Torch singing wore thin for me a long time ago, around the time when all young female singers suddenly wanted to sound like Julie London and look like Rita Hayworth. Charlie Haden briefly rekindled the flame when he embedded Jo Stafford’s 1944 recording of “Alone Together” in his Quartet West album Always Say Goodbye in the early ’90s, and then did the job more thoroughly in a 2010 album called Sophisticated Ladies, for which invited a group of well known female singers to perform standards with the quartet plus strings. In the meantime I’d also fallen for Shirley Horn’s version of Tom Jobim’s “Once I Loved“, included by the film director Pedro Almodóvar on a compilation album called Viva La Tristeza.
Among Haden’s sophisticated ladies was Diana Krall, chosen by Haden to sing Gordon Jenkins’ “Goodbye”, one of my favourite ballads. I knew who she was, of course, but I always thought that if I needed what she did, I’d turn to Ms Horn. Now she’s proved me completely wrong with a new self-produced album called This Dream of You, consisting of 11 standards plus the title song, which is by Bob Dylan: pure torch singing in all its sloe-eyed sultriness, but controlled by an intelligence that knows how to turn its facets to catch the flickers of candlelight.
Krall has the regulation come-hitherness, but she also has the musicianship that inspired her to call on the services of several different musical units to join her own piano and voice: the guitarist Anthony Wilson, the bassist John Clayton Jr and the drummer Jeff Hamilton for lovely versions of “But Beautiful” and “Almost Like Being in Love”, Christian McBride’s bass and Russell Malone’s guitar for “Autumn in New York” and “There’s No You”, and the piano of Alan Broadbent (who arranged Sophisticated Ladies) to accompany her singing on “More Than You Know” and “Don’t Smoke in Bed”.
The most intriguing group, however, consists of Marc Ribot (guitar), Stuart Duncan (violin), Randall Krall (accordion), Tony Garnier (bass) and Karriem Riggins (drums). Together they’re heard on a light-fingered “Just You, Just Me”, the lovely Tex-Mex-tinged title track (plucked from Dylan’s Together Through Life), and “How Deep Is the Ocean”. The last of those, which you can click on above, is — as I’m sure you’ll agree — a complete stunner, Irving Berlin’s blithe love song transformed into a blues aria and perfect in every respect, particularly the short piano improvisation preceding the final chorus: 10 exquisitely funky bars of which Ray Charles or Bobby Timmons would be proud. Compliments to Ms Krall on that, and on everything else making up a quietly outstanding album.