The Very Best of Diana Krall includes personalized interpretations of timeless vintage standards by such essential composers as George and Ira Gershwin, Cole Porter, Irving Berlin, Rodgers and Hart, Van Heusen and Cahn, and Bacharach and David. The material encompasses the lush romanticism of "S'Wonderful," the playfully seductive humor of "Peel Me A Grape" and the yearning balladry of "I've Got You Under My Skin." Krall also demonstrates her versatility with musical settings that range from the playful swing of "Frim Fram Sauce" to the intimate bossa nova of "The Look of Love"

The collection also features three previously unreleased performances: a moody, evocatively orchestrated reading of the Frank Sinatra classic "Only the Lonely," a pensive reading of "You Go to My Head," a standard popularized by Sinatra and Billie Holiday, and an inventive reworking of Tom Waits' "The Heart of Saturday Night," the latter demonstrating Krall's ability to apply her interpretative abilities to contemporary material.

“This album coincides with a happier time in my life. I think it’s very obvious in the music. It reflects how I’m feeling now, the joy that I have in my marriage and family, and hopefully in the future.”

It had only been a few days since singer and pianist Diana Krall publicly announced that she and husband Elvis Costello were expecting their first child. Her remarks may have primarily focused on her upcoming album, but it was easy to discern the rosy glow as she discussed imminent arrivals, and how she came up with the name for one of them.

“I already knew before we went into the studio the title of the record. I definitely knew it was going to be From This Moment On.”

Cole Porter’s romantic ode to great expectations (with its hip, heartening couplet, “No more blue songs/Only whoop-dee-doo songs”) could not be more apt a title track for Krall’s tenth album. From This Moment On is an eleven-song collection that captures the Canadian-born sensation in full swing, in great company, and at the top of her game. It could also be called her strongest, most cohesive release to date.

Krall is the first to admit that the album’s marked, upbeat theme was not originally her intention (“I never try to link tunes together or find songs that work together as a whole. It happens organically in the recording process, or not at all.”) But she does assume credit for knowing the songs she would be recording when she, her quartet and the Clayton/Hamilton Jazz Orchestra assembled for two weeks in Los Angeles’s famed Capitol Studios this spring.

“I didn’t really sit down with anybody prior to recording it and say, ‘I think I want to do this.’ I knew exactly what I wanted from the get go. I started writing down song titles last summer, but a lot of these tunes I’ve had in my back pocket for years. I’ve been working on ‘How Insensitive’ for about ten years. ‘Day In, Day Out’ I started working on when I was about 24. I mean these are all tunes that finally have found their place.

“Every tune has to have some sort of personal connection. But I didn’t want it all to be too upbeat – like ‘Willow Weep For Me’, which for me is more of a social comment, adds a question mark to that positive feeling.”

In songs, mood and delivery, From This Moment On reveals Krall’s personal ardor for that golden era of song-making, when Frank Sinatra, Ella Fitzgerald and (especially) Nat “King” Cole were in their prime. It’s musical territory that Krall has often explored, but this album was certainly not a case of simply repeating past formulas: Krall’s A-team of support – producer Tommy LiPuma, engineer Al Schmitt and arranger/bandleader John Clayton – were on hand to ensure that inspiration was kept on an edge, unhindered by the studio environment.

“I’m not exactly working with people who are going to just say, ‘Oh it’s lovely, Diana.’ We never go an automatic pilot, you know? Sometimes I feel incredibly exposed during the recording process but fortunately I have the safety net of people whom I can listen to, and agree or disagree with. There’s nobody hanging over me and saying you have to do this or that. But that doesn’t mean that there aren’t surprises and it can be an extraordinarily intense environment. The emotions can run high since people care so passionately about the music and what we are doing.”

Krall – for the few still unknowing – is the sensation whose cool, heavy-lidded vocals and strikingly sensitive piano-playing has helped her transcend barriers of genre to become a popular artist of the first order who has carved herself a permanent position at the top of the jazz charts.

The seeds of Krall’s crossover success are firmly rooted in her upbringing. Born in Nanaimo, Canada, to a musical family – her father is a stride-style pianist and serious record collector -- she grew up absorbing music that laid the foundation for her future growth. She attended Berklee College of Music in the early ‘80s, moved to Los Angeles where she continued her studies with the likes of bassist Ray Brown and pianist Jimmy Rowles, who convinced the young pianist to focus on her singing as well. By 1990, Krall relocated to New York City where she began performing on a regular basis with her trio. In 1993, she released her debut album on a small Canadian independent label.

Thirteen years later, she can look back over a stellar career path: in ’99, signed to Verve, her career exploded when When I Look in Your Eyes won a GRAMMY^© for best jazz vocal and became the first jazz disc to be nominated for Album of the Year in twenty-five years. In 2002, The Look of Love was a #1 bestseller in the US and a seven-time platinum album in Canada. 2004’s The Girl in the Other Room, was her first to focus on her own songwriting – featuring six tunes co-written with her husband – and last year’s Christmas Songs proved one of the season’s best-sellers.

From This Moment On delivers Krall closer than ever to her musical aspirations and, in many ways, serves as a tribute to her heroes and mentors. One can detect her gratitude in a variety of musical moments.

“There’s a couple of pieces that I put Ray Brown into – like his introduction to Count Basie’s Little Darlin’ on ‘You Can Depend On Me’ -- and a lot of [vocalist/pianist] Shirley Horn was present in ‘Come Dance With Me.’ Our treatment of ‘From This Moment On’ came together after listening to [trumpeter/composer] Kenny Dorham’s version which I really love. I hear [arranger] Billy May especially in ‘Day In Day Out.’

“I have to mention Fred Astaire’s influence on ‘I Was Doing All Right’ – and in fact, all through the album. I listened to a lot of Fred with Oscar Peterson while preparing for this project, as well as watching a lot of his early movies, like Swing Time."

“Do you know that great album with Duke Ellington and Frank Sinatra, where he sings ‘Poor Butterfly’? ‘ Isn’t This A Lovely Day’ is very reminiscent of that. John [Clayton] wrote that arrangement at dinner the night before we recorded it. We were all sitting at a restaurant and he’s got a pad of paper. He was laughing and having the conversation and you see the wheels turning at the same time. And I loved playing piano on that. I think that’s my favorite piano work on the whole record – that, and ‘Exactly Like You.’”

Krall’s piano work and her arrangements – particularly on the album’s four quartet performances – are all standouts, as are a number of instrumental solos that she recalls with a marked fondness.

“That’s Gerald Clayton on piano on the title track -- he’s an amazing piano player and I think he played the hell out of that tune. I think Jeff Clayton’s alto sax solo on ‘Isn’t This A Lovely Day’ is a masterpiece -- definitely one of the highlights of the record. And Terell Stafford played the perfect trumpet solo right after that! He walked in, nailed it in front of the whole band, and I said ‘Terell, you sound like an old man.’ He’s only in his 30s! I meant it as the best compliment.

Krall is quick to point out that she is happy with everything on the album for different reasons, especially for the collaborative results. “I’m proud of tunes like ‘Exactly Like You’ specifically for every little note that [guitarist] Anthony [Wilson] plays, and simply for how the subtlety can work when we all play together, and how we all play what matters.”

“Playing what matters” could well be the subtitle to From This Moment On. There’s an economy and confidence that speak to the maturity of Krall as a performer, and a recording artist. “I really settled in with this record. I think I’ve let go of trying to prove something, and I wasn’t out to overplay solos. To just settle back into the bench and play those tough tempos and keep the solos simple and melodic and beautiful, and not have to pass a poll of some kind? That’s enough.”

From This Moment On is also a recording that cannot help but expose Krall’s feelings of being a wife and expectant mother. “It’s a reflection of who I am and where I am at this time. So I need to get that album out like now because that’s how I feel now. I don’t know how I’m going to feel six months down the road, so ‘Only whoop-dee-doo songs’? Yeah. Exactly.”

Co-produced by Krall, with GRAMMY^® award winning, Tommy LiPuma, the album features the talents of renowned arranger and bassist John Clayton (Count Basie, Duke Ellington), guitarist Anthony Wilson (Chris Botti, Michael Buble), drummer Jeff Hamilton (Rosemary Clooney, Natalie Cole) and bassist Bob Hurst (The Tonight Show with Jay Leno, Saturday Night Live). The Clayton/Hamilton Orchestra accompanies Krall for seasonal standards, "Let It Snow," "I'll Be Home For Christmas," "Santa Claus Is Coming To Town" and "Jingle Bells."

Legendary composer Johnny Mandel contributes a string arrangement to "Count Your Blessings Instead of Sheep." Rounding out the album are previously released versions of "Have Yourself A Merry Little Christmas" and "Christmas Time Is Here" with a band that includes guitarist Russell Malone.

This album is the perfect stocking stuffer for the holiday season for you and all your friends!

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Live at the Montreal Jazz Festival features Diana Krall on vocals and piano along with her band of Anthony Wilson on guitar, Peter Erskine on drums, and Robert Hurst on bass. Most of the songs performed here are culled from Krall’s recent Verve release, The Girl in the Other Room.

The album, which has been certified Gold in the US and double Platinum in Krall’s native Canada, marked a change in that it showcased for the first time Krall’s skills as a songwriter. Many of the album’s songs were penned by Krall and her husband, Elvis Costello.

Some of the Krall/Costello compositions featured on Live at the Montreal Jazz Festival are “Abandoned Masquerade,” “Departure Bay,” and “Narrow Daylight.” The DVD also features Krall’s concert opener, the original instrumental “Sometimes I Just Freak Out,” a song which is not available on the US version of her latest CD.

Krall also interpreted songs from a wide range of artists for The Girl in the Other Room, including Tom Waits (“Temptation”), Mose Allison (“Stop This World”), and Joni Mitchell (“Black Crow”). Live performances of all of these can be seen on the Live at the Montreal Jazz Festival DVD.

GRAMMY®-winner Krall revisits some classic favorites from her earlier Verve and Impulse! recordings on this new DVD as well. During this performance, she included “All or Nothing at All” from her album Love Scenes and “East of the Sun (West of the Moon)” and “Devil May Care” from When I Look in Your Eyes.

Special bonus features on the Live at the Montreal Jazz Festival DVD include the music video for “Narrow Daylight,” a photo gallery, artist biography and discography.

The DVD is 1:28:28 long

The depth of feeling which lies behind the beautiful façade 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 Krall’s 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 ‘I can't deal with it’".

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.

"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."

The Girl in the Other Room, the first album by acclaimed artist Diana Krall to feature her original compositions, will be released April 27, 2004, by Verve Records. The record, Krall's eighth, includes six songs co-written by Krall and Elvis Costello.

In addition, Krall offers her interpretations of Mose Allison's "Stop this World," Tom Waits' "Temptation," Joni Mitchell's "Black Crow," and Costello's "Almost Blue," along with "Love Me Like a Man" (made popular by Bonnie Raitt) and "I'm Pulling Through" (made popular by Billie Holiday). "Temptation" will be released in March as the album's first single.

The Girl in the Other Room was co-produced by Krall and three-time Grammy® winner Tommy LiPuma. Musicians Anthony Wilson (guitar), Christian McBride (bass), John Clayton (bass), Peter Erskine (drums), Jeff Hamilton (drums), and Terry Lyne Carrington (drums) back Krall's piano and vocals.

Diana Krall - 'The Girl in the Other Room' track listing:

1. "Stop This World" (Mose Allison)
2. "The Girl in the Other Room" (music and lyrics by Diana Krall and Elvis Costello)
3. "Temptation" (Tom Waits)
4. "Almost Blue" (Elvis Costello)
5. "I've Changed My Address" (music by Diana Krall, lyrics by Diana Krall and Elvis Costello)
6. "Love Me Like a Man" (Smither)
7. "I'm Pulling Through" (Herzog)
8. "Black Crow" (Joni Mitchell)
9. "Narrow Daylight" (music by Diana Krall, lyrics by Diana Krall and Elvis Costello)
10. "Abandoned Masquerade" (music by Diana Krall, lyrics by Elvis Costello)
11. "I'm Coming Through" (music by Diana Krall, lyrics by Diana Krall and Elvis Costello)
12. "Departure Bay" (music by Diana Krall, lyrics by Diana Krall and Elvis Costello)

The first-ever live concert recording from GRAMMY^®-winning vocalist/pianist Diana Krall was Recorded at the Paris Olympia Theatre last winter. Here finally, captured in amazing audio quality, is an album showcasing the magic of Krall’s concert performances.

Krall and her band – perform some of the tunes from Krall’s studio recordings, such as "East of the Sun (West of the Moon)" and "Devil May Care." They are joined by special guests John Pisano (acoustic guitar) and Paulinho DaCosta (percussion) for several tracks, including the Gershwins’ "S’wonderful." The Orchestre Symphonique Europeen, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat "Let’s Fall in Love" and a haunting interpretation of "I’ve Got You Under My Skin."

Featured on the album are live renditions of "The Look of Love," the title track from Krall’s platinum-certified Verve release, her first recorded version of the Joni Mitchell-penned "A Case of You," and "Fly Me to the Moon," a song not included on the previously-released DVD Diana Krall – Live in Paris (Eagle Eye/Pioneer Entertainment).

Also on this recording is a special bonus studio track—a rendition of Billy Joel’s "Just The Way You Are" featuring Michael Brecker's beautiful tenor sax solo.

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On December 1, 2001 Diana Krall performed to a captivated sold-out audience at the Olympia Theatre in Paris.

There was electricity in the air as Diana flawlessly worked her way through a set that ranged from romantic ballads and bossa novas to cooking uptempo swing.

On Live in Paris, the new DVD and VHS of this performance, Diana is accompanied by her own recording band and the Orchestre Symphonique Europeen and Paris Jazz Big Band conducted by the legendary Claus Ogernman.

This concert performance features tracks from her latest album The Look of Love and the full set from her sensational world tour. On Live In Paris, the GRAMMY Award winner takes us through a variety of well-known standards all performed in the totally individual, yet classic style that is Diana Krall.

From the luxurious opening chords of the first track, even before Diana Krall has sung a single beautiful note, her new Verve release-The Look of Love-has us hooked. After winning a Best Jazz Vocal Performance GRAMMY® for 1999's platinum-selling When I Look in Your Eyes, Diana Krall delivers her best album yet-a lush, cinematic collection of ballads and bossa nova tunes. Produced by Verve Music Group Chairman Tommy LiPuma, and featuring the London Symphony Orchestra arranged and conducted by the legendary Claus Ogerman, The Look of Love brings to mind such classic Frank Sinatra albums as In the Wee Small Hours and Only The Lonely. But the elegant piano solos, the sensual vocals, and the wickedly modern sense of humor are, inimitably, all Krall.

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This platinum selling album marks Diana's first break from the piano trio and includes several tracks backed with beautiful orchestrations arranged by Johnny Mandel. When I Look in You Eyes also features some of Diana's best know recordings including "Let's Face The Music and Dance" and "I've Got You Under my Skin"

When my producer, Tommy LiPuma, and I were deciding on the songs for my newest CD, it never occurred to me that the songs we ultimately chose would be all about love. I selected songs that I personally liked, and that had a special meaning for me. However, as is often the case during the creative process, a connection among the songs just seemed to organically appear. The songs are indeed about romance. But to me there is a broader and more personal attachment to each of the songs than the standard definition of romantic love might imply. I think that these songs represent the strength of love, including the love of family and friends. But rather than describing my own thoughts about each song, it is my hope that all of you who listen to the music and read the lyrics will discover and imagine your own personal "love scenes" among the mountains, oceans, rain and gardens of these songs.

- Diana Krall

Grammy nominated, Love Scenes features Diana's mastery of the romantic ballad in an intimate piano trio setting with Russell Malone on guitar and Christian McBride on bass.

All For You is Diana Krall's moving tribute to the great Nat King Cole.

(from the liner notes) Scene: A semi-dark recording studio in Manhattan. Time: Two-thirty in the afternoon -- half past breakfast, if you live on Jazz Standard Time. Benny Green is sitting patiently at the Hamburg Steinway in the piano booth; Tommy LiPuma, the producer, is slumped in a chair in the main studio, fidgeting with his headphones. ("I like to be right in the middle of things. Too many distractions in the control room. Too much stuff to think about.") The shy-looking blonde in the corner booth, waiting for her cue to sing, is Diana Krall. This is her recording session, but you wouldn't know it. She acts as if she were the least important person in the room.

A disembodied voice slates the take: "O.K., we're rolling. If I Had You, Take five." Green tosses off four lean bars of intro; LiPuma rests his head in his hands, ready to listen. And all at once, the air is filled with a sound that is soft and warm and strangely knowing, floating out of the studio monitors like the smoke from a film-noir cigarette: I could show the world how to smile/I could be glad all of the while/I could change the gray skies to blue/If I had you... .

That's the blonde.

Only Trust Your Heart is Diana's critically acclaimed debut on the GRP label and marks her first collaboration with GRAMMY-winning producer Tommy LiPuma.

(from the liner notes) Diana Krall recalls her first conversation with the great composer/arranger, Johnny Mandel, she told him that she was both a singer and a pianist. Mr. Mandel replied, "Oh, so you're a hyphenate! Are you a singer-pianist or a painist-singer?" Diana the singer needs Diana the pianist as an accompianist; but Diana the pianist wants to play. And they're both...I mean, she's both...that is, Diana Krall is an extraordinary new artist whether singing or plating or...both!

Stepping Out, Diana Krall's historic debut recording for Justin Time Records, is an unpretentious, timeless recording that showcases Krall's strong musical choices, excellent taste and unbridled energy. Produced in Los Angeles by label founder Jim West, it's unadulterated jazz from start to finish, with the young, enthusiastic Diana expertly supported by bassist John Clayton and drummer Jeff Hamilton. Notable also is the appearance of Diana's first original composition, "Jimmie," named for her father and Jimmie Rowles, both huge influences. An exciting debut that amply displays the artist's future promise, it's also one that fares well with each new listening. From Ray Brown's liner notes: I met Diana Krall in her hometown of Nanaimo, in Canada. She was then a teenage piano wiz. She called me some years ago to ask whom she should study with and I recommended either Jimmie Rowles or Hank Jones. Jimmie Rowles was available and it has paid off handsomely. Ray Brown comments on several tracks from Stepping Out: Body And Soul - This track is going to get Diana a bunch of fans. I find that there is a lot of soul inside this lady. This is a track with excellent piano accompaniment. Straighten Up And Fly Right - An old Nat Cole hit. Here Diana displays some good, hard-driving, funky piano playing. Clayton and Hamilton lay down a perfect rhythm track here. Listen to the way she pronounces 'straighten up'. It must be some vintage Canadian brogue sneaking in! All in all, this is an excellent first album and I can see lots of success for this lady down the road.