The Look of Love＜限定盤＞

トミー・リピューマがプロデュースし、伝説的なクラウス・オガーマンが編曲・指揮を手がけたロンドン交響楽団をフィーチャーした『ルック・オブ・ラブ』は、『イン・ザ・ウィー・スモール・アワーズ』や『オンリー・ザ・ロンリー』といったフランク・シナトラの名盤を思い起こさせる。しかし、エレガントなピアノ・ソロ、官能的なヴォーカル、そして邪悪なまでにモダンなユーモアのセンスは、他でもないクラールのものだ。

60～70年代のボサ・ノヴァ・ムーヴメントを牽引した名編曲家=クラウス・オガーマンのオーケストレーションでボサ・ノヴァとスタンダード・バラードを歌い上げた大ヒット作。
グラミー賞エンジニアリング部門受賞。全米アルバム・チャートTOP10入りを果たすなど、ダイアナのキャリアで最もセールス的な成功をおさめた作品。

【パーソネル】Diana Krall(vo,p) Peter Erskine(ds) Christian McBride(b) Russell Malone(g) Claus Ogerman(arr) ほか

Diana Krall has a good voice and plays decent piano, but this somewhat ridiculously packaged Verve CD seems like an obvious attempt to turn her into a pop icon, and sex symbol to boot. The bland arrangements by Claus Ogerman (who conducts the London Symphony Orchestra or the Los Angeles Session Orchestra on each track) border on easy listening, while Krall and her various supporting musicians, including John Pisano, Russell Malone, Christian McBride, and Peter Erskine (among others), clearly seem stifled by their respective roles. There are plenty of strong compositions here, including standards like "I Remember You," "The Night We Called It a Day," and "I Get Along Without You Very Well," but the unimaginative and often syrupy charts take their toll on the performances. What is even sillier is the label's insistence on attempting to photograph the artist in various sultry poses, which she evidently wants to discourage by refusing to provide much of a smile (the rumor is that she's not happy with this part of the business at all). If you are looking for unchallenging background music, this will fit the bill, but jazz fans are advised to check out Krall's earlier releases instead. ~ Ken Dryden