Diana Krall ~ Krall-ing jazz
被誉为加拿大爵士乐坛最令人期待的音乐人Diana Krall，自2003年12月6日与英国摇滚大师Elvis Costello结婚后，近十年间确较少露面。她婚后的首张专辑The Girl In The Other Room成Billboard专辑榜第四位，更高佔Top Jazz Album Chart冠军；05年一张Christmas Album后，於2006年再推出她第八张专辑From This Moment On，演唱了It Could Happen To You、From This Moment On、I Was Doing All Right…等曲，大受好评，同样成Billboard Top Jazz Album Chart冠军，实力依然。2009年Krall推出第九张专辑Quiet Nights，此碟中她首次伙拍德国作曲兼指挥家Claus Ogerman，这次合作更带出Diana Krall的独特风采。Claus过往曾与Antonio Carlos Jobim、Frank Sinatra合作，是现代流行/爵士大师；在Quiet Nights中，Diana Krall演绎了Where Or When、The Boy From Ipanema、You Are My Thrill、Quiet Nights、Everytime We Say Goodbye、How Can You Mend A Broken Heart…等，普及而完全表达出Diana Krall的音乐份量，高贵雍容。
相隔三年，Diana Krall推出全新专辑Glad Rag Doll，略带性感的封面，多少也说明她在这专辑走的新方向；唱片封面由美国摄影大师Mark Seliger拍摄，他曾在Rolling Stones任摄影师，为此著名音乐杂誌拍了超过100个封面；2010年他移居New York，也为GQ和Vanity Fair时装杂誌拍摄，以构思独特色彩强烈而为人称许。Glad Rag Doll找来著名的T-Bone Burnett监制，合作后Burnett表示︰「Diana不愧为伟大的摇滚钢琴演奏家与音乐人。」
碟内选唱了十三首歌曲，Diana以piano woman的姿态演绎，将swing、rock、jazz味溶合得独具一格。碟内包括Diana Krall自少便深爱Doc Pomus的一曲Lonely Avenue，这是1928年的旧作，Doc Pomus是十九世纪初著名blues创作歌手，更被列入「音乐名人堂」。而一曲Just Like A Butterfly That's Caught In The Rain，她站在1890年Steinway钢琴旁拍下一张美丽照片，将这首1927年Tin Pan Alley名曲Harry M Woods的作品演绎出新的风采。不容错过的Diana Krall新作，从外表、音乐都令你深爱，期待三年多也无白费。
10月2日发行，自从 Philly 兄於脸书贴图后，就注意这张唱片的发行，不过她大姐 1964.11.16 生的，现在 48 岁了，身材保养得很好了。
吐槽封面也都是唱片公司的错，但是专辑本身，是非常优秀的。希望大家不要因为封面而对专辑质量产生怀疑。这应该是Diana最近这么多年最为优秀的一张唱片，距离上张获得全球性成功的Quiet Nights专辑已经过去了三年时间，而新专辑也是准备了很长的时间，目的就是让全新大碟再次为全球乐迷献上了更加奢华的爵士听觉盛宴。17首歌的超足大碟，想必爵士歌迷真是大饱耳福了。专辑还是主打Diana一直擅长蓝调和bossa nova的爵士风格，只是这张专辑风格比起之前的专辑更加复古和纯粹，Diana做这张专辑的目的似乎就是要做一样最返璞归真和朴实风格的专辑，来呈现她心中最本质的爵士乐。
全球1500万专辑销量，最近10年来爵士歌手最高销量，作为一个爵士歌手，有著这样的销量，确实太惊人了！毫无争议，Diana Krall是当今爵士乐坛第一女王，她那黄金般的优质嗓音，媲美历史任何一代爵士歌后的詮释歌曲能力以及雄厚的演唱功底，以及她那清新小资的爵士风格，完美的爵士乐器演奏能力，让整个爵士爱好者世界无不为她痴迷和疯狂，她的专辑，即使不是爵士爱好者，也会喜欢和聆听，相比多少乐迷是因为最先喜欢Diana Krall，然后被她带入到美妙的爵士音乐世界呢。已经47岁的Diana Krall依旧保持著相当出色的状态和创造力，依旧是这个地球上当今最为顶尖的爵士艺术家，希望这个给全球乐迷带来无数优质爵士乐的音乐天使，能在新的年纪中有更大的突破。
Audio CD (October 2, 2012)
Original Release Date: 2012
Number of Discs: 1
release date: September 25, 2012
genre: Jazz, Vocal
styles: Vocal Jazz, Standards, Traditional Pop, Contemporary Jazz
[-] by Thom Jurek
For only the second time in her career, jazz pianist and vocalist Diana Krall deviates from her tried, true m.o. of covering easily identifiable jazz standards. On Glad Rag Doll she teams with producer T-Bone Burnett and his stable of studio aces.
Here the two-time Grammy winner covers mostly vaudeville and jazz tunes written in the 1920s and '30s, some relatively obscure. Most of the music here is from her father's collection of 78-rpm records. Krall picked 35 tunes from that music library and gave sheet music to Burnett. He didn't reveal his final selections until they got into the studio. Given their origins, these songs remove the sheen of detached cool that is one of Krall's vocal trademarks. Check the speakeasy feel on opener "We Just Couldn't Say Goodbye," with Marc Ribot's airy chords, Jay Bellerose's loose shuffle, and Dennis Crouch's strolling upright bass. Krall's vocal actually seems to express delight in this loose and informal proceeding -- though her piano playing is, as usual, tight, top-notch. The shimmering sentimental nocturnal balladry there gives way to swing in "Just Like a Butterfly That's Caught in the Rain," which stands out because of the interplay between Ribot's ukulele, a pair of basses, and Bellerose's brushes. Krall's vocal hovers; she lets the melody guide her right through the middle. On the title cut, her only accompanist is Ribot on an acoustic guitar. Being the best-known tune in the bunch, it's easy to compare this reading with many others, but Krall's breathy vocal fully inhabits the lyric and melody and makes them her own.
A few tracks stand apart from the album's theme. There's the modern take on Betty James' rockabilly single "I'm a Little Mixed Up," which allows Burnett to indulge himself a little and showcases a rarity: Krall playing rock & roll piano. The atmospheric reading of Doc Pomus' "Lonely Avenue" is somewhat radical, but is among the finest moments here. Burnett gets his obligatory reverb on here, but the weave of his and Ribot's guitars (and the latter's banjo) and the mandola by Howard Coward (Elvis Costello in one of several guest appearances) is arresting. The arrangement also contains an odd yet compelling reference to Miles Davis' "Right Off (Theme from Jack Johnson)"; Krall's piano solo is rife with elliptical, meandering lines and chord voicings. But vocally she gets inside the tune's blues and pulls them out with real authority. Glad Rag Doll is not the sound of Krall reinventing herself so much as it's the comfortable scratching of an old, persistent itch. The warmth, sophistication, humor, and immediacy present on this set make it a welcome addition to her catalog.
By Samuel Chell HALL OF FAMETOP 100 REVIEWER
Format:Audio CD|Amazon Verified Purchase
Frank Sinatra was the first artist to grasp the significance and potential of the new long-playing 33 rpm vinyl record format. Despite the rise of Ole Blue to "matinee idol," or "Elvis stature" in the 1940s, he still trailed by good measure the prolific Bing Crosby, who excelled in every genre of popular music--melodramatic movie music, Hawaiian melodies, Irish favorites, Broadway tunes, heated jazz (with scatting and whistling) and, of course, country-western. It seemed there was no "fencing in" this seminal voice of American popular song.
In the early 1950s, however, Sinatra seized the long-playing format and, together with orchestrator Nelson Riddle, released a series of artistically whole "concept" albums, each unified by a central theme, each composed of "old"songs from the '20s and '30s, each organized as a "suite" capable of holding the listener's attention for the twelve songs--all ballads, or all swing tunes, or all songs about subjects normally considered inappropriate for popular entertainment. Sinatra sang about loneliness, loss and aging--moreover, taking on the persona of the character in the song. He made you believe every word and, even before 1960, became the single most important creator of the "Great American Songbook."
The commercial and artistic success of the "concept albums" raised both Sinatra and Riddle in public esteem, leading many to proclaim Ole Blue the most compelling and poetic voice of the 20th century, or the best jazz singer, the hardest swinging vocalist of all. And for still others, he was the "master storyteller," the most nuanced interpreter of ballads, slowing them down to "undanceable" tempos while knitting together disparate parts of a song with his legendary "breathless phrasing."
Diana Krall does not begin to possess the vocal talent of Frank Sinatra (so often eclipsed by the Chairman of the Board/Rat Pack nonsense). But in "Glad Rag Doll" she is. like Sinatra, taking a reactionary direction by mining the tunes of the past. Moreover, she's centered the songs around the theme of a New Orleans "sporting house" lady, whose success depends on what Krall is good at--singing dispassionately in a sultry, undeniably pleasing manner but with limited emotional engagement with her material, in part because our attention is necessarily directed to her pianistic skills as much as her voice. On the cover on "Glad Rag Doll" she's dressed in black silk stockings and garters, and filmed on a couch or next to the parlor piano (perhaps meant to evoke the ragtime melodies of Jelly Roll Morton, the most colorful of all New Orleans Sportin' House pianists). At least, producers, performers, and all those responsible for the album have taken no chances that listeners will miss the provocative "narrative" as well as the persona responsible for carrying it.
It's a daring concept, but it remains to be seen how well it goes over. Much of the material is scarcely worthy of Krall's talents, yet she often seems to to come up short in executing it. (Listeners, including this one, may have to exercise more than the usual patience in playing and replaying the album before issuing a final judgement--the reason I'm at this point issuing a somewhat non-commital 3-star, or "good," rating. It's highly unlikely that the album will immediately appeal to those listeners whose criteria include: 1. swing; and 2. ownership of the material. The songs have a pre-Louis Armstrong mechanical beat that's an injustice to the creativity of 1920s musicians such as Armstrong, Duke Ellington, Earl "Fatha" Hines and even Jelly Roll. Without swing, what's left is the dramatic interest of the featured performer's persona as a Sportin' House lady and the songs she's required to sing for gentlemen's pleasure. As others have suggested, there's frequently a sense that she's not sufficiently "in control" of the material to ensure that it's expressive of her emotions or representative of her musical persona. Or perhaps that's the point: we are forced to regard her as a victim, a tragic waif forced to sing for the pleasure of jaded clientele who couldn't care less about the music.
Perhaps the foregoing role and scenario will immediately hold some listeners' attention, especially the singer-pianist's fans. But Diana Krall is no "stand-alone " singer (even the credits unfailingly bill her as responsible for "vocal and piano" for each selection. Her voice hovers around middle C, often remaining comfortably beneath the note. Even when piano is replaced by various guitars and "period piece" instruments, her vocal articulations frequently are over-shadowed by accompaniment that seems to occupy the foreground in the voice/instrumentation mix. (Sinatra developed his commanding talent through opera lessons, his breath reserves by watching Tommy Dorsey then subjecting himself to rigorous working out and studying with Met opera star Robert Merrill while closely observing singers like Billie Holiday for her "naturalness" and Mabel Mercer for her pure, musical diction. When he left the Dorsey Band in 1942, he was ready--destined to become not only the most popular baritone among American male singers but one of the few to reach fully textured Ab's (the territory normally reserved for tenors) at the end of an inspired Kern/Gershwin pop-operatic tunes such as "All the Things You Are" and "Where's My Bess?"
Albums (along with CD players) are continuing to slide in sales, and a piano-playing singer with a Julie London-like voice, however gifted, is arguably forced to try something different to attract and hold the public's attention. Maybe Diana will score with a surprisingly large number of Sportin' House patrons who purchase the album and choose to revisit it frequently. If so, she can be a "glad doll," but credit must be given to her producers as much as her vocal or pianistic skills.
Marc Ribot (Electric Guitar, Acoustic Guitar, 6-String Bass and Banjo),
T Bone Burnett (Guitars & Producer),
Howard Coward (Ukulele, Mandola, Tenor Guitar, Harmony Vocals),
Jay Bellerose (Drums),
Dennis Crouch (Bass),
Bryan Sutton (Guitars),
Colin Linden (Guitars, Dobro)
Keefus Green (Keyboards, Mellotron)
01. We Just Couldn't Say Goodbye
02. There Ain't No Sweet Man That's Worth the Salt of My Tears
03. Just Like a Butterfly That's Caught in the Rain
04. You Know I Know Ev'rything's Made for Love
05. Glad Rag Doll
06. I'm A Little Mixed Up
07. Prairie Lullaby
08. Here Lies Love
09. I Used to Love You But It's All Over Now
10. Let it Rain
11. Lonely Avenue
12. Wide River to Cross
13. When the Curtain Comes Down