Diana Krall The GirlIn the Other RoomDiana Krall "The Girl in the Other Room" - incredibly rare, and impossible to find in sealed condition. Two LP, 180gm audiophile pressing is as good as it gets. Shipping will be $6 with tracking ...225.00
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Diana Krall The Girl - In the Other Room rare, sealed, 2-lp 180gm set [Expired]
Diana Krall "The Girl in the Other Room" - incredibly rare, and impossible to find in sealed condition. Two LP, 180gm audiophile pressing is as good as it gets. Shipping will be $6 with tracking number. Will split paypal fees.Side One:Stop This WorldThe Girl In The Other RoomTemptationSide Two:Almost BlueI've Changed My AddressLove Me Like A ManSide Three:I'm Pulling ThroughBlack CrowNarrow DaylightSide Four:Abandoned MasqueradeI'm Coming ThroughDeparture BayWhile the jazz purists may be screaming "sellout" because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn't made up of musty and dusty "classics" may irk the narrow-minded and reactionary, but it doesn't change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison's "Stop This World" to contemporary songs that are reinvented in Krall's image by Tom Waits ("Temptation"), Joni Mitchell ("Black Crow"), Chris Smither ("Love Me Like a Man"), and her husband, Elvis Costello ("Almost Blue"). These covers are striking. Krall's read of Allison's tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither's sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits' "Temptation" is far more sultry than Holly Cole's because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. "Black Crow" exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello's "Almost Blue" takes it out of its original countrypolitan setting and brings it back to the blues.
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