Things that sound simple. And John Lewis argues that jazz was built in a kind of symbiotic relationship with popular music during its classic period. I get it, like, almost inevitably in every interview. Nor am I against writing all my own tunes if I felt I had something to say. When I do, I will. The same words. Tempo is my biggest thing right now. Benny Goodman used to snap his fingers for no matter how long until he got the right tempo. Ray Brown and I talked about Basie, how they would play it until it settled in, and they got it where they wanted it.
Tempo changes everything. If you sing at a fast tempo, you can breathe more words in a phrase. If you do it very slowly, it breaks the line at completely different points, and that changes the meaning.
And things will sound a little nervous. I suppose as they get it more under control. We do it too. It changes the feel of a tune. Geoff Keezer does that. His mind! For the voicings. Warren did it as an exercise. The next day I went with her to her sound check at the Zellerbach Theater on the campus of the University of Pennsylvania and, that evening, to the concert. She was working with a new rhythm section, including Peter Bernstein, guitar; Paul Gill, bass; and Joe Farnsworth, drums.
She has a strong face, and when the stage lights hit it, it radiated, looking like a flower above her black pantsuit.
She is an outstanding pianist. Even if she grouses about what she considers a limited technique; but compared to what, Art Tatum? She sits slightly sideways at the keyboard, to face the audience, as Nat Cole used to do; maybe she picked it up from his movies and TV shows.
Again she got a standing ovation. Whether she likes it or not, she is the glamour girl of jazz. After the concert, we went to dinner again, talking of Jimmy Rowles. Sitting back to the wall again, she suddenly dropped her head a little to the right.
The straight blonde hair fell over her face, and she put her left hand to her forehead to hide behind it. The reference is to his reputation as an arranger of ballads for singers. That work with singers goes back a long way to, among others, a Jerome Kern album he wrote for David Allyn and Ring-a-Ding-Ding for Frank Sinatra, and indeed much farther than that.
A sister, Audrey, died some years ago. My mother was very musical, and she was tremendously supportive. My father was a clothing manufacturer, ladies coats and dresses. He was a gentle soul who loved music, loved jazz. He died of a coronary when I was The evidence is that he was precocious at both.
When he was 14 he went to bandleader and arranger Van Alexander and asked for lessons. One can detect her gratitude in a variety of musical moments. I listened to a lot of Fred with Oscar Peterson while preparing for this project, as well as watching a lot of his early movies, like Swing Time. John [Clayton] wrote that arrangement at dinner the night before we recorded it. He was laughing and having the conversation and you see the wheels turning at the same time.
And I loved playing piano on that. And Terrell Stafford played the perfect trumpet solo right after that! I meant it as the best compliment.
Krall is quick to point out that she is happy with everything on the album for different reasons, especially for the collaborative results. To just settle back into the bench and play those tough tempos and keep the solos simple and melodic and beautiful, and not have to pass a poll of some kind?
Jazz Musician of the Day: Diana Krall. Instrument: Piano Born: November 16, All rights reserved. Reset your password Click the eye to show your password. All About Jazz musician pages are maintained by musicians, publicists and trusted members like you. Tell us why you would like to improve the Diana Krall musician page.
Please Sign Up or Sign In to send your inquiry. Home » Musicians » Diana Krall Advertise. Krall is up there with him on the same plane. She digs deep and tells us things about songs like no one else can. Add to that her superb piano playing, the equal of just about anyone, and you have the perfect musical package. The people who under-appreciate her most of all are the jazz police. Her phrasing, her originality is up there with the best.
She started piano lessons at the age of four, and by the time she reached her mid-teens, was studying harmony and playing jazz in a local restaurant. From early on, Fats Waller was a firm favourite.
Krall continued her musical education with a scholarship to the Berklee College of Music. Please select a country. Please select a province. Please enter a valid postal code ex Please select a state.
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