domingo, 19 de mayo de 2013

DIANA KRALL CONCERT: Austin City Limits Live at The Moody Theater 07.05.2013

Photos & Review: Diana Krall at ACL Live

In true jazzy tradition, Diana Krall’s restless creative spirit ensures that each tour is a markedly different adventure. In 2004, she unveiled some of her own songwriting for the first time and toured it with an intimate ensemble. In 2009, she donned evening gowns and sang in front of a 40-piece orchestra, highlighting the Samba-feel of her Quiet Nights album. Now she’s traveling farther back in time.

Finishing up the American leg of her current trek at the Moody Theater Tuesday night, Krall put an early-twentieth-century slant on her set that’s in-step with her most recent studio collection, the T-Bone Burnett-produced Glad Rag Doll. The disc revels in a vaudevillian time warp which she explained was largely inspired by 78rpm records her dad would play on his collection of old gramophones, one of which was perched at the far end of the stage.

Krall’s devotion to her craft elevates her beyond mere entertainer status; her dexterous piano playing and the breadth of her tastes have expanded her songbook into eclectic territories that never fail to surprise and delight. And while the new disc has received undue criticism as an ill-suited departure, the 48-year old Canadian wife of Elvis Costello proved that it fits right into her grand scheme, packing the obscure ragtime choices between standards and cherry-picked singer-songwriter surprises. The emphasis was on quality song choices more than any one genre.

Krall may have seemed a bit nervous when addressing the crowd, but her confidence spoke through the music, as she fearlessly sandwiched an eloquently-phrased cover of Neil Young’s “A Man Needs a Maid” between ancient tunes by Fats Waller and Fred E. Ahlert, all of which were performed on an upright player piano. If she were any less of a talent, the oddball stew of contemporary and classic would likely spoil. But with charisma and surprising pockets of vocal expression, she was able to meld tracks written by Buddy Miller and The Band with songs made famous by Ray Charles and Nat King Cole as if they were always meant to exist side-by-side. Out of context, her Latin-tinged take on Dylan’s “Subterranean Homesick Blues” could be construed as blasphemy, but the ballsy swagger oozing from her delivery made it hard to resist.

Dennis Crouch’s upright bass and Kareem Riggins’ drumming made certain Krall had a solid rhythm section beneath her, but the standout band members were Aram Bajakian on guitar - an Armenian New Yorker who's worked with folks like John Zorn and Lou Reed - and Stewart Duncan. Bajakian let loose on a number of impressive solos, in particular a scorching tear through Tom Waits' "Tempation." Duncan, meanwhile, is the game-changing factor for this tour, infusing choices far and wide with old-timey flair via fiddle, ukulele, and banjo. Krall admitted to being a lousy ukulele player, but said she still considered it a sexy instrument - particularly when played while submerged in a bathtub of gin once the kids are asleep.
“The lower the bathwater gets, the better it sounds,” she joked.

The nearly two-and-a-half-hour performance was set on a stage of crushed red velvet curtains, clamshell lights and a towering crescent moon. Throughout, a screen played vintage dancing girls, Fritz Lang-style film loops and cameo-clips of famous actors. Krall timed her entrance to a sequence featuring Steve Buscemi singing “When the Curtain Comes Down” as a way of leading into her own version of the song, which actually closes Glad Rag Doll.

Say what you will about Diana Krall, her sustained baby-boomer popularity and sexpot good looks… but there’s nothing jazzier than knowing how to break all the rules as well as she does.

Photos By Amy Price
Words By Chris Treacy

By Amy Price in Arts & Entertainment on May 13, 2013 11:03 AM


sábado, 11 de mayo de 2013

Concert: Sands Bethlehem Event Center adds Diana Krall

By Dustin Schoof | The Express-Times

on April 16, 2013 at 12:25 PM, updated April 16, 2013 at 12:27 PM

Jazz pianist Diana Krall returns Oct. 10 to the Sands Bethlehem Event Center in Bethlehem.
Express-Times Photo | CHRIS POST

Jazz singer-songwriter/pianist Diana Krall is the latest artist to set a return date to the Lehigh Valley.

Krall will perform 8 p.m. Oct. 10 at the Sands Bethlehem Event Center, according to the event center's website.

Tickets, which cost $65 to $89.50 for reserved seating and $109.50 for luxury seating, can be purchased through or by calling 800-745-3000.

Krall is married to musician Elvis Costello.

For more information, visit or

Diana Krall Autograph on RARE Photo Shoot Memorabilia

Extremely Rare!! Autographed by Diana Krall

For the serious collector, I offer an extremely rare piece of Diana Krall memorabilia. In 1999 Impulse produced a desk calendar highlighting jazz vocalist/pianist Diana Krall. Each month's calendar page featured different images of Diana taken from various photo shoots. Thousands of these calendars were sold in conjunction with a Christmas EP that was released. Now, one lucky buyer has the opportunity to own this original printers proof sheet. This sheet highlights 2 uncut complete calendars as proof sheets from the printing process, and has been hand signed by the musical artist (Diana Krall). There were only 5 or 6 of these uncut printer's proof sheets collected at the printer, and it is unknown if any of the others still exist or were signed. So, if you desire rarity, uniqueness and potential for investment in one of the biggest names in jazz music, then this is for you! Diana Krall's rise to fame has been phenomenal over the past 18 years and this proof sheet addresses her early works. The sheet is mounted on 1/4" foam board and is ready to be framed. Measuring approximately 39" x 23 ¼", it will be the highlight of your collection. From the personal collection of a former Verve executive, the provenance of this piece is guaranteed.

Item ID: 1643

miércoles, 8 de mayo de 2013

Photo: DIANA KRALL AND ELVIS COSTELLO (Keith Richards at Paul McCartney's Wedding Celebration)

Elvis Costello attends a celebration for the recent wedding of Sir Paul McCartney to Nancy Shevell at The Bowery Hotel in Manhattan.
(October 22, 2011 - Source:

domingo, 5 de mayo de 2013

Concert: DIANA KRALL - Verizon Theatre, Grand Prairie (TX), May 3, 2013

Diana Krall goes retro, but with a fresh touch, in Dallas concert

Published: 04 May 2013 02:53 PM
Updated: 04 May 2013 02:54 PM

Kye R. Lee/Staff Photographer

Some critics have dismissed Diana Krall’s new album of early 20 century music as a trip to “nostalgiaville,” which totally misses the point. When you play old songs as well as she did Friday night, they’re as fresh as anything on the radio today.

The Canadian jazz singer-pianist consciously played up the old-timey vibe at Verizon Theatre. On the left of the stage was an antique upright piano. On right, an old Victrola record player, which she cranked up to signal the end of the concert.

Delightful black-and-white movies screened above the stage throughout the show, from clips of Groucho Marx to dancing flappers to sci-fi fantasy sequences by George Melies, the French film pioneer immortalized in the 2011 film Hugo. The movies heightened the ambience, but never overshadowed Krall and her excellent five-man band.

She used her latest CD, Glad Rag Doll, as a springboard into a deep pool of retro sounds, from the obscure gospel-blues “Let it Rain” to Ray Charles’ hit “Lonely Avenue,” which she turned into an electric funk-rock strut. She summed up the show as “American music from a long time ago,” but that wasn’t entirely accurate.

Many high points arrived in the European gypsy jazz style, with brilliant playing from violinist Stuart Duncan. Other standouts were newer tunes, like a suitably twangy cover of Buddy and Julie Miller’s “Wide River to Cross,” and lovely encores of The Band’s “Whispering Pines” and Tom Waits’ “The Heart of Saturday Night” – the night’s second Waits cover, after a long, blistering “Temptation.”

As pleasing as Krall’s voice is, she rarely pushed it beyond soft-and-subtle: Even her yodel sounded sultry in Jimmie Rogers’ “Prairie Lullaby.” So it was refreshing to see Krall get downright edgy during “Temptation” and a few other tunes with help from her electric guitarist Aram Bajakian.

And while her banter was a bit too loose and awkward at times, she spiced up the show with charming stories about family and by taking requests for songs she barely knew, like Fats Wallers’ “Lulu’s Back in Town.”

She drew the line, however, when a fan yelled out for “Alison,” a song by her husband, Elvis Costello. “Right church,” she said, “but wrong pew.”

Thor Christensen is a Dallas-based writer. Email him at


sábado, 4 de mayo de 2013

Article: "Diana Krall projects old-time movie vibe in concert"

Diana Krall projects old-time movie vibe in concert
Article by: BRITT ROBSON , Special to the Star Tribune Updated: April 29, 2013 - 12:57 PM

REVIEW: Veteran jazz star’s show Sunday was staged like an old-time movie.

Diana Krall opened up about the musical influences for her latest album, “Glad Rag Dolls,” during her Sunday concert at the State Theatre.MARLIN LEVISION •
more from music

When Diana Krall released the album “Glad Rag Dolls” last October — comprising mostly show tunes from the 1920s that she grew up hearing from her father’s side of the family — it was appropriately lauded as a bold, humanizing departure for a jazz singer and pianist whose elegant prowess is usually encased in icy detachment.

At the time, Krall said the album sprang from her desire to “make my own old movie.” Sunday night at the State Theatre in Minneapolis, her concert tour, which centered on the songs from “Glad Rag Dolls,” brought that vision even closer to reality. And although her intricate planning created a little too much structure and routine, the more expansive and emotionally self-assured performer we heard on record has transferred — and enhanced — those virtues in concert.

Because of her taste and temperament, Krall will always be sophisticated. But on Sunday, she was also earthy and accessible, dimensions that enriched her talent in ways not apparent on previous tours.

A half-hour before the live music began, a player piano onstage began playing Fats Waller. Fifteen minutes later, old music-themed cartoons of Betty Boop and Tom & Jerry appeared on a large movie screen. Then Krall and her five-piece band were introduced in a film clip by actor Steve Buscemi, who subsequently mugged to the music (on screen) of the opening tune, “When the Curtain Comes Down.”

During nearly all of the 19-song, 110-minute (movie-length) performance, vintage film clips were played, in varying degrees of correlation to the musical selections.

The down side of this structure is a loss of spontaneity. There is precious little variation in the set list and the group has been touring for months now. The result was a polished but pro forma ensemble, which played with more rockish intensity than the Americana-tinged sound producer T-Bone Burnett achieved with Krall in the studio for “Glad Rag Dolls.”

But Krall, 48, herself continues to be liberated by the material and evolving the way it is being presented. Her repartee with the audience usually has elements of wit, sass and wry irreverence, but she was looser this time because of the format she had created. To cite the most obvious example, she spoke of visiting her aunt, who used to give her liqueur with milk at 11 in the morning when she was 16.

Krall said her aunt had been an aspiring showgirl, and as she spoke, a picture of the woman sitting at a piano in her underwear appeared on the movie screen. The jazz star said the sheet music from many of the songs she was playing came from her aunt’s floor — and still smelled like tobacco. When she then launched into the title track from “Glad Rag Dolls,” a tribute to show girls, the prelude enhanced both Krall’s vocal treatment and the audience’s appreciation.

The good news is that Krall’s newfound emotional depth isn’t limited to the “Glad Rag Dolls” songs. On Sunday, she was particularly effective on ballads, plumbing nuances not only from “Let It Rain” off “Glad Rag Dolls,” but also in a gorgeous, innovative rendition of Bob Dylan’s “Simple Twist of Fate.” She also nailed the fragile arc of the Band’s “Whispering Pines” during the encore, right on the heels of another Band cover, the jangly “Ophelia.”

The final number in the three-song encore was “Prairie Lullaby,” which will be forever associated with Jimmie Rodgers. Krall introduced the selection by saying that she sings it to her 6-year-old twins at night. When it was done, she went over to the Victrola onstage, cranked it up, put on an old 78 record, and walked off as the screen showed home movies from her childhood.

Britt Robson is a Minneapolis critic and journalist.

viernes, 3 de mayo de 2013

Article: Diana Krall sizzles at Hanover anniversary show

Diana Krall sizzles at Hanover anniversary show

Thursday, April 18, 2013

Diana Krall, performing Wednesday at the Hanover Theatre for the Performing Arts.


WORCESTER — The Hanover Theatre for the Performing Arts at 2 Southbridge Street celebrated its fifth anniversary Wednesday night with a dynamic performance by jazz singer and pianist Diana Krall, who has just launched a spring tour in support of "Glad Rag Doll," her latest recording on the Verve label. The show has already received rave reviews on its Canadian and European tours and should garner kudos as it travels around the United States this spring and fall.

The semi-autobiographical show is a departure of sorts for Krall, who is perhaps best known as a Grammy Award-winning jazz singer and pianist who has a winning way with The Great American Songbook. Now approaching the age of 50, she grew up in Nainomo, a small town on Vancouver Island off the coast of British Columbia, where her closely knit family enjoyed listening to old records, playing the piano, singing and watching old movies.

Krall was gigging as a jazz pianist by the age of 15. She studied at the Berklee College of Music in Boston for several years, but her real break came when jazz bassist Ray Brown suggested she move to Los Angeles to soak up the jazz scene there. She studied with jazz pianist Jimmy Rowles, who suggested that she throw in a few vocals to get more work. Fast-forward to the present, where the singer-pianist is one of the top-selling jazz artists on the planet.

Wearing a black waistcoat over a white smock and sporting black leather leggings and black leather boots, the statuesque blonde and her band (guitarist Aram Bajakian — a Worcester native, by the way; guitarist and violinist Stuart Duncan; keyboardist Patrick Warren; drummer Karriem Riggins; and bassist Dennis Crouch) took to a stage decorated by designers Colleen Atwood and Mark Seliger, who festooned the Hanover's burgundy drapes with lights representing the sun, the moon, and the stars.

"When the Curtain Comes Down," a video from the "Glad Rag Doll" album, played on the Hanover's big screen and brought the audience of more than 1,700 Krall buffs back to the roaring '20s, when the jazz was hot, vaudeville was king, and the flappers in Flo Ziegfeld's Follies danced The Charleston while sipping bathtub gin.

Krall then lit into "We Just Couldn't Say Goodbye" with some romping stride piano and a brassy vocal before moving effortlessly to "There Ain't No Sweet Man That's Worth the Salt of My Tears," a novelty song that the singer transformed into a belting blues. "You Know — I Know Everything's Made for Love" was in a similar jaunty vein and featured a hot ukulele solo from Duncan and some exceptional guitar improvisation from Bajakian.

Krall was more somber on "Just Like A Butterfly That's Caught in the Rain," which featured big screen footage of a butterfly woman, and on Gene Austin's "Let It Rain," which compared the rain to "an angel's tears from heaven" and was dedicated by the singer to the city of Boston and its current troubles.

Krall took a more contemporary turn by venturing into Tom Waits territory twice, first on a no-holds-barred version of "Temptation" and later on a gritty take of "The Heart of Saturday Night." She also excelled on breathy and contemplative version of "Almost Blue," which was penned by pop star Elvis Costello, Krall's husband of the last decade or so. The couple is raising twin boys "who like their father's music better than mine," the singer quipped.

Ms. Krall went back to the Roaring '20s for "Glad Rag Doll," which featured photographs of Alfred Cheney Johnston's portraits of 1920s Ziegfeld Follies girls on the Hanover's big screen."Glad rags" was 1920s slang for a woman's best finery. She was also in fine fettle for a "street song' medley that went from "On the Sunny Side of the Street" to "Lonely Avenue," a doleful ballad penned by Doc Pomus in the 1950s for Ray Charles, to "The Boulevard of Broken Dreams," which Krall sang soulfully in the style of Nat King Cole, an acknowledged influence. A nice touch: The big screen featured George Raft and Carole Lombard dancing the tango on "Boulevard."

The singer-pianist stayed in the Nat King Cole groove for a fast version of "Just You, Just Me" and then earned a standing ovation for her work on "I'm A Little Mixed Up," another bluesy 1920s riffer from the new recording.

Krall was at her best on her encore, "Prairie Lullaby," Billy Hill's lilting song. "I sing this to the twins," she said. "They don't fall asleep to it, but it makes them happy." The singer's beautifully wrought vocal on this song, most notably sung by Jimmie Rodgers, even featured some yodeling.

"Glad Rag Doll" album has been nominated for a 2013 Juno Award, the Canadian equivalent of the Grammy, in the Vocal Jazz Album of the Year category, a fact that underscores the Hanover's mission: To bring world-class performing artists to the venue. May the Hanover celebrate many more anniversaries after this fifth one.

Photos: DIANA KRALL concert in The Memorial Sloan Kettering Spring Ball

The Memorial Sloan Kettering Spring Ball

Posted by Pilar Rossi in Parties

Monday evening an elegant crowd made their way toward an ancient Egyptian temple. The occasion was the Society of Memorial Sloan-Kettering’s annual Spring Ball, and the setting was the Metropolitan Museum of Art’s Temple of Dendur.

The Harry Winston-sponsored soiree celebrated its sixth anniversary – noticed the initials on the candlelit main staircase. The votives spelled out “H” and “W.”

After finishing their cocktails in the lobby, guests were ushered into the temple to worship at the altar of petite filet mignon and Lafite Rothschild Bordeaux Blanc as Diana Krall performed.

In all, the evening raised $1.5 million for the Society of Memorial Sloan-Kettering’s kidney cancer initiative.

Magnificent view of the party at the Temple of Dendur

Photos: Diana Krall preforms at the Beacon Theatre in New York City; April 19, 2013



Beacon Theatre, New York (NY), April 19, 2013

by narrowdaylight on 01 May 2013, 17:22
Info from Dime:

Diana Krall
The Beacon Theatre
New York City NY
April 19, 2013

source: AT831 (SP-CMC-2) > SP-SPSB-6 > Sony PCM M-10 (24bit)
lineage: USB > Mac > flac (Audacity) > web

taper: inez
location: orchestra center-left, row L
editing: blg (raised volume, de-clap, resample/dither to 16/44)

BEAUTIFUL SHOW. And while I really wanted to hear 'Almost Blue', there were glorious Tom Waits and Neil Young and even Bob Dylan songs that I did not expect at all!

This is my first run of this new recorder. Hope you like it! It was a bit stressful as in light of tragic events in Boston, there was a lot of security and searches at the entrance… Atypical for The Beacon. Also, my god, they were obsessive about 'no cameras' and I almost got in trouble (you can hear it in one spot - I'm not gonna say when )

I had to do some research to fill in names of composers of some songs - there could be mistakes, so please DO let me know :-)

Track list

01. Instrumental
02. When The Curtain Comes Down (Hoefle/Lewis/Sherman)
03. We Just Couldn't Say Goodbye (Woods)
04. Talk
05. There Ain't No Sweet Man That's Worth The Salt Of My Tears (Fisher)
06. Band Introductions - talk
07. Just Like A Butterfly That's Caught In The Rain (Dixon/Woods)
08. Talk - ukulele
09. You Know - I Know, Everything's Made For Love (Sherman/Tobias/Johnson)
10. Talk - staying together when times are difficult
11. Let It Rain (Kendis/Dyson)
12. Temptation > Innocent When You Dream > Temptation (Tom Waits cover)
13. Talk
14. Glad Rag Doll (Ager/Dougherty/Yellen)
15. Talk - piano
16. Ain't Misbehavin' (F Waller, H Brooks and A Razaf)
17. Your Feet's Too Big (F Waller)
18. Talk - 4th grade
19. A Man Needs A Maid > Heart Of Gold (Neil Young cover)
20. I'm Gonna Sit Right Down And Write Myself A Letter (FE Ahlert and J Young)
21. Wide River To Cross (Miller/Miller)
22. Sunny Side of The Street (J McHugh and D Fields)
23. Lonely Avenue (Pomus)
24. Just You, Just Me (J Greer and R Klages)
25. The Boulevard Of Broken Dreams (H Warren and A Dubin)
26. Applause & Band Introductions
27. I'm A Little Mixed Up (James/Johnson)
28. Encore Break - Talk
29. Take It With Me (Tom Waits Cover)
30. Subterranean Homesick Blues (Bob Dylan Cover)
31. Talk
32. Prairie Lullaby (Hill)
33. Outro

Total Time: 118:32

Diana Krall - piano, vocals
Dennis Crouch - upright bass
Kareem Riggins - drums
Patrick Warren - keyboards
Stewart Duncan - fiddle, ukelele, banjo
Marc Ribot - electric & acoustic guitars

Please support the artist, buy official releases and see her shows!
Enjoy :-)



Concert: Diana Krall - UB Center for the Arts, Amherst, New York Tuesday, April 23, 2013

Diana Krall @ UB Center for the Arts, Amherst, New York
Tuesday, April 23, 2013
By: Gus Griesinger

On tour in support of her latest offering "Glad Rag Doll," released last October, Diana Krall played to a sold out crowd at the Center for the Arts at the the University of Buffalo last Tuesday night. The theme for her tour/show, was based around vaudeville and the roaring 20s. Her stage was designed around this and images and video were shown depicting this theme throughout the show.

A video of actor Steve Buscemi parading around gave a nice introduction into "When the Curtain Comes Down." The five time Grammy winner, Krall, took the stage and went into the first cut from "Glad Rag Doll" called "We Just Couldn't Say Goodbye." Before "Let it Rain," Krall explained to the audience her love of 20's music and everything that had to do with that time. An image of her great-great aunt playing a piano during vaudeville was shown right before the title cut to her latest album.

Krall, who played on the Paul McCartney song "I'm Going to Sit Down and Write Myself a Letter" on his album last year, she did the song in her set and it sounded wonderful! She also told a story of her first audition at 15 years old and played a little bit of that audition. Showing her Canadian heritage, she played a melody of the original "Hockey Night in Canada" theme song.

Krall enjoyed a solo spotlight without her band for a few songs. During this time, she played a covers of Fats Waller's "Your Feet's Too Big" and the Nat King Cole's "Just You, Just Me." A banjo was brought out and used by one of her guitar players on "Lonely Avenue."

Krall's sultry and sexy voice still resonates more than ever and it showed during her performance. She also really connects on personal level with her audience as well and both of those qualities are why she is one of the most respected jazz musicians out on tour today.

Set List:

When the Curtain Comes Down
We Just Couldn't Say Goodbye
Ain't No Sweet Man that's Worth the Salt of my Tears
Just Like a Butterfly that's Caught in the Rain
You Know - Everything Made for Love
Let it Rain
Peel Me a Grape
Straighten Up and Fly Right
Your Feets Too Big (Fats Waller cover)
Glad Rag Doll
I'm Going to Sit Down and Write Myself a Letter
Wide River to Cross
On the Sunny Side of the Street
Lonely Avenue
Just You, Just Me (Nat King Cole cover)
Boulevard of Broken Dreams
I'm a Little Mixed Up
Prairie Lullaby