít önmagából, és újjáteremti, lebilincselö.

A szöke Diana egészen más. Mintha minden hangot precízen megtervezne albumain. Gyönyörü orgánuma van: kontraaltja épp csak annyira rekedt, amennyire a repertoárja jelentös részét kitevö standard darabok izgató elöadásához kell. Krall világosságelvü és konzervatív: amikor lemezünkön elénekli a Pick Yourself Upot vagy a Let’s Face The Music And Dance címü Irving Berlin-darabot, nem tér el jelentös mértékben a klasszikus felfogástól (Anita O’Day); dalválasztásai is a legjobb értelemben hagyományhüek. Müvészi rokonait hiába keresnénk a vele egykorúak között: Carmen McRae vagy Shirley Horn neve kínálkozik inkább az összevetésre. A tónusok hasonlók, a kidolgozás gondossága is közös. Csak míg a korábbi generációhoz tartozó két elöadó gyakran ironikus, Krall szinte sosem. Talán még nincs is itt az ideje, hogy az legyen. Érzelmeivel gazdaságosan bánik, és nem bíz semmit az ösztöneire. Viszont olyan pontos ismeretei vannak idiómáról és mértékröl, hogy albumát hallgatva nem is nagyon figyelünk Malone gitárjátékára és a többi menö stúdiózenész teljesítményére; néha ráeszmélünk, hogy a szöke énekesnö zongorán is kíséri magát, akárcsak McRae vagy Horn. S hogy a mostani lemezen egy Krallhoz méltó nagyzenekari, illetve vonóskíséret színez egy-egy felvételt. Nem számít. Erröl akkor kellene részletesebben beszélni, ha a szólista unalmas, másodosztályú jelenség lenne, akit bírálója úgy mentegetne, hogy helyette a zenekarát dicséri. Itt erre nincs szükség, söt. Itt minden az énekhang.

Ismétlem: nem szeretek sztárokról írni, kicsit zavarnak. A When I Look In Your Eyes azonban nem hagy idöt az efféle fanyalgásra. Nincsenek üresjáratok, minden (minden!) szám izgalmas élmény. Igaz, ívüket mintha nem ösztönösen, hanem profi mesterségbeli tudással húzták volna meg. Ha ez baj egyáltalán. Az elöadás kikezdhetetlen.

Máté J. György - Jazz Kritikák
Budapest Music Center - www.bmc.hu
 

 L y r i c s


LET'S FACE THE MUSIC AND DANCE

There may be trouble ahead
But while there's music and moonlight and love and romance
Let's face the music and dance

Before the fiddlers have fled
Before they ask us to pay the bill and while we still have the chance
Let's face the music and dance

Soon we'll be without the moon, humming a different tune and then
There may be teardrops to shed
So while there's moonlight and music and love and romance
Let's face the music and dance


DEVIL MAY CARE

No cares for me
I'm happy as I can be
I learn to love and to live
Devil may care

No cares and woes
Whatever comes later goes
That's how I'll take and I'll give
Devil may care

When the day is through, I suffer no regrets
I know that he who frets, loses the night
For only a fool, thinks he can hold back the dawn
He was wise to never tries to revise what's past and gone

Live love today, let come tomorrow or May
Don't even stop for a sigh, it doesn't help if you cry
That's how I live and I'll die
Devil may care


LET'S FALL IN LOVE

I have a feeling, it's a feeling,
I'm concealing, I don't know why
It's just a mental, sentimental alibi

But I adore you
So strong for you
Why go on stalling
I am falling
Our love is calling
Why be shy?

Let's fall in love
Why shouldn't we fall in love?
Our hearts are made of it
Let's take a chance
Why be afraid of it

Let's close our eyes and make our own paradise
Little we know of it, still we can try
To make a go of it

We might have been meant for each other
To be or not be
Let our hearts discover

Let's fall in love
Why shouldn't we fall in love
Now is the time for it, while we are young
Let's fall in love

We might have been meant for each other
To be or not be
Let our hearts discover

Let's fall in love
Why shouldn't we fall in love?
Now is the time for it, while we are young
Let's fall in love (4x)


WHEN I LOOK IN YOUR EYES

When I look in your eyes, I see the wisdom of the world in your eyes
I see the sadness of a thousand goodbyes
When I look in your eyes

And it is no surprise, to see the softness of the moon in your eyes
The gentle sparkle of the stars in your eyes
When I look in your eyes

In your eyes, I see the deepness of the sea
I see the deepness of the love
The love I feel you feel for me

Autumn comes, summer dies
I see the passing of the years in your eyes
And when we part there will be no tears no goodbyes
I'll just look into your eyes

Those eyes, so wise
So warm, so real
How I love the world, your eyes reveal


POPSICLE TOES

When God gave out rhythm
Sure was good to you
You can add, subtract, multiply and divide by two

I know today's your birthday and I did not buy no rose
But I wrote this song and instead I call it, Popsicle toes

Popsicle toes
Popsicle toes are always froze
Popsicle toes
You're so brave to expose all those Popsicle toes

You must have been Mr. Olympian
With all that amplitude
How come you always load your Pentax when I am in the nude
We are to have a birthday party and you can wear your birthday clothes
Then we can hit the floor and go explore those Popsicle toes

You've got the nicest north of America
This sailor ever saw
I like to feel your warm Brazil and touch your Panama
But Tierra del Fuegos are nearly always froze
We've got to seesaw until we un-thaw those Popsicle toes


I'VE GOT YOU UNDER MY SKIN

I've got you under my skin
I have got you deep in the heart of me
So deep in my heart, you're really a part of me
And I've got you under my skin

I have tried so, not to give in
I've said to myself this affair it never would go so well
But why should I try to resist when I know so well
That I've got you under my skin

I would sacrifice anything come what might
For the sake of having you near
In spite of a warning voice, that comes in the night and repeats in my ear
Don't you know you fool you never can win
Use your mentality, wake up to reality
For each time I do, just the thought of you makes me stop before I begin
Because I've got you under my skin

 

I Can't Give You Anything But Love

I can't give you anything but love, baby
That's the one thing I've got plenty of, baby
Dream awhile, scheme a while you're sure to find
Happiness and I guess all those things you always pine for

Gee it's nice to see you looking swell, baby
Diamond bracelets Woolworth's doesn't sell, baby
Till the lucky day you know darn well,well baby
I can't give you anything but love


I'LL STRING ALONG WITH YOU

You may not be an angel
Cause angels are so few
But until the day that one comes along
I'll string along with you

I'm looking for an angel
To sing my love song to
And until the day that one comes along
I'll sing my song to you

For every little fault that you have
Say I've got three or four
The human little faults you do have
Just make me love you more

You may not be an angel
But still I'm sure you'll do
So until the day that one comes along
I'll string along with you


EAST OF THE SUN (AND WEST OF THE MOON)

East of the sun and west of the moon
We'll build a dream house of love dear
Close to the sun in the day
Near to the moon at night
We'll live in a lovely way dear
Sharing our love in the pale moonlight

Just you and I, forever and a day
Love will not die; we'll keep it that way
Up among the stars we'll find a harmony of life to a lovely tune
East of the sun and west of the moon dear
East of the sun and west of the moon


PICK YOURSELF UP

Nothing's impossible I have found
For when my chin is on the ground
I pick myself up, dust myself off, start all over again

Don't lose your confidence if you slip
Be grateful for a pleasant trip
And pick yourself up, dust yourself off and start all over again

Work like a soul inspired till the battle of the day is won
You may be sick and tired but you'll be a man my son
Don't you remember the famous man who had to fall to rise again?
They picked themselves up, dust themselves off and started all over again


THE BEST THING FOR YOU

I only want what's the best thing for you
And the best thing for you would be me
I've been convinced
After thinking it through that the best thing for you would be me

Everyday to myself I'd say point the way
What would it be?
I ask myself what's the best thing for you
And myself and I seem to agree
That the best thing for you would be me


DO IT AGAIN

Ohh, do it again
I may say no, no, no but do it again
My lips just ache to have you take the kiss that's waiting for you
You know if you do, you won't regret it, come and get it

Ohh, no one is near
I may cry oh, oh, oh but no one can hear
Mama may scold me cause she told me it was naughty
But then, please do it again, just do it again

Come and get it, ohh
Turn out the light and hold me close
Close in your arms all through the night
Mama may scold me cause she told me it was naughty
But then, please do it again, just do it again


WHY SHOULD I CARE?

Was there something more I could have done?
Or was I not meant to be the one?
Where's the life I thought we would share?
And should I care?

And will someone else get more of you?
Will she go to sleep more sure of you?
Will she wake up knowing you're still there?
And why should I care?

There's always one to turn and walk away
And one who just wants to stay
But who said that love is always fair?
And why should I care?

Should I leave you alone here in the dark?
Holding my broken heart
While a promise still hangs in the air
Why should I care?

 M P 3   S a m p l e s


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