The Girl In The Other Room [Enhanced]

Diana Krall | Format: Audio CD

Product Details

• Audio CD (April 27, 2004)
• Number of Discs: 1
• Format: Enhanced
• Label: Verve
• ASIN: B000148KK2
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 3.3 out of 5 stars  See all reviews (317 customer reviews)
• Amazon Best Sellers Rank: #7,537 in Music (See Top 100 in Music)
  • #80 in Music > Jazz > Traditional Jazz & Ragtime > Traditional Jazz General
  • #80 in Music > Jazz > Traditional Jazz & Ragtime > General AAS

Editorial Reviews

Amazon.com

Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by herself and new husband, Elvis Costello. Krall's piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple "Love Me Like a Man" (written by folk-bluesman Chris Smither). But it's the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans's moody, impressionistic pieces. The title track, "Narrow Daylight," "Abandoned Masquerade," and "I’m Coming Through" all deal with love and loss. "Departure Bay," a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads--and hearts--are better than one. --Eugene Holley Jr.

Customer Reviews

Most Helpful Customer Reviews

165 of 177 people found the following review helpful:

5.0 out of 5 stars From Nat King Cole to Elvis King Costello ..., April 27, 2004

By 

J. Lund "jazzbrat" (SoCal, USA) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: The Girl In The Other Room (Audio CD)

Hard to believe after listening to this outstanding album that a few years ago Diana Krall was tweaking the 1940s-vintage Nat King Cole trio formula, sounding more often than not like a breath of fresh air inside a traditionalist retro-jazz mode. After several similiar albums Diana showed she was willing to break out of her musical comfort zone with the orchestrated bossa-driven THE LOOK OF LOVE. Yet that out-of-the-box experience hardly prepared us for THE GIRL IN THE OTHER ROOM, which for the most part offers all-new material, much of it composed by Diana Krall herself (often in collaboration with her brilliant spouse Elvis Costello). It's only a little exaggeration to say she's gone from the Y1K to the Y2K great American songbook.

The LOOK orchestrations are gone, the small jazz combo format is back but with drums included full-time. Overall the sound retains the attractive jazz elements of her past (swing, improvisations), but at times takes a tougher, bluesier stance. Diana's voice takes the lead in this area, sounding slightly worn but in a good, emotively-compelling manner that matches the depths of the excellent compositions. Speaking of the sophisticated tunes, without exception they manage to twist melodies and lyrics in fresh directions. Amazingly, the sum total of this disc bends the rules without breaking the spirit of Diana's best past efforts, managing to be instantly attractive yet certain to reward repeated listens no doubt for years to come.

The album mixes mid-tempo tunes with elegant ballads, no less bold and artistically successful as recent eclectic CDs by the likes of Cassandra Wilson. Furthermore, as much as I loved all of Miles Davis' transitions throughout his career, I admit that he tended to lose fans along his journey. But at this point, I'd say that Diana's managed to evolve in a manner that will keep her long-time fans on board while adding new ones. In fact, speaking of Miles I was thinking this may be Diana's KIND OF BLUE (relatively speaking). Overall, THE GIRL... shows off Diana Krall completing the transition from exquisite interpreter to an artist with an original, timeless vision of her own. Now, if anyone has a different opinion and can offer constructive criticism as opposed to a string of insults, I'd be interested in reading it.

29 of 30 people found the following review helpful:

5.0 out of 5 stars This will become a classic!, March 5, 2006

By 

Jazz aficionado (Oregon) - See all my reviews

This review is from: The Girl In The Other Room (Audio CD)

Many Diana Krall fans have come to appreciate her renditions of classic jazz standards. They may be disappointed because this CD contains unfamiliar, mostly original material by Diana (with Elvis Costello, her husband, collaborating on some songs). "Stop this world" Mose Allison, "Temptation" Tom Watts, "Black Crow" Joni Mitchell, "Almost Blue" Elvis Costello (1982) and "I'm pulling through" are not by Diana and are also not that familiar. But after initial listening it grows on you and the more you play it the more you come to appreciate it. The lyrics, the combo backing, Diana's piano technique, and her phrasing with that incomparable voice all contribute to what I believe will come to be considered a classic. This is a fabulous collection of songs by one of the top female jazz singers today!

14 of 15 people found the following review helpful:

5.0 out of 5 stars A Broad Emotional Pallet and Deeply Felt Delivery, June 15, 2005

By 

Charles Calvert "charliecal" (Bellevue, WA United States) - See all my reviews
(REAL NAME)   

This review is from: The Girl In The Other Room (Audio CD)

The big difference between this collection and previous Diana Krall CD's involves the range of emotions she elicits with these songs. For instance, "Abandoned Masquerade," is distinctly depressing, and "Black Crow," is as bleak as a snow filled, black and white, winter landscape at twilight. In the past Diana Krall has stuck to top notch classic songs with a warm, engaging emotional feel. A change to a broader emotional pallet was bound to trip up some of her long term fans, and hence the many negative reviews from disappointed fans who expected an outing similar to her many excellent previous productions.

For various reasons, some people don't want to hear songs that are depressing, and many people have a particularly hard time with the cold, alienated emotions found in a song like "Black Crow." The other side of the coin, of course, is that many people do experience a wide range of emotions in their lives, and it is exciting, moving and engaging to encounter songs that mirror their feelings.

Diana Krall has the sensibility and the musical talent to deliver these songs. This album evidences the continuing broadening of the emotional range that her voice can convey. I would say that this broadening has been in evidence in each of her releases, but it has become especially clear in the last two studio albums and in her recent live DVD's. It will, however, be disconcerting to some to hear the explicitly ragged, cracked vocal sound that she uses to such powerful effect on some of these songs.

Usually when I see a very mixed set of reviews like the one's found here, I tend to think that the artist has slipped, often quite seriously. In those cases, the good reviews are from the die hards who refuse to abandon a favorite, and the bad reviews are from the folks who are willing to accept reality.

In this case, however, I think Diana Krall has really opened up new and exciting emotional and melodic terrain that she has never risked in the past. There is nothing wrong with having a taste for the wonderful albums she has made over the years. However, if you are willing to explore some rough and challenging emotional terrain, you are likely to agree with me when I say that this is her best, and most satisfying album.