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From This Moment On

4.1 out of 5 stars 148 customer reviews

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Editorial Reviews

Product Description

In songs, mood and delivery, From This Moment On reveals Krall's personal ardor for that golden era of song-making, when Frank Sinatra, Ella Fitzgerald and (especially) Nat King Cole were in their prime. There's an economy and confidence that speak to the maturity of Krall as a performer, and a recording artist.

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This album appears in the footsteps of 2004's The Girl in the Other Room but doesn't sound like a follow-up. Whereas The Girl saw the pianist-singer abandon the Great American Songbook for more personal pastures, From This Moment On sees her working out on standards done in traditional arrangements. Although the tracks here are by the likes of Cole Porter, Jimmy Van Heusen and Sammy Cahn, and the Gershwins, Krall sounds more at ease than ever before; perhaps digging deep inside on The Girl loosened her up. Backed by the Clayton/Hamilton Jazz Orchestra on seven tracks, Krall sings off the big band with ease. On the title track, she keeps up with a galloping bass and explosive brass arrangements and even ventures into scatting toward the end of the song. Her voice has also acquired a wonderfully worn texture in the past few years, and it works wonders on the ballads (just listen to "Isn't This a Lovely Day" and "Little Girl Blue" for instance). When standards are done like this, there's just nothing like 'em. --Elisabeth Vincentelli
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Product Details

  • Audio CD (September 19, 2006)
  • Number of Discs: 1
  • Label: Verve
  • ASIN: B000GG4KTU
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (148 customer reviews)
  • Amazon Best Sellers Rank: #49,197 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
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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Format: Audio CD
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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Format: Audio CD
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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Format: Audio CD
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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Format: Audio CD Verified Purchase
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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Format: Audio CD
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.
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