CD All for You [Diana Krall] (CD 143074),
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All for You [Diana Krall]


  • 1. I'm an Errand Girl for Rhythm
    2. Gee Baby, Ain't I Good to You
    3. You Call It Madness (But I Call It Love)
    4. Frim Fram Sauce, The
    5. Boulevard of Broken Dreams, The
    6. Baby, Baby All the Time
    7. Hit That Jive, Jack!
    8. You're Looking at Me
    9. I'm Through with Love
    10. 'Deed I Do
    11. Blossom Fell, A
    12. If I Had You
    Read More...
  • Additional Info
    Manufacturer Part Number (MPN): 182

  • Credits
    ProducerTommy LiPuma
    EngineerAl Schmitt

    Personnel: Diana Krall (vocals, piano); Benny Green (piano); Russell Malone (guitar); Paul Keller (bass); Steve Kroon (percussion).
    Recorded at The Power Station, New York, New York on October 3-8, 1995. Includes liner notes by Terry Teachout.
    ALL FOR YOU was nominated for a 1997 Grammy Award for Best Jazz Vocal Performance.
    Personnel: Diana Krall (vocals, piano); Russell Malone (guitar); Benny Green (piano); Steve Kroon (percussion).
    Audio Mixer: Al Schmitt.
    Liner Note Author: Terry Teachout.
    Recording information: The Power Station, New York, NY (10/03/1995-10/08/1995).
    Photographer: Tom Tavee.
    On this salute to pianist/vocalist extraordinaire Cole, Diana Krall has a lot to live up to, presenting a group of compositions that are ingrained in the public's memory as part of a lasting legacy of both jazz and pop music. It's to her credit that she went about this intimidating task with a resourcefulness and quiet grace that make ALL FOR YOU an exceptional tribute.
    The bulk of ALL FOR YOU features Krall in an appropriately unadorned trio setting, and it captures the essence of the Cole trio's arrangements without resorting to slavish imitation. With guitarist Russell Malone and bassist Paul Keller, Krall swings hard on "I'm An Errand Girl For Rhythm" and "Hit That Jive Jack," often employing Cole trio devices such as repeated unison figures and on-top-of-the-beat eighth notes on bass. Nowhere, however, does she attempt to emulate Cole's vocal or piano style. Her own sultry, understated singing and crisp, straightforward piano combine to present a well-developed artistic vision that is distinctive enough to cast a new light on these classic songs.

  • Critic Reviews
    JazzTimes (8/96, p.89) - "...She brings great confidence to the mix, and...a sense of how to use that catch in her voice to marvelous effect. The effect is deepened by the contrast with the smoothness of her fundamental vocal sound: the tension between smooth and rough, like the teetering blue note, keeps us hanging on each phrase as it develops..."
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