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DIANA KRALL on Her Latest Album, the Jazz Pianist Picks Pop and Plays Favorites by Jeff Tamarkin

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DIANA KRALL on Her Latest Album, the Jazz Pianist Picks Pop and Plays Favorites by Jeff Tamarkin ISSUE #41 MMUSICMAG.COM MUSICIAN Bryan Adams DIANA KRALL On her latest album, the jazz pianist picks pop and plays favorites By Jeff Tamarkin DIANA KRALL IS A WORLD-CLASS JAZZ PIANO PLAYER AND a writer—I sing and play music and make people feel. That which singer—and the bulk of her catalog falls squarely into the jazz realm. cannot be said has to be sung.” But her latest album Wallfl ower consists almost entirely of pop and With fi ve Grammys and eight Juno Awards, as well as nine rock favorites from the 1960s to the ’80s—classics like the Eagles’ gold, three platinum and seven multiplatinum records, Krall boasts “Desperado” and “I Can’t Tell You Why,” the Mamas and the Papas’ a career that could stand as the defi nition of jazz success. She’s “California Dreamin’,” the Carpenters’ “Superstar,” and 10cc’s “I’m Not also the only jazz singer to have eight albums debut at the top of in Love,” along with the Bob Dylan-penned title track and a previously the Billboard Jazz Albums chart. The Canadian native began playing unreleased Paul McCartney composition, “If I Take You Home Tonight.” piano when she was just 4, and went on to study at Boston’s Berklee Produced and arranged by David Foster, the tracks, most of College of Music on scholarship before heading to L.A. Since her them richly orchestrated, place the focus on Krall’s keen interpretive 1993 debut album Stepping Out went gold, she’s played with sense and emotive vocals. Her goal was to showcase her vocal everyone from Ray Charles to Hank Jones to Paul McCartney. Krall chops on these songs she’s loved for so long—and the musical also produced Barbra Streisand’s Love Is the Answer in 2009, change-up proved to be a success: The album placed Top 10 in and her marriage to Elvis Costello in 2003 has further elevated her more than 20 countries. “Though I’ve won jazz vocalist awards, I profi le. Krall discusses the creative process behind the new record, still consider myself a jazz pianist who sings,” says Krall, 50. “I’m not what she hoped to achieve—and what she didn’t. ‘Sometimes if you take pop tunes and put them in a jazz setting, you overthink them a bit.’ 46 M mag 41.indd 46 6/28/15 7:17 PM ISSUE #41 MMUSICMAG.COM You grew up with these songs. James Brown or Anthony Wilson playing with ESSENTIAL KRALL Right, it’s not like I discovered them in Jesse Harris. We’re out there to explore. On somebody’s basement. These are from this album I got a chance to work with Bryan albums I got when they came out, like Adams and Michael Bublé, who I run into in Crowded House’s “Don’t Dream It’s Over.” the frozen food section in my neighborhood ALL FOR YOU: A I’ve always been connected with that song all the time. All these things mean something DEDICATION TO THE and always wondered how I would do it to me—I didn’t just pull them out of a hat. I NAT KING COLE TRIO some day. I fi nally got the chance. When wanted to sing “Desperado” because I know (1996) I recorded it, I said to David [Foster], “Just all the words, I don’t need the music, and I This tribute to a prime let [drummer Jim] Keltner go—I want a big just love the song. influence of Krall’s rock ballad.” David said, “I don’t know, this works because she knows better than to may be pushing it too far,” but I said, “Nope. How were guest artists selected? attempt imitation, and while her technique is Just go for it.” I just gave it over to David and he made impressive, she doesn’t fl aunt it. Whether on really good choices for me. He suggested the jumping boogie “Hit That Jive, Jack” or Blow your allowance on records? using [former Eagle] Timothy Schmit on the mellow “I’m Thru With Love,” Krall owns Yes, I did. It was all about the radio. When “I Can’t Tell You Why.” I was blown away by the material. [Paul McCartney and Wings’] Wings Over that. Then when we did the Jim Croce tune America came out, I would play along. It was [“Operator (That’s Not the Way It Feels)”] THE LOOK OF LOVE the time of Supertramp and Elton John. My we had Stephen Stills and Graham Nash. (2001) mother and father were young people at These were all songs I loved for so long. This orchestrated set that time, and they were listening to Linda features arrangements Ronstadt, so some of their records got Why record “California Dreamin’”? by Claus Ogerman and moved upstairs to my room. I was hoping to do that for my Look of marks something of Love album and couldn’t fi gure out how. a departure as Krall steps out of the jazz Sometimes if you take pop tunes and put waters. In another time this would have been them in a jazz setting, you overthink them called Adult Contemporary—but what matters ‘I still consider a bit because you think, “I’ve got to make most is how thoroughly she nails it. it into jazz” or “I’ve got to re-harmonize it.” myself a If you just keep the integrity of the melody LIVE IN PARIS (2002) and harmonies of the piece but do it the No special formula jazz pianist way we think about it, that maintains the at work here, just freedom of the whole thing. So I couldn’t a rivetingly tight who sings.’ fi gure out how to do it, and then when we performance by a were kicking around tunes, I played this gifted vocalist and a Did you avoid jazz on the album? Shuggie Otis tune, “Aht Uh Mi Hed.” And I band of jazz all-stars (Michael Brecker, No. I just wear a lot of different hats. The just said, “What about putting that kind of Christian McBride). Album-ending covers of band I have now is not a hardcore jazz band. beat on ‘California Dreamin’”? You muse Joni Mitchell and Billy Joel offer a welcome I like to have that free-mind thinking. But I things around in your head for years before deviation from Krall’s Great American did tell David, “I don’t want to make a jazz they come out in some way. Songbook repertoire. record. I just want to stick with the original chord changes and harmonies and melodies Tell us about the Paul McCartney song. THE VERY BEST OF because they’re all great. If you want to take He wrote some beautiful songs for his record DIANA KRALL (2007) liberties with a few things, cool, but I don’t [Kisses on the Bottom, on which Krall plays Krall’s compilation spans want to make it like suddenly I’m doing my piano] and fortunately for me that song didn’t 1996-2006, focusing jazz interpretations of Radiohead.” I didn’t make his record. I told him I loved the song on the Songbook-era want to make new standards of favorite pop and he said thank you. Then last summer I standards on which her songs. Nor did I want to make it “Diana Krall found the music to it on my piano and started career was built (with a Tom Waits cover Sings the Hits of the ’80s.” It’s like what playing it, and [drummer] Karriem [Riggins] tossed in). Still redefi ning herself, Krall proves Dylan said about his new album [Shadows said, “You should do that, D.” So I asked Paul a master within the orchestral settings, as in the Night]—he’s not doing covers, he’s if I could do this song and he said sure. That with the velvety “I’ve Got You Under My Skin.” uncovering those songs. was the big story behind that. It could be my favorite track. GLAD RAG DOLL Elaborate on what you mean by not (2012) wanting to make new standards. Why choose Dylan’s “Wallfl ower”? A career crowning I wanted to do pop songs and keep the I played “Wallfl ower” on the Glad Rag Doll achievement, this integrity of the way they were originally tour for a couple of years. I think it has so T Bone Burnett- written with a couple of changes. I sound much truth to it. It’s on his Another Self produced album is Krall’s like Humphrey Bogart, but I’ve played a lot Portrait from the “Bootleg Series.” I just sang love letter to the primal jazz of the ’20s and of gin joints where I played music outside it at concerts, and my kids’ teacher said, ’30s. Avoiding retro clichés, Krall and Burnett of jazz. We all just play music we like, “Oh, I love that song so much. It so speaks instead delight in shaking things up, inserting whether it’s Christian McBride playing with to me.” Then we ended up having the fi rst fuzzed-out guitar and rocking piano licks. 47 M mag 41.indd 47 6/28/15 7:17 PM ISSUE #41 MMUSICMAG.COM MUSICIAN Belousov Vitaly/Itar-Tass/Landov Belousov Vitaly/Itar-Tass/Landov Onstage in Moscow, 2009 ‘My band has got my back so hard, and BEHIND THE GLASS whatever I want to do, fortunately To produce her latest album, Wallfl ower, Diana Krall tapped fellow Canadian native they’ll go with me.’ David Foster, whose mile-long resume includes Céline Dion, Barbra Streisand, Josh Groban and Whitney Houston.
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