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▄▓▀▀ ▀████▓▄█▓▓▓███▓█▓▀▀▀ TEAM RNS PRESENTS ▄■ ▐█▄▓██
▀ ▀██░▐██▀▀ ▐█▄ ▄██▌ ▄██▌░█▌
▀ ▄▄ ▀█▄▀██▄▄████▌ARTIST: Diana Krall ▐████▄███▀▄█▀ ▄▄
▄██▌ ▀▓▄▀██▄▀▀▀ ▀▀▀▄██▀▄▓▀ ▐██▄
█████▄ ▐█▌▐███▄ TITLE: The Girl In The Other Room ▄███▌▐█▌ ▄█████
███████▄▄▄▓░ ▓█████ ██████▄░▓▄▄▄███████
▀█████▓▄▄▄█▐▓█████▌ LABEL: Verve / Universal ▐█████▓▌█▄▄▄▓█████▀
▀▀████▀▀▄██████▀ ▀██████▄▀▀████▀▀
▄▄▀▀ ▄██████▀ RIPPER: Team RNS ▀██████▄
▄ ▀ ▄██████▀ ▀██████▄
▄█▓▀ ▄██████▀ ▀██████▄
██▌ ▐██████▌ ▐██████▌
▀██▄ ▐██████ 190kbps avg - Jazz ▐▓█████▌
▀██▄ ▀█████▌ 1hr 5min total- 93.9mb ██████▀
▄▄▀▀███▄▄▀▀███▄ ███▓▀▀
█▓ ▀▀██▄ ▀██▄ RELEASE DATE: 2004-04-12 ██▀
▀▓▄ ▐██▌ ▐██▓▄ RIP DATE: 2004-03-30 ▄██▌
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█████▌ ▄█▓█ ▐███ ▐█████
▀█████▄ ▄▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ track list ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ ---------- ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ 01 Stop This World 3:59 ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ 02 The Girl In The Other Room 4:05 ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ 03 Temptation 4:27 ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ 04 Almost Blue 4:04 ▀█████▄
▄█████▀ ▀▄▄ 05 I've Changed My Address 4:47 ▄▄▀ ▀█████▄
▐█████ ▐█▓ 06 Love Me Like A Man 5:49 ▓█▌ █████▌
█████▌ ███▌ 07 I'm Pulling Through 4:02 ▐███ ▐█████
▀█████▄ ▓██▓ 08 Black Crow 4:49 ▓██▓ ▄█████▀
▀▀███████▀ 09 Narrow Daylight 3:32 ▀█████████
▀▀██▄ 10 Abandoned Masquerade 5:11 ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ 11 I'm Coming Through 5:07 ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ 12 Departure Bay 5:49 ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ 13 I'll Never Be The Same (Bonus 4:47 ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Track) ▀█████▄
▀▀███▀██████▀ ▀▄▄ 14 Sometimes I Just Freak Out 5:16 ▄▄▀ ▀█████▄
▐█████ ▐█▓ (Bonus Track) ▓█▌ █████▌
█████▌ ███▌ ▐███ ▐█████
▀█████▄ ▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ release notes ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ The depth of feeling which lies behind ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ the beautiful faτade of Diana Krall's ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ highly successful Verve releases has ▀█████▄
▄█████▀ ▀▄▄ always been known to her most ▄▄▀ ▀█████▄
▐█████ ▐█▓ appreciative listeners. However, with ▓█▌ █████▌
█████▌ ███▌ her latest album, The Girl In The ▐███ ▐█████
▀█████▄ ▓██▓ Other Room, Krall not only illustrates ▓██▓ ▄█████▀
▀▀███████▀ her understanding of the breadth of ▀█████████
▀▀██▄ possibilities in the jazz idiom but also ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ reveals her talent as a songwriter. ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ Indeed, the title song of the record is ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ a Krall original. While some may be ▀█████▄
▀▀███▀██████▀ ▀▄▄ attracted to the lyrical portrait of a ▄▄▀ ▀█████▄
▐█████ ▐█▓ mysterious woman distracted by love ▓█▌ █████▌
█████▌ ███▌ (and note in passing that the words ▐███ ▐█████
▀█████▄ ▓██▓ were co-written with Elvis Costello), ▓██▓ ▄█████▀
▀▀███████▀ the ear is drawn to the elegant and ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ effortlessly swinging accompaniment of ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ Krall's piano and that of her long-time ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ partners in rhythm: Jeff Hamilton on ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ drums and bassist, John Clayton. ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ ▀█████▄
▄█████▀ ▀▄▄ For much of the album, the musical ▄▄▀ ▀█████▄
▐█████ ▐█▓ support comes from drummer Peter ▓█▌ █████▌
█████▌ ███▌ Erskine and bassist Christian McBride. ▐███ ▐█████
▀█████▄ ▓██▓ The inventive and sympathetic guitar ▓██▓ ▄█████▀
▀▀███████▀ playing of Anthony Wilson is heard ▀█████████
▀▀██▄ throughout a record that which also ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ features drummer Terri Lynne Carrington ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ and Neil Larson sitting in on Hammond ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ B-3 for one cut. ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ ▀█████▄
▀▀███▀██████▀ ▀▄▄ The album is the first co-produced by ▄▄▀ ▀█████▄
▐█████ ▐█▓ Krall and her long-time producer Tommy ▓█▌ █████▌
█████▌ ███▌ LiPuma. Recorded at Capitol Studios, ▐███ ▐█████
▀█████▄ ▓██▓ Hollywood and Avatar Recording, New ▓██▓ ▄█████▀
▀▀███████▀ York City, the sessions were engineered ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ throughout 2003 by another long-term ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ cohort, Al Schmitt. ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ Listeners used to Krall's intimate and ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ seductive interpretations of standard ▀█████▄
▄█████▀ ▀▄▄ ballads may be surprised at first by her ▄▄▀ ▀█████▄
▐█████ ▐█▓ present choice of composers. Take a ▓█▌ █████▌
█████▌ ███▌ listen to her take on Mose Allison's ▐███ ▐█████
▀█████▄ ▓██▓ timely blues, "Stop This World" or the ▓██▓ ▄█████▀
▀▀███████▀ driving and joyfully carnal "Love Me ▀█████████
▀▀██▄ Like a Man" (with its final chorus salute ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ to Count Basie) and you will hear a ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ singer, bandleader and piano player in ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ her top form. ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ ▀█████▄
▀▀███▀██████▀ ▀▄▄ Krall's sensual approach to Tom Waits' ▄▄▀ ▀█████▄
▐█████ ▐█▓ "Temptation," with its extraordinary ▓█▌ █████▌
█████▌ ███▌ introduction by Christian McBride, is ▐███ ▐█████
▀█████▄ ▓██▓ balanced by Krall's own exquisite ▓██▓ ▄█████▀
▀▀███████▀ preface to a most tender rendition of ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ Elvis Costello's "Almost Blue." A ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ beautifully reflective version of a ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ relatively obscure standard, "I'm ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ Pulling Through," recalls the style of ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ her teacher, Jimmy Rowles. ▀█████▄
▄█████▀ ▀▄▄ ▄▄▀ ▀█████▄
▐█████ ▐█▓ The spirit of Rowles and an ▓█▌ █████▌
█████▌ ███▌ apprenticeship of the jazz club ▐███ ▐█████
▀█████▄ ▓██▓ experiences is inspiration for one of ▓██▓ ▄█████▀
▀▀███████▀ KrallÆs new compositions, "I've Changed ▀█████████
▀▀██▄ My Address," only as Krall reflects, ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ revisiting some of these venues can be a ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ shock: "Everything looks pretty much ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ the same but the place is now a sports ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ bar and there is pool table where there ▀█████▄
▀▀███▀██████▀ ▀▄▄ used to be a piano." ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ While so much of the music is new, the ▐███ ▐█████
▀█████▄ ▓██▓ album itself recalls a vinyl disc of ▓██▓ ▄█████▀
▀▀███████▀ two sides. The bold and flowing solos ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ from Krall and guitarist Anthony Wilson ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ on Joni Mitchell's song of travel, ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ "Black Crow," announce a series of ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ original songs that speak of family and ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ of love, but also of enduring the grievous ▀█████▄
▄█████▀ ▀▄▄ loss of a parent. As Krall explained ▄▄▀ ▀█████▄
▐█████ ▐█▓ recently: "I went through a series of ▓█▌ █████▌
█████▌ ███▌ deep personal losses and changes. ▐███ ▐█████
▀█████▄ ▓██▓ So...this is what I did instead of ▓██▓ ▄█████▀
▀▀███████▀ shutting the door and saying æI can't ▀█████████
▀▀██▄ deal with itÆ". ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ So it is that the gospel changes of the ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ hopeful "Narrow Daylight" give away to ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ the sophisticated blues of "Abandoned ▀█████▄
▀▀███▀██████▀ ▀▄▄ Masquerade." It is this song that most ▄▄▀ ▀█████▄
▐█████ ▐█▓ clearly expresses the need (for now at ▓█▌ █████▌
█████▌ ███▌ least) for the singer to step out from ▐███ ▐█████
▀█████▄ ▓██▓ behind the beautiful romantic illusions ▓██▓ ▄█████▀
▀▀███████▀ found in so many songs of the past. Once ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ again, the music leaves the listener in ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ no doubt that they are hearing the work ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ of a jazz composer. ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ The gently defiant tone of "I'm Coming ▀█████▄
▄█████▀ ▀▄▄ Through" marks another subtle shift of ▄▄▀ ▀█████▄
▐█████ ▐█▓ musical scene with wonderful playing ▓█▌ █████▌
█████▌ ███▌ from Anthony Wilson. The content of ▐███ ▐█████
▀█████▄ ▓██▓ these last songs is undoubtedly the ▓██▓ ▄█████▀
▀▀███████▀ most specifically personal material yet ▀█████████
▀▀██▄ recorded by Diana Krall. ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ The album closes with perhaps the most ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ deeply felt of the self-composed titles. ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ "Departure Bay" contains vivid and ▀█████▄
▀▀███▀██████▀ ▀▄▄ touching images of her hometown of ▄▄▀ ▀█████▄
▐█████ ▐█▓ Nanaimo on Vancouver Island but also a ▓█▌ █████▌
█████▌ ███▌ wrenching description of her family's ▐███ ▐█████
▀█████▄ ▓██▓ first Christmas without her mother and ▓██▓ ▄█████▀
▀▀███████▀ a final verse that welcomes new love and ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ hope for the future. ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ Musically composed by Krall alone, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ these songs mark a lyrical collaboration ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ with her new husband, Elvis Costello. ▀█████▄
▄█████▀ ▀▄▄ Explaining how they worked, Krall said: ▄▄▀ ▀█████▄
▐█████ ▐█▓ "I wrote the music and then Elvis and I ▓█▌ █████▌
█████▌ ███▌ talked about what we wanted to say. I ▐███ ▐█████
▀█████▄ ▓██▓ told him stories and wrote pages and ▓██▓ ▄█████▀
▀▀███████▀ pages of reminiscences, descriptions and ▀█████████
▀▀██▄ images, and he put them into tighter ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ lyrical form. For "Departure Bay," I ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ wrote down a list of things that I love ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ about home, things I realized were ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ different, even exotic, now that I've been ▀█████▄
▀▀███▀██████▀ ▀▄▄ away". ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ Songs often suggest and recall moments ▐███ ▐█████
▀█████▄ ▓██▓ in our own lives and listeners must ▓██▓ ▄█████▀
▀▀███████▀ surely be aware that Diana Krall's ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ previous recordings contained many ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ personal but private meanings for the ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ artist. On The Girl In The Other Room, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ what was once partly hidden has been ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ brought beautifully into view. ▀█████▄
▄█████▀ ▀▄▄ ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ Born In Nanaimo, Britsh Colombia (not ▐███ ▐█████
▀█████▄ ▓██▓ far from Vancouver), Diana Krall grew ▓██▓ ▄█████▀
▀▀███████▀ up in the western part of Canada and ▀█████████
▀▀██▄ began studying the piano when she was ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ four years old. By the time she was 15, ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ she was playing jazz in a local ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ restaurant/bar. One person who ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ encouraged her interest in music was her ▀█████▄
▀▀███▀██████▀ ▀▄▄ father, a stride pianist with a vast ▄▄▀ ▀█████▄
▐█████ ▐█▓ knowledge of such Twenties and Thirties ▓█▌ █████▌
█████▌ ███▌ keyboard masters as Fats Waller, James ▐███ ▐█████
▀█████▄ ▓██▓ P. Johnson, and Earl Hines. "I think ▓██▓ ▄█████▀
▀▀███████▀ Dad had every recording Fats Waller ever ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ made," she says, "and I tried to learn as ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ many as I could." ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ Krall was still a teenager when she was ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ awarded a scholarship to the prestigious ▀█████▄
▄█████▀ ▀▄▄ Berklee College of Music in Boston. ▄▄▀ ▀█████▄
▐█████ ▐█▓ After two years in Boston, she moved to ▓█▌ █████▌
█████▌ ███▌ Los Angeles, where she met her first ▐███ ▐█████
▀█████▄ ▓██▓ jazz heavyweights, including John ▓██▓ ▄█████▀
▀▀███████▀ Clayton, pianist/singer Jimmy Rowles, ▀█████████
▀▀██▄ and Ray Brown, the legendary bassist who ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ served as her musical mentor (and played ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ on Only Trust Your Heart). Krall had ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ lived in Los Angeles for three years ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ when she moved to Toronto, and it was a ▀█████▄
▀▀███▀██████▀ ▀▄▄ Canadian label that gave her a chance to ▄▄▀ ▀█████▄
▐█████ ▐█▓ record for the first time. In 1993, the ▓█▌ █████▌
█████▌ ███▌ Montreal-based Justin Time Records ▐███ ▐█████
▀█████▄ ▓██▓ released her debut album, Stepping Out. ▓██▓ ▄█████▀
▀▀███████▀ In 1994, she signed with GRP and ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ recorded Only Trust Your Heart, which ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ featured Brown on bass and Stanley ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ Turrentine on tenor saxophone and ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ marked the beginning of her association ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ with Tommy LiPuma (who has worked with ▀█████▄
▄█████▀ ▀▄▄ everyone from Barbra Streisand to George ▄▄▀ ▀█████▄
▐█████ ▐█▓ Benson). ▓█▌ █████▌
█████▌ ███▌ ▐███ ▐█████
▀█████▄ ▓██▓ Since then, LiPuma has produced all of ▓██▓ ▄█████▀
▀▀███████▀ Krall's subsequent albums for GRP, ▀█████████
▀▀██▄ Impulse!, and Verve, including All for ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ You: A Dedication to the Nat "King" Cole ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ Trio (1995), Love Scenes (1997), When I ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ Look In Your Eyes (1998), The Look of ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Love (2001), and Live in Paris (2003). ▀█████▄
▀▀███▀██████▀ ▀▄▄ "That was the first time I had produced ▄▄▀ ▀█████▄
▐█████ ▐█▓ that many albums in a row for any ▓█▌ █████▌
█████▌ ███▌ artist," he says. "Diana and I have ▐███ ▐█████
▀█████▄ ▓██▓ such a good chemistry between us -- it ▓██▓ ▄█████▀
▀▀███████▀ makes it easy. When one of us makes a ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ suggestion, the other listens in earnest. ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ We have tremendous respect for one ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ another." ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ Krall grew increasingly popular throughout ▀█████▄
▄█████▀ ▀▄▄ the Nineties. Only Trust Your Heart, All ▄▄▀ ▀█████▄
▐█████ ▐█▓ for You, and Love Scenes all sold well, ▓█▌ █████▌
█████▌ ███▌ but the album that put her over the ▐███ ▐█████
▀█████▄ ▓██▓ top commercially was When I Look in ▓██▓ ▄█████▀
▀▀███████▀ Your Eyes. In addition to spending 52 ▀█████████
▀▀██▄ weeks in the #1 position on Billboard's ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ jazz chart, When I Look in Your Eyes won ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ GRAMMY«Æs in two categories, Best Jazz ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ Vocal Performance and Best Engineered ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Album, Non-Classical, and received a ▀█████▄
▀▀███▀██████▀ ▀▄▄ GRAMMY« nomination in the Album of the ▄▄▀ ▀█████▄
▐█████ ▐█▓ Year category-putting Krall in ▓█▌ █████▌
█████▌ ███▌ competition with Santana, the ▐███ ▐█████
▀█████▄ ▓██▓ Backstreet Boys, the Dixie Chicks, and ▓██▓ ▄█████▀
▀▀███████▀ TLC. ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ Needless to say, it isn't every day that ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ an acoustic-oriented jazz improviser ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ finds herself competing with major rock, ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ country, urban, and teen-pop stars for a ▀█████▄
▄█████▀ ▀▄▄ GRAMMY« award. Nor is it every day that ▄▄▀ ▀█████▄
▐█████ ▐█▓ a jazz improviser becomes a major ▓█▌ █████▌
█████▌ ███▌ attraction at the Lilith Fair ▐███ ▐█████
▀█████▄ ▓██▓ festival, founded by singer/songwriter ▓██▓ ▄█████▀
▀▀███████▀ Sarah McLachlan to spotlight female ▀█████████
▀▀██▄ pop-rock and pop artists. But in 1998, ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ Krall had no problem winning over a ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ young, predominantly female audience ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ more likely to be into Sheryl Crow or ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Alanis Morissette than Abbey Lincoln or ▀█████▄
▀▀███▀██████▀ ▀▄▄ Chris Connor. ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ When I Look in Your Eyes eventually ▐███ ▐█████
▀█████▄ ▓██▓ went platinum in the United States ▓██▓ ▄█████▀
▀▀███████▀ (where it sold over one million units), ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ double platinum in Canada, platinum in ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ Portugal, and gold in France. It was a ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ hard act to follow, but Krall's next ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ album, The Look of Love, would also be ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ an impressive seller. Released in ▀█████▄
▄█████▀ ▀▄▄ September 2001, it entered the Billboard ▄▄▀ ▀█████▄
▐█████ ▐█▓ 200 at #9 and sold 95,000 copies in the ▓█▌ █████▌
█████▌ ███▌ U.S. alone in its first week. ▐███ ▐█████
▀█████▄ ▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ "The thing about Diana is her ▀█████████
▀▀██▄ musicianship," Al Schmitt said in an ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ interview with the Los Angeles Times. ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ "More than most singers, she knows ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ what's right for her, and she knows how ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ to make it happen musically." ▀█████▄
▀▀███▀██████▀ ▀▄▄ ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ ▐███ ▐█████
▀█████▄ ▓██▓ New album with 2 bonus tracks, #13 for ▓██▓ ▄█████▀
▀▀███████▀ UK and Japan, and #14 for Japan only. ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ ▄██▀▀■ ▀████▄
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