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on December 10, 2006
It was the 2004 album 'The Girl In The Room' that showcased Krall's own songwriting talents, inspired by her own collection of records and artists she admired such as Tom Waits and Joni Mitchell and highlighting the melancholic side of life and its complex ambiguities.

This proved to be one of the critical successes of the year and a surprise at that.

Krall returns to more familiar territory this time with a collection of standards, enlisting once again the talents of Jeff Hamilton and Jeff Clayton as part of her regular trio (and adding their big band) and the contemplative guitar licks of Anthony Wilson, son of orchestral maestro Gerald.

The melancholy of the previous album has dissipated to be replaced by a joyous celebration of life.

This is reflected in tunes such as 'Isn't This A Lovely Day' and 'Come Dance With Me', while 'Exactly Like You' is given a mid-tempo latin feel.

On the reflective side Jobim's 'How Sensitive' receives a Claus Ogerman-style arrangement. In general the trio playing is near flawless and the Basie-esque big band swings to good effect.

A recording guaranteed to appeal to audiophiles of jazz sensibility. While awaiting more challenging and eclectic musical explorations from Diana Krall in the future, for the present this will do just fine.
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on September 26, 2006
I'm with the reviewers who have expressed a longing for Diana's smaller band days. Only Trust Your Heart and Love Scenes are my favorites, as well as Live From Paris. Even on When I Look In Your Eyes, in the midst of all of those orchestral arrangements, there was still a sense of soulfulness to her songs. The Big Band sound on this CD really undercut what I love most about Diana's voice-- the sultry intimacy of it.

I pre-ordered this CD because Diana's name alone is good enough for me to invest in her projects, but this one felt stunningly empty, like a shell without a core. But I understand that artists must try any and all things to grow. Some things will resonate with a lot a people, while others won't. It's all a matter of personal taste. I will continue to buy Diana's music, but this one was lukewarm for me.
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on October 4, 2006
To establish my credentials as a long-time Diana Krall fan, My wife and I bought airline tickets and hotel room to see her in Washington, D.C. I have all her CDS, and have seen her live twice. Her last three outings - Room, Christmas, and this CD have been huge disappointments. Diana seems to lack the sparkle she had as Trio and Live in Paris. The band revs up, but she doesn't come along. She is bending her notes like a bad carnival ride at most every turn. Her range is compressed. All in all, a very dissapointing CD with few thrills and a lot of mediocrity. My earlier reviews had compared DK with Ella Fitzgerald and Sarah Vaughn. I see now those comparisions were grossly premature and I wish to apologize to these late greats. I truely hope Diana finds her form again, but it all seems down hill from after Live in Paris. I wish her well with her new family and miss her earlier outstanding output.
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on October 7, 2006
Darn, it, Diana Krall has made another lushly-produced orchestral-backed vocal record, along the lines of "The Look of Love" (2001). My guess is that she feels the need, or is receiving the advice that it is not enough to be a jazz star; but that the next step for her career is to become a diva. But she simply does not have the voice to be effective when surrounded by lush arrangements. She is at her best when her sultry voice is one of the instruments in a small jazz ensemble.

That's why I actually liked "The Girl in the Other Room" (2004), as a departure from "The Look of Love." I saw it as an attempt to return to the small ensemble, but with some inventiveness, approaching jazz singing from an unexpected edge. I'm sorry that she did not continue in that direction with this new release.

To my ears, the five-star Diana Krall recording is "When I Look In Your Eyes" (1999). That recording does feature some orchestral arrangements, but, even on those tracks, the influence of her small ensemble still sets the tone. There's fine interplay between Diana's voice and the other instruments. Her recordings that will be most in my CD player are those from the 1990s, and "The Girl In The Other Room" when I want to hear something inventive. The lushly-arranged albums will just be sitting on the shelf.
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on September 21, 2006
I doubt I will be buying another Diana Krall album anytime soon. Though I really love her older records such as All for You, Live in Paris, the past few albums have left me cold. This one sounds just too contrived and commercial. I would just love to hear her with her trio again, but I wonder if that will ever happen.
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From This Moment On is a fine Diana Krall album that again features her marvelous singing with great musical arrangements. The quality of the sound is excellent and the artwork is very tastefully done as well.

The CD starts with Diana doing a sublime job on "It Could Happen To You;" she aces this easily and she never skips a beat! Her voice is in excellent form and she is able to successfully pull in her listeners with the heartfelt feeling she puts into this ballad. "Isn't This A Lovely Day" features Diana squarely front and center--right where she belongs! Diana's voice is clearly able to infuse this tune with great emotion and that impresses me greatly. The piano arrangement is also very elegant. I really like "Isn't This Is A Lovely Day."

"How Insensitive" is a tender love ballad about a love that goes wrong when there are too many honest misunderstandings; Diana was born to sing these ballads and again she delves right into this tune to make it her own with a few tempo and key changes. Great! I predict that you'll like "How Insensitive" if you haven't already heard it. In addition, Diana also makes good on "Exactly Like You;" this upbeat number about a love and its joys really shines brighter than silver and gold combined when Diana Krall sings it. Diana performs this to perfection and the music never drowns her out--it all THAT good.

"From This Moment On" from Kiss Me Kate proves that Diana can really belt out a tune and this melody gets strength from a faster than normal tempo. Diana Krall never sings a superfluous note and I'm sure you'll love every minute of this classic ballad. "Little Girl Blue" has a great treatment by the oboe (I think); and when Diana comes in this number takes flight even if it's not the most optimistic you'll ever hear.

"Day In Day Out" is a classic pop vocal tune that gets the royal treatment from Diana Krall and she sings and swings brightly to make this number shine! The jazzy arrangement works very well for this tune and it's easily another major highlight of this CD. I love it! "Willow Weep For Me" has another elegant piano arrangement that enhances the natural beauty of this number; and when Diana comes in the number glows even brighter--she truly makes "Willow Weep For Me" her masterpiece with her uncanny sense of timing.

The CD also ends well with Diana Krall performing a medley of "It Was A Beautiful Day In August" and "You Can Depend On Me." What a strong ending for Diana's album!

Diana Krall fans will want this for their collections. I notice that some reviewers didn't like it but I still think the majority of Diana Krall fans will go for this CD. This is also a fine CD for people who like classic pop vocals.
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on September 22, 2006
I was excited to learn that there was a new Diana Krall CD available, but was I ever disappointed when I listened to it. Krall has never been the world's best vocalist (Jane Monheit, she ain't), but in her previous work, she had a approach to the material that made her albums appealing and enjoyable to me. Her vocals were mostly subtle, silky, and smooth (listen to "The Look of Love" for a good example), but she seems largely to have forsaken that style here. Much of this album feels "choppy," as if she has a problem phrasing out a complete line of lyrics. She has also developed some odd stylistic quirks, like adding extra syllables to words (she sings "exactly like a-you" almost every time in the song of that name) and sliding up into notes and falling off them. This last is a nice effect once in a while, but it is used to distraction here. Worse, she doesn't always make it to the top of those slides, leaving the note she is trying to reach out of tune. Judging from earlier reviews, it's obvious that not all listeners object to many of the things I've mentioned--chalk them up to stylistic preferences--but singing out of tune is just plain bad musicianship.

While the big band generally plays well as an ensemble, some of the solo work leaves a bit to be desired. Take for example the dueling trumpets in the album's title song--it's just loud, blatant, and downright ugly. There's also a rather horrendous saxophone solo in a song I can't bear to go back and listen to again.

Suffice it to say that, for me at least, this is a huge step down from Diana's previous work. I hope that in her next album, she will find her groove again.
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on September 22, 2006
I was disappointed with this CD. I feel that Diana Krall is not compatable with a large orchestra, and that she exceeds her vocal range with missed pitch and odd manerisms in expressing the lyrics. I feel that she is at her best with a small combo and her piano. It is the intimate Diana Krall that I long for. Will she come back??

Warren Schrick
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HALL OF FAMEon September 26, 2006
Diana Krall has always been a Artist that I respected Her talent,but I never quite got the full buzz over,but over her past two albums I'm really lost now,because Her voice doesn't work well in a bigger band enviroment. She is better suited in a smaller unit that allows her instrument of voice to be heard&given that feel she is known for doing in her material. there is way too much going on in the overall sounds&they don't blend with her vocally enough. She doesn't have enough in her Chops to keep up with what she is trying to pull off here. I applaud the effort,but she has to get back to what best compliments her stylings.
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on October 10, 2006
A `Great American Songbook' sojourner for years, but signifying just exactly what? Tedium? By choosing predominantly 'happy' songs, Krall treads dangerous ground by eschewing her forte - usually slow-paced dirges, sung in a husky monotone. By juicing up the ante, she could bear responsibility for a backlash. But her fan base need not worry. While she's discovered reasons to be joyful these past few years [e.g. marriage to Elvis Costello, pregnancy] Krall couldn't sound more blasé; while her piano skills remain plucky and skillful, her gloomy phrasing continues to mope until her droopy delivery cures your aching insomnia. My grade: B- [although it should be Zzzzzzzzz].
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