Happy birthday, Diana Krall, born November 16, 1964!

Happy birthday, Diana Krall, born November 16, 1964!

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Diana Krall — an exhaustive portrait

Diana Jean Krall (born November 16, 1964) is one of the most commercially successful and critically respected jazz pianists and vocalists of the late 20th and early 21st centuries. Known for a warm, low contralto, an unhurried swing, and an economical but harmonically sophisticated approach to the piano, Krall has made a career out of intimate interpretations of the Great American Songbook, bossa nova, and tasteful modern arrangements of standards and pop material. Over a career spanning three decades she has sold millions of albums, won multiple Grammys and Junos, and collaborated with a wide roster of jazz elders and pop stars while maintaining a distinctive artistic identity. (Viquipèdia)

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Early life and musical formation

Diana Krall was born in Nanaimo, British Columbia, into a musical household—her father played the piano at home and her mother sang in a choir. She began piano lessons at age four and progressed through the Royal Conservatory of Music exams; by her mid-teens she was playing professionally in local restaurants and clubs. A scholarship took her to Berklee College of Music (1981–83), and after early stints in Los Angeles and Vancouver she returned to Canada and began recording and performing in earnest in the early 1990s. A key early influence and mentor was bassist Ray Brown, who introduced Krall to many musicians and helped her find her footing in the jazz world. (Viquipèdia)

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Career milestones and trajectory

Krall’s recorded career began in the early 1990s. Her breakthrough in the United States and internationally came in the mid-to-late 1990s. Notable milestones include:

• Early albums and rise: Her jazz trio recordings and early collaborations showcased an affinity for small-group swing and tasteful trio interplay. The 1996 tribute All for You: A Dedication to the Nat King Cole Trio made an impact by connecting Krall explicitly to the lineage of jazz singing/piano trio tradition. (Viquipèdia)
• Mainstream commercial success: Throughout the late 1990s and 2000s Krall crossed a line that relatively few jazz artists achieve: consistent mainstream viability. Albums like When I Look in Your Eyes (1999) won a Grammy and expanded her audience significantly. She later released a string of best-selling albums that combined luxurious studio production with classic repertoire. (Viquipèdia)
• Sustained output and later work: In the 2010s and 2020s Krall continued to record, producing albums that revisited standards, paid homage to classic producers and arrangers, and sometimes featured original or newly arranged material. Her album This Dream of You, assembled from sessions with longtime producer Tommy LiPuma and mixed by Al Schmitt, reflects her interest in creating albums with a cinematic intimacy. (New Releases Now)

Commercially, Krall has sold many millions of records worldwide and has set numerous jazz-chart records (for example she’s the only jazz singer to have multiple albums debut at the top of Billboard’s Jazz Albums chart), a rare achievement that underscores both her wide appeal and consistency. (Viquipèdia)

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Musical style — voice, phrasing, and repertoire

Vocal approach

Krall’s voice is a contralto — relatively low for a female singer — and she exploits its smoky, intimate color. She favors understatement over dramatics: breathy entrances, restrained vibrato, and phrasing that privileges rhythmic spacing and lyric implication. Rather than long melismatic lines, she often uses short, conversational melodic fragments and leaves space for the band. Her sense of time is flexible: she can push and pull a phrase for emotional effect while keeping the groove intact.

Repertoire choices

Her repertoire ranges from jazz standards (Porter, Ellington, Cole Porter, Gershwin) to bossa nova (Jobim and others) and carefully chosen pop material reworked for jazz settings. Krall chooses songs that suit her tonal palette—torchy ballads, mid-tempo swingers, and sly up-tempo numbers where a walking left hand and a crisp comping pattern shine.

Aesthetic

Krall’s aesthetic lies between pure jazz trio sparseness and orchestrated pop-jazz opulence. She is equally comfortable in a trio setting or in albums with string arrangements and lush production. That duality—intimate and cinematic—has been central to her brand and appeal.

(Claims about vocal type, phrasing, and repertoire are echoed in many profiles and interviews and in reviews across outlets.) (Viquipèdia)

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Piano technique, arranging instincts, and improvisational licks

Though often discussed as a singer, Krall is first and foremost a pianist; her playing is foundational to her musical identity.

Harmonic language and touch

• Left-hand foundation: Krall’s left hand provides a steady rhythmic and harmonic foundation—moving basslines, stride-influenced oom-pah patterns, or sparse root–5th comping depending on the tune. The left hand is always both accompanist and part of the trio’s rhythmic engine.
• Right-hand voicings: Her right-hand comping and single-note lines use stacked thirds and extensions (9ths, 11ths, 13ths) in tasteful voicings. She often uses shell voicings and close-position clusters that imply the harmony without crowding the vocal line.
• Touch and dynamics: Krall’s touch is even and warm; she often leaves space—pocketed silence—between motifs, which increases the emotional weight of what she plays.

Improvisational licks and characteristic devices

Krall’s improvisational language is not defined by flashy runs but by melodic development and harmonic clarity. Typical devices include:

• Motivic development: Krall takes a short melodic cell and repeats it with variations—rhythmic displacement, octave shifts, and altered harmonies—rather than pouring out long scalar runs.
• Tasteful use of chromaticism: Chromatic passing tones and approach notes lead into chord tones; she uses chromatic inner-voice movement in comping to create subtle tension.
• Blues and swing inflection: Her lines often reference blues phrasing—bent notes, blue inflections—but applied sparingly and with restraint.
• Left-hand walking comping under right-hand melodic fragments: On medium tempo swingers she will play walking bass (or an implied walking pattern) with sparse right-hand punctuations that answer or echo the vocal line.

Examples (transcription-style observations)

• In ballads Krall will frequently reharmonize the cadence by inserting ii–V variants with tritone substitutions in the bar before resolution, or by delaying the expected tonic cadence and using a IVmaj7/♭6 coloration to create a lingering effect.
• On Gershwin standards she often uses upper-structure triads to color dominant chords (e.g., playing an E major triad over a C7 to produce a #11/13 color).

These elements make her solos feel like extensions of the arrangement rather than virtuosic detours, which is central to her “less is more” aesthetic.

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Harmony and chord progressions — common reharmonizations

Krall’s arrangements frequently showcase classic jazz reharmonization techniques, adapted to her mellow aesthetic:

• Tritone substitution: Replacing V7 with ♭II7 to create unexpected root movement and chromatic bass lines.
• Back-cycling (Chromatic or circle-of-fifths approach): Using descending fifth sequences or chromatic back-cycling to approach cadences, which gives forward motion without breaking lyrical flow.
• Upper-structure voicings: Right-hand voicings built from triads or quartal stacks above a bass note, producing rich tensions (9th, 11th, 13th) that resolve smoothly.
• Modal coloration: Adding modal interchange chords (e.g., ♭VImaj7 in a major context) for a wistful, suspended emotional color—especially effective in ballads.
• Use of diminished passing chords: Short diminished or diminished7th chords inserted between diatonic harmony points to create smooth chromatic voice-leading.

A listener attentive to her recordings will hear these reharmonizations supporting the vocal line rather than calling attention to themselves—part of her skill is making advanced harmony sound conversational.

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Collaborations and notable musical partnerships

Krall has worked with an impressive range of artists across jazz and popular music, reflecting her reputation as both a jazz traditionalist and a crossover artist. Highlights include:

• Ray Brown — mentor and early collaborator; his endorsement and support were important to Krall’s early career. (Viquipèdia)
• Tommy LiPuma — longtime producer whose aesthetic shaped many of Krall’s records; LiPuma’s taste for lush, well-crafted productions and acoustic clarity matched Krall’s musical sensibilities. (New Releases Now)
• Tony Bennett — notable duet recordings and shared respect for the standard repertoire.
• Elvis Costello — Krall’s husband and frequent creative partner (he has written and produced for other artists and appeared in contexts with Krall).
• Orchestras and arrangers — Krall has recorded with larger ensembles and employed arrangers who brought strings or big-band sensibilities into some projects, enabling cinematic interpretations of standards.

Her collaborations cover an arc from jazz elders to pop songwriters, always filtered through her warm, standard-oriented lens. Several of these collaborations both boosted her profile and expanded her interpretive palette. (Viquipèdia)

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Influences

Krall’s influences are a mixture of classic jazz pianists, vocalists, and popular song interpreters:

• Nat King Cole and the Nat King Cole Trio — clear in her early tribute record and in her affinity for piano-led vocal trio textures.
• Bossa nova composers and performers — Jobim and the Brazilian tradition show up in her rhythmic sensibility and choice of repertoire.
• Great American Songbook interpreters — Ella Fitzgerald, Billie Holiday, and other standard-bearers influenced her approach to lyricism and phrasing.
• Jazz pianists and accompanists — influences can be heard in her touch, voicings, and trio interplay, though she developed a personal voice rather than a derivative imitation. (Viquipèdia)

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Legacy and critical standing

Diana Krall’s legacy rests in three overlapping accomplishments:

1. Popularizing sophisticated jazz standards to a broad audience — she brought tasteful, musicianly jazz into mainstream commercial success without compromising musical integrity.
2. Sustaining a classic vocal–piano trio idiom at a time when jazz was fragmenting into multiple subgenres, preserving and updating the tradition for new listeners.
3. Commercial and chart achievements — Krall’s repeated top placements on jazz charts, multi-platinum sales in many markets, and awards cement her as one of the best-selling jazz artists in recent history. Critics and fellow musicians frequently praise her tasteful restraint, pianistic competence, and consistent artistic identity. (Viquipèdia)

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Works — discography highlights

Krall’s discography is extensive; below are essential highlights (studio albums, selected):

• Stepping Out (1993) — early trio work, introduced Krall to a wider audience.
• All for You: A Dedication to the Nat King Cole Trio (1996) — explicit lineage claim and critical stepping stone.
• When I Look in Your Eyes (1999) — crossover commercial success and Grammy recognition.
• The Look of Love (2001) — lush arrangements and Orchestral textures; one of her best-known records.
• Quiet Nights (2009) — exploration of bossa nova and Latin-inflected ballads.
• This Dream of You (2020/2021 releases vary by market) — a carefully curated collection from sessions with Tommy LiPuma and mixing by Al Schmitt; exemplifies her late-career aesthetic of intimate, cinematic jazz. (Viquipèdia)

For a complete, up-to-date, track-by-track discography consult dedicated discography resources and the artist’s official site or label pages. (Viquipèdia)

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Most known compositions and performances

Krall is primarily known as an interpreter rather than a composer. Her most celebrated recordings are interpretations of standards and select contemporary songs (e.g., some Beatles/Bacharach material interpreted in her style). Signature performances that fans often cite include her versions of:

• “The Look of Love”
• “Walk On By”
• “But Beautiful”
• “All Or Nothing At All”
• “Peel Me a Grape” (live)

Her live concerts are notable for their intimacy and steady pacing—Krall often arranges sets that alternate between trio numbers and orchestrated pieces for maximum dynamic contrast.

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Filmography and media appearances

Krall’s on-screen appearances are relatively few compared to pop stars; she has appeared in concert films, televised specials, and documentary features focusing on jazz and the making of albums. She has contributed to soundtracks and made guest appearances as herself in musical contexts. (For specifics consult film and video discography entries in film databases and the artist’s official credits.) (Viquipèdia)

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Awards, honors, and recognition

Krall’s honors include multiple Grammy Awards and a string of Juno Awards (Canada’s premier music awards), as well as numerous gold and platinum certifications in multiple territories. Billboard recognized her impact on the jazz charts for the 2000s decade. She has been celebrated for successfully bridging jazz tradition with mainstream success, and for maintaining artistic standards while achieving commercial prominence. (Viquipèdia)

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Teaching, influence on younger musicians, and public persona

Krall’s public persona is one of a thoughtful, somewhat private artist who lets the music do most of the talking. She has influenced younger jazz singers and pianists through her recordings: many cite her phrasing, combination of piano/vocal leadership, and album-making sensibility as a template for how to present jazz to wider audiences today. While not primarily a pedagogue, the clarity of her recorded approach (arrangements, comping, and vocal placement) has become a model for students of contemporary jazz singing and accompanying.

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Critical perspectives and controversies (brief)

Critical reception to Krall has ranged from effusive praise for her musicianship and production values to some critique from purist circles that accuse crossover jazz artists of smoothing the rough edges of jazz for mass-market appeal. Such debates are common when a jazz artist attains mainstream success; Krall’s response has generally been to double down on musical quality—working with respected producers and engineers and maintaining high standards in repertoire and musicianship. (Viquipèdia)

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Listening guide — where to start and what to listen for

• Start: When I Look in Your Eyes (for the turning-point mainstream recognition) and All for You (to hear her direct lineage to Nat King Cole). (Viquipèdia)
• Listen for: the way Krall spaces phrases; her left-hand rhythmic steadiness; subtle reharmonizations on cadences; and how orchestration is used to heighten a lyric rather than overwhelm it.
• Explore deeper: live trio recordings—these reveal more of Krall’s improvisational instincts and piano-driven leadership.

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Diana Krall:

Diana Krall is a rare modern figure: a jazz practitioner who is both a serious musician in the jazz tradition and a chart-topping, globally recognized artist. Her art rests on a deep reverence for song, an understated vocal delivery, and a pianist’s understanding of harmony and accompaniment. Whether in trio settings or in lushly arranged studio albums, Krall’s work demonstrates how restraint, taste, and craft can reach millions without losing musical substance. Her legacy is as an interpreter of standards, an ambassador for acoustic jazz aesthetics, and a model of how to sustain artistic integrity while navigating commercial success. (Viquipèdia)

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Selected sources and further reading

• Diana Krall — Wikipedia (comprehensive biography, discography, awards). (Viquipèdia)
• EBSCO Research Starters — Diana Krall (biographical overview). (EBSCO)
• Diana Krall discography listings (album-by-album details). (Viquipèdia)
• Profile and features (JazzTimes and other in-depth interviews and features).
• Album notes and recent coverage — This Dream of You and later material. (New Releases Now)

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Diana Krall – Live in Paris – 2001

Concert enregistré à l’Olympia de Paris, où Diana Krall livre une performance inoubliable mêlant ballades romantiques, jazz classiques et bossa novas, accompagnée de l’Orchestre Symphonique Européen, du Paris Jazz Big Band, et de ses musiciens venus de Los Angeles.

Tracklist :

00:00 – I Love Being Here With You 05:46 – All Or Nothing 18:48 – Let’s Fall In Love 24:00 – The Look Of Love 30:05 – Maybe You’ll Be There 35:45 – Deed I Do 41:06 – Devil May Care 48:05 – Cry Me A River 54:37 – Under My Skin 1:02:04 – East Of The Sun 1:09:31 – I Get Along 1:13:52 – Pick Yourself Up 1:16:47 – S’Wonderful 1:22:15 – Love Letters 1:28:16 – I Don’t Know Enough About You 1:39:10 – Do It Again 1:46:28 – A Case Of You

Line-up : Diana Krall – vocals and piano Anthony Wilson – guitar John Clayton – acoustic bass Paulinho DaCosta – Percussion Jeff Hamilton – drums John Pisano – acoustic guitar Alan Broadbent – music director / conductor Claus Ogerman – guest conductor.

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1) Year-by-Year Timeline of Diana Krall’s Career

1964–1989: Early Life & Formation

• 1964 – Born in Nanaimo, British Columbia, Canada.
• 1968–1975 – Begins piano lessons, studies classical repertoire; plays in school ensembles.
• 1978–1980 – Performs regularly in local restaurants and hotel lounges in Nanaimo.
• 1981–1983 – Attends Berklee College of Music on scholarship.
• 1984–1987 – Lives in Los Angeles; studies with pianists Jimmy Rowles and others; becomes immersed in L.A. jazz circles.
• Late 1980s – Returns to Canada periodically; starts forming her artistic direction influenced by Nat King Cole and classic jazz pianism.

1990–1995: Professional Beginnings

• 1990 – Moves to New York, integrates into the jazz scene.
• 1993 – Releases debut album Stepping Out (Justin Time Records) with John Clayton and Jeff Hamilton.
• 1995 – Releases Only Trust Your Heart (GRP), produced by Tommy LiPuma — beginning a long and defining partnership.

1996–1999: Breakthrough

• 1996 – All for You: A Dedication to the Nat King Cole Trio earns Grammy nomination; Krall gains international recognition.
• 1997 – Love Scenes becomes a commercial success.
• 1999 – When I Look in Your Eyes becomes a crossover phenomenon, wins the Grammy for Best Jazz Vocal Album, and earns two additional nominations (including Album of the Year).

2000–2004: Superstar Status

• 2001 – The Look of Love (with Claus Ogerman arrangements) debuts high on pop charts internationally.
• 2002 – Releases live album Live in Paris, further cementing her popularity.
• 2003 – Marries Elvis Costello; collaborates informally on songwriting and projects.
• 2004 – Releases The Girl In The Other Room — partially co-written with Costello; a departure into more personal songwriting.

2005–2010: Expansion & Maturity

• 2005–2008 – Tours worldwide; appears in various jazz documentaries and live broadcasts.
• 2009 – Quiet Nights, a bossa nova–centered record, produced again by Tommy LiPuma.

2011–2016: Reinterpretation & Experimentation

• 2012 – Releases Glad Rag Doll, produced by T Bone Burnett, featuring early jazz repertoire and a gritty, vintage sound.
• 2015 – Releases Wallflower, interpreting pop classics (Carpenters, Elton John, Dylan) with David Foster’s production.
• 2016 – Collaborates with Tony Bennett (live appearances and promotional events).

2017–2021: Return to Roots & Personal Tributes

• 2017 – Turn Up the Quiet returns to small-group jazz with lush production.
• 2018 – Duo album Love Is Here to Stay with Tony Bennett.
• 2020/2021 – This Dream of You released after Tommy LiPuma’s passing; assembled from their final sessions.

2022–2025: Continuing Legacy

• Continues touring internationally; celebrated for maintaining acoustic jazz traditions in mainstream markets.
• Regular appearances at major jazz festivals, symphony-backed concerts, and trio tours.

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2) Short Transcription & Analysis of a Diana Krall Improvisational Passage

Source style: Medium-tempo swing (similar to live performances of “All or Nothing at All” or “Deed I Do”).
Since I cannot reproduce copyrighted notation exactly, here is a Krall-style transcription using text notation and analysis.

Excerpt: 8-bar solo phrase (approximate style)

Key: F major
Tempo: ~136 bpm

Bars 1–2 (Fmaj7 → Gm7 C7)
RH: A  C  D  C  A   | Bb  A  G  F  A  (G#)  A
LH: F - A - E - F    | G - D - C - G

Bars 3–4 (Gm7 → C7alt)
RH: (motif) A  C  D  (octave up) A  C#  D | Eb  E  F#  G  (A)  Ab  G
LH: G - F - Bb - G               | C - (B) - Bb - Ab

Bars 5–6 (Fmaj7 → D7♭9 → Gm7)
RH: F  A  C  A  G   | (D7♭9) F  F#  A  C | (Gm7) Bb  A  G
LH: F - C - F        | D - F# - C        | G - D - G

Bars 7–8 (C7 → Fmaj7)
RH: E  G  Bb  A  G  | F  A  C  (E) - resolve softly to A
LH: C - E - Bb       | F - C - F

What makes this “Krall-like”?

• Motivic development:
  Bars 1–3 revolve around the same 3-note cell (A–C–D), transposed and rhythmically displaced.
• Economy:
  No long runs; phrases are short, intentional, conversational.
• Chromatic color:
  Bar 3 uses C# leading to D; bar 4 uses a chromatic ascent (Eb–E–F#–G) over a C7alt sound.
• Left-hand clarity:
  Root–fifth–tenth patterns, gently outlining harmony without clutter.
• Resolution softness:
  She often ends a phrase on the 3rd or 6th of a chord (here, A over Fmaj7), giving warmth instead of perfect closure.

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3) A Curated Listening Playlist: “Diana Krall in 20 Tracks”

Each group highlights a different dimension of her artistry.

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I. Trio Diana – The Pianist First

1. “I’m an Errand Girl for Rhythm” — All for You
 Nat King Cole Trio tribute; impeccable swing and piano clarity.
2. “All or Nothing at All” (Live) — Live in Paris
 Best example of her live trio pacing and phrasing.
3. “Deed I Do” — Love Scenes
 Light, playful, harmonically elegant.
4. “Devil May Care” — Live in Paris
 Tight rhythmic control; crisp piano fills.

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II. Orchestral Diana – Cinematic Jazz

5. “The Look of Love” — The Look of Love
 Signature orchestral ballad with Claus Ogerman arrangement.
6. “S’Wonderful” — The Look of Love
 Classic bossa nova with sophisticated strings.
7. “Cry Me a River” — Live in Paris arrangement (with orchestra)
 A dramatic, slow-building interpretation.
8. “East of the Sun (and West of the Moon)” — When I Look in Your Eyes
 Smooth vocal line over lush harmonic backdrop.

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III. Intimate, Whispered Ballads

9. “But Beautiful” — When I Look in Your Eyes
10. “I Get Along Without You Very Well” — The Look of Love
 A study in understated delivery.
11. “Boulevard of Broken Dreams” — The Girl in the Other Room
 Great example of her alternative-repertoire taste.

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IV. Bossa Nova & Brazilian Influences

12. “Quiet Nights” — Quiet Nights
13. “The Boy from Ipanema” — Quiet Nights
14. “Este Seu Olhar” — Quiet Nights
 Warm, delicate phrasing in Portuguese.

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V. Pop Interpretations & Reimaginings

15. “Temptation” — The Girl in the Other Room
 Dark, atmospheric; Burnett’s production.
16. “Don’t Dream It’s Over” — Wallflower
 A gentle, re-harmonized take on the Crowded House classic.
17. “Desperado” — Wallflower
 Subtle harmonic reharmonization under the melody.

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VI. Later Career / Mature Style

18. “Like Someone in Love” — Turn Up the Quiet
 Return to classic jazz elegance.
19. “Just You, Just Me” — Turn Up the Quiet
 Loose, warm trio swing.
20. “This Dream of You” — This Dream of You
 A late-career masterpiece: sparse, cinematic, deeply intimate.

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Below is a detailed, structured, musician-level profile of Diana Krall’s pianistic vocabulary — the voicing shapes she gravitates toward, her preferred turnarounds, ii–V language, comping textures, and the small-but-essential stylistic devices that define her sound.

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Diana Krall’s Pianistic Vocabulary — A Detailed Profile

Krall’s piano style is a fusion of:

• Nat King Cole–style trio pianism,
• Bill Evans–influenced harmonic warmth,
• blues-derived swing phrasing,
• and sparse, economical accompaniment in the tradition of singer-pianists.

Her touch is warm, balanced, and rhythmically steady, and she favors sophistication through voicing choice and voice-leading rather than virtuosity.

Below is a breakdown of her main vocabulary components with concrete examples (in text-notation—fully notatable if you wish).

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1) Voicing Shapes

A) Shell Voicings — the core of her accompaniment

Krall heavily uses shells (root + 7, or root + 3) in her left hand:

1. Root + 7

• Gm7 → LH: G–F
• C7 → LH: C–Bb
• Fmaj7 → LH: F–E

This keeps harmony uncluttered under her voice.

2. Root + 3

Used especially in bossa nova or slow ballads:

• C7 → LH: C–E
• Dm7 → LH: D–F

This gives a “leaner,” more intimate foundation.

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B) Bill Evans–Style 3rd and 7th Voicings

When she’s comping with the right hand while singing, she often uses RH voicings of 3rd + 7th + color tone:

For Gm7 (ii in F):

• RH: Bb–F–A
  (3rd, 7th, 9th)

For C7:

• RH: E–Bb–D
  (3rd, 7th, 9th)
  Or altered: E–Bb–Db (♭9)

For Fmaj7:

• RH: A–E–G
  (3rd, 7th, 9th)

These shapes are essential to her ballad comping.

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C) Upper-Structure Triads

Krall loves upper-structure triads to color dominant chords elegantly.

Upper-structure patterns she frequently uses

• C7(#11): RH plays E major triad (E–G#–B)
• G7(#9): RH plays Bb major triad (Bb–D–F)
• F7(13♭9): RH plays A major triad (A–C#–E)

Why she uses them:
They add subtle sophistication without clutter — great behind vocals.

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D) Drop-2 Voicings

Especially when playing in a guitar-like comping style or in trio settings:

Example: Dm7

• Root position (RH): D–F–A–C
  Drop-2 → A drops an octave → A–D–F–C

She uses these to create warm, spread sonorities that are still compact.

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E) Close-Position Clusters

A Krall signature, especially on intros/outros.

Example on Cmaj7:

• E–F–G–B
  (3rd, 11th, 5th, major 7)

These evoke Bill Evans but used more sparingly.

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2) Comping Textures and Rhythmic Habits

A) Sparse, floating right-hand answers

Typical swing comping:

• RH plays 2–4 note voicings on off-beats
• Very small rhythmic “puffs,” never heavy-handed
• Often responds directly to her own vocal line
  (call-and-response)

B) Left-hand walking patterns (not always full bass!)

She rarely plays continuous walking bass while singing, but:

• She frequently plays implied walking, such as:
  • Downbeat roots
  • 5ths and leading tones
  • Occasional chromatic approaches

Ex. Over Fmaj7 → Gm7 → C7:

• LH: F – (E) – D – (Db) – C

This creates motion without taking up sonic space.

C) Bossa Nova Pattern

Her bossa LH pattern is very consistent:

• Beat 1: Root
• Beat 2: 5th
• Beat 3: Root (octave) or 10th
• Beat 4: 5th or color tone

Example (Dm7):

• D – A – D (10th = F) – A

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3) Turnarounds

Krall uses a small number of turnarounds very consistently.
Here are the main ones:

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A) I – VI7 – II7 – V7

A classic jazz and Sinatra-era turnaround.

In F:

• Fmaj7 – A7 – D7 – G7

She often alters the dominants:

• A7(♭9♯5)
• D7(♯9♯11)
• G7(♭9)

Creates forward motion with sophistication.

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B) I – III7 – VI7 – II7 – V7

Nat King Cole–style 5-chord turnaround.

In F:

• Fmaj7 → A7 → C7/E → D7 → G7

She uses this often when ending phrases.

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C) Chromatic descending turnarounds

Very characteristic of her slow ballads:

Imaj7 – I♭7 – V/ii – ii – V

In F:

• Fmaj7 → E7♭9 → A7 → Dm7 → G7

The E7♭9 is the signature sound:
warm, vintage, cinematic.

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D) bVImaj7 used as a surprise color

In F:

• Fmaj7 → Dbmaj7 → C7 → Fmaj7

This modal interchange chord creates a lush, filmic texture.

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4) ii–V Language

Krall’s ii–V lines are simple, melodic, often motivic, rather than virtuosic.

Here are her typical patterns:

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A) Arpeggio to chromatic approach

Example in Gm7 → C7:

RH:

• Bb–D–F (Gm7 arpeggio)
• E–Eb (chromatic)
• Resolve to D (on C7)

This is extremely common in her solos.

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B) 3–5–7 motif

Over ii:

• Bb–D–F (Gm7: 3rd–5th–7th)

Over V:

• E–G–Bb (C7: 3rd–5th–7th)

Clean and classic.

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C) Blues-inflected approach

She often uses blues notes into dominant chords:

• Over C7: E–F–F#–G
  (♮3 → ♯4/♯11 → 5)

This gives a slight soulful color.

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D) Bebop enclosure patterns (but simplified)

Not heavy bebop, but very tasteful:

Enclosing E (3rd of C7):

• F – D# – E

or

• F# – D – E

Used sparingly, usually in medium swing.

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E) ii–V Voicing Cadence (Krall Favorite)

In F:

LH:

• G–F (Gm7 shell)
• C–Bb (C7 shell)
• F–E (Fmaj7 shell)

RH (as colors):

• Gm7: A–C–D
• C7(#11): E–G#–B (upper-structure)
• Fmaj7: A–E–G

This is quintessential Krall.

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5) Characteristic Reharmonizations

A) Delayed cadences

Instead of ii–V–I immediately, she prolongs ii or adds chromatic ii’s:

Gm7 → Abm7 → Gm7 → C7 → Fmaj7

Gives a sighing, “lingering” effect.

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B) Diminished passing chords

She uses diminished chords to glide between diatonic harmony:

Example:

• Cmaj7 → C#°7 → Dm7

Classic pianistic color, used tastefully.

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C) bIII° or III° over dominant chords

Over C7:

• E°7 leading into Fmaj7

Vintage and subtle.

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6) Intros and Outros

A) Rubato major 7 + 9 clusters

Often her intros use:

• Fmaj9 voiced as: A–C–E–G
  or
• Bbmaj9#11 clusters

B) Baseline intros influenced by Nat King Cole

Walking/riff-like left hand, light right-hand chord stabs.

C) Ending tags

She often ends with:

• Imaj9 → I6/9 → Imaj7
  soft descending voicings, always elegant.

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7) Putting It All Together — Example Krall-Style Progression

Here is an 8-bar Krall-style harmonic progression in F:

| Fmaj9   | Gm7    C7(#11) |
| Fmaj7   | A7(#9)   D7(#11) |
| Gm7     | C7alt         |
| Fmaj9   | Dbmaj7  C7  F6/9 |

Characteristics:

• rootless RH voicings
• altered dominants
• bVImaj7 surprise color
• warm 6/9 final sonority

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