DianaKrallfans.com

Diana's on the cover of a Montreal weekly Voir, complete with an interview whereby she talks about her early career stages (with $11 in the bank - my, how times change!) Sorry, but I don't think I can really do a translation here, but if someone feels inclined...


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Google translation -

June 24, 2004 Diana Krall Commentez this spectacle! Read the comments of the members [ 8 ] the bride was in black Ralph Boncy "When one brought the album finished for the session of listening with the team of marketing, there was a great silence in the room. Nobody said a word." It took husband and lost his mother. Between happiness and the bitterness, DIANA KRALL starts to sing Tom Waits and Joni Mitchell, reveals finally her own songs and gives birth, with Elvis Costello, with her?uvre strongest, most personal. But the blonde diva defends to have taken a turn with 90 degrees... "Yesterday evening, one gave a concert and I played a part of Waller Conceited people, then a toune of Groucho Marx, then I did of them one of Joni Mitchell and one of Irving Berlin. I do not want that one puts to me in a small box!" Diana Krall jubile; she is well awaked.

At the beginning of our conversation, a good moment ago, the blonde seemed hidden under the couette and very acknowledged to me to have lain down, very late. Did success transform? "I am in this beautiful hotel in Boston in this moment, entrusts it. However, I dribbled about it with some corners of street from here, playing seven hours per night for small contracts in solo or trio. Making ceaseless return tickets from here in New York with 11 dollars in my banking account. I do not want to make my Cinderella but it was there are just 10 or 12 years... That returns to me very humble. Presently, I will make a turn and I will have shivers, memories of me, here in Berklee School, at 17 years, working extremely on my piano jazz." And then one morning, under the door, there was the newspaper with a critic who said: "It is not as good as Oscar Peterson." Diana laughs at it with throat deployed today: "Which bastard!" She should not have found it funny tous.les.jours. They are the risks of the trade, but she does not regret anything. "I worked hard, it is true. But to tell that is not a manner for me of claiming that I deserved my success. I had enormously chance, it should be said. An extraordinary chance."

It starts by playing Juste to laugh during two weeks. Then it is programmed with the Festival of Jazz in evening tandem with Benny Green. "It was the idea of Andre Ménard and Marianne Topper to assemble a homage to Nat King Cole. It was the great turning in my career. All arrived to me there, into 96. It is also the year when my mother had her operation and became sicker. It is as if my life had rocked at this time precise: the professional success and the nearest loss a expensive being. With the passing, I think that the life coincides with your artistic advance. But one played each evening and what one put to them! Afterwards, one returned in studio with Russell Malone and Paul Keller and one laid the album All of You in one nothing time. That bubbled!"

The hidden face of Diana Lady, you is fair to You, are beautiful for you sell discs, the purists turn you the back, it is sure. Stylism, the licked photograph, popularity, Grammys, the million: it is the misunderstanding of the second sex. "When I made the two albums with Johnny Mandell and Claus Ogerman like arrangers, these was goals that I had set. Me bitterly was criticized. People did not know the work of Claus with Bill Evans or Joao Gilberto. They thought that it was the producer or the label who had forced me to put violins everywhere. I am not the puppet of any company of discs! To have sat with Ogerman during one week was a fantastic experiment. I did not think a second that this was going to damage my credibility. Moreover, I had decided to put the piano in withdrawal to finally concentrate me on the exercise to sing. It was not the moment to make my master keys in McCoy Tyner." At this point in time Krall and Costello meet in Grammys. They speak only about music and, the evening even, already plan to write songs. "I loved much Elvis, explain it, because it was impossible to catalogue, like Joni Mitchell and Tom Waits.

One is of course immediately because I unceasingly asked him questions about all his albums, all this long career to make only at his head completely different things. Me I had some to obey a little enough an album which defines me. I was frustrated. I met the good collaborator at the good time, it was like a late flight. Certain people know at 22 years when they from go away. Me, that took more time to me... " Hidden talents of compositrice, Diana however had some. Young person, it was gavait of Keith Jarrett, recorded its own improvisations and transcribed thereafter them. The integral melody of Narrow Delight was written in this manner. But it did not rely on its talent of auteure. Until this sleepless night where she writes The Girl in the Other Room. It is Costello, the guy in the room of at side, which will help it to tie up the text of this superb blues. One is March 2003, that made exactly a year that his/her mother died and the singer still thinks of death. Then it returns in this decoration of its childhood. It has a beautiful apartment in Manhattan in vain, it is towards the sea and the mountains that returns the girl of Nanaimo.

It is sublimates it and sad decoration of sound all new clip Almost Blue, turned to the north of the Vancouver Island. It is there that it is found in the peace of its new house, the perfect decoration for réécouter For the Roses of Joni Mitchell and its old discs of Dylan and Neil Young. "It is said that when people of their environment are withdrawn, they suffer physically. Me I dreamed of New York but my house is over there. I need the large air and the marine breeze." The disc dark and is believed, filled of an immense melancholy. More mielleux orchestra, just a rhythm section and a rougher piano, much more present. And the return of some old friends like Jeff Hamilton and John Clayton, with which it had recorded at 26 years its first disc in trio, Steppin' Out. "I made the decision to make the disc such as it is, not to make a more pop trick, as certain journalists think it. I sought to create a?uvre art instead of a commercial success.

It is my eighth album, it was the good moment. When one brought the album finished for the session of listening with the team of marketing, there was a great silence in the room. Nobody said a word." The result of the races, it is that this sober and almost marginal album gains a great success, beginning in fourth position on the American prize list, better than the precedents When I Look in Your Eyes and The Look of Love. In Canada also, that forecasts well: it already ran out with nearly 500 000 copies in less than two months. What a irony! As sometimes what it is necessary to follow its intuition instead of being afraid to lose its fans. The good news in all that, it is that our star Canadian is not caught for another. It assumes perfectly its 39 years, it found the man of its life, it evolves/moves artistically. It writes songs on the death of her mother even if people want that it makes photographs of mode! Réalisatrice of its own album, it has just given a large blow of rudder.

Some will believe that it took again its career in hand but, in the content, perhaps it had never lost north... "You can write complex songs and spread out your pianistic technique to impress the gallery, but if you keys not people, that is used for what? Me, it is that my job." June 29 In the Bell Center, within the framework of the FIJM