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Rating: There's a lot of talk that the reviewer should be absolutely objective and impartial, that their judgment should be strict and unwavering, and so on. However, when an album like this comes across, with the first impression of the cover being amply confirmed in the inner aspects with numerous pleasant variations, one realizes that if something has become rigid in the meantime, it’s certainly not the judgment. As if that wasn't enough, from the first listen, one is compelled to ask the good Lord: "how come, "o you or whoever for you" (scholarly quote from Ligabue) to someone who already presents herself so, you also give a perfect voice, clear and balanced as a gift?".
The critical sense languishes, frustrated by these immediate reactions, but when it finally resurfaces, it immediately finds something to sink its sharp teeth into. Meanwhile, it's evident that Diana Krall has uncommon vocal talents, but in the way she uses them, she somewhat reminds me of someone using a cannon to kill mosquitoes. Meaning that from such a powerful, deep, and sensual voice, one would expect a tone a little less monotonous. Instead, if we exclude a few moments ("Cry Me A River") where the ice lolly seems on the verge of melting, the album slides by cradling us with the somewhat mechanical sound of a technically impeccable, but utterly impersonal voice. One wonders where the passion went, and as the exact counterpart to the statuesque blonde, we think of the "frog" Nina Simone with her croaky and tar-like voice that, however, provided continuous emotion. With the same formal perfection used in singing, this beautiful creature dispenses her chilly piano notes, without smudges (and that’s no small feat), but if I had to find some adjective for her touch, or even compare it to that of a real jazz pianist, I’d be truly at a loss.
It's worth specifying that, although generally classified as a jazz singer, our Diana actually belongs to the "nostalgic" branch of this music, one that refers to the great crooners of the past (Frank Sinatra first and foremost, but in her case, it would be better to say Barbra Streisand). We are at the border between jazz and light music, and in such a collection, even the old refrain "Besame Mucho" can end up, albeit in an elegant bossa nova version. The date of the album (2001) is fictitious: we are essentially stuck in the immediate post-war period, with the big musical orchestras of the '40s and '50s. Here, even a symphonic orchestra is used as a substitute, one of the more respectable ones, the London Symphony Orchestra, further waste of resources in an album dripping with blatant luxury.
What could an album of this kind ever contain? Obvious answer: "standards", classics of jazz and its immediate surroundings, from Gershwin to Bacharach passing through Carmichael. Classics masterfully arranged, both those maintained in the traditional "ballad" form, which the mighty orchestra seems to render slower and more solemn, and those converted into moderate, sometimes too moderate, bossa nova, to the point that Paulinho Da Costa's percussions struggle to perforate the orchestral armor and give that liveliness expected. The alternation is coldly schematic: odd track = bossa nova, even track = ballad. Among the better results is the Brazilian Gershwin of "'S Wonderful", which opens the album. One wonders if the author of "Rhapsody in Blue" could ever imagine being cooked in this sauce, but given his openness towards Latin rhythms ("Cuban Ouverture"), he probably would not have minded this version. More generally, it seems to me that the Brazilian attire suits most of these old hits very well: another valid example is "Dancing In The Dark", where Diana allows herself even a timid piano solo... sure, if I think of the same song played by Miles Davis and Cannonball Adderley, it's no contest. But this beautiful blonde is not to be compared to those giants, but rather to the various neo-crooners like Bublé who, taking advantage of the terrifying musical void of these years, are successfully reintroducing a sound of at least fifty years ago.
In this glossy world, our Diana can cut a fine figure, and not just for the more prominent qualities. Moreover, the interpretation of "Cry Me A River" demonstrates that the vocal arsenal of Diana Krall, if employed with the proper passion, can yield surprising results, which go far beyond the icy perfection of this nonetheless appreciable and elegant collection of music, which I would define as "parlor music", excellent more than anything else as background.
Tracklist Lyrics and Videos
04 Cry Me a River (05:03)
Now you say you're lonely
You cry the long night through
Well, you can cry me a river
Cry me a river
I cried a river over you
Now you say you're sorry
For being so untrue
Well, you can cry me a river
Cry me a river
I cried a river over you
You drove me, nearly drove me, out of my head
While you never shed a tear
Remember, I remember, all that you said?
You told me love was too plebeian
Told me you were through with me and
Now you say you love me
Well, just to prove that you do
Come on and cry me a river
Cry me a river
I cried a river over you
I cried a river over you
I cried a river...over you...
05 Besame Mucho (06:40)
Besame, besame mucho
como si fuera esta la noche
la ultima vez
Besame, besame mucho
que tengo miedo a tenerte y
perderte despues
Besame, besame mucho
como si fuera esta la noche
la ultima vez
Besame, besame mucho
que tengo miedo a tenerte y
perderte despues
Quiero sentirte muy cerca
mirarme en tus ojos
verte junto a mi
Piensa que tal vez ma�ana
yo ya estare muy lejos,
muy lejos de aqui...
Besame, besame mucho
como si fuera esta
la noche la ultima vez
Besame, besame mucho
que tengo miedo a tenerte y perderte despues
06 The Night We Called it a Day (05:43)
There was a moon out in space,
But a cloud drifted over its face.
You kissed me and went on your way
The night we called it a day.
I heard the song of the spheres
Like a minor lament in my ears.
I hadn't the heart left to pray
The night we called it a day.
Soft through the dark
The hoot of an owl in the sky
Sad though his song
No bluer was he than I.
The moon went down stars were gone,
But the sun didn't rise with the dawn.
There wasn't a thing left to say
The night we called it a day.
There wasn't a thing left to say
The night we called it a day.
07 Dancing in the Dark (05:48)
Dancing in the dark 'til the tune ends
We're dancing in the dark and it soon ends
We're waltzing in the wonder of why we're here
Time hurries by, we're here and we're gone
Looking for the light of a new love
To brighten up the night, I have you love
And we can face the music together
Dancing in the dark
What - though love is old
What - though song is old
Through them we can be young
Hear this heart of mine
Wailin' all the time
Dear one, tell me that we're one
Looking for the light of a new love
To brighten up the night, I have you love
And we can face the music together
Dancing in the dark, dancing in the dark
Dancing in the dark
08 I Get Along Without You Very Well (03:44)
I get along without you very well,
Of course I do,
Except when soft rains fall
And drip from leaves, then I recall
The thrill of being sheltered in your arms.
Of course, I do,
But I get along without you very well.
I've forgotten you just like I should,
Of course I have,
Except to hear your name,
Or someone's laugh that is the same,
But I've forgotten you just like I should.
What a guy, what a fool am I,
To think my breaking heart could kid the moon.
What's in store? Should I phone once more?
No, it's best that I stick to my tune.
I get along without you very well,
Of course I do,
Except perhaps in Spring,
But I should never think of Spring,
For that would surely break my heart in two.
10 Maybe You'll Be There (05:40)
Each time I see a crowd of people
Just like a fool I stop and stare.
It's really not the proper thing to do,
But maybe you'll be there
I go out walking after midnight
Along the lonely thoroughfare.
It's not the time or place to look for you,
But maybe you'll be there.
You said your arms would always hold me.
You said you lips were mine alone to kiss.
Now after all those things you told me,
How can it end like this?
Someday if all my prayers are answered
I'll hear a footstep on the stair.
With anxious heart I'll hurry to the door,
And maybe you'll be there.
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