I have to admit I was suspicious of the hype surrounding Diana Krall's "Love Scenes." Just about everybody loves her. Almost overnight, Diana Krall became synonymous with "jazz singer," just as Frank McCourt became synonymous with "Irish writer" after the publication of "Angela's Ashes." I suspect this caused a backlash among some jazz fans who (partly because of the nature of jazz, constantly rebuilding upon itself) are especially conversant in jazz lineage and eager to compare styles.

Well, just as Frank McCourt is not the last word in Irish literature, Diana Krall is decidedly not Billie Holiday (a ridiculous comparison) or Sarah Vaughan. In fact, not knowing too much other jazz vocalists might even enhance your appreciation of "Love Scenes." You have to appreciate her on her own terms; fortunately, this is easy to do.

So why is she getting the attention? For starters, her subtle intonations and phrasing expand the vocabulary of onomatopoetic words: Listen to "Garden in the Rain," and you'll hear the crisp fresh sound of springtime. Her vocal dynamics are superb, knowing when to pull back and when to let her voice soar. And her acheingly beautiful "I Don't Stand A Ghost of a Chance with You" is the best version I've heard since Clifford Brown's instrumental masterpiece.

"Peel Me a Grape" is fun and sexy, but you'd have to be a bad singer to ruin Dave Frishberg's (1962) clever list of double entendres! ("New Thunderbird me, you heard me.") Still, Ms. Krall delivers the goods, and teasingly drops a couple of words as she stretches the words "Peel Me...."

Her remarkable swinging but subtle piano can be overlooked: Just listen to the confidently daring solos on "They Can't Take That Away from Me" and "How Deep is the Ocean (How High is the Sky)" and you'll appreciate her artistry. The arrangements, as well as the comping on guitar (Russell Malone) and bass (Christian McBride) are consistently strong.

She's not as complex or blues-inflected as other vocalists, but she IS a superb jazz singer. Like the best jazz musicians, she adds new colors and shadings to standards, and swings both vocally and instrumentally. She is less the jazz vocalist on her recent "When I Look Into Your Eyes," which is overproduced, apparently overdubbed, and veers way too close to a bland pop style. Let's hope that future efforts are closer to "Love Scenes," a deservedly much praised album.

After buying Diana's "All for you" album I took a shot on "Love Scenes". I have to admit I was not dissapointed. I am a big fan of a good love song, and Diana does a great job of putting her own special stamp on these old favorites. I recently had the pleasure to see her in concert (if you have the chance to see her live, I highly recommend it) where she performed many tunes from this album. I couldn't wait to get home and pop this CD in the stereo. Her soft sultry voice lends a great deal of passion and emotion to each song, from the fun and enjoyable "Peel Me a Grape" to the warm and soft "Gentle Rain". I realize that my taste tends to cover a range of artist (Frank Sinatra, Tony Bennett, Nat King Cole, Mel Torme, Rosemary Clooney, and Keely Smith) but I wouldn't be afraid to recommend this recording to anyone..

Diana Krall has done for modern vocal jazz what no other artist could do. She is the only artist I have heard that can come even close to matching the great sounds of Billie Holiday, Ella Fitzgerald, and Bessie Smith. Her CDs are full of vibrant emotion that truly digs at your heart strings. This CD is a particularly great example of her ability to appeal to your sense of love and emotion. I bought this CD because I had previously bought, When I Look In Your Eyes which I think is probably slightly better than this album but just because this album is very one-tracked at times. (I'll get a review up of that album one of these days.)

Diana's soft sultry voice starts out with one of my favorite songs of all time, "All Or Nothing At All" and manages to do this great swing song more justice than just about anyone else I have heard. Choosing a favorite track is hard but I would probably have to choose this first track. "Peel Me A Grape" has a great very invigorating sound to it. Some of her best efforts on the album though are actually on some of the slower numbers like "Garden In The Rain" where her vocal control and the lovely sound of her voice truly comes out. She of course does a Berlin classic, "How Deep Is The Ocean (How High Is The Sky)", where she also shows off her keyboard skills and a Gershwin classic, "They Can't Take That Away From Me" which she does with all the independence and strength she can muster. This CD is very slow and quiet especially on number like "I Don't Stand A Ghost Of A Chance With You" where she almost sounds like a ghost herself, but it is not going to put you to sleep. Every single sound is filled with her raw erotic emotion that makes you feel like every song is sung for you individually.

It is also very important to stress that Diana is backed up on this album by the wonderful bassist, Christina McBride, and the guitarist, Russell Malone. Whose sounds add a great backup to Diana's wonderful voice. The instruments are used sparingly but do a great job of accentuating the already wonderful sounds produced by Diana's vocal chords.

If you like this CD which if you have a taste for music I am sure you will then I highly recommend you check out Diana's other albums especially When I Look In Your Eyes. To find anything else similar to this sound I think you have to go back in time. The three artists mentioned above, Ella, Bessie, and Billie are other good artists to check out.

I highly recommend this album to anyone who really likes soft powerful vocal jazz and blues. This album is especially great to put on when you're sitting down with your loved one for a quiet night alone.

Diana has a lovely voice, well suited to these romantic songs, but she is also a brilliant pianist, although this latter skill is more obvious on the very different, upbeat King Cole Trio tribute album. This album creates it's own mood - if you aren't in the mood for love when you start playing it, you surely will by the end.

The songs are mostly from the thirties and forties (a characteristic of all Diana's albums to date), beginning with All or nothing at all, an American number one for Frank Sinatra in 1943.

Diana also does brilliant covers of songs which were originally American hits for Peggy Lee (I don't know enough about you, 1946), Fred Astaire (They can't take that away from me, 1937), I don't stand a ghost of a chance with you (Bing Crosby, 1933), You're getting to be a habit with me (Bing Crosby, 1934), How deep is the ocean (in 1932, three different versions were top ten American hits - Guy Lombardo, Paul Whiteman and Rudy Vallee), Garden in the rain (Gene Austin, 1929) and Shep Fields (That old feeling, 1937).

Of course, some of those singers and bands have long since been forgotten even in their homeland, while others have been immortalised. Diana's covers of these great songs, nicely updated for today's music fans, demonstrates their enduring quality.

I largely ignored jazz music and the Great American Songbook before I discovered Diana's music. This was the album that changed everything for me - I have since become a huge fan of Peggy Lee and Claire Martin, among many others.

Thank you, Diana.

Wow...three bad reviews of Diana Krall, all by purported "jazz lovers" and "experts". Gee, you played with someone who played with Billie Holiday...I guess that does make you an expert. Why, pray tell, does Diana have to be "better than" Billie, or Ella, or Nina or Carmen? Why can't she just be Diana? And what she is is an absolutely magnificent vocal stylist and world-class pianist. Instead of your preconceived notions of what jazz "should be", why not just listen to these tracks for their soul, their passion and their beauty? I had the pleasure of seeing Diana Krall and her trio in Phoenix 9/20, and she's even better in person! Full of personality, humor...what a great show. So listen folks, I love the traditional jazz greats, too, but Ms. Krall is an artist for the nineties, and it's really too bad you can't appreciate her. For the rest of you (the one's who still have some semblance of a soul left), go buy the entire Krall catalogue, and definitely catch her live. You won't be disappointed!