By Don Heckman
Diana Krall’s continuing quest to widen her already far reaching repertoire has led her to some of the most memorable songs of the ’70s and ’80s in this fine new Verve outing. I’ve been hearing, seeing and writing about Diana in action since the ’90s. And I’ve been consistently awed by her capacity to apply her rich musicality to whatever genre she tries on for size.
Wallflower is no exception. I haven’t viewed the songs of the ’70s and ’80s with the sort of affection triggered by tunes from other decades in the Great Songbook. But sung with Diana’s remarkable story telling skills, virtually everything here comes vividly to life.
That said, it’s no surprise that the best known and most successful five or six numbers in the twelve song program have the greatest impact. The list begins with Diana’s laid back takes on the Mommas and Poppas’ “California Dreaming,” the Eagles’ “Desperado” and “I Can’t Tell You Why,” Leon Russell’s “Superstar” and Elton John’s “Sorry Seems To Be the Hardest Word.”
As if all that weren’t enough, there are a pair of lesser known, but no less compelling songs: the title tune, “Wallflower” by Bob Dylan and a new Paul McCartney song, “IF I Take You Home Tonight.” And top it off with Jim Croce’s “Operator That’s Not the Way It Feels,” the English band 10cc’s “I’m Not In Love” and the Australian band Crowded House’s “Don’t Dream It’s Over.”
That’s a daunting program of songs, one that would be a challenge for almost any singer who comes to mind. But Diana, as noted above, handles them all superbly, aided by the rich musicality and the touching emotional honesty at the center of her art.
Additional credit should also be offered to producer/arranger David Foster. His arrangements, lush with cushions of string textures, provide a perfect setting for Diana, allowing her to offer her lyrical narratives at every level of sound and feeling.
The only missing element in an otherwise irresistible musical banquet was the up front proximity of Diana’s piano playing. For the great majority of her career, her singing and her piano have been intimately mated, with one continually inspiring the other. And the bolder presence of that creative duality could have provided the energy to transform Wallflower from a fine album to a great one.
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