More On Krall

It dawned on me this evening that the post below was not the first time that Rifftides hasDiana Krall head shot addressed the question of Diana Krall’s popularity in the context of arguments about the quality of her artistry. An item from three-and-a-half years ago makes some of the same points. More important, it contains a video clip from a Paris concert that is worth seeing and hearing. It also has a quote from and a link to an astute article about Ms. Krall by the late Gene Lees. To find the May, 2010 post, click here.

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Comments

  1. Michael Boucher says

    I used to think she was a bit ‘poppy’ because that was the easy, lazy response. But the more I see and hear the more obvious to me is the relentless daring and a passion in what she does. Twists that tease, but not self-consciously – and not just for the sake of danger. I often think of Monk when I listen to her because of the way she counters her singing against the keyboard. There is a magical tension there that few people manufacture on their own. And it’s all subtle. The naysayers are believing the packaging. Certainly she is not difficult to look at, and she has a sweet voice. But it’s not the sweetness in her voice that is her strength. It’s the deep expression. Better all the time.

  2. .Don Conner says

    I’ve been listening to Ms. Krall since her first side , a dedication to Nate Cole,came out. I generally dig her despite a few bows to commercialism along the way. I just wish that Jessica Williams could achieve recognition back east, for she is a formidable pianist, to say the least.

    • says

      Just to be pedantic, Don, Krall’s first commercial release was on the Swiss TCB label with Vince Benedetti. The first under her own name was on the Canadian label Justin Time (Steppin’ Out). Then, a couple of other appearances on GRP and MusicMasters, and back to Justin Time for the Cole album (All For You). The JT releases also came out on enja…

  3. says

    That Montreux video that you linked provides a splendid performance, showing so many aspects of Ms. Krall’s artistic brilliance. Yes, in “Cheek to Cheek” the trio does indeed display “a riveting degree of cohesion.”
    I met her at D.C.’s Blues Alley in the late 1990s, chatted with her, and a couple of weeks later did an hour-long telephone interviewer with her, the substance of which I used for a profile of her in my Living the Jazz Life (Oxford University Press, 2001), in which I alluded to Gene Lees’s perceptive JazzTimes article on her (http://jazztimes.com/articles/20641-diana-krall-an-intimate-portrait). In fact, a photo of her graces my book’s cover (she shares it with Jackie McLean) and a different one is inside the volume.

    Your review of her 2001 The Look of Love in JazzTimes (http://jazztimes.com/articles/12620-the-look-of-love-diana-krall) helped confirm my admiration of her, which continues to this day.

  4. Terry Martin says

    For me, the attraction, jazz wise, is that Diana Krall’s voice is hip. All the other jazz pretenders seem to be ‘trained’ with a ‘sweet’ inflection. Her piano is not out of sight but she’s definitely improving (this is from one who can’t play piano). Anyone who can quote ‘Diga- diga- Doo’ in ‘The Look of Love’ is OK on my book. Mind you, it was on the end of her fingers anyhow.