The Girl in the Other Room [ENHANCED]

Diana Krall

Product Details

• Audio CD (April 27, 2004)
• Original Release Date: April 27, 2004
• Number of Discs: 1
• Format: Enhanced
• Label: Verve
• ASIN: B000148KK2
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 3.3 out of 5 stars See all reviews (311 customer reviews)
• Amazon.com Sales Rank: #3,763 in Music (See Bestsellers in Music)

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  #38 in	Music > Jazz > Traditional Jazz & Ragtime
  #73 in	Music > Pop > Oldies > Traditional Pop
  #78 in	Music > Jazz > Vocal Jazz

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

142 of 155 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 (TOP 1000 REVIEWER)    (REAL NAME)

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.

77 of 88 people found the following review helpful:

5.0 out of 5 stars the best yet from Diana Kralll, April 27, 2004

By	Olby Ulf (VASTERAS Sweden) - See all my reviews (REAL NAME)

I always thought that Diana Krall was nice to listen to, but with nothing extra that made me buy any records of her. That was until I saw and heard her Live in Paris DVD, where the Canadian singer stepped out from the former slick and almost icy approach and delivered that extra. Suddenly you could feel the warmth in her voice, her ultra sensual charisma came through with full force - I was hooked. Still feel though that her albums are too polished for my taste, I stick with the fantastic live DVD.

Now Mrs Krall has made a studio album that connects to the feeling on the Live DVD. The musical setting is much more intimate than on her previous albums. Basically you have one tight band, where the two most impressive musicians to my ears are Anthony Wilson on guitar and Christian McBride on bass. Diana Krall herself sings like a goddess and plays a very good piano. The songs are a mix of jazz, blues and pop, with a more rootsy feeling than her usual repertoire. There are also a mixture of covers and original songs. The originals are all written by Diana Krall and Elvis Costello, though Costello has only contributed to the music on the majestic title track, otherwise he has stuck to the words. There is a natural flow to the song sequence on the album and the originals stand up very good to the covers.

There are in my opinion no weak songs on the album, and my favourites (today) are the title track (Krall/Costello) and Temptation (Tom Waits).

Audiowise the album is very good recorded and produced.

Highly recommendable!!

24 of 25 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

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!