TEAM RNS PRESENTS

ARTIST: Diana Krall

TITLE: The Girl In The Other Room

LABEL: Verve / Universal

RIPPER: Team RNS

190kbps avg - Jazz
1hr 5min total- 93.9mb

RELEASE DATE: 2004-04-12
RIP DATE: 2004-03-30

01 Stop This World                3:59
02 The Girl In The Other Room     4:05

05 I've Changed My Address        4:47
06 Love Me Like A Man             5:49
07 I'm Pulling Through            4:02

10 Abandoned Masquerade           5:11
11 I'm Coming Through             5:07

13 I'll Never Be The Same (Bonus  4:47

14 Sometimes I Just Freak Out     5:16

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

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

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

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.

Born In Nanaimo, Britsh Colombia (not
far from Vancouver), Diana Krall grew
up in the western part of Canada and
began studying the piano when she was
four years old. By the time she was 15,
she was playing jazz in a local
restaurant/bar. One person who
encouraged her interest in music was her
father, a stride pianist with a vast
knowledge of such Twenties and Thirties
keyboard masters as Fats Waller, James
P. Johnson, and Earl Hines. "I think
Dad had every recording Fats Waller ever
made," she says, "and I tried to learn as
many as I could."

Krall was still a teenager when she was
awarded a scholarship to the prestigious
Berklee College of Music in Boston.
After two years in Boston, she moved to
Los Angeles, where she met her first
jazz heavyweights, including John
Clayton, pianist/singer Jimmy Rowles,
and Ray Brown, the legendary bassist who
served as her musical mentor (and played
on Only Trust Your Heart). Krall had
lived in Los Angeles for three years
when she moved to Toronto, and it was a
Canadian label that gave her a chance to
record for the first time. In 1993, the
Montreal-based Justin Time Records
released her debut album, Stepping Out.
In 1994, she signed with GRP and
recorded Only Trust Your Heart, which
featured Brown on bass and Stanley
Turrentine on tenor saxophone and
marked the beginning of her association
with Tommy LiPuma (who has worked with
everyone from Barbra Streisand to George

Since then, LiPuma has produced all of
Krall's subsequent albums for GRP,
Impulse!, and Verve, including All for
You: A Dedication to the Nat "King" Cole
Trio (1995), Love Scenes (1997), When I
Look In Your Eyes (1998), The Look of
Love (2001), and Live in Paris (2003).
"That was the first time I had produced
that many albums in a row for any
artist," he says. "Diana and I have
such a good chemistry between us -- it
makes it easy. When one of us makes a
suggestion, the other listens in earnest.
We have tremendous respect for one

Krall grew increasingly popular throughout
the Nineties. Only Trust Your Heart, All
for You, and Love Scenes all sold well,
but the album that put her over the
top commercially was When I Look in
Your Eyes.  In addition to spending 52
weeks in the #1 position on Billboard's
jazz chart, When I Look in Your Eyes won
GRAMMY®’s in two categories, Best Jazz
Vocal Performance and Best Engineered
Album, Non-Classical, and received a
GRAMMY® nomination in the Album of the
Year category-putting Krall in
competition with Santana, the
Backstreet Boys, the Dixie Chicks, and

Needless to say, it isn't every day that
an acoustic-oriented jazz improviser
finds herself competing with major rock,
country, urban, and teen-pop stars for a
GRAMMY® award. Nor is it every day that
a jazz improviser becomes a major
attraction at the Lilith Fair
festival, founded by singer/songwriter
Sarah McLachlan to spotlight female
pop-rock and pop artists. But in 1998,
Krall had no problem winning over a
young, predominantly female audience
more likely to be into Sheryl Crow or
Alanis Morissette than Abbey Lincoln or

When I Look in Your Eyes eventually
went platinum in the United States
(where it sold over one million units),
double platinum in Canada, platinum in
Portugal, and gold in France. It was a
hard act to follow, but Krall's next
album, The Look of Love, would also be
an impressive seller. Released in
September 2001, it entered the Billboard
200 at #9 and sold 95,000 copies in the
U.S. alone in its first week.

"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."

New album with 2 bonus tracks, #13 for
UK and Japan, and #14 for Japan only.