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4.0 out of 5 stars
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4.0 out of 5 stars
Format: Audio CD|Change
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on 15 October 2012
A fine and long awaited album from the ever popular Ms Krall. Despite the attention grabbing album cover there is also much to grab the attention inside. No lush orchestrations or jazz standards, just simple tunes, nicely sung, with, at times minimal backing. This puts Diana's voice to the fore and she does just nicely in her own laid back and husky kind of way.
The whole album really could belong in enother era which combines elements of Gypsy jazz, barrel house blues and some good old romantic balladry. Mark ribot on guitar plays a very big part of the accompaniment on this album and Diana's own piano playing often takes a back seat. Many of the tunes have a nice stripped down and laid back affair with minimal backing which is quite unlike her previous albums.
For me this is a much better album than the very low key "Quiet Nights" which gained as much criticism as it did praise. This is a brave and bold step from Diana which may disappoint her Non-jazz fan listeners but for those who can put aside the rapid change of direction then there is much to be enjoyed.
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on 29 October 2012
OK if you want to listen to "A night in Paris" or "The Look of Love" (both of which are great, and I have them and listen to them) - well listen to them I guess! I applaud Diana for an album which is a slight departure from some of the things she has done before. I applaud her especially for looking beyond the classic female jazz vocalist songbook - which she has shown many times she can perform as well or better than the best. So if you want to hear Diana interpreting some different material, and doing it with her usual style and panache, then this album is for you. It is also for you if you like jazz and have a genuine appreciation for the intimate relationship between jazz and the blues. It is also for you if you like Diana's husky delivery, which suits some of this material really well.

No comment directly on some of the other reviews, but "pompous", "ignorant about the roots of jazz", not to mention "narrow minded" are comments that might apply to some of them. Really, what do some of you expect? That she will simply reprise the material she and others have already done more than once? She's an artist - she needs to grow. Great Diana, more please. I think you're great at the classics, and my respect for you as an artist has increased as a result of this album. Keep listening to the 78s!
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on 20 July 2014
What is the purpose of listening to music? Surely it is for enjoyment and this disc so wonderfully invites you to fully enjoy it. Yes it is different from Diana Krall's usual recordings but I doubt that it is a permanent departure from her usual routes. So just forget labels as to which genre this recording belongs in because it covers many styles from the honky tonk We Just Couldn't Say Goodbye, the jazz styled Butterfly That's caught in the Rain, the country style Prairie Lullaby, the bluesy Lonely Avenue, the rocking I'm a Little Mixed Up, the very theatrical When the Curtain Comes Down and so on. This CD is pure enjoyment and to my way of thinking that is what it's all about.
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on 29 October 2012
Hmmm..... I must admit that the last two studio albums from Krall, which while very pleasant, were creating a strong sense of deja vu in me, and, much the same as Micheal Buble, she seemed to be in a complacent rut of similar arrangements of middle of the road crowd pleasers that offered little in the way of variety and development.

This new offering does at least attempt to take a new approach in presenting Krall as something more than an easy listening popular jazz artist, but unfortunately it's not a wholly successful exercise.

The cover of the CD, on which Krall is uncharacteristically and somewhat tastelessly portrayed as some Britney-like sex doll, is a clue to the changes within. The first few tracks, however, will lead you to think that you're in for another round of 'Quiet Nights', but suddenly by track 5 we're in the new world of the blues/ rock Diana, that only increases in its drawn out monotony as the album progresses.

Don't get me wrong, some of the tracks are very good indeed and are a refreshing diversion from the Krall norm, but the production of this album overall is rather muddy and does not pay homage to any instrument, including the vocals, except the electric guitar, which takes over as the main focus of extended bridge in too many of the tracks.

She does deserve some credit for attempting something different here, which in some tracks works fairly well, but the album as a whole won't appeal to fans of her earlier work, but neither will it appeal to rock or blues fans either, and this is its fundamental problem. It simply doesn't know what kind of album to be, and Krall really does seem to have come rather unstuck with this ill-advised muddle of styles.

Further listening might make it grow on you, but I can't help feeling, rather reluctantly, that Krall is going to be forced back into her comfort zone after this.

Too much, too soon, too muddled.

Shame.
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TOP 500 REVIEWERVINE VOICEon 11 November 2012
I have been waiting for a new album from Ms Krall, and was a little shocked and dismayed by the cover image, which is surely not necessary to sell this excellent musicians work. (Hence only 4 stars)

Getting beyond this....

It is however a gem of an album with no fancy orchestras, just simple ballads and songs performed very well indeed.

(It is after all that husky voice that is Diana Krall), and in this album we get to enjoy that voice at its very best with minimal backing.

An excellent album, which I have been listening to over and over again...
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on 31 January 2016
My first foray into Mrs Costello's work. And its very easy listening, nice Sunday morning chill out music.
Spread over four sides of heavyweight vinyl (the way music should be played, apart from live!) Well produced by Tbone Burnett who work on M's Krall's husband's work is much to be admired.
Very sexy cover!
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on 8 November 2012
I bought this on the strength of the producer and band. If T. Bone Burnett can do it for Plant and Krauss, can he do it for Diana too? Well, yes. Only quibbles: the lengthy 'Lonely Avenue' doesn't quite make it, and I could do without Husband Elvis's circus barker turn on 'When The Curtain Comes Down'. If you like Plant & Krauss, Buddy Miller's, 'Majestic Silver Strings', Tom Waits etc., this should be right up your street. It's a big departure though and if you're a diehard crooning-Krall fan this may not be for you. My old dad likes it though.
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on 26 October 2012
Like many who have posted reviews, I love Diana Krall's music, with just about everything she's done in the CD rack. Unlike quite a few, I think this is a great album.

Yes, it is different, with many numbers culled from early '20s and '30s jazz; within the mix are some beautiful ballads, and two tracks that will be really enjoyed by those who love it when jazz meets the blues ('I'm A Little Mixed Up' and 'There Ain't No Sweet Man That's Worth the Salt of My Tears').

What do Diana Krall fans want? - that she continues only to work through the Great American Songbook of predominantly '50s and '60s jazz standards, as she has mainly done? (The exception to this is 'The Girl in the Other Room', half of which was written by her and husband Elvis Costello, with other tracks by Tom Waits, Joni Mitchell, etc.) She probably will do more standards albums, and - if so - I expect I'll enjoy them as much as the others. But this album offers something different as well from her, with excellent supporting musicianship too (I found the guitar work throughout a real joy).

So, a Diana Krall album with nothing by Cole Porter, Irving Berlin or Gershwin in sight (or sound)? Yes, and it's good. This is not 'Fly Me to the Moon', true; but just enjoy the journey to a different place!
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on 16 October 2012
An album out of leftfield or even her comfort zone for Diana Krall. Its actually very good. Another great T Bone Burnette production. You wont find any Bossa Nova or sumptuous strings here. She is probably into Marianne Faithfull territory here without the croak. You could argue that her voice is not suited to this type of material and on some tracks I found myself thinking that but on the tracks where she is not fighting against the backing it works very well. I think that Burnette has been very clever here - normally you would expect to hear horns on this type of material but if he had used them then I think Diana would have been swamped. Some of the arrangements are almost like quirky Tom Waits Swordfishtrombones era arrangements - helped by having Marc Ribot on guitars on many tracks. He has also used unobtrusive etherial keyboard drones/washes by a certain Mr Keefus Ciancia which annoyed me at first but by the end you grow to really like them. Recommended - but only if you dont want more of the same old same old.
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on 2 April 2013
Being so different from the smooth, sexy, seductive mood of most of her previous records, this was a wonderful surprise. How
different is her rendition of the title track from that of Johnnie Ray! Diana's piano playing is, as always, comparable with that of
Nat Cole: what higher praise could there be? If you don't own it, get it.
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