Quiet Nights - Diana Krall
Metascore
74

Generally favorable reviews - based on 12 Critics

Critic score distribution:
  1. Positive: 9 out of 12
  2. Negative: 0 out of 12
  1. Ogerman charts emphasize minor keys, creating a moody emotional palette for the album. And, as usual, Krall's honeyed voice and carefully chiseled playing are as spare and perfect on every cut as her core quartet's accompaniment.
  2. Ogerman might be the only arranger alive who can make an overstuffed orchestra sound so distant and wistful, and Krall, suddenly channeling Julie London, is the taciturn symphony's whispery match.
  3. 80
    The result is fabulous, Ogerman framing Krall's sultry, languorous delivery with arrangements that are opulent yet don't swamp her voice. [Jul 2009, p.93]
  4. Standards given a sensual bossa makeover
  5. Quiet Nights is still a gorgeous wallow in high-gloss pop romanticism.
  6. Tapping into the sensuous mode of such classic divas of desire as Julie London and Peggy Lee, Diana Krall is at her most seductive on this bossa nova-flavored collaboration with Claus Ogerman.
  7. There may be a bit too much classic good taste on Quiet Nights--there is no reinterpretation, only homage--but that's not quite a problem because Krall knows enough to lay back, to never push, only to glide upon the gossamer surface.
  8. The line between dreamy and sleepy is a fine one, and many jazz singers have fallen on the wrong side of it when attempting bossa nova. Diana Krall, however, negotiates it skillfully on Quiet Nights, her first album of all bossas.
  9. While fans looking for a classic, none-too-jarring soundtrack for a romantic evening surely will follow this record happily into their good night, Krall has offered us more than that in the past.
  10. 60
    A so-so collection of lushly orchestrated Brazilian bossa novas and ballads that unite Mrs. Costello with Frank Sinatra's arranger claus Ogerman. [Apr 2009, p.82]
  11. As if fearing she might be overtaken in the sweet-nothings department by the even more whispery newcomer Melody Gardot, Krall here breathes her way through an entire album of songs about love and loss, mostly restricting herself to a smoky middle register--with a little samba-sensuality on the side.
  12. Quiet Nights contains a few surprises, even if they are dressed up in slow finery.

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