Diana Krall Delivers Intimate and Masterful Performance at Massey Hall Jazz vocalist and pianist Diana Krall captivated audiences at Toronto's Massey Hall with a performance marked by understated elegance, masterful musicianship, and a unique vocal delivery. The concert, part of her Canadian tour, featured a carefully curated selection of standards and showcased her intimate trio format. Diana Krall graced the stage of Toronto's Massey Hall on Tuesday, an image of sophisticated composure in a dark pinstriped pantsuit. She wasted no time in introducing her musical compatriots: the seasoned Matt Chamberlain on drums and Sebastian Steinberg providing a grounding presence on upright bass. This preferred trio, a hallmark of Krall's presentation both visually and sonically, commenced their performance. The upright bass set the initial groove for the first verse, with the drums joining shortly thereafter. The trio found a comfortable synergy in their close proximity, arranged artfully on a tasteful rug. The selection of a showtune served as a welcoming overture, creating an intimate atmosphere as if Krall had simply stepped into a living room to make an announcement. Her rendition of 'What a day this has been,' was delivered with a distinctively deliberate and carefully nuanced phrasing, 'What a rare mood I’m in.' A musical conversation then unfolded between Krall at her Steinway piano and Steinberg behind her, characterized by a lively back-and-forth of conversational instrumental passages. It had been a considerable interval since witnessing Krall's artistry live. Her established persona, the serene contralto from Nanaimo, British Columbia, possessing a captivating blend of languid allure and the evocative sound of rain, further enhanced by a resemblance to Kathleen Turner after a couple of Manhattans, proved to be even more compelling than previously recalled. Krall is currently on a brief Canadian tour, having commenced in Hamilton and slated to conclude on April 22 at Vancouver's Orpheum. As an artist on Verve Records, she is not currently promoting new studio material; her most recent release was the 2020 collection of recordings, painstakingly assembled with her long-time producer Tommy LiPuma prior to his passing in 2017. During the initial evening of her two-night engagement at Massey Hall, the double Grammy winner predominantly favored understated and deliberate interpretations of well-loved standards. An exception to this pattern, however, was noted. At one juncture early in the concert, following an ethereal piano flourish, Krall shared with the audience a candid admission: she sometimes forgets her own vocal capabilities. Such a lapse would be a profound pity, as her breathy singing is both inventive and, while perhaps not overtly emotional, is rendered with a subtle and refined expressiveness. The vocal sounds she produces are akin to carefully sculpted wisps of steam, serving as an elegant counterpoint to her piano work, which often exhibits a more playful and spontaneous inclination. While many artists might seek to lose themselves in a performance, Krall and her accompanists, though exploring musical freedom, maintained a cohesive direction. If Chet Baker was known for his improvisational detours, Krall navigates with an intrinsic GPS. Her approach with her rhythm section involved dissecting songs from their core outwards, meticulously extracting and conveying their emotional essence. Tempos were consistently unhurried, existing in a realm that transcended mere relaxation, achieving a state of Krall-esque repose. This unhurried pace extended to her rendition of a Burt Bacharach classic, showcasing a soulful dimension that suggested influences drawn more from Motown than from the surf-music maestro. (Later in the evening, Krall revealed a humorous side when a spectator inquired about her footwear. Her response involved a series of groan-inducing puns, likely prompting some fathers in the audience to re-evaluate their own comedic timing.) The evening's repertoire, featuring compositions by luminaries such as Cole Porter and George Gershwin, culminated in an energetic and artful rendition of a poignant jazz standard steeped in heartbreak. 'How can I go on, dear, without you?' Krall sang, her voice imbued with a gentle melancholy. 'You took the part that once was my heart, so why not take all of me?' A certain remoteness characterizes Krall; she exudes a cool, professional demeanor, a carefully cultivated distance that eschews overt personal disclosure. The question arises: why not embrace all that she offers? The audience, in turn, accepts and cherishes what she generously provides, which is demonstrably sufficient to resonate deeply with them. Diana Krall's tour schedule includes performances at Massey Hall in Toronto on April 15, the Colosseum at Caesars in Windsor, Ontario, on April 16, the Northern Alberta Jubilee Auditorium in Edmonton on April 20, the Jack Singer Concert Hall at Arts Commons in Calgary on April 21, The Orpheum in Vancouver on April 22, The Theatre at Great Canadian Casino Resort in Toronto on May 9, and the Montreal International Jazz Festival on June 26 and 27