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Track List
01) Where or When
02) Too Marvelous for Words
03) I've Grown Accustomed to Your Face
04) The Boy From Ipanema
05) Walk On By
06) You're My Thrill
07) Este seu olhar
08) So Nice
09) Quiet Nights
10) Guess I'll Hang My Tears Out to Dry
11) How Can You Mend a Broken Heart
12) Every Time We Say Goodbye
01) Where or When
02) Too Marvelous for Words
03) I've Grown Accustomed to Your Face
04) The Boy From Ipanema
05) Walk On By
06) You're My Thrill
07) Este seu olhar
08) So Nice
09) Quiet Nights
10) Guess I'll Hang My Tears Out to Dry
11) How Can You Mend a Broken Heart
12) Every Time We Say Goodbye
4:10
4:05
4:48
4:54
5:03
5:47
2:46
3:52
4:45
4:59
4:30
5:19
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2009
Jazz
Good Natured
Jazz
---
Medium
Album
0 copies
Album Description
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Quiet Nights is the tenth studio album by Canadian jazz singer-songwriter and pianist Diana Krall, released on March 31, 2009 by Verve Records. The album marks Krall's first work with arranger Claus Ogerman since 2002's Live in Paris, and her first studio work with Ogerman since 2001's The Look of Love. In 2010, the title track earned Claus Ogerman the Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s).
The album's title comes from the English-language title of the bossa nova standard "Corcovado", written by Antonio Carlos Jobim and first made popular in the early 1960s. The title track is one of three selections written or co-written by Jobim. Krall had previously included the Jobim-penned "How Insensitive" ("Insensatez") on her 2006 release From This Moment On, and performed Jobim's "The Boy from Ipanema" with Rosemary Clooney on the latter's 2000 album Brazil.
User Album Review
It was only a matter of time before Diana Krall turned her attention to bossa nova, but the result, now that it’s here, makes you wish she had got there a little sooner. Surrounding herself with a crack quartet – Anthony Wilson on guitar, John Clayton on bass, and percussionists John Clayton and Paulinho Da Costa – backed by a Claus Ogerman-led orchestra, Krall turns Quiet Nights into a “love letter for my husband” aka Elvis Costello, with a meticulously manicured production co-authored by Krall herself and Tommy LiPuma.
She owes a double debt to Ogerman, whose strings-saturated arrangements ooze with a seriously sensuous, impeccably crafted sophistication. Mixing bossa nova classics with jazz standards, Krall lowers her voice to virtually sub-sonic levels to deliver husky, half-whispered but deliciously sultry performances so packed with sentimental billet doux that half way through it all threatens to congeal into one intrusive, gelatinous mass. This is dreamy, gently swaying, cocktail bar music making given the glossiest of productions. As such, it works best when listened to with half an ear (and probably at 4am in the morning). It’s then Krall’s sotto voce approach comes into its own; I’ve Grown Accustomed to His Face, So Nice, Too Marvellous for Words and You’re My Thrill all becoming enviously intimate confessionals.
Krall even turns The Boy From Ipanema into a torch song that pads and prowls with deliberately underplayed intent while the title track is all brooding desire and wish fulfilment. But when the approach goes wrong, it borders on turning the Bacharach/David classic Walk On By into a curiously anaemic apology. Limited edition discs also carry two bonus tracks: a surprisingly effective cover of the Bee Gees’ How Can You Mend A Broken Heart and a pared back, paced down version of Cole Porter’s Every Time We Say Goodbye. It’s not what you might expect of Krall or, for that matter, bossa nova, and nor is it jazz, but in its own deliberately dissipated dreaminess it has an obvious understated allure all of its own.
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User Comments
Available in:
Quiet Nights is the tenth studio album by Canadian jazz singer-songwriter and pianist Diana Krall, released on March 31, 2009 by Verve Records. The album marks Krall's first work with arranger Claus Ogerman since 2002's Live in Paris, and her first studio work with Ogerman since 2001's The Look of Love. In 2010, the title track earned Claus Ogerman the Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s).
The album's title comes from the English-language title of the bossa nova standard "Corcovado", written by Antonio Carlos Jobim and first made popular in the early 1960s. The title track is one of three selections written or co-written by Jobim. Krall had previously included the Jobim-penned "How Insensitive" ("Insensatez") on her 2006 release From This Moment On, and performed Jobim's "The Boy from Ipanema" with Rosemary Clooney on the latter's 2000 album Brazil.
User Album Review
It was only a matter of time before Diana Krall turned her attention to bossa nova, but the result, now that it’s here, makes you wish she had got there a little sooner. Surrounding herself with a crack quartet – Anthony Wilson on guitar, John Clayton on bass, and percussionists John Clayton and Paulinho Da Costa – backed by a Claus Ogerman-led orchestra, Krall turns Quiet Nights into a “love letter for my husband” aka Elvis Costello, with a meticulously manicured production co-authored by Krall herself and Tommy LiPuma.
She owes a double debt to Ogerman, whose strings-saturated arrangements ooze with a seriously sensuous, impeccably crafted sophistication. Mixing bossa nova classics with jazz standards, Krall lowers her voice to virtually sub-sonic levels to deliver husky, half-whispered but deliciously sultry performances so packed with sentimental billet doux that half way through it all threatens to congeal into one intrusive, gelatinous mass. This is dreamy, gently swaying, cocktail bar music making given the glossiest of productions. As such, it works best when listened to with half an ear (and probably at 4am in the morning). It’s then Krall’s sotto voce approach comes into its own; I’ve Grown Accustomed to His Face, So Nice, Too Marvellous for Words and You’re My Thrill all becoming enviously intimate confessionals.
Krall even turns The Boy From Ipanema into a torch song that pads and prowls with deliberately underplayed intent while the title track is all brooding desire and wish fulfilment. But when the approach goes wrong, it borders on turning the Bacharach/David classic Walk On By into a curiously anaemic apology. Limited edition discs also carry two bonus tracks: a surprisingly effective cover of the Bee Gees’ How Can You Mend A Broken Heart and a pared back, paced down version of Cole Porter’s Every Time We Say Goodbye. It’s not what you might expect of Krall or, for that matter, bossa nova, and nor is it jazz, but in its own deliberately dissipated dreaminess it has an obvious understated allure all of its own.
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