New Material Moves Krall to a Higher Level

Diana Krall gave an overflow crowd a tempting look at the material on her upcoming album on Saturday night at Royce Hall. Tempting and generous, as a matter of fact, as she included six numbers--nearly half her show--drawn from “When I Look in Your Eyes,” scheduled for release in June.

It was a wise move. Her opening three numbers, “I’m an Errand Girl for Rhythm,” “All or Nothing at All” and “You’re Getting to Be a Habit With Me,” while filled with the unique blend of spirited rhythm and velvety vocals that are Krall’s stock in trade, were showing signs of wear. Performed well, with guitarist Russell Malone demonstrating his fiery technique and offbeat sense of humor, the tunes nonetheless had the feeling of routines in which too much repetition had dimmed the original creative sparks.

But not so for the newer material, which kicked off with Krall’s stunning rendition of “I’ve Got You Under My Skin,” performed with the sole accompaniment of Malone’s guitar. Sung as a slow, sensual bossa nova, it materialized as a new musical experience, an intimate, personal expression that was light years away from the bravado of the more familiar, Sinatra-style versions.

Krall’s interpretation of the title track from her new album, Leslie Bricusse’s “When I Look in Your Eyes” (from “Dr. Dolittle”), was even more remarkable. Also sung with Malone’s solo guitar accompaniment--the first time she has performed the song live--it was a classic, a perfect match of singer and song. The performance of both numbers inaugurated a pivotal new phase in Krall’s career, her emergence as a jazz singer capable of bringing an imaginative interpretation to a song, while still retaining the essence of its story.

Other numbers from the new album--sprightly versions of Bob Dorough’s “Devil May Care” and Michael Franks’ “Popsicle Toes,” a brisk “I Can’t Give You Anything but Love” (with a fine Krall piano solo) and a duet with fluegelhornist Stacy Rowles on “East of the Sun”--all had attractive moments.

But it was probably no accident that the most effective numbers were those in which Krall worked in tandem with Malone. Bassist Paul Keller), an associate from her “All for You” album, was a late replacement for Ben Wolfe, who left the trio recently. And, with minimal rehearsal, the ensemble interaction was more competent than inspired, a peg down from the finely tooled, rhythmic precision expected in the appearances of Krall’s groups.