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American Poems: Music: From This Moment On
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 Home » Music » From This Moment On

From This Moment On

  • List Price: $18.98
  • Buy New: $5.00
  • as of 11/27/2014 13:15 EST details
  • You Save: $13.98 (74%)
In Stock
New (42) Used (77) from $0.16
  • Seller:jek&jes
  • Sales Rank:4,938
  • Languages:English (Unknown), English (Original Language)
  • Media:Audio CD
  • Number Of Discs:1
  • Discs:1
  • Shipping Weight (lbs):0.2
  • Dimensions (in):5 x 5.8 x 0.5
  • Release Date:September 19, 2006
  • MPN:602517037120
  • UPC:602517037120
  • EAN:0602517037120
  • ASIN:B000GG4KTU
Availability:Usually ships in 1-2 business days

Features:
  • Brand Name: UMGD Mfg#: 602517037120
  • Shipping Weight: 1.00 lbs
  • Manufacturer: UNIVERSAL MUSIC GROUP
  • Genre: Jazz Music
  • All music products are properly licensed and guaranteed authentic.

Tracks
  • It Could Happen to You
  • Isn’t This A Lovely Day
  • How Insensitive
  • Exactly Like You
  • From This Moment On
  • I was Doing All Right
  • Little Girl Blue
  • Day In Day Out
  • Willow Weep For Me
  • Come Dance With Me
  • You Can Depend On Me


Editorial Reviews:
Synopsis
In songs, mood and delivery, From This Moment On reveals Krall's personal ardor for that golden era of song-making, when Frank Sinatra, Ella Fitzgerald and (especially) Nat King Cole were in their prime. There's an economy and confidence that speak to the maturity of Krall as a performer, and a recording artist.
Amazon.com
This album appears in the footsteps of 2004's The Girl in the Other Room but doesn't sound like a follow-up. Whereas The Girl saw the pianist-singer abandon the Great American Songbook for more personal pastures, From This Moment On sees her working out on standards done in traditional arrangements. Although the tracks here are by the likes of Cole Porter, Jimmy Van Heusen and Sammy Cahn, and the Gershwins, Krall sounds more at ease than ever before; perhaps digging deep inside on The Girl loosened her up. Backed by the Clayton/Hamilton Jazz Orchestra on seven tracks, Krall sings off the big band with ease. On the title track, she keeps up with a galloping bass and explosive brass arrangements and even ventures into scatting toward the end of the song. Her voice has also acquired a wonderfully worn texture in the past few years, and it works wonders on the ballads (just listen to "Isn't This a Lovely Day" and "Little Girl Blue" for instance). When standards are done like this, there's just nothing like 'em. --Elisabeth Vincentelli

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