Diana Krall's latest jazz album. She can sing and play like nobody else!

Track Listing

1. It Could Happen to You
2. Isn’t This A Lovely Day
3. How Insensitive
4. Exactly Like You
5. From This Moment On
6. I was Doing All Right
7. Little Girl Blue
8. Day In Day Out
9. Willow Weep For Me
10. Come Dance With Me
11. You Can Depend On Me

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Product Details

• Amazon Sales Rank: #7408 in Music
• Released on: 2006-09-19
• Number of discs: 1

Album Description
From This Moment On is an 11-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--for the few still unknowing--is the 41-year old 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. 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.

More Diana Krall

All for You: A Dedication to the Nat King Cole Trio	Live in Paris	Love Scenes
The Girl in the Other Room	Christmas Songs	Stepping Out

Amazon.com
This album appears in the footsteps of 2004's The Girl in the Other Room but doesn't sound like a follow-up. Whereas The Girl saw the pianist-singer abandon the Great American Songbook for more personal pastures, From This Moment On sees her working out on standards done in traditional arrangements. Although the tracks here are by the likes of Cole Porter, Jimmy Van Heusen and Sammy Cahn, and the Gershwins, Krall sounds more at ease than ever before; perhaps digging deep inside on The Girl loosened her up. Backed by the Clayton/Hamilton Jazz Orchestra on seven tracks, Krall sings off the big band with ease. On the title track, she keeps up with a galloping bass and explosive brass arrangements and even ventures into scatting toward the end of the song. Her voice has also acquired a wonderfully worn texture in the past few years, and it works wonders on the ballads (just listen to "Isn't This a Lovely Day" and "Little Girl Blue" for instance). When standards are done like this, there's just nothing like 'em. --Elisabeth Vincentelli

From the Artist
"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."

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Customer Reviews

Joyous celebration of life.
It was the 2004 album 'The Girl In The Room' that showcased Krall's own songwriting talents, inspired by her own collection of records and artists she admired such as Tom Waits and Joni Mitchell and highlighting the melancholic side of life and its complex ambiguities.

This proved to be one of the critical successes of the year and a surprise at that.

Krall returns to more familiar territory this time with a collection of standards, enlisting once again the talents of Jeff Hamilton and Jeff Clayton as part of her regular trio (and adding their big band) and the contemplative guitar licks of Anthony Wilson, son of orchestral maestro Gerald.

The melancholy of the previous album has dissipated to be replaced by a joyous celebration of life.

This is reflected in tunes such as 'Isn't This A Lovely Day' and 'Come Dance With Me', while 'Exactly Like You' is given a mid-tempo latin feel.

On the reflective side Jobim's 'How Sensitive' receives a Claus Ogerman-style arrangement. In general the trio playing is near flawless and the Basie-esque big band swings to good effect.

A recording guaranteed to appeal to audiophiles of jazz sensibility. While awaiting more challenging and eclectic musical explorations from Diana Krall in the future, for the present this will do just fine.

Warm, cheery and classy.
"No more blue songs/ only whoop-de-doo songs". In the words of the Cole Porter title track, Diana Krall is in upbeat mode on her 10th album. Domestic bliss with her husband Elvis Costello has contributed to her cheery state.
While she has recently covered contemporary artists such as Tom Waits and Joni Mitchell and co-written with Costello, she has reverted here to the previous era of American songwriters such as the Gershwins, Rodgers and Hart and Sammy Cahn.
This might seem a retrograde step, especially as thousands of jazz singers everywhere think they can sing songs like "Day In, Day Out" or "Come Dance With Me".
But, apart from her distinctive, low, sultry voice, what they haven't got is Diana's big band of first-rate musicians, who are here impeccably recorded in the totemic Capitol studios in Hollywood, where Dean Martin, Frank Sinatra and Nat King Cole recorded, and whose ghosts seem to haunt this record.
Diana Krall has a rare awareness of her capabilities and uses her voice like an instrument, which she blends perfectly with inventive arrangements from long-time collaborator John Clayton.
She does a superb job of co-producing -- from a delicate brush on the drums to the stabs of the brass, you can hear every precise detail in living stereo. If at times a little knowing, this is a truly sophisticated (before that word was diluted through over-use) record of tenderness, intelligence and humour.

Diana Crawls from this moment on
To establish my credentials as a long-time Diana Krall fan, My wife and I bought airline tickets and hotel room to see her in Washington, D.C. I have all her CDS, and have seen her live twice. Her last three outings - Room, Christmas, and this CD have been huge disappointments. Diana seems to lack the sparkle she had as Trio and Live in Paris. The band revs up, but she doesn't come along. She is bending her notes like a bad carnival ride at most every turn. Her range is compressed. All in all, a very dissapointing CD with few thrills and a lot of mediocrity. My earlier reviews had compared DK with Ella Fitzgerald and Sarah Vaughn. I see now those comparisions were grossly premature and I wish to apologize to these late greats. I truely hope Diana finds her form again, but it all seems down hill from after Live in Paris. I wish her well with her new family and miss her earlier outstanding output.