This Dream Of You Diana Krall

• 1 But Beautiful 04:50
• 2 That's All / Azure-Te 04:05
• 3 Autumn In New York 05:19
• 4 Almost Like Being In Love 03:40
• 5 More Than You Know 03:57
• 6 Just You, Just Me 02:25
• 7 There's No You 04:48
• 8 Don’t Smoke In Bed 03:18
• 9 This Dream Of You 07:02
• 10 I Wished On The Moon 02:38
• 11 How Deep Is The Ocean 05:18
• 12 Singing In The Rain 03:28
• Total Runtime 50:48

Info for This Dream Of You

Diana Krall returns with a new album, years in the making, featuring personally chosen gems from the American songbook produced in collaboration with her longtime producer Tommy LiPuma. "This Dream Of You" was produced in May 2020 by Diana Krall, was mixed by Al Schmitt, who worked closely with the artist to achieve notable intimacy and immediacy with her voice in the final balance.

The performances come from sessions in 2016 and 2017, on which Krall worked with her friend and longtime creative partner, Tommy LiPuma. Mr. LiPuma passed away in 2017 at the age of 80.

The album features Krall in a quartet with long-time colleagues, John Clayton, Jeff Hamilton and Anthony Wilson on “Almost Like Being In Love” and “That’s All”, as well as a trio with Christian McBride and Russell Malone who play on “Autumn in New York” and “There’s No You.”

The duos include a wonderful first-take performance of “I Wished On The Moon” from Krall and bassist, John Clayton and two vocal cuts – “More Than You Know” and “Don’t Smoke In Bed” with accompaniment by pianist, Alan Broadbent, who also provided the string orchestration for “But Beautiful” and string arrangement on “Autumn In New York.”

The final session for this album took place at Capitol Studios with an ensemble featuring guitarist, Marc Ribot, the fiddle of Stuart Duncan and a rhythm section of Tony Garnier on bass and Karriem Riggins on drums. This line-up played “Just You, Just Me,” Irving Berlin’s “How Deep Is The Ocean” and the Bob Dylan song, “This Dream Of You,” on which Randall Krall plays accordion.

"This Dream Of You" is music for right now but it is also a “long playing record,” one that feels like a movie that you might share with someone because you know they’ll stay with it until the final reel. As Diana says, “If ‘But Beautiful’ is the overture, then ‘Singing In The Rain’ is the end title.”

"...This Dream of You winds up shining a light on the accomplishment of the final album Krall and LiPuma finished in his lifetime. Together, they knew which songs to select to create a complete listen. What remained behind is nice but not quite absorbing." (Stephen Thomas Erlewine, AMG)

"Whereas Turn Up The Quiet contained the very best of Krall’s sessions in the years before Lipuma passed away, This Dream of You (Verve), presenting the also-rans, is quite simply not as good... This disappointing album feels like quite the wrong way to be setting the seal on the Krall/LiPuma years. It is to be hoped that she can and will bounce back from it." (Sebastian Scotney, The Arts Desk)

"As one who has many Krall albums, this will undoubtedly satisfy her listeners who came aboard as she was building her career playing standards and those who enjoyed her past two efforts. This Dream of You is a solid entry, though surely not the strongest in her storied catalog." (Jim Hynes, Glide Magazine)

Diana Krall, vocals, piano
Alan Broadbent, piano
John Clayton Jr, bass
Jeff Hamilton, drums
Anthony Wilson, guitar
Christian McBride, double bass
Russell Malone, guitar
Tony Garnier, bass
Marc Ribot, guitar
Stuart Duncan, fiddle
Randall Krall, accordion

Some music is intended to paint a romantic scene – a candlelit dinner, a walk along a moonlit beach. Quiet Nights – Diana Krall’s twelfth album – ain’t about that. Using Brazil as a musical point of reference, the award-winning pianist and singer is not suggesting a night out; she means to stay in.

“It's not coy. It's not ‘peel me a grape,’ little girl stuff. I feel this album’s very womanly – like you're lying next to your lover in bed whispering this in their ear.”

She’s not kidding. From Krall’s refreshing version of “Where or When,” to an utterly soul-stilling rendition of “You’re My Thrill,” the ten songs on Quiet Nights are disarming in their intimacy. Even those already familiar with the breathy vocals and rhythmic lilt in Krall’s music – and now there are millions – will be taken aback by just how far the music pushes, unabashedly, into the realm of sweet surrender. “It’s a sensual, downright erotic record and it's intended to be that way.”

Krall is the first to credit the musical team she assembled – her loyal quartet, ace producer Tommy LiPuma, engineer Al Schmitt plus legendary arranger Claus Ogerman – for much of the seductive power on Quiet Nights. But there’s a deeper, palpable sense of maturity that she brought to the recording as well. “Most of my singing and playing on the album is really just first or second takes. ‘You're My Thrill,’ was a second take – “Too Marvelous,” first take.”

“She’s completely matured,” says Tommy LiPuma, who should know, having first worked with Krall in 1994. “Even in the past few years. She approaches her vocal phrasing much more like an instrumentalist than a straight singer. It’s in her reading of the lyrics, and the timbre of her voice, much more misty like Peggy Lee in her mature period.” (“I didn't want to over sing -- I was drawing also from Julie London very strongly on this album,” Krall confesses, noting that such influences are not always conscious on her part. “It just came out that way.”)

As such, the Brazilian focus of Krall’s new album could not have been a more natural next step. “She's been very sympathetic to this music for a long time,” notes LiPuma. “When we did The Look of Love, we were very much leaning in the bossa nova direction. Quiet Nights is really a celebration of this music. Diana sings three Brazilian classics, she rhythmically turned four standards into that style, and three ballads. So really there are ten songs on the album of which seven are just straight up bossa novas.”

It makes sense that Quiet Nights (also the English name of the bossa nova classic “Corcovado” that is the title track) draws much of its musical spirit from the land that puts the “carnal” into its annual Carnaval celebration. “I was inspired to do this record because of my trip last year to Brazil,” says Krall, who returned to Rio de Janeiro to shoot a concert for a new DVD release. “Then I just kept going back and found that everywhere you go you still hear the sounds of Jobim and bossa nova.”

For those who may not remember or weren’t yet around, Brazil’s bossa nova wave (literally “new bump” or “new way” in Portuguese) was the widely popular musical style, based on the country’s traditional samba rhythms, that swept up from the sidewalk cafes of Rio in the early ‘60s and seduced the entire planet with its hypnotic, swaying beats, sultry melodies, and new, exciting harmonies – all with generous room for jazz improvisation. Antonio Carlos Jobim (who composed “Quiet Nights” and “The Girl from Ipanema”) and Joao Gilberto (“Este Seu Olhar”) are two of the pioneers of the music, revered as national heroes in Brazil to this day.

Fifteen years later, she can look back over a stellar career path: in ’99, signed to Verve, her career exploded when When I Look in Your Eyes won a GRAMMY® for best jazz vocal and became the first jazz disc to be nominated for Album of the Year in twenty-five years. In 2002, The Look of Love was a #1 bestseller in the US and a five-time platinum album in Canada. 2004’s The Girl in the Other Room, was her first to focus on her own songwriting (with six tunes co-written with husband Elvis Costello); 2005’s Christmas Songs proved one of the season’s best-sellers; and 2006’s From This Moment On was an upbeat, critical success that coincided with the birth of her twin sons – a life-affirming event that LiPuma feels enhanced Krall’s continuing growth as a musician. “Motherhood definitely agrees with her—and marriage. I think she's really come into her own.”

As moving as Quiet Nights is -- deriving from Krall’s feelings for Brazil and bossa novas – the singer is not shy in admitting that its sensuality is as much about her home life. “It’s my love letter to my husband – just an intimate, romantic album.” As they say in Rio – obrigado!

This album contains no booklet.