Diana Krall - The Look Of Love
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CD Details
Artist: Diana KrallEdition: Music CD
Audio: English (Unknown); English (Original Language); English (Published)
CD Release Date: 2001-09-18
Music Label: Umvd Labels
Product features:
- KRALL DIANA THE LOOK OF LOVE
- S'Wonderful
- Love Letters
- I Remember You
- Cry Me A River
- Besame Mucho
- The Night We Called It a Day
- Dancing In The Dark
- I Get Along Without You Very Well
- The Look Of Love
- Maybe You'll Be There
Music reviews of The Look Of Love
Music Review: Female Jazz Vocalists
Rating: 3 Stars
I am a long-time fanatic of female jazz vocalists. I am intrigued by the fact that male jazz vocalists practically do not exist (can you think of anyone besides Nat Cole?). Of course it is logical, women have the broken hearts, not men. I have always been quite critical of jazz vocalists, not willing to accept whatever came along, dubious of women touted as very good. For example, I have always thought that Ella Fitzgerald was mediocre or worse: she got lucky in the beginning of her career, she was promoted to excess, she had the luck to work with Armstrong (on the downside of his career), but she never offered anything that could be called great, not even good music. Billie Holiday was sometimes good, and Bessie Smith was often very good. June Christy had a clear and neat voice and sang a sort of happy jazz (with a good version of "The Night We called it a Day") while Sarah Vaughan, on her good days could really belt out songs. Probably the best of that period, was Chris Connors, particularly in her Atlantic album "Chris" (outstanding album which, apparently, is no longer available) in the early fifties, with the most incredible accompaniment believeable (almost all the greats of that moment). Hers also was a more joyous jazz, with tunes like "Miser's Serenade". After the fifties, about the only notable voice was Julie London, although in other quarters we began to hear intriguing voices like those of the magnificent Elis Regina (Brazil), Maria Creuza (Brazil) and Carly Simon. To be a great jazz singer one must have a beautiful voice, good style, and a helluva lot of passion. To sing jazz ballads well requires some sense of suffering and a certain controlled hysteria. Not easy, although is should come naturally to women.When I heard about Krill I was eager to know her style. It would be nice to hear someone who, at this point in history, could interpret songs written decades ago. I am conscious of how difficult that must be. Many of the women who sang them in the 30's and 40's and 50's did not manage to do those songs the justice they deserved. I like Diana Krall, listen to her album "The Look of Love" each evening, but wish she was a little better. She has a very good voice, but not much style and even less passion.
Emotion is the essence of jazz songs. Its presence or absence is what makes or breaks female jazz vocalists. The concept of "blue" is exceptionally important: heartbreak, suffering, desperation, profound sorrow and frustration, and a good bit of hysteria. One of Vinicuis De Moraes' songs says "tristeza nao tem fin, felicidade si." (sadness has no end, happiness does). Elis Regina, Brasil's greatest blues singer in one of her songs said "Eu tengo mais de vente años, eu tengo mais de mil preguntas sin respostas, estoy ligado a un futuro blue" (I am over twenty, I have a thousand unanswered questions, I'm tied to a blue future). After becoming a truly world class singer, she committed suicide: she was tied to a blue future.
Pacing, rhythm, spacing are crucial. As important as singing the words in order is respecting the spaces that should exist between the words. Pauses are important. Krall has little sense of this concept. She sings nicely, in order, with the simplest of cadences, but without the pauses and drags that good jazz requires. Also, she has the bad habit of biting off words near the end of a sentence instead of dragging them out to get a better effect.
Krall sings a respectful Spanish in "Besame Mucho" but does not catch the hysterical edge the song requires. The real singer is desperate, not horny. When she says "... como si fuera esta noche la última vez" she really means it. She is terrified that she may be losing her lover. The song requires that terror, not calentura (horniness). With Krall we have neither. In "Cry Me a River" she does not seem to understand the heavy resentment of the song, which requires major emphasis on the word "cry", and then the softer, subtler, coda, "I cried a river over you".
In "I get along without you very well" it appears that Krall does not know the story behind the lyrics. The lady who gave those lyrics to Hoagy Carmichael had lost her husband: he died. She was trying to survive, seriously suffering her loss. Krall does not sing like that kind of person.
Krall has a beautiful voice, important in a jazz singer, but less so that the passion that the genre requires. She is young and very attractive (who would not offer himeslf, selflessly, for the good of jazz, to break her heart and make her suffer?). I hope that as she matures, she will join her lovely voice with the passion and pacing that good jazz requires.
Description of The Look Of Love
KRALL DIANA THE LOOK OF LOVEBroadway & Vocalists CDs
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