Üܲ²ßßßß²Ü ÜÜÜÜÜ ÛÛ²Ý ßÛÜÜ ÜÛÛÛÛÛßßß²ÜÜ ÜÜÜÜÜÜÜÜ ßßÛÜÜ ßÛÛÛÜÜÜ Ü ÛÛÛÛß ß²Ü ÜÜÜܲ²²ÛßßßÛÛÛÛÛÛÛÛ²Ü ÜÜþßßß ßÛÛÛÛ²²ß ßÛÛÝ ÞÝß²ÛÛÛÛÛÛßßßÜÜÜÛßßß ßÛ²²Ü ܲ²²²Ü ÛÛÝ ÜÜÛÛÜÜßÛÛÛÝ ß²Ü Üß ßßÛÜÜÜßß²ßß ÜÜÜ ÞÛÛÛÛÜ ÞÝ ßß²²ÜÛÛ ÜÜÛÛÛÛÛÛ ßÛ²ÛÛÛÜÜ ßßß ßß ÜÜÜÛÛÛÛÛÛß ÜÜÛÛÛÛÛÛÜÜ ÜÛÛÛÛÛÛ ßþÜ ßß ÜÜÛÜÞÛÛÛÛÛÛÛÝ ßßß²ÛÛÛÛÜÜÜÜÜÜÛÛÛ²²ÛÛÛÛÛÛÛÛ ÜÛÛÛÛÛÛßßÛÛÛßÜÛÛÛÛßßÛܲ Üܲ²²ßßÛÛÛ²²ÛÛÛÛÛÛÜÜ ßß²ÛÛÛßßß ÛÛÛÛÛÛÛÛßÜÛÛÛÛÛÛß ÞÛ²Û²ßßÜÜÛÛÛÛß Ü²²²ßßÜܲ²ÛÛÛÝ ßß²²ÛÛÛÛÛÛÜ ÜÜÛÛÛÛÛÜ ÞÛÛÛÛÛÛÛÝÞÛÛÛÛÛÛ Þ²ÛÜÜÛÛßßß ÜÛÛÛÛ ÛÛÛÛÛÛÛ ß²ÛÛÛÛÛÛÛÜÞÛÛÛÛÛÛ² ÛÛÛÛÛÛÛ ÛÛÛÛÛÛÝ Ü²Ûßßß ÜÜÜÜ ²ÛÛÛÛÝ ÞÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛ²ÝÛÛÛÛÛÛÛÜ ÞÛÛÛÛÛÛ ÞÛÛÛÛÛÛÜ Üܲ²ÛÛÛÛÛÛÛÜ ÛÛÛÛÛÝ ÞÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛßÞ²ÛÛÛÛÛÛÛÜ ÛÛÛÛÛÛÝ ßÛÛÛÛÛÛÛÛÛÛßßßßÛÛÛÛÛÛÛÛ² ßÛÛÛÛ²Ü ÞÛÛÛÛÛÛ² ÜÛÛÛÛÛÛß Þ²ÛÛÛÛ°ÛÛÛÛÜ ÞÛÛÛÛÛÛ ßßßß ÜÜ ßÛÛÛÛÛÛ² ßÛÛÛ²²ÜÜÛÛÛÛÛÛÛÛÜÜÛ²²²ßß ²²ÛÛÛÛÝ ßÛ²²ÛÜ ²ÛÛÛÛÛÝ ÜÜÛÛß ÞÛÛÛÛÛÛ ßßßÛÛÛÛÛÛÛÛÛ²²ÜÜÜ ÜÛ²ÛÛÛÛÝ ßÛÛÛÛÜÞÛÛÛÛÛÛ ÜÜÜÛÛÛß ÞÛÛÛÛÛÛ ÞÛÛÛÛÛÛÛÛßÛÛÛÛÛÛÛ²ÜÜÜ ßßßÛÛ ßßÛÛ²ÛÛÛÛÛÝÛÛÛÛÛÝ ÛÛÛÛÛÛ ÜÜÜÛÛÛÛÛÛÛß ßßßÛÛÛÛÛÛÛÛÛÛÛÛÜÜÜÜÜÜ ßßÛ²ÛÛÛÜßÛÛÛÛÜ ÜÛÛÛÛ²² ÜÛÛßß ßßß²²²ÜÜ ßßßßÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜÜÜ ßßß²ÜÜßßÛ²²ÜÜÜÛÛÛÛ²ÛÛ²² ²ÛÛÝ ß²Ü ßßßÛÛÛÛÛÛÛÛÛÛÛÛÛÜ ÜÜÜÜÜÜÜÛÛÛÛÛÛÛܱ²ÛÛÛßßß ß²²Ü ÞÛÛÜ ÜÜÛÛ²ß þÜÜ ßÛÛÛÛÛÛÛÛÛÛÛÛÛ²ßß ßßßßÛÛÛÛÛÛÛÛÛÛÜÜ ßÛÛ²ÜÜ ÜÛÛÛÛÝÛ²ÛÛÛÝ ß²²Ü ÞÛÛÛÛÛÛÛÛßß ± ÜÜþ ßßÛÛÛÛÛÛÛÝ Ü²²²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛß ßÛÛÛÛÛÜÜ ÞÛÛÛÛÛÛ²²ßß ° ÜÜÜܲ²²Ý ÞÛÛÛÛÛß ß Ü²ßßßܲßÛÛ²ßßßßß ßßßßÛÛÛÛÜÜÜÜÜÜÜÜÜÜÜÜÜÜÛÛÛÛßßß ßß²Ü Ü²²²ßß ÜÛÛß ²ÛÛÛÛÜ ßßßßßßßßßßßßßßß ÜÜÜÜÜÜÜ ßßÜÜÜ ÛÛÛÝ ÞÛÛÝß²ÛÜ Ü²²²²ß Üܲ²Ûßßß²ßßÛÛÛÛÜÜ ßßÛÛÛÜÜ ÛÛÛÛÜ ÜÜÛÛß ßß²ÜÜ Üܲ²²ßß ÜÜܲ۲ßß°° ß²ÛÛÛÛÜ ßÛÛÛÛÜ ßÛÛÛÛÛÛÛÛß ÜÜÜÜ ßßßÜÜÛÛÛÛßßÜÜÜÜÛÛÛ²ßß ßÛÛÛÛÜ ÞÛÛÛÛÛ ÜÛ²ÛÛÛ²²Ü²ß²ß ÜÜÜÜÜÛÛÛÛÛÛßßßßßßßßßßßßßßßß ß ßÜßÛÛܲÛÛßß Ü²ßß ßÛÛÛÛ²ÜÛ²²²ÛÛÛ²Û²ßßß TEAM RNS PRESENTS Üþ ÞÛܲÛÛ ß ßÛÛ°ÞÛÛßß ÞÛÜ ÜÛÛÝ ÜÛÛÝ°ÛÝ ß ÜÜ ßÛÜßÛÛÜÜÛÛÛÛÝARTIST: Diana Krall ÞÛÛÛÛÜÛÛÛßÜÛß ÜÜ ÜÛÛÝ ß²ÜßÛÛÜßßß ßßßÜÛÛßÜ²ß ÞÛÛÜ ÛÛÛÛÛÜ ÞÛÝÞÛÛÛÜ TITLE: The Girl In The Other Room ÜÛÛÛÝÞÛÝ ÜÛÛÛÛÛ ÛÛÛÛÛÛÛÜÜܲ° ²ÛÛÛÛÛ ÛÛÛÛÛÛÜ°²ÜÜÜÛÛÛÛÛÛÛ ßÛÛÛÛÛ²ÜÜÜÛÞ²ÛÛÛÛÛÝ LABEL: Verve / Universal ÞÛÛÛÛÛ²ÝÛÜÜܲÛÛÛÛÛß ßßÛÛÛÛßßÜÛÛÛÛÛÛß ßÛÛÛÛÛÛÜßßÛÛÛÛßß ÜÜßß ÜÛÛÛÛÛÛß RIPPER: Team RNS ßÛÛÛÛÛÛÜ Ü ß ÜÛÛÛÛÛÛß ßÛÛÛÛÛÛÜ ÜÛ²ß ÜÛÛÛÛÛÛß ßÛÛÛÛÛÛÜ ÛÛÝ ÞÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÝ ßÛÛÜ ÞÛÛÛÛÛÛ 190kbps avg - Jazz Þ²ÛÛÛÛÛÝ ßÛÛÜ ßÛÛÛÛÛÝ 1hr 5min total- 93.9mb ÛÛÛÛÛÛß ÜÜßßÛÛÛÜÜßßÛÛÛÜ ÛÛÛ²ßß Û² ßßÛÛÜ ßÛÛÜ RELEASE DATE: 2004-04-12 ÛÛß ß²Ü ÞÛÛÝ ÞÛÛ²Ü RIP DATE: 2004-03-30 ÜÛÛÝ ßßÜÜÜÜÛÛÛß Ü²²Û²ÛÛÜ Üܲ²Û²²Ü ßßß ÜÛÛÛÛÛß ßßÛÛÜÜÜ ÜÜÜÜÛÛÛÛÛÛÛÛÛÛÛÜ ÜÛÛÛÛÛßÜ ßßßÛÛÛÜÜÜÜÜÜ ÜÜÜÜÜÜÛÛÛÛÛÛÛßßßß ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ÛÜ ßßßßÛÛÛÛÛÛÛÛÛßßßßß ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ Þ²Û ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÜÛ²Û ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ Ü²ÛÛ² ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß track list ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ ---------- ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² 01 Stop This World 3:59 ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý 02 The Girl In The Other Room 4:05 Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß 03 Temptation 4:27 ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß 04 Almost Blue 4:04 ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ 05 I've Changed My Address 4:47 ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² 06 Love Me Like A Man 5:49 ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ 07 I'm Pulling Through 4:02 ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² 08 Black Crow 4:49 ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß 09 Narrow Daylight 3:32 ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ 10 Abandoned Masquerade 5:11 ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² 11 I'm Coming Through 5:07 ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý 12 Departure Bay 5:49 Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß 13 I'll Never Be The Same (Bonus 4:47 ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Track) ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ 14 Sometimes I Just Freak Out 5:16 ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² (Bonus Track) ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ release notes ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý The depth of feeling which lies behind Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß the beautiful façade of Diana Krall's ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß highly successful Verve releases has ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ always been known to her most ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² appreciative listeners. However, with ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ her latest album, The Girl In The ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Other Room, Krall not only illustrates ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß her understanding of the breadth of ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ possibilities in the jazz idiom but also ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² reveals her talent as a songwriter. ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß Indeed, the title song of the record is ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß a Krall original. While some may be ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ attracted to the lyrical portrait of a ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² mysterious woman distracted by love ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ (and note in passing that the words ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² were co-written with Elvis Costello), ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß the ear is drawn to the elegant and ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ effortlessly swinging accompaniment of ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² Krall's piano and that of her long-time ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý partners in rhythm: Jeff Hamilton on Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß drums and bassist, John Clayton. ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ For much of the album, the musical ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² support comes from drummer Peter ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Erskine and bassist Christian McBride. ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² The inventive and sympathetic guitar ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß playing of Anthony Wilson is heard ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ throughout a record that which also ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² features drummer Terri Lynne Carrington ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý and Neil Larson sitting in on Hammond Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß B-3 for one cut. ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ The album is the first co-produced by ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Krall and her long-time producer Tommy ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ LiPuma. Recorded at Capitol Studios, ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Hollywood and Avatar Recording, New ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß York City, the sessions were engineered ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ throughout 2003 by another long-term ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² cohort, Al Schmitt. ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß Listeners used to Krall's intimate and ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß seductive interpretations of standard ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ballads may be surprised at first by her ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² present choice of composers. Take a ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ listen to her take on Mose Allison's ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² timely blues, "Stop This World" or the ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß driving and joyfully carnal "Love Me ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ Like a Man" (with its final chorus salute ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² to Count Basie) and you will hear a ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý singer, bandleader and piano player in Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß her top form. ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ Krall's sensual approach to Tom Waits' ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² "Temptation," with its extraordinary ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ introduction by Christian McBride, is ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² balanced by Krall's own exquisite ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß preface to a most tender rendition of ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ Elvis Costello's "Almost Blue." A ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² beautifully reflective version of a ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý relatively obscure standard, "I'm Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß Pulling Through," recalls the style of ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß her teacher, Jimmy Rowles. ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² The spirit of Rowles and an ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ apprenticeship of the jazz club ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² experiences is inspiration for one of ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Krall’s new compositions, "I've Changed ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ My Address," only as Krall reflects, ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² revisiting some of these venues can be a ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý shock: "Everything looks pretty much Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß the same but the place is now a sports ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß bar and there is pool table where there ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ used to be a piano." ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ While so much of the music is new, the ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² album itself recalls a vinyl disc of ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß two sides. The bold and flowing solos ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ from Krall and guitarist Anthony Wilson ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² on Joni Mitchell's song of travel, ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý "Black Crow," announce a series of Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß original songs that speak of family and ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß of love, but also of enduring the grievous ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ loss of a parent. As Krall explained ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² recently: "I went through a series of ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ deep personal losses and changes. ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² So...this is what I did instead of ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß shutting the door and saying ‘I can't ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ deal with it’". ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý So it is that the gospel changes of the Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß hopeful "Narrow Daylight" give away to ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß the sophisticated blues of "Abandoned ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ Masquerade." It is this song that most ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² clearly expresses the need (for now at ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ least) for the singer to step out from ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² behind the beautiful romantic illusions ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß found in so many songs of the past. Once ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ again, the music leaves the listener in ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² no doubt that they are hearing the work ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý of a jazz composer. Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß The gently defiant tone of "I'm Coming ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ Through" marks another subtle shift of ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² musical scene with wonderful playing ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ from Anthony Wilson. The content of ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² these last songs is undoubtedly the ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß most specifically personal material yet ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ recorded by Diana Krall. ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý The album closes with perhaps the most Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß deeply felt of the self-composed titles. ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß "Departure Bay" contains vivid and ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ touching images of her hometown of ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Nanaimo on Vancouver Island but also a ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ wrenching description of her family's ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² first Christmas without her mother and ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß a final verse that welcomes new love and ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ hope for the future. ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý Musically composed by Krall alone, Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß these songs mark a lyrical collaboration ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß with her new husband, Elvis Costello. ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ Explaining how they worked, Krall said: ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² "I wrote the music and then Elvis and I ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ talked about what we wanted to say. I ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² told him stories and wrote pages and ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß pages of reminiscences, descriptions and ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ images, and he put them into tighter ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² lyrical form. For "Departure Bay," I ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý wrote down a list of things that I love Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß about home, things I realized were ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß different, even exotic, now that I've been ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ away". ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Songs often suggest and recall moments ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² in our own lives and listeners must ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß surely be aware that Diana Krall's ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ previous recordings contained many ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² personal but private meanings for the ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý artist. On The Girl In The Other Room, Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß what was once partly hidden has been ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß brought beautifully into view. ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Born In Nanaimo, Britsh Colombia (not ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² far from Vancouver), Diana Krall grew ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß up in the western part of Canada and ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ began studying the piano when she was ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² four years old. By the time she was 15, ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý she was playing jazz in a local Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß restaurant/bar. One person who ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß encouraged her interest in music was her ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ father, a stride pianist with a vast ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² knowledge of such Twenties and Thirties ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ keyboard masters as Fats Waller, James ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² P. Johnson, and Earl Hines. "I think ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Dad had every recording Fats Waller ever ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ made," she says, "and I tried to learn as ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² many as I could." ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß Krall was still a teenager when she was ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß awarded a scholarship to the prestigious ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ Berklee College of Music in Boston. ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² After two years in Boston, she moved to ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Los Angeles, where she met her first ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² jazz heavyweights, including John ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Clayton, pianist/singer Jimmy Rowles, ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ and Ray Brown, the legendary bassist who ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² served as her musical mentor (and played ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý on Only Trust Your Heart). Krall had Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß lived in Los Angeles for three years ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß when she moved to Toronto, and it was a ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ Canadian label that gave her a chance to ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² record for the first time. In 1993, the ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ Montreal-based Justin Time Records ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² released her debut album, Stepping Out. ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß In 1994, she signed with GRP and ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ recorded Only Trust Your Heart, which ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² featured Brown on bass and Stanley ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý Turrentine on tenor saxophone and Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß marked the beginning of her association ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß with Tommy LiPuma (who has worked with ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ everyone from Barbra Streisand to George ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Benson). ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Since then, LiPuma has produced all of ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Krall's subsequent albums for GRP, ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ Impulse!, and Verve, including All for ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² You: A Dedication to the Nat "King" Cole ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý Trio (1995), Love Scenes (1997), When I Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß Look In Your Eyes (1998), The Look of ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Love (2001), and Live in Paris (2003). ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ "That was the first time I had produced ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² that many albums in a row for any ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ artist," he says. "Diana and I have ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² such a good chemistry between us -- it ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß makes it easy. When one of us makes a ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ suggestion, the other listens in earnest. ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² We have tremendous respect for one ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý another." Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß Krall grew increasingly popular throughout ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ the Nineties. Only Trust Your Heart, All ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² for You, and Love Scenes all sold well, ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ but the album that put her over the ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² top commercially was When I Look in ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Your Eyes. In addition to spending 52 ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ weeks in the #1 position on Billboard's ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² jazz chart, When I Look in Your Eyes won ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý GRAMMY®’s in two categories, Best Jazz Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß Vocal Performance and Best Engineered ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Album, Non-Classical, and received a ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ GRAMMY® nomination in the Album of the ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² Year category-putting Krall in ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ competition with Santana, the ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² Backstreet Boys, the Dixie Chicks, and ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß TLC. ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² Needless to say, it isn't every day that ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý an acoustic-oriented jazz improviser Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß finds herself competing with major rock, ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß country, urban, and teen-pop stars for a ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ GRAMMY® award. Nor is it every day that ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² a jazz improviser becomes a major ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ attraction at the Lilith Fair ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² festival, founded by singer/songwriter ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß Sarah McLachlan to spotlight female ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ pop-rock and pop artists. But in 1998, ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² Krall had no problem winning over a ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý young, predominantly female audience Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß more likely to be into Sheryl Crow or ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß Alanis Morissette than Abbey Lincoln or ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ Chris Connor. ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ When I Look in Your Eyes eventually ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² went platinum in the United States ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß (where it sold over one million units), ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ double platinum in Canada, platinum in ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² Portugal, and gold in France. It was a ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý hard act to follow, but Krall's next Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß album, The Look of Love, would also be ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß an impressive seller. Released in ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ September 2001, it entered the Billboard ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² 200 at #9 and sold 95,000 copies in the ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ U.S. alone in its first week. ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß "The thing about Diana is her ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ musicianship," Al Schmitt said in an ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² interview with the Los Angeles Times. ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý "More than most singers, she knows Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß what's right for her, and she knows how ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß to make it happen musically." ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² New album with 2 bonus tracks, #13 for ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß UK and Japan, and #14 for Japan only. ßÛÛÛÛÛÛÛß²ÜÜÜ ÜÜÜ ßßÛÛÜ ÜÛÛßßþ ßÛÛÛÛÜ ÜÛÛÛÛßßßÜ ÞÛÛ² ²ÛÛÝ ÞÝ ÞÛÛÛÛ ÞÛÛÛÛÝ Üܲ²Û²Ý Þ²Û²²Ü ßÛÜÜÜÛÛÛß ßÛÛÛÛÜÜÜÜÛÛÛÛÛÛÛß ßÛÛÛÛÛÜ ßßß ßßÛÛÛßÜÛÛÛÛÛß ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛÛÛ ßßÛÛÜ ÜÛÛßßÛÛÛ ß Ü ÜÜÜÜÜ ÞÛÛ² ²ÛÛÝ ÛÛÛÛÜ ÜÛÝ ß ßßÛÛÛÜ Ü²²Û²Ý Þ²Û²²Ü ßÛÛÛÛÛÛÛß ÞÛÛÛÝÜÛÛÛÛÛß ßÛÛÛÛÛÜ ßßß Ü ÜÛÛÛÜÛÛÛÛÛß ßÛÛÛÛÛÜ ßßÛÛÛßÛÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ ²ÛÛ² ²ÛÛ² ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛßß ÜÛÛÛÛÛß ßÛÛÛÛÛÜ ÜÛÛÛÛÛß ßÜÜ ÜÜß ßÛÛÛÛÛÜ ÞÛÛÛÛÛ ÞÛ² ²ÛÝ ÛÛÛÛÛÝ ÛÛÛÛÛÝ ÛÛÛÝ ÞÛÛÛ ÞÛÛÛÛÛ ßÛÛÛÛÛÜ Ü²ÛÛ² ÜÛÛÛ²²ÜÜ Üܲ²ÛÛÛÜ ²ÛÛ²Ü ÜÛÛÛÛÛß ßßÛÛÛÛÛÛÛß ÜÜÛÛß ßÛÛÜ ÜÛÛß ßÛÛÜÜ ßÛÛÛÛÛÛÛßß ÜÛÛÛßÛÜÛÛßß ÜÛÛßÜÜÜÜÜ ÜÜÜÜÜßÛÛÜ ßßÛÛÜÛßÛÛÛÜ ÜÛÛÛÛÛÛÛÛßß²²²ÜÜÜÛÛÛÛÛ²ÛÛßßßßÛÛÜ ÜÜÛÛßßßßÛÛ²ÛÛÛÛÛÜÜܲ²²ßßÛÛÛÛÛÛÛÛÜ ÜÛÛÛÛÛßÜÛÛÝ ßßßßßÛÛÛÜ ßÛÛÛÛß ÜÛÛÛßßßßß ÞÛÛÜßÛÛÛÛÛÜ ÜÛÛÛÛÛÝÞÛÛÛÛÜ ÜÜÜÛÛÛßßÛÛÜÜÜÛÛÛßÛÛÛÛÜÜÜÛÛßßÛÛÛÜÜÜ ÜÛÛÛÛÝÞÛÛÛÛÛÜ ÛÛÛÛÛÛÝ ßÛÛÛÛÛÜÜÜÛÛÛÛÛß ÛÛÛßß ßßÛÛÛ ßÛÛÛÛÛÜÜÜÛÛÛÛÛß ÞÛÛÛÛÛÛ ßßÛÛÛÛÜÜ ßßÛÛÛÛÛÛÛßß ÜÜÛßß ßßÛÜÜ ßßÛÛÛÛÛÛÛßß ÜÜÛÛÛÛßß ßßÛÛÛÜÜÜ ÜÜÜÛ²ßß ßß²ÛÜÜÜ ÜÜÜÛÛÛßß ÛÛÛÝ ÞÛÝ ÜÜÛß Û ßÛÜÜ ÞÛÝ ÞÛÛÛ ßÛÛÜ ÜÛß ÜÜÜÛÛßß ÛÛÛ ßßÛÛÜÜÜ ßÛÜ ÜÛÛß ßßÛÛÜÛÛÛÛÛÛßßß ²ÛÛÛÛ ßßßÛÛÛÛÛÛÜÛÛßß ßßßß ÞÛÛÛÛÛÛ ßßßß ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÜÛÛÛÝ ÞÛÛÛÛÛÝÞÛÛÛ ÛÛÛÛÛÛÜÛÛÛÛÝ ÛÛÛÛÛÝÞÛÛÛÛÛ ÛÛÛÛÛݲÛÛÛÛÛ ßÛ²ßÜÜÜÜÜ ÛÛÛÛÛ°ÛÛÛÛÛÛ ß²²ÛÛÛÛÛÛÛÛÜÜ Þ²ÛÛÛ°ÛÛÛÛÛÛ ÜÜÜÜÜß²Ûß ßÛÛÛÛÛÛÛßßÛÛÛÜÜ ²ÛÛÛÛÛÛÛÛÛÛ ÜÜÛÛÛÛÛÛÛÛ²²ß ßÛÛÛÛÛÛÛÛÜÛßßÛÛÜÜ ßÛÛÛÝÞÛÛÛ²Ý ÜÜÛÛÛßßÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛÛÛÛÛßÛÛÛÜ ²ÛÛÝÞÛÛ²² ÜÜÛÛßßÛÜÛÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛÛÛÛÜÜßßÛÜ ²ÛÛ Û²²Ý ÛÛÛßÛÛÛÛÛÛÛÛÛÛÛß ßÛÛÛÛÛÛÛÛÛÛÛßÛÛ ²² ²²ÜÛÛßÜÜÛÛÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛÛÛÜÛÝÞ²Û²ÝÛ²²ÛÛÛÛÛÛÛÛÛÛß ÜÜÜÜÜÜÜÜÜÜÜÜ ßßÛÛÛÛÛÜ ÛÛ²²ÛÜÛÛÛÛÛÛÛÛÛßß ÜÜÜÜÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜÜܲ²ß²ÜÛÛÛÛÜÛÛÛÛÛßß ÜÜÜÜÜÜÜÜÜÜÜÜ ÜÜÜÜÛÛÛÛÛÛÛÛÛÛßßÜÜÜÜßßßßßßß²²²ÛÛÛÛÛÛÛÛÛ²²²Ü²ß²²ÜÜÜÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜÜÜÜ ßÛÛÛ²²²ÛÛÛÛÛÛÛÛ²²²ÛÛÛÛÛÛÛÛÜÜÜÜÜÜÜÜßÛßÛÜÜÛÛßÛß²²²ßßßßßßßßÜÜÜÜÜÜÜÜßßßÛßÛÛÛÛÛÛÜÜ ßßß²²²ÛÛÛÛÛÛÛ²²²²ÛÛÛÛÛÛÛßßß ÜÜßÜÛÛÛÛÛÛÜßÛÜÜ ßßßÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛßßß ßßßßßßßßßß ÜÜÛÛßÛÛÛßßÛÛÛßÛÜßÛÛÛÛÜÜ ßßßßßßßß ÜÛÛÛÛÛÛÛÛ ÛÛÛ ÛÛÜßÛÛÛÛÛÜ ÜÛÛÛÛÛÛÛß ÛÛÝ ßÛÛÛÛÛÛÛÛÜ ÛÛÛÛßßß ÞÛÛÝ ßßßÛÛÛÛ ÞÛÛÛ ÛÛ² ÞÛ²Ý ß²ÛÜ ßß