Girl In The Other Room [Special Edition]

Rating

Album: Girl In The Other Room
#	Song Title	Time
1)	Stop This World
2)	Girl in the Other Room, The
3)	Temptation
4)	Almost Blue
5)	I've Changed My Address
6)	Love Me Like a Man
7)	I'm Pulling Through
8)	Black Crow
9)	Narrow Daylight
10)	Abandoned Masquerade
11)	I'm Coming Through
12)	Departure Bay
13)	I'll Never Be the Same

Tracks

1. Stop This World

2. The Girl In The Other Room

3. Temptation

4. Almost Blue

5. I've Changed My Address

6. Love Me Like A Man

7. I'm Pulling Through

8. Black Crow

9. Narrow Daylight

10. Abandoned Masquerate

11. I'm Coming Through

12. Departure Bay

13. I'll Never Be The Same [Bonus Track]

Performer Notes

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Diana Krall (vocals, piano); Neil Larson (Hammond B-3 organ); Anthony Wilson (guitar); Christian McBride, John Clayton (bass); Peter Erskine, Jeff Hamilton, Terri Lynne Carrington (drums).
Recorded at Capitol Studios, Hollywood, California and Avatar Studios, New York, New York.
U.K. version with exclusive bonus track "I'll Never Be the Same."
Adapter: Bonnie Raitt.
Personnel: Diana Krall (vocals, piano); Anthony Wilson (guitar); Jeff Hamilton , Peter Erskine, Terri Lyne Carrington (drums).
Recording information: AVATAR Studio, NY; Capitol Studios, Hollywood, CA.
Photographer: Mark Seliger.
It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. In any case, it marks Krall's biggest departure to date; THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation." Nevertheless, Krall delivers them--like the rest of the songs here--in a misty, laconic style very consistent with her earlier work.
There's no attempt at pop-oriented production here, just the same piano-trio sound that's been Krall's stock in trade all along. Ironically, the jazziest tune here is Costello's early-1980s ballad "Almost Blue," previously performed by Chet Baker. Naturally, the new songs also bear the unmistakable stamp of Costello, but no matter how far afield her song sources (Joni Mitchell and Chris Smither's catalogs are drawn on as well), Krall maintains the trademark feel that made her famous.

Professional Reviews

Q (p.100) - 3 stars out of 5 - "[T]here's a bolder choice of material....Her playing has loosened up too..."

Mojo (Publisher) (p.97) - 3 stars out of 5 - "Krall is darkly exhilarating in the raucous Mose Allison opener 'Stop This World,' then coolly compelling in Tom Waits' 'Temptation'..."

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