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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.
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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.
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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.
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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.
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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.
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MojoThe 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]
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Standards given a sensual bossa makeover
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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.
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Quiet Nights is still a gorgeous wallow in high-gloss pop romanticism.
User score distribution:
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Positive: 7 out of 16
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Mixed: 7 out of 16
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Negative: 2 out of 16
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DavidW.Apr 20, 2009
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DaveKApr 14, 2009Individually the songs are beautiful but together they induce sleep. Lacks the "snap" of some of the arrangements on "Look of Love."
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RayBApr 14, 2009