| | Diana Krall When I Look In Your Eyes Super-Audio CD Diana Krall Discography of CDs
 (3 Customer Reviews)
WHEN I LOOK IN YOUR EYES won the 2000 Grammy Award for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical. WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year. This is a Super Audio ... Full DescriptionCD playable only on Super Audio CD players.
WHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's "Let's Face The Music And Dance," one might think he had accidentally put on a Getz/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.
But Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including "Let's Fall In Love," "I've Got You Under My Skin," and "Pick Yourself Up" among others, is enhanced by fine session musicians and Johnny Mandel's tasteful arrangements. While Krall is more than comfortable with a sly swing (Michael Franks' "Popsicle Toes"), it is the stirring ballads-like the title track-that show her skill to best advantage. Krall is a considerable talent, and the time-tested, well-loved sound that characterizes these tracks should ensure her success.
Recorded at Avatar Studios, New York, New York.
Personnel: Diana Krall (vocals, piano); Russell Malone (guitar); Pete Christlieb (saxophone); Alan Broadbent (piano); Larry Bunker (vibraphone); Chuck Berghofer, John Clayton, Ben Wolfe (bass instrument); Jeff Hamilton, Lewis Nash (drums).
Recording information: Avatar Studios, New York, New York.
Personnel includes: Diana Krall (vocals, piano); Johnny Mandel (arranger, conductor); Eddie Karam (conductor); Larry Bunker (vibraphone); Russell Malone (guitar); John Clayton, Ben Wolfe (bass); Jeff Hamilton, Lewis Nash (drums).
Producers: Tommy LiPuma, Johnny Mandel, David Foster.
Entertainment Weekly (6/11/99, p.69) - "...silken set of familiar standards....the best-selling stylist demonstrates the quiet strength of her understated delivery." - Rating: B Hide Description
A Super Audio CD player is required to play this CD.
This item will not play on standard CD players. When I Look In Your Eyes Music | List Price | $15.97 (You save $1.22) | | Category | Rock/Pop Albums, Nostalgia CDs, Piano, Contemporary Jazz Vocals, Jazz, Enhanced CD, Super Audio | | Label | Verve | | Orig Year | 1999 | | All Time Sales Rank |  8400  | | CD Universe Part number | 5403954 | | Catalog number | 065374 | | Discs | 1 | | Release Date | Nov 26, 2002 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Al Schmitt | | Personnel | Diana Krall - vocals, piano
Larry Bunker - vibraphone
Pete Christlieb - saxophone
Chuck Berghofer
Eddie Karam - conductor
Also: Jeff Hamilton, Russell Malone, John Clayton, Lewis Nash, Alan Broadbent, Johnny Mandel, Ben Wolfe |
When I Look In Your Eyes Music When I Look In Your Eyes Music Review Buy When I Look In Your Eyes SA Purchase When I Look In Your Eyes CD To buy, Click on price to add to cart | Diana Krall Look Of Love CD (2009) SACD Hybrid
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THE LOOK OF LOVE won the 2002 Grammy Award For Best Engineered Album.
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While there's no denying that jazz-pop star Diana Krall's movie-star good looks went a long way toward endearing her to mainstream America, that's just the tip of the iceberg. Just as undeniable are Krall's gifts as a pianist and singer. Far from a crass populist, she's a subtle, nuanced performer who approaches her craft with an excess of skill and knowledge. This is apparent from the very beginning of THE LOOK OF LOVE, when Krall tackles the overly familiar Gershwin chestnut "S'Wonderful" not the way countless ...
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DARK SIDE OF THE MOON was a benchmark record. It turned the musical world on its ear with a hitherto unseen combination of sounds, and changed things considerably for Pink Floyd. For this project, Pink Floyd resurrected older and unfinished numbers, some of which came from the multitude of soundtracks the band members had previously worked on. The film ZABRISKIE POINT, a study of American materialism from a foreigner's perspective, provided "Us and Them" (originally titled "The Violence Sequence"). Waters rewrote "Breathe" after its appearance on his and avant-garde composer Ron Geesin's score for THE BODY, a surreal medical documentary.
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COME AWAY WITH ME won the 2003 Grammy Awards for Album Of The Year, Best Pop Vocal Album and Best Engineered Album (Non-Classical).
"Don't Know Why" won the 2003 Grammy Awards for Record Of The Year, Song Of The Year and Best Female Pop Vocal Performance.
Arif Mardin won the 2003 Grammy Award for Producer Of The Year (Non-Classical).
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A direct descendant from the pedigree of one of the 20th century's virtuosos, Norah Jones might not be on such a lofty artistic level as her dad Ravi Shankar, but certainly inherited some musical intuition from him. With nary a sitar nor raga within earshot, the young newcomer sounds very much an assimilated, western, 21st century pop-jazz singer. One thing that separates her from the pack is Ms. Jones' own piano stylings--not flashy, but deftly doubling or echoing her voice--that discreetly act as the glue holding together these airy, delicate, and beautiful arrangements.
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It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. In any case, it marks Krall's biggest departure to date; THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy ...
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