Thom Jurek, All Music Guide

While the jazz fascists (read: 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.

As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin's "Summertime." The grain in Krall's pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In "I've Changed My Address," Krall evokes the voices of ghosts such as Louis Armstrong and Anita O'Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall's solo in the tune is stunning. "Narrow Daylight," graced by gospel overtones, is a tentative step into hope with its opening line: "Narrow daylight enters the room, winter is over, summer is near." This glimmer of hope is short-lived, however, as "Abandoned Masquerade" reveals the shattered promise in the aftermath of dying love. "I'm Coming Through" and "Departure Bay," which close the set, are both underscored by the grief experienced at the loss of Krall's mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall's wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Wilson and the latter, in its starkness, offers memory as reflection and instruction. This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, though confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop.

Eugene Holley Jr., Amazon.com

Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by herself and new husband, Elvis Costello. Krall's piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple "Love Me Like a Man" (written by folk-bluesman Chris Smither). But it's the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans's moody, impressionistic pieces. The title track, "Narrow Daylight," "Abandoned Masquerade," and "I’m Coming Through" all deal with love and loss. "Departure Bay," a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads--and hearts--are better than one. --Eugene Holley Jr.

William Pearl, Barnes & Noble

The Girl in the Other Room reveals two new things about Diana Krall. One: that her interpretive repertoire is expanding. Two: that, in collaboration with her husband, Elvis Costello, Krall has discovered her inner singer-songwriter. Both directions signal good news. Where Krall had built a career by delving deeply into the work of the classic Great American Songbook composers of the '30s, '40s, and '50s, she’s now setting her sights on more contemporary figures, including Mose Allison (“Stop This World”), Tom Waits (“Temptation”), Chris Smither (“Love Me like a Man”), Joni Mitchell (“Black Crow”), and Costello (“Almost Blue”) -- although, in truth, the most recent of these tunes, “Temptation,” is nearly 20 years old. To her credit, Krall injects as much individuality into these reinterpretations -- her blues singing has become noticeably confident and assured -- as she did on the work of more hallowed composers. “I’m Pulling Through,” made famous by Billie Holiday and given a quality reading by Krall, is the album’s only standard. The six original tunes reveal a more personal approach. With Krall handling the music and Costello adding his input to the lyrics, the two work up songs that share an unexpected but winning blend of Joni Mitchell’s unconventional melodicism and Costello’s sharp and literate lyrical concerns. The obviously personal nature of the work -- the theme of change, its difficulties and potentials, pervades these songs -- allows us a closer look at an artist whose cool approach to her material has often kept her audience at arm’s length. Obviously influenced by her husband's artistry as both a composer and vocalist, Krall’s phrasing on the new tunes at times reflects Costello’s inimitable delivery, but Krall has nonetheless found her own distinct voice as a singer-songwriter. With The Girl in the Other Room she gives notice that the future promises pleasant surprises.

Billboard Magazine, May 1, 2004

In a bold departure from her past several CDs of reworked standards, vocalist/pianist Diana Krall breaks into new territory with "The Girl in the Other Room." The album marks a major shift in role from song stylist (à la Tony Bennett) to artist/composer. For the first time in her career, she records originals—all six of which were co-written by husband Elvis Costello. The best are the Bacharach-tinted "I'm Coming Through" and "Departure Bay," an autobiographical gem of loss and recovery. Half the pack are covers, including a tango-inflected reading of Tom Waits' "Temptation." Key to the success of the disc is Krall's stretch on the keys, making this her strongest jazz outing. This new chapter bodes well for her future, but it may disappoint some fans, who will grieve the loss of the old standbys that made Krall a platinum phenom._DO

Personnel: Diana Krall (vocals, piano); Neil Larson (Hammond B-3 organ); Anthony Wilson (guitar); Christian McBride, John Clayton (bass); Peter Erskine, Jeff Hamilton, Terri Lynne Carrington (drums). Recorded at Capitol Studios, Hollywood, California and Avatar Studios, New York, New York. Personnel: Diana Krall (vocals, piano); Anthony Wilson (guitar); Neil Larsen (Hammond b-3 organ); Christian McBride, John Clayton (bass instrument); Jeff Hamilton, Peter Erskine, Terri Lyne Carrington (drums). Producers: Tommy LiPuma; Tommy LiPuma; Diana Krall. Recording information: Capitol Studios, Hollywood, California (2004); Avatar, New York, New York (2004).

It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. In any case, it marks Krall's biggest departure to date; THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation." Nevertheless, Krall delivers them--like the rest of the songs here--in a misty, laconic style very consistent with her earlier work. There's no attempt at pop-oriented production here, just the same piano-trio sound that's been Krall's stock in trade all along. Ironically, the jazziest tune here is Costello's early-1980s ballad "Almost Blue," previously performed by Chet Baker. Naturally, the new songs also bear the unmistakable stamp of Costello, but no matter how far afield her song sources (Joni Mitchell and Chris Smither's catalogs are drawn on as well), Krall maintains the trademark feel that made her famous.

Chris Willman, Entertainment Weekly, April 30, 2004

Grief and sex may seem uncomfortable bedfellows, but anyone who's endured a loved one's death and found a new soul mate in close proximity will recognize the profoundly mixed feelings in Krall's alternately poignant and playful Room. Steeped in the loss of Krall's mother and her mentors Rosemary Clooney and Ray Brown and in her betrothal to Elvis Costello, the disc could be subtitled Three Funerals and a Wedding. Or Guess I Don't Get Around Much to Standards Anymore, with Krall trading in Cole Porter for Tom Waits when not testing the writing waters herself via a half-dozen confessional collaborations with Costello. Initially, it's not clear that the soulful, Basie-style carnality of ''Love Me Like a Man'' and Joni-esque condolences of ''Departure Bay'' belong on the same album. But with an assist from the controlled chaos of Krall's piano runs, those conflicting emotions finally coalesce in beautiful, fearful symmetry.

When jazzwoman Diana Krall became the Other woman in Elvis Costello's life, she not only nabbed a talented husband but also made a good career move. As collaborators here, the two weave through easy-on-the-ears jazz covers of Joni Mitchell's "Black Crow" and Tom Waits' "Temptation," playing with sentiments of love and loss. But they also take time to pay tribute to Krall's homeland of Canada with moody originals like "Departure Bay" and "I've Changed My Address." The pretty ballads meditating on the vast wilderness and lonely highways of the great white north provide the perfect showcase for Krall's sultry voice and Costello's classic melodies. Oh Canada, indeed.

Darryl Sterdan, Jam! Music

How do you define success? Is it fame and fortune? Prestige and privilege? Recognition? Love?

Whichever one you pick, it would seem Diana Krall isn't hurting. She's got talent, looks, hit albums, a shelf of awards, and a new husband in none other than Elvis Costello. But with her eighth album The Girl in the Other Room, Krall gives the impression that for her, the true measure of success is artistic self-determination.

On this dozen-song effort, the acclaimed jazz singer-pianist grasps the reins of her career and her music more firmly than she ever has before: She co-wrote half these cuts with Costello. She co-produced the album with longtime collaborator Tommy LiPuma.

She has traded in her elegant torch-singer look for a softer, more earthy and casual image. And perhaps most significantly, she has moved away from the jazz standards that defined her early career in favour of rootsier, more contemporary material by the likes of Tom Waits, Joni Mitchell and Chris Smither.

If it sounds like Krall is attempting to morph into another Norah Jones, well, yes and no. Granted, with their piano-chanteuse backgrounds and recent shifts toward a more accessible pop sound, there's plenty of common ground between the two.

But Krall, despite her changes, remains more of a pure jazz artist than Jones. Whether she's revamping Waits' tangoish Temptation into a sultry seduction, swinging the blues on Smither's steamy Love Me Like a Man (as covered by Bonnie Raitt) or spreading her lyrical wings with Joni's poetic Black Crow, Krall sticks to the jazz-club approach that has served her well for more than a decade.

Indeed, if you didn't know a word of English, you couldn't spot the difference between the pop covers and jazzier fare like her smoky take on Mose Allison's Stop This World, her gorgeous reading of Costello's haunting Chet Baker homage Almost Blue and her poignant version of the Billie Holiday chestnut I'm Pulling Through.

The finest moments here, though, are also the most telling ones: Six collaborations between Krall and new hubby Elvis. Similar in mood to the sombre, romantic fare on Costello's latest disc North -- most of which was basically a love letter to Krall -- ballads like the bluesy I've Changed My Address, the soulful Narrow Daylight and the heartbreaking Departure Bay are so smartly crafted and emotionally powerful you'll wonder why she bothered playing cover tunes for all those years.

Sure, the jazz purists will scream sellout. And thanks to her new, more commercial stance, Diana will probably become an even bigger star than she already is. Never mind any of that. What really matters is that The Girl in the Other Room is the most personal, original and fully realized album of Krall's career.

And that makes it a success no matter how you define it.

Noel Murray, The Onion (AV Club), May 10, 2004

Throughout her career, Diana Krall has tried to avoid becoming just another silky-voiced cabaret-jazz nostalgia act. She spends a lot of time putting together her albums, often arranging songs around a central concept and emphasizing her piano improvisations as much as her vocals. She's also been slipping more contemporary pop into her repertoire of standards, an evolution that culminates in The Girl In The Other Room, which stacks seven Krall originals alongside covers of songs by Mose Allison, Tom Waits, Joni Mitchell, and Krall's new husband, Elvis Costello.

Costello also collaborated with Krall on the new songs, adding his typically bittersweet, evocative lyrics to melodies with Joni Mitchell-like ethereality. The results sound similar to Costello's somewhat dreary 2003 torch-song collection North, albeit much prettier. Already familiar with the flexibility and tension that jazz requires, Krall breaks the sorrowful mood of her own songs by adding sprightly piano, and by singing with more color.

As for the album's covers, her take on Mitchell's "Black Crow" is wonderfully dreamy, but she can't do much with Waits' "Temptation" or Costello's "Almost Blue," both of which were partially frozen when they were composed. Their presence on the record seems more conceptual: The Girl In The Other Room is mostly about the perils of scrambling toward a new relationship while life is already in shambles—an arc that Krall traces in the final four songs, all originals.

"Narrow Daylight" addresses how feeling bad can be addictive, while "Abandoned Masquerade" explicates how hope can be carried like a secret, and "I'm Coming Through" announces the full-fledged return of good times. And, in the gorgeous "Departure Bay," Krall compares her previously shattered emotional state to her coastal hometown, to be visited but not lived in. The Girl In The Other Room represents an experiment for Krall, and not an entirely successful one, but at the end of the record, having demonstrated the confidence to explain herself, she comes out with some of her most persuasive music yet.

Ken Micallef, Launch Yahoo! Music, April 27, 2004

Diana Krall is the superstar sex kitten of jazz standards, an Amazonian blonde who sings like jazz great Carmen McRae and plays piano like a musclebound Nat King Cole. Sarcasm aside, Krall has helped rejuvenate the American Songbook, but her endless parade of soft focus album covers and sensual vocalese has grown tired, at best. Perhaps hoping to chart a new course in her million selling career, Krall tries a handful of less predictable covers and adds hubbie Elvis Costello to the lyric writing duties on The Girl In The Other Room. If you are expecting saucy renditions of “Oliver’s Army” or even “God Give Me Strength,” however, keep looking. This is serious chamber jazz, no doubt inspired by Costello’s own bout with maudlin heavy handedness, The Juliet Letters.

Backed by a nearly invisible jazz ensemble, Krall rubs hard and deep on Mose Allison’s “Stop This World” and Joni Mitchell’s “Black Crow,” and other covers by rabble rousers Chris Smither and Tom Waits. The meat of the album, the Krall-Costello song cycle, is studied and sophisticated, at times recalling the profound compositions of Billy Strayhorn and Duke Ellington. The most resounding example is the title track, a rare moment of earthy melody matched with unsettling lyrics. Unfortunately, the spell breaks down and the songs grow tedious as the album nears its end, practically running out of a steam like an emotional rollercoaster stranded at the bottom of the tracks.

© Frank Steven Groen