Glad Rag Doll [Deluxe Version]

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Editorial Reviews

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Diana Krall's extraordinary new album, 'Glad Rag Doll' is an exhilirating and adventurous exploration of new sounds, new instrumentation and new musicians. It stars a singer and piano player, filled with mischief, humour and a renewed sense of tenderness and intimacy.

The record reveals itself at that remarkable vanishing point in time where all music; swinging, rocking and taboo, collide with songs of longing, solace and regret. All are made new again in a vaudeville of Krall's own imagining.

It is at once...
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Editorial Reviews

Barnes & Noble
Diana Krall's extraordinary new album, 'Glad Rag Doll' is an exhilirating and adventurous exploration of new sounds, new instrumentation and new musicians. It stars a singer and piano player, filled with mischief, humour and a renewed sense of tenderness and intimacy.

The record reveals itself at that remarkable vanishing point in time where all music; swinging, rocking and taboo, collide with songs of longing, solace and regret. All are made new again in a vaudeville of Krall's own imagining.

It is at once a major departure and a natural progression for the gifted musician. Diana simply calls the album, "a song and dance record".

"We all just went in there as if the songs were written yesterday. I didn't want to make a period piece or nostalgia record," said Krall.

In fact, these are songs that Krall has spent a lifetime contemplating. Both her childhood home and her current address are stacked with 78rpm records and song folios filled with precious and unpolished gems, songs that have not worn out their lustre from repetition.

If any of these songs could be identified as "20's or 30's music", then they are 20's or 30's songs as imagine for the 21st Century.

The same could be said for a startling rendition of the Pomus classic, "Lonely Avenue", first cut in the 1950s.

The contemplative, contemporary reading of the old Gene Austin recording of "Let It Rain" finds a sympathetic echo in Krall's exquisite rendition of Buddy and Julie Miller's more recent ballad of spiritual longing, "Wide River To Cross".

Working for the first time with renowned producer T Bone Burnett and engineer Mike Pierante, Krall revels in a fresh sonic playground captured in the vivid grain and deep resonant focus of analog tape. Burnett has assembled a distinguished cast of remarkable men to complement Krall's piano contribution at an 1890s Steinway upright.

From the hushed to the howling, Marc Ribot's poised and sympathetic solo guitar accompaniment on the title track contrasts beautifully with a range of surprising sounds and colors.

As ever with a Diana Krall record, her distinctive feel and unique sense of time is crucial. She has established a new and exciting rhythmic rapport with drummer Jay Bellerose and bassist Dennis Crouch that has let loose some of her most joyous piano playing heard on record to date.

Among new elements brought into spontaneous arrangement process are the mysterious, sometimes comedic commentaries coming from keyboards of Keefus Green.

And that's where the shotgun comes in...
All Music Guide - Thom Jurek
For only the second time in her career, jazz pianist and vocalist Diana Krall deviates from her tried, true m.o. of covering easily identifiable jazz standards. On Glad Rag Doll she teams with producer T-Bone Burnett and his stable of studio aces. Here the two-time Grammy winner covers mostly vaudeville and jazz tunes written in the 1920s and '30s, some relatively obscure. Most of the music here is from her father's collection of 78-rpm records. Krall picked 35 tunes from that music library and gave sheet music to Burnett. He didn't reveal his final selections until they got into the studio. Given their origins, these songs remove the sheen of detached cool that is one of Krall's vocal trademarks. Check the speakeasy feel on opener "We Just Couldn't Say Goodbye," with Marc Ribot's airy chords, Jay Bellerose's loose shuffle, and Dennis Crouch's strolling upright bass. Krall's vocal actually seems to express delight in this loose and informal proceeding -- though her piano playing is, as usual, tight, top-notch. The shimmering sentimental nocturnal balladry there gives way to swing in "Just Like a Butterfly That's Caught in the Rain," which stands out because of the interplay between Ribot's ukulele, a pair of basses, and Bellerose's brushes. Krall's vocal hovers; she lets the melody guide her right through the middle. On the title cut, her only accompanist is Ribot on an acoustic guitar. Being the best-known tune in the bunch, it's easy to compare this reading with many others, but Krall's breathy vocal fully inhabits the lyric and melody and makes them her own. A few tracks stand apart from the album's theme. There's the modern take on Betty James' rockabilly single "I'm a Little Mixed Up," which allows Burnett to indulge himself a little and showcases a rarity: Krall playing rock & roll piano. The atmospheric reading of Doc Pomus' "Lonely Avenue" is somewhat radical, but is among the finest moments here. Burnett gets his obligatory reverb on here, but the weave of his and Ribot's guitars (and the latter's banjo) and the mandola by Howard Coward (Elvis Costello in one of several guest appearances) is arresting. The arrangement also contains an odd yet compelling reference to Miles Davis' "Right Off (Theme from Jack Johnson)"; Krall's piano solo is rife with elliptical, meandering lines and chord voicings. But vocally she gets inside the tune's blues and pulls them out with real authority. Glad Rag Doll is not the sound of Krall reinventing herself so much as it's the comfortable scratching of an old, persistent itch. The warmth, sophistication, humor, and immediacy present on this set make it a welcome addition to her catalog. [A Deluxe Version of the album was also released.]
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Product Details

  • Release Date: 10/2/2012
  • Label: Verve
  • UPC: 602537126934
  • Catalog Number: 001732610
  • Sales rank: 2,947

Album Credits

Performance Credits
Diana Krall Primary Artist, Piano, Vocals
Marc Ribot Acoustic Guitar, Banjo, Electric Guitar, Ukulele, 6-string bass, E Flat Horn
T Bone Burnett Electric Guitar
Dennis Crouch Bass
Colin Linden Dobro, Electric Guitar
Jay Bellerose Drums
Howard Coward Ukulele, Background Vocals, Mandola, Guitar (Tenor)
Bryan Sutton Acoustic Guitar, Electric Guitar, Guitar (Baritone)
Keefus Ciancia Keyboards, Mellotron
Technical Credits
Billy Hill Composer
Carroll Gibbons Composer
Julie Miller Composer
Milton Ager Composer
Lew Brown Composer
T Bone Burnett Producer
Al Lewis Composer
Tom Perme Equipment Technician
Doc Pomus Composer
Ralph Rainger Composer
Leo Robin Composer
Jack Yellen Composer
Diana Krall Producer
Betty James Composer
George Jessel Composer
Gavin Lurssen Mastering
Mike Piersante Engineer
Charles Tobias Composer
Howard E. Johnson Composer
Mort Dixon Composer
Fred Fisher Composer
Ben Oakland Composer
Al Sherman Composer
Dan Dougherty Composer
Milton Drake Composer
James Dyrenforth Composer
Hal Dyson Composer
Albert Von Tilzer Composer
Carl Hoefle Composer
Ruth Levy Producer
James Kendis Composer
Edwin Fotheringham Illustrations
Edward Johnson Composer
Harry M. Woods Composer
Chris Potter Producer, Engineer
Kristen Vallow Prop Stylist
Steven P. Miller Composer
Christine Cantella Stylistic Assistant
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted March 22, 2013

    Regardless of the quality of the musical content of Ms Krall's n

    Regardless of the quality of the musical content of Ms Krall's new album I have to wonder why she chose the cover photo. She's a first rate musical performer. Why the need to be so suggestive in choice of cover art? Sure she's very attractive, but its her talent as a jazz singer that she should be focused on. Or is she intending to get deep into hip hop and trying to decide which underwear is most approprioate.

    0 out of 2 people found this review helpful.

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