See pics here:
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Royal Albert Hall
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Royal Albert Hall
by scielle on 05 Nov 2004, 03:29
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by Coda on 05 Nov 2004, 18:07
Thanks, Scielle and Remi, for the links to the pictures. You've got to admire Diana's very muscular arms! Obviously, she's doing more exercise than just the treadmill. Check out picture #3793632 from WireImage, or #3792338 from Filmmagic.
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by harpfingers on 06 Nov 2004, 01:06
I would have to agree- looks like she has been lifting weights - looks good.
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by scielle on 06 Nov 2004, 02:09
Here's a review:
KRALL ENTHRALLS US WITH SOUL AND MYSTIQUE.
5 November 2004
The Evening Standard
BY JACK MASSARIK
BEAUTIFUL, yes. Talented, undoubtedly. But Diana Krall also has mystique. Whereas extroverts like Tony Bennett roar into overdrive inside the enormous Royal Albert Hall, a more soulful superstar can shrink the mighty arena into an intimate nightclub, as she managed to do last night.
Little by little, the Canadian ice-maiden welcomed us into her private world with the guarded air of a woman who does not cultivate hasty audience relationships.
She's a singer-pianist of rare emotional depth, but chooses to reveal it in tantalising instalments.
Rock women may strut around the stage, power-punching the air, but this jazzwoman, with her little black cocktail number and stiletto heels, veils her power with a catlike flick at the keyboard.
After some impressive piano work with a classy quartet including guitarist Anthony Wilson, bassist Robert Hurst and drum star Peter Erskine, Diana had this big audience - the first of four sold-out nights - eating out of her hand.
Yet her whispered announcements sounded almost shy. A quip would have broken the tension, and it almost came when she drily murmured something about all Canadians feeling happier when winter came. Her songs, meanwhile, grew warmer. Mixing Broadway standards (All Or Nothing At All, East Of The Sun) with more contemporary numbers by Mose Allison (Stop This World), Joni Mitchell (Black Crows) and Bonnie Raitt (Love Me Like A Man), she eased modestly into Almost Blue, Departure Bay and other originals from her rather melancholy new album, The Girl In The Other Room ('staring at her reflection in the mirror') co-written with Elvis Costello - they married last December. A stylish encore, performed alone, included Let's Face The Music And Dance, 'a song that could be appropriate right now'.
Did its opening line, 'There may be trouble ahead', contain some kind of clue? Probably not. Just wishful thinking.
KRALL ENTHRALLS US WITH SOUL AND MYSTIQUE.
5 November 2004
The Evening Standard
BY JACK MASSARIK
BEAUTIFUL, yes. Talented, undoubtedly. But Diana Krall also has mystique. Whereas extroverts like Tony Bennett roar into overdrive inside the enormous Royal Albert Hall, a more soulful superstar can shrink the mighty arena into an intimate nightclub, as she managed to do last night.
Little by little, the Canadian ice-maiden welcomed us into her private world with the guarded air of a woman who does not cultivate hasty audience relationships.
She's a singer-pianist of rare emotional depth, but chooses to reveal it in tantalising instalments.
Rock women may strut around the stage, power-punching the air, but this jazzwoman, with her little black cocktail number and stiletto heels, veils her power with a catlike flick at the keyboard.
After some impressive piano work with a classy quartet including guitarist Anthony Wilson, bassist Robert Hurst and drum star Peter Erskine, Diana had this big audience - the first of four sold-out nights - eating out of her hand.
Yet her whispered announcements sounded almost shy. A quip would have broken the tension, and it almost came when she drily murmured something about all Canadians feeling happier when winter came. Her songs, meanwhile, grew warmer. Mixing Broadway standards (All Or Nothing At All, East Of The Sun) with more contemporary numbers by Mose Allison (Stop This World), Joni Mitchell (Black Crows) and Bonnie Raitt (Love Me Like A Man), she eased modestly into Almost Blue, Departure Bay and other originals from her rather melancholy new album, The Girl In The Other Room ('staring at her reflection in the mirror') co-written with Elvis Costello - they married last December. A stylish encore, performed alone, included Let's Face The Music And Dance, 'a song that could be appropriate right now'.
Did its opening line, 'There may be trouble ahead', contain some kind of clue? Probably not. Just wishful thinking.
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by DKJAZZDIVA on 07 Nov 2004, 06:05
Mi Ami Remi Merci sooooooooo much for the link very nice shots almost looks like she forgot the words in one shot...made me smile...so happy for her...jetting around the world making her fans happy again cannot wait for her new CD...take care, ANAE
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by scielle on 07 Nov 2004, 14:15
Young girl, old songs Jazz
By Paul Morley
7 November 2004
The Sunday Telegraph
Diana Krall sells a lot of records, and she's sold out four nights at London's Royal Albert Hall. Naturally her success is partly why her authenticity, as a pianist and as a jazz vocalist, is constantly called into question. With Krall, you're always fighting through the suspicion that she's some kind of fake. Is she part of a jazz tradition, or just a well-marketed, well-targeted, over-photographed footnote? And now she goes and confuses the issue even further by marrying Elvis Costello and becoming part of an irritating showbiz couple, to really wind up the purists. The good news about her Albert Hall show is that it's just her at the piano, joined by the nimble, thrusting drumming of Peter Erskine, the brainy guitar of Anthony Wilson and the forceful bass of Robert Hurst. There's no small orchestra crowding her out. In this company, she has to know what she's doing. One weak moment, and she would be totally exposed. Her piano playing is actually smart, cunning and playful, tripping lightly between broad Fats Waller fun and Monkish edge. This may also be what gets up people's noses. It can't be true, looking at her, and the ease with which she won success without appearing to pay her dues, that she can play the piano with such paced, poised grace. And sing at the same time. Sing with flawless, exquisite intensity that's part extravagant, part vulnerable and thankfully never as ditzy and whispery as her tentative, sub- jivey, between-song banter. Jazz or not, original or not, she's an enthralling romantic entertainer. As if that's not now enough for her, she's nudging out beyond the pre-Beatle American standards on which she based her early career. She's entering dangerous singer/songwriter territory with the vaguely evocative, slightly ordinary songs she wrote with husband Costello on her latest album, The Girl in the Other Room. She's singing the twisted fusion of Tom Waits and the abstracted introspection of Joni Mitchell, less imaginatively than she sings the old standards, as if she's intimidated by these songs and their writers. Somehow her gentle, faithful way with Waits and indeed Costello seems more tame and nostalgic than her thrilling deconstruction of the 20th-century songbook, the Porters, Berlins, the Gershwins. She finishes, solo, with a Fred Astaire song that, she points out, might be old, but has a special resonance this evening (the day after Bush has been re-elected). "There may be trouble ahead . . ." she begins, poignantly tracing out "Let's Face the Music and Dance" and transforming it into something beaten, spare and modern. It segues into one of the stronger tracks from her latest album, "Departure Bay", leaving us wondering whether the young girl who sang the old songs with such timeless, unbelievable authority is becoming a mature performer locating a space mid-way between Joni Mitchell and Costello, who might not sell as many records as she once did. Maybe then the hipsters will approve.
By Paul Morley
7 November 2004
The Sunday Telegraph
Diana Krall sells a lot of records, and she's sold out four nights at London's Royal Albert Hall. Naturally her success is partly why her authenticity, as a pianist and as a jazz vocalist, is constantly called into question. With Krall, you're always fighting through the suspicion that she's some kind of fake. Is she part of a jazz tradition, or just a well-marketed, well-targeted, over-photographed footnote? And now she goes and confuses the issue even further by marrying Elvis Costello and becoming part of an irritating showbiz couple, to really wind up the purists. The good news about her Albert Hall show is that it's just her at the piano, joined by the nimble, thrusting drumming of Peter Erskine, the brainy guitar of Anthony Wilson and the forceful bass of Robert Hurst. There's no small orchestra crowding her out. In this company, she has to know what she's doing. One weak moment, and she would be totally exposed. Her piano playing is actually smart, cunning and playful, tripping lightly between broad Fats Waller fun and Monkish edge. This may also be what gets up people's noses. It can't be true, looking at her, and the ease with which she won success without appearing to pay her dues, that she can play the piano with such paced, poised grace. And sing at the same time. Sing with flawless, exquisite intensity that's part extravagant, part vulnerable and thankfully never as ditzy and whispery as her tentative, sub- jivey, between-song banter. Jazz or not, original or not, she's an enthralling romantic entertainer. As if that's not now enough for her, she's nudging out beyond the pre-Beatle American standards on which she based her early career. She's entering dangerous singer/songwriter territory with the vaguely evocative, slightly ordinary songs she wrote with husband Costello on her latest album, The Girl in the Other Room. She's singing the twisted fusion of Tom Waits and the abstracted introspection of Joni Mitchell, less imaginatively than she sings the old standards, as if she's intimidated by these songs and their writers. Somehow her gentle, faithful way with Waits and indeed Costello seems more tame and nostalgic than her thrilling deconstruction of the 20th-century songbook, the Porters, Berlins, the Gershwins. She finishes, solo, with a Fred Astaire song that, she points out, might be old, but has a special resonance this evening (the day after Bush has been re-elected). "There may be trouble ahead . . ." she begins, poignantly tracing out "Let's Face the Music and Dance" and transforming it into something beaten, spare and modern. It segues into one of the stronger tracks from her latest album, "Departure Bay", leaving us wondering whether the young girl who sang the old songs with such timeless, unbelievable authority is becoming a mature performer locating a space mid-way between Joni Mitchell and Costello, who might not sell as many records as she once did. Maybe then the hipsters will approve.
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by TheViolinSkirt on 08 Nov 2004, 05:06
Look at the guns on her!! 
Not bad for a for.... year old. 
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by scielle on 08 Nov 2004, 05:37
No kidding. This from feedster.com
But I don't think I really realized how well she can play the piano until I saw her in action in a jazz quartet that also included guitar, bass and drums. And, like anyone who spends a fair amount of time hitting keys -- whether a keyboard or a Steinway -- that woman has power in her arms. We were lucky to be in the 5th row, center, and you could see the muscle definition clearly.
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by natz on 08 Nov 2004, 22:42
Diana Krall at Royal Albert Hall to me is the ultimate experience. An impressive yet stylish venue, a warm audience and I can sleep in my own bed after the show.
I won’t go into details – four shows, each slightly different and all wonderful, very intense and heartfelt. She was especially relaxed during and after the shows: EC was there, and - as some friends of mine noticed who’d bumped into the couple Friday afternoon on Oxford Street - she surely enjoyed yet more shopping.
So to get to the point, the four concerts were magical.
My personal highlight each night:
In the encores she made a strong reference to the current difficult time and especially the recent unfortunate (US election) events. “This is not a very positive time – particularly this last week – but maybe there’s hope somewhere...” and then she sang LET’S FACE THE MUSIC AND DANCE in such a toned down and beautifully slow almost sarcastic mode that I honestly had to fight the tears. Her British audience broke out in enthusiastic applause after the first line “There might be trouble ahead...”, knowing too well, that there actually might be...
It reminded me a little bit of what Barbra Streisand has been doing on occasion since the 60s: Singing HAPPY DAYS ARE HERE AGAIN in slow-mo with a pinch of sarcasm, almost making every single word deliver a very clear message.
Diana’s frustration about the developments in the USA and the subsequent musical comment was uplifting and I felt a certain relieve after my recent disappointment and anger. Thanks for that, Diana.
And here are a couple picture
(apologies re. the poor quality – they were extracted from moving images)
There will be more photos on dkrall.de soon. Need to find some spare time to write a bit about the shows and go through all the image material first though...
I won’t go into details – four shows, each slightly different and all wonderful, very intense and heartfelt. She was especially relaxed during and after the shows: EC was there, and - as some friends of mine noticed who’d bumped into the couple Friday afternoon on Oxford Street - she surely enjoyed yet more shopping.
So to get to the point, the four concerts were magical.
My personal highlight each night:
In the encores she made a strong reference to the current difficult time and especially the recent unfortunate (US election) events. “This is not a very positive time – particularly this last week – but maybe there’s hope somewhere...” and then she sang LET’S FACE THE MUSIC AND DANCE in such a toned down and beautifully slow almost sarcastic mode that I honestly had to fight the tears. Her British audience broke out in enthusiastic applause after the first line “There might be trouble ahead...”, knowing too well, that there actually might be...
It reminded me a little bit of what Barbra Streisand has been doing on occasion since the 60s: Singing HAPPY DAYS ARE HERE AGAIN in slow-mo with a pinch of sarcasm, almost making every single word deliver a very clear message.
Diana’s frustration about the developments in the USA and the subsequent musical comment was uplifting and I felt a certain relieve after my recent disappointment and anger. Thanks for that, Diana.
And here are a couple picture
(apologies re. the poor quality – they were extracted from moving images)
There will be more photos on dkrall.de soon. Need to find some spare time to write a bit about the shows and go through all the image material first though...
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by scielle on 09 Nov 2004, 01:31
Diana Krall: Royal Albert Hall, London + + + + -
John Fordham
9 November 2004
The Guardian
Maybe Diana Krall has been stung by years of accusations that she is just a dinner-jazzer with a nice voice. Maybe her private and professional partnership with Elvis Costello has helped release her from the role of sublimely classy covers artist. Or maybe she has simply learned how to have a good time in public.
However it's happened, the formerly oblique singer/ pianist has changed the message. On the first of her UK gigs, she sounded like she had been listening to Count Basie and Tom Waits rather than Peggy Lee, Frank Sinatra or Antonio Carlos Jobim - the soft-lights influences that have shaped much of her recorded work.
She began with a hard-swinging instrumental, and kept something of the same punchy emphasis for a triumphant account of All or Nothing at All, which in earlier years she had sung wistfully. Krall's piano-playing is usually overshadowed by her laconically subtle singing, but here she shared the solo space equally with her powerful guitarist Anthony Wilson. And, though good ideas sometimes break down unfinished in Krall's solos, her understated melodies and Ahmad Jamal's exultant chordwork made her playing much more of a fulcrum of the show than many of her albums would ever indicate.
A Mose Allison tribute added a bluesy drive, Krall bringing her confiding voice to the edge of a soulful shout. The title track of her most recent album, The Girl in the Other Room (co-written with Costello), emphasised her new resources of material and Peter Erskine's remarkably detailed, sympathetic drumming.
Erskine won some of the warmest applause of the night for his razor-sharp solo on a fast Devil May Care, and Robert Hurst's softly loping bassline and Krall's delayed vocal accents revitalised East of the Sun. Krall's caressing of fine nuances and retreats to almost inaudible sounds made a triumph of Costello's Almost Blue, while the best lyrics of the night came in the same writer's Departure Bay, part of a hypnotic unaccompanied medley as an encore.
Acknowledging last week's political news, Krall had preceded it with a slow Let's Face the Music and Dance. The line "There may be trouble ahead" brought an ironic cheer from the crowd.
John Fordham
9 November 2004
The Guardian
Maybe Diana Krall has been stung by years of accusations that she is just a dinner-jazzer with a nice voice. Maybe her private and professional partnership with Elvis Costello has helped release her from the role of sublimely classy covers artist. Or maybe she has simply learned how to have a good time in public.
However it's happened, the formerly oblique singer/ pianist has changed the message. On the first of her UK gigs, she sounded like she had been listening to Count Basie and Tom Waits rather than Peggy Lee, Frank Sinatra or Antonio Carlos Jobim - the soft-lights influences that have shaped much of her recorded work.
She began with a hard-swinging instrumental, and kept something of the same punchy emphasis for a triumphant account of All or Nothing at All, which in earlier years she had sung wistfully. Krall's piano-playing is usually overshadowed by her laconically subtle singing, but here she shared the solo space equally with her powerful guitarist Anthony Wilson. And, though good ideas sometimes break down unfinished in Krall's solos, her understated melodies and Ahmad Jamal's exultant chordwork made her playing much more of a fulcrum of the show than many of her albums would ever indicate.
A Mose Allison tribute added a bluesy drive, Krall bringing her confiding voice to the edge of a soulful shout. The title track of her most recent album, The Girl in the Other Room (co-written with Costello), emphasised her new resources of material and Peter Erskine's remarkably detailed, sympathetic drumming.
Erskine won some of the warmest applause of the night for his razor-sharp solo on a fast Devil May Care, and Robert Hurst's softly loping bassline and Krall's delayed vocal accents revitalised East of the Sun. Krall's caressing of fine nuances and retreats to almost inaudible sounds made a triumph of Costello's Almost Blue, while the best lyrics of the night came in the same writer's Departure Bay, part of a hypnotic unaccompanied medley as an encore.
Acknowledging last week's political news, Krall had preceded it with a slow Let's Face the Music and Dance. The line "There may be trouble ahead" brought an ironic cheer from the crowd.
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by DKJAZZDIVA on 09 Nov 2004, 05:29
Thanks for the posts...just love that our girl is doing it all over the place and not an air head regarding what's going on in the world...she makes it real and I am sure it would be good conversation regarding what she see's in the world she travels in and her opinions would probably be ours knowing her and her intolerance of the injustices she sees around the globe. Yes rough times are ahead and for those of us who believe in scripture we are living in the last days of a very wicked system...2 Timothy 3:1 thru 5. No man or earthly government can solve all of mankinds woes due to imperfection however, read Matt. 24: 14 what will. I just had to comment and am not inviting controversy...its just an opinion. Thanks. ANAE 
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