Diana Krall – The Girl In The Other Room

Mrs Elvis Costello keeps it (largely) in the family

Trending Now

Fugazi’s Ian MacKaye: “We decided we were going to start a new scene”

The new issue of Uncut revisits the birth of post-hardcore in Washington DC

Mogwai: Album By Album

Founded in 1995 and initially a trio, Glasgow’s Mogwai made their debut with “Tuner/Lower”, a self-pressed seven-inch in thrall...

Pete Townshend looks back at The Who in 1967: “I don’t think I was angry”

Smashing guitars, hanging out with Small Faces and keeping Keith Moon onside

Introducing the Deluxe Ultimate Music Guide to Bob Marley

In-depths reviews and archive encounters with the reggae legend

Hugely successful but painfully average, Krall has regularly supplied incontrovertible evidence that contemporary jazz singing is in a bad way. Full marks at least, then, for ditching the supper-club fare for something notionally edgier.

Along with a cover of Elvis’ “Almost Blue” there are six Costello/Krall co-writes (the first time Krall’s committed a self-composition to record), all of which noticeably bear hubbie’s imprimatur, though his own way with a melody has often borne a jazz inflection, too. But it’s Krall’s voice that has always been her biggest problem: a dry-throated, husky, rock-ish thing, it’s hardly a jazz instrument and conveys little emotion; consequently these songs feel like elegant but bloodless conceits. She doesn’t get any juice out of Tom Waits’ “Temptation” either and, as jazz appropriations of Joni Mitchell’s “Black Crow” go, Krall’s take was always going to have a hard job matching Cassandra Wilson’s. As a pianist, she’s okay, her solos amiable but unsurprising. To paraphrase him indoors, TGITOR is almost touching, it will almost do.

Advertisement

Latest Issue

The Who, New York Dolls, Fugazi, Peggy Seeger, Scritti Politti, Bob Dylan, Marvin Gaye, Serge Gainsbourg, Israel Nash and Valerie June
Advertisement

Features

Advertisement