01 – We Just Couldn’t Say Goodbye
02 – There Ain’t No Sweet Man That’s Worth the Salt of My Tears
03 – Just Like a Butterfly That’s Caught in the Rain
04 – You Know I Know Ev’rything’s Made for Love
05 – Glad Rag Doll
06 – I’m a Little Mixed Up
07 – Prairie Lullaby
08 – Here Lies Love
09 – I Used to Love You but It’s All Over Now
10 – Let It Rain
11 – Lonely Avenue
12 – Wide River to Cross
13 – When the Curtain Comes Down
14 – As Long as I Love
15 – Glad Rag Doll (Alternate Version)
16 – Garden in the Rain
17 – There Ain’t No Sweet Man That’s Worth the Salt of My Tears (Alternate Version)

Artists:
Diana Krall (Vocals, Piano),
Marc Ribot (Electric Guitar, Acoustic Guitar, 6 String Bass and Banjo),
T Bone Burnett (Guitars),
Howard Coward (Ukulele, Mandola, Tenor Guitar, Harmony Vocals),
Jay Bellerose (Drums),
Dennis Crouch (Bass),
Bryan Sutton (Guitars),
Colin Linden (Guitars, Dobro)
Keefus Green (Keyboards, Mellotron).

For only the second time in her career, jazz pianist and vocalist Diana Krall deviates from her tried, true m.o. of covering easily identifiable jazz standards. On Glad Rag Doll she teams with producer T-Bone Burnett and his stable of studio aces. Here the two-time Grammy winner covers mostly vaudeville and jazz tunes written in the 1920s and '30s, some relatively obscure. Most of the music here is from her father's collection of 78-rpm records. Krall picked 35 tunes from that music library and gave sheet music to Burnett. He didn't reveal his final selections until they got into the studio. Given their origins, these songs remove the sheen of detached cool that is one of Krall's vocal trademarks. Check the speakeasy feel on opener "We Just Couldn't Say Goodbye," with Marc Ribot's airy chords, Jay Bellerose's loose shuffle, and Dennis Crouch's strolling upright bass. Krall's vocal actually seems to express delight in this loose and informal proceeding -- though her piano playing is, as usual, tight, top-notch. The shimmering sentimental nocturnal balladry there gives way to swing in "Just Like a Butterfly That's Caught in the Rain," which stands out because of the interplay between Ribot's ukulele, a pair of basses, and Bellerose's brushes. Krall's vocal hovers; she lets the melody guide her right through the middle. On the title cut, her only accompanist is Ribot on an acoustic guitar. Being the best-known tune in the bunch, it's easy to compare this reading with many others, but Krall's breathy vocal fully inhabits the lyric and melody and makes them her own. A few tracks stand apart from the album's theme. There's the modern take on Betty James' rockabilly single "I'm a Little Mixed Up," which allows Burnett to indulge himself a little and showcases a rarity: Krall playing rock & roll piano. The atmospheric reading of Doc Pomus' "Lonely Avenue" is somewhat radical, but is among the finest moments here. Burnett gets his obligatory reverb on here, but the weave of his and Ribot's guitars (and the latter's banjo) and the mandola by Howard Coward (Elvis Costello in one of several guest appearances) is arresting. The arrangement also contains an odd yet compelling reference to Miles Davis' "Right Off (Theme from Jack Johnson)"; Krall's piano solo is rife with elliptical, meandering lines and chord voicings. But vocally she gets inside the tune's blues and pulls them out with real authority. Glad Rag Doll is not the sound of Krall reinventing herself so much as it's the comfortable scratching of an old, persistent itch. The warmth, sophistication, humor, and immediacy present on this set make it a welcome addition to her catalog. ---Thom Jurek, Rovi

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1.  Banter
2.  Where is Love (Lionel Bart)
3.  Children of Lima (Alan Broadbent)
4.  Milestones (Miles Davis)
5.  I Just Found Out About Love (Harold Adamson, Jimmy McHugh)
6.  Do It Again (George Gershwin, Buddy DeSylva)
7.  Let's Fall in Love (Cole Porter)
8.  Banter
9.  I've Grown Accustomerd to His Face (Frederick Loewe, Alan Jay Lerner)*
10. Banter
11. Lets Face the Music and Dance (Irving Berlin)
12. Fly Me To The Moon (Bart Howard) (For Neil Armstrong R.I.P)+
13. I Was Doing Alright (Barrington Somers Pheloung, George Gershwin)
14. Simple Twist of Fate (Bob Dylan)+
15. Quiet Night of Quiet Stars (Antonio Carlos Jobim)*
16. Pick Your Self Up (Jerome Kern, Dorothy Fields)
17. Banter
18. Love Letters (Edward Heyman, Victor Young)
19. Banter
20. Cheek to Cheek (Irving Berlin) > Come Together (Lennon & McCartney)
21. Goodbye (Gordon Jenkins)

Line up:
Diana Krall - Piano, vocals
Anthony Wilson -, Guitar
Robert Hurst -, Stand Up  Bass
Kareem Riggins - Drums
Los Angeles Philharmonic Orchestera
Alan Broadbent – conductor

Live at the Hollywood Bowl
Los Angeles, CA
2012 08-25

Having played Hollywood Bowl many times since the late 1990s, Diana Krall knew exactly what to do Friday night. She slipped cooly and neatly into her niche - mostly standards and a few bossa novas - mixing it up a bit with her expert jazz quartet and sailing over the smooth surface of the Los Angeles Philharmonic, satisfying the affluent, wining, dining customers who have made her a popular returning attraction here.

Business as usual? Yes, for the most part, although there were a handful of diversions in her 85-minute set that helped relieve the sameness of the glossy surface. Krall roamed throughout her catalog of Verve recordings for material while curiously not mentioning, nor previewing any material from, her upcoming album of `20s and `30s songs, "Glad Rag Doll" (to be released Oct. 2). She is a much more confident performer now than when she started to hit the big time, her voice still low-pitched and grainy in texture yet freer in phrasing, her piano work sure-footed and quote-filled.

Featured most prominently were songs from Krall's latest release, "Quiet Nights" (2009), a collection of bossa novas and standards translated into bossa nova a la the Sinatra-Jobim collaborations of the 1960s. To my ears, Krall's vocal renditions of "Corcovado" and "So Nice" sounded rather perfunctory, but her piano work was appropriately succinct and to-the-point as her conductor and onetime mentor Alan Broadbent presided over Claus Ogerman's sleek charts.

Krall indulged in some autobiography - her childhood in Nanaimo, British Columbia growing up with her father's hoard of 78 RPM records, with a bit of campy silent-movie piano thrown in. She then parlayed that into some passable Fats Waller-style stride which led to a mainstream-styled "`Deed I Do" and a dandy bop turn from her regular guitarist Anthony Wilson.

Interestingly, the song that seemed most suited to Krall's timbre and phrasing was a nice, dirge-like solo rendition of Bob Dylan's "Simple Twist Of Fate" (her contribution to an Amnesty International album of Dylan songs released in January). Toward the end of the set, a rapid-fire "Cheek To Cheek" passed through several phases until it unexpectedly arrived upon a pounding, faithful cover of the Beatles' "Come Together." "Just havin' a little fun," Krall shrugged - yet it got the most enthusiastic response of the night, an indication that Krall should lead her loyal audience into more stream-of consciousness fun like that.

As a prelude, Broadbent led the Philharmonic in a short set of arrangements of his early piece, "The Children of Lima," and jazz standards like "Milestones" and "My Little Suede Shoes." He called the latter, "Charlie Parker meets Leroy Anderson," but the style was more like that of those gimmicky "Persuasive (or Provocative) Percussion" albums circa 1960. ---Richard Ginnell, variety.com

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01. Gee Baby, Ain't I Good To You [04:05]
02. Baby Baby All The Time [03:33]
03. Boulevard Of Broken Dreams [06:26]       play
04. Peel Me A Grape [05:51]
05. Let's Face The Music And Dance [05:18]
06. Let's Fall In Love [04:18]
07. Why Should I Care [03:44]
08. Cry Me A River [05:02]                   play
09. The Look Of Love [04:41]
10. 'Deed I Do [Live In Paris Cd] [05:17]
11. I've Got You Under My Skin [Live in Paris Dvd] [06:29]
12. A Case of You [Live in Paris DVD] [05:44]
13. Narrow Daylight [03:30]
14. Little Girl Blue [05:36]
15. The Boy From Ipanema [04:52]

Diana Krall - Piano, Vocals
Chuck Berghofer - Bass
Alan Broadbent - Piano
John Clayton - Bass
Jeff Hamilton - Drums
Russell Malone 	- Guitar
Christian McBride – Bass

It was a pleasant surprise to learn that Clint Eastwood did the music for Why Should I Care. It is a sultry bluesy tune, not demanding of range. But what Ms. Krall does to enhance its classic lines and to distinguish repeated phrases must be heard.

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1 	Like Someone In Love 	3:16
2 	Isn't It Romantic 	4:29
3 	L-O-V-E 	4:21
4 	Night And Day 	4:39
5 	I'm Confessin' (That I Love You) 	3:24
6 	Moonglow 	5:15
7 	Blue Skies 	4:39
8 	Sway 	6:13
9 	No Moon At All 	4:06
10 	Dream 	4:05
11 	I'll See You In My Dreams 	3:51

Alisha Bauer 	Celli
Charlie Bisharat 	Violin
Alan Broadbent 	Conductor, Orchestral Arrangements, Orchestration
Jodi Burnett 	Celli
John Clayton, Jr. 	Bass
Kevin Connolly 	Violin
Mario Deleon 	Violin
Joel Derouin 	Concert Master
Andrew Duckles 	Viola
Stuart Duncan 	Fiddle
Vanessa Freebairn-Smith 	Celli, Soloist
Tony Garnier 	Bass
Jeff Hamilton 	Drums
Neel Hammond 	Violin
Stefon Harris 	Vibraphone
Tamara Hatwan 	Violin
Diana Krall 	Ensemble Arranger, Piano, Primary Artist, Producer, Vocals
Jennifer Kuhn 	Celli
Songa Lee 	Violin
Natalie Leggett 	Violin
Russell Malone 	Guitar
Christian McBride 	Bass
Katia Popov 	Violin
Kate Reddish 	Viola
Marc Ribot 	Guitar
Michele Richards 	Violin
Karriem Riggins 	Drums
Kathleen Sloan 	Violin
Colleen Sugata 	Viola
Shari Sutcliffe 	Conductor
Marcy Vaj 	Violin
Ina Veli 	Violin
Michael Whitson 	Viola
Anthony Wilson 	Guitar
John Wittenberg 	Violin 

Diana Krall spent the better part of the 2010s exploring byways of American song -- her 2012 set Glad Rag Doll drew heavily on obscure jazz from the 1920s and '30s, its 2015 sequel Wallflower concentrated on pop and rock tunes -- but 2017's Turn Up the Quiet finds the pianist/singer returning to well-known standards from the Great American Songbook. Reuniting with producer Tommy LiPuma for the first time since 2009's bossa nova-inspired Quiet Nights, Krall works with a trio of lineups on Turn Up the Quiet, alternating between a trio, quartet, and quintet. The album isn't divided into triads but rather gently shifts between these bands, a move that's sometimes imperceptible because the focus is firmly on Krall, the pianist. Her voice often operates at a hushed whisper -- a decision that suits this collection of romantic, dreamy material; it also underscores the importance of the record's title -- and that emphasizes her lithe piano along with the solo spotlights from her featured musicians. Krall gives her three bands plenty of space to shine -- fiddler Stuart Duncan, in particular, stuns with his solo on "I'll See You in My Dreams," but there are nice turns from guitarists Russell Malone, Anthony Wilson, and Marc Ribot, along with supple playing by bassists Christian McBride, Tony Garnier, and Anthony Wilson -- but what impresses is how these ensembles are all united in spirit and attitude, all thanks to their leader. Krall has a definite vision for Turn Up the Quiet -- she wants to keep things smoky and subdued, a record for the wee hours -- and the end result is so elegant, it seems effortless. ---Stephen Thomas Erlewine, AllMusic Review

Najnowszy krążek Diany Krall to powrót do jazzu i wielkich amerykańskich standardów za sprawą współpracy z legendarnym producentem Tommym LiPumą.

Diana Krall to jedyna jazzowa artystka, która zdołała ulokować aż osiem albumów na szczycie prestiżowej listy Billbord Jazz Albums. Znakomite albumy przyniosły Dianie pięć nagród Grammy Awards, osiem nagród Juno Awards oraz dziewięć złotych, trzy platynowe i siedem multi-platynowych płyt na całym świecie. Unikalny talent Diany Krall sprawia, że jest ona dziś jedną z najbardziej rozpoznawalnych gwiazd muzyki na świecie. ---empik.com

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01. I’m An Errand Girl For Rhythm 
02. Gee Baby, Ain’t I Good To You 
03. You Call It Madness 
04. Frim Fram Sauce 
05. Boulevard Of Broken Dreams 
06. Baby Baby All The Time 
07. Hit That Jive Jack 
08. You’re Looking At Me 
09. I’m Thru With Love 
10. Deed I Do 
11. A Blossom Fell 
12. If I Had You 
13. When I Grow Too Old To Dream

Musicians:
    Diana Krall - piano, lead vocal
    Benny Green - piano on "If I Had You"
    Paul Keller - bass
    Steve Kroon - percussion on "Boulevard of Broken Dreams"
    Russell Malone – guitar

All for You is a tribute to the Nat "King" Cole Trio of the 1940s, when Cole performed as both a singer and a pianist. Krall, like her heroes Lena Horne and Carmen McRae, is also a singer-pianist, and she plays both roles on most of the songs here. She's able to link her singing to her piano playing in sympathetic ways and projects tremendous feeling through both. Like Cole in the '40s, Krall plays with a drummerless trio--here with guitarist Russell Malone and bassist Paul Keller. Their sense of intimate rapport is especially valuable on ballads such as "You Call It Madness" and "I'm Thru with Love," but also allows such uptempo tunes as "Hit That Jive Jack" to swing with surprising lightness. --Geoffrey Himes, Editorial Reviews

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1. Jingle Bells          play
2. Let It Snow          play
3. The Christmas Song
4. Winter Wonderland
5. I'll Be Home for Christmas
6. Chistmas Time Is Here
7. Santa Claus Is Coming To Town
8. Have Yourself A Merry Little Christmas
9. White Christmas
10. What Are You Doing New Year's Eve
11. Sleigh Ride
12 Count Your Blessing Instead Of Sheep

Personnel: 
Diana Krall (vocals, piano);
Jeff Clayton (flute, alto saxophone); Keith Fiddmont (clarinet, alto saxophone); 
Rickey Woodard, Charles Owens II (clarinet, tenor saxophone); 
Adam Schroeder (bass clarinet, baritone saxophone); 
Clay Jenkins, Gilbert Castellanos, William Barnhart, Rick Baptist, Sal Cracchiolo (trumpet); 
Joe Meyer , Rick Todd, Brad Warnaar (French horn); George Bohanon, Ira Nepus (trombone); 
Tommy Johnson (tuba); Tamir Hendelman (piano, Fender Rhodes piano); 
Alan Broadbent, Gerald Clayton (piano); 
Randy Waldman (keyboards); Stefon Harris (vibraphone); 
John Clayton, Robert Hurst , Ben Wolfe (double bass); 
Joe Porcaro, Emil Richards (percussion); Anthony Wilson , Russell Malone (guitar); 
Jeff Hamilton (drums).

Various Holiday-themed Diana Krall tracks have popped up over the years, but CHRISTMAS SONGS is her first full-length Christmas album. In recent years Diana has not rested on her laurels, musically-speaking. Some such as myself have thought highly of her later albums, while others missed her earlier forays into pop/jazz standards.

CHRISTMAS SONGS should appeal to those on both sides of the fence, and will likely reach out to many newcomers as well. The sense of effervescent, swinging fun that marked portions of her earlier albums is back on a number of tracks ("Santa Claus Is Coming To Town," "Jingle Bells," etc.). Meanwhile, those of us who feel she's emotively-deepened as a vocalist in the last few years will find ample evidence of that too, particularly on the ballads ("I'll Be Home For Christmas," "White Christmas," etc.). Diana's accompiament also tries something new (for her): there's a tasty, compatible big-band on many tracks (courtesy of the Clayton/Hamilton Jazz Orchestra). In addition, several ballads have string-dominated orchestrations (somewhat similar to those on THE LOOK OF LOVE).

Quite unusual for contemporary holiday albums is the lack of any attempts to write a new classic; there are no Krall-penned tunes here. Most of the songs are among the holiday season's most oft-heard classics, but Diana's voice brings a fresh touch to them. At times she effectively breaks out into scatting, and frequently tweaks the melodies to just the right extent as one would expect of a jazz singer. Of course, her piano moves into the foreground at times as well. Most if not all fans of Diana's late-1990s albums will be satisfied with this album from beginning to end, as will many who favor the recent discs. It's safe to say that CHRISTMAS SONGS will prove to stand the test of time and become a classic seasonal album.

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01. It Could Happen To You 
02. Isn’t This A Lovely Day 
03. How Insensitive 
04. Exactly Like You 
05. From This Moment On 
06. I Was Doing Alright 
07. Little Girl Blue 
08. Day In Day Out 
09. Willow Weep For Me 
10. Come Dance With Me 
11. It Was A Beautiful Day In August / You Can Depend On Me 
12. The Boulevard Of Broken Dreams

Personnel: 
Diana Krall (vocals, piano); 
Anthony Wilson (guitar, acoustic guitar); 
Jeff Clayton (flute, alto flute, soprano saxophone, alto saxophone); 
Keith Fiddmont (clarinet, alto saxophone);
 Rickey Woodard, Charles Owens II (clarinet, tenor saxophone); 
Lee Callet (bass clarinet, baritone saxophone); 
Clay Jenkins, Gilbert Castellanos, Sal Cracchiolo, Terell Stafford (trumpet, flugelhorn); 
Paul Klintworth, Marilyn L. Johnson , David Duke , Yvonne S. Moriarty, Stephanie O'Keefe,
 Rick Todd, Brad Warnaar, Jim Thatcher (French horn); 
George Bohanon, Maurice Spears, Ira Nepus (trombone); 
Tommy Johnson, George Thatcher (tuba); 
Gerald Clayton, Tamir Hendelman (piano); 
Robert Hurst (bass instrument); 
John Clayton (bass guitar); 
Jeff Hamilton (drums); 
Robert Zimmitti (percussion); 
Clayton-Hamilton Jazz Orchestra.

Returning to the large ensemble sound of her 2005 success, Christmas Songs, pianist/vocalist Diana Krall delivers a superb performance on 2006's From This Moment On. Although having received a largely positive critical response for her creative departure into original singer/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops. But it's not just that her phrasing and tone are well-schooled. Having long drawn comparisons to such iconic and icy jazz singers as Julie London and Peggy Lee, Krall truly earns such high praise here. In fact, tracks like "Willow Weep for Me" and "Little Girl Blue" are drawn with such virtuosic melancholy by Krall as to be far and away some of the best ballads she's put to record. Similarly impressive big swing numbers like "Come Dance with Me" showcase her muscular rhythmic chops both vocally and on the keys. Backing her here is the always wonderful Clayton-Hamilton Jazz Orchestra, featuring some punchy and solid solo spots by trumpeter Terell Stafford, as well as the rhythm section talents of guitarist Anthony Wilson, bassist Robert Hurst, and drummer Jeff Hamilton. --- Matt Collar, Rovi

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01 I Love Being Here With You 
02 Let's Fall in Love 
03 'Deed I Do 
04 Look of Love, The 
05 East of the Sun (And West of the Moon) 
06 I've Got You Under My Skin 
07 Devil May Care 
08 Maybe You'll Be There 
09 S'Wonderful 
10 Fly Me to the Moon 
11 Case of You, A 
12 Just the Way You Are - (studio)

Personnel:
    Diana Krall - piano, vocals, Fender Rhodes
    Michael Brecker - tenor saxophone
    Alan Broadbent - conductor
    John Clayton - bass
    Paulinho Da Costa - percussion
    Jeff Hamilton - drums
    Christian McBride - bass
    Rob Mounsey - keyboard
    Lewis Nash - drums
    John Pisano - acoustic guitar
    Luis Quintero - percussion
    Anthony Wilson – guitar

Recorded "live" at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on "Let's Fall in Love" and "I've Got You Under My Skin," the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures. On Joel's "Just the Way You Are," Krall is accompanied by Christian McBride on bass, Michael Brecker on tenor saxophone, Lewis Nash on drums, and Wilson on guitar, among others. This song also resides on the soundtrack to the film The Guru and is probably one of the best ballads on the set due to the great solo from Brecker. His powerful but sensitive playing adds the ultimate expression and approach to the melody -- one with attitudinal preparation, which is always necessary for a song that has such familiarity and association with another musician. For those who may not have heard Krall perform "live," this recording will give you a firsthand account of the ambience and excitement of a musical evening with her. --- Paula Edelstein, Rovi

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01 I Love Being Here With You 
02 Let's Fall In Love 
03 Where Or When 
04 Too Marvellous For Words 
05 I've Grown Accustomed To His Face 
06 Walk On By 
07 Frim Fram Sauce 
08 Cheek To Cheek 
09 You're My Thrill 
10 Let's Face The Music And Dance 
11 Every Time We Say Goodbye 
12 So Nice 
13 Quiet Nights 
14 Este Seu Olhar 
15 The Boy From Ipanema 
16 I Don't Know Enough About You 
17 'S Wonderful 
18 Exactly Like You

Line Up:
Diana Krall – piano, vocals
Anthony Wilson – guitar
John Clayton – bass
Paulinho Da Costa – percussion
Jeff Hamilton – drums

Recorded November 2008 at Vivo Rio in Rio De Janerio

not being offensive (read that, misunderstood). Such criticism has been leveled at Canadian pianist and singer Diana Krall, who by any standards of success is a rock star in the world of jazz—and it's true, Krall takes absolutely no artistic chances, choosing rather to perform mainstream jazz vocal music superbly well. But that is her charm. Krall's conservative approach has led her to wide crossover appeal and matching commercial success since her debut in 1993.

Live In Rio is Krall's DVD companion to her recently released bossa nova recording, Quiet Nights (Verve, 2009). It captures Krall and her long time band of bassist John Clayton, guitarist Anthony Wilson and drummer Jeff Hamilton, augmented by percussionist Paulinho DaCosta, performing at the Vivo Rio in Rio De Janeiro in November 2008. The performance was also supported by the Rio De Janeiro Orchestra under the direction of Ruria Duprat.

Apparent from the start of the show is the affectionate rapport between Krall and her Brazilian audience. It is obvious that Krall and company enjoy performing for the Rio crowd and that the Rio crowd enjoy being performed for. Also apparent is Krall's rapport with her band, all members smiling at one another. Krall's performance betrays her preparations for Quiet Nights with the performance of several songs from the then unreleased album. These are sprinkled among her typical repertoire of ballads and upbeats.

Krall opens with a frisky "I Love Being Here With You" and remains in this vein until bossa-ing it up with the Hal David/Burt Bacharach classic "Walk On By." This introduces the scaffolding performances of the show, Krall's oft-performed "Frim Fram Sauce," taken at a quick clip, and her newly arranged reading of Irving Berlin's "Cheek to Cheek." On these two pieces Krall earns her living playing, singing and soloing with that creative efficiency she has become known for. So urgent is her performance that the humid Rio night glows on her, indicating just how special this pairing was.

For the Brazilian audience, the performance peaks with the trilogy of "Quiet Nights," "Este Seu Olhar" and "The Boy from Ipanema," all delivered with Krall's relaxed and breathy sexiness. Here she is one with the audience, who she encourages to sing along. Wilson's piquant guitar playing is here best realized, his sensitive soloing and accompaniment well suited for this swaying material. Clayton and Hamilton are impeccable, as always.

One writer in the blogosphere takes Krall and company to task for having aged since the mid-1990s. While it is sad that youth is not a continuing state of affairs, it is nice to see the beautiful and talented Krall in full maturity. Krall is not the be all and end all. Dena DeRose is a better singer and Patti Wicks a better pianist. But, while she may not blaze any creative jazz trails, Krall's intelligent and informed piano playing and her unique timing and delivery will have her remaining the star she is in her proper place in the musical heavens. ---C. Michael Bailey, allaboutjazz.com

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0. Overature
1. I Love Being Here With You
2. Do It Again
3. Lets Fall In Love      play
4. Band Introductions
5. Banter
6. I've Grown Accustomed To His Face
7. Banter
8. Frim Fram Sauce
9. So Nice
10. Cheek To Cheek
11. Quiet Nights
12. Love Letters
13. Banter
14. Pick Yourself Up
15. P.S. I Love You
16. I'm Walkin'           play
17. Boy From Ipanema

Personnel:
Diana Krall, Piano and Vocals
Robert Hurst, Bass
Jeff Hamilton, Drums
Anthony Wilson, Guitar

Los Angeles Philharmonic Orchestra
Conducted by Benjamin Wallfisch

Diana Krall needs no introduction. This concert was the second of a two night stand at the historic Hollywood Bowl, and as a special bonus, with the Los Angeles Philharmonic Orchestra.

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