Close your eyes and think of the most sophisticated room you’ve ever been in. There’s probably dim lighting, maybe a glass of something expensive, and almost certainly, a smoky voice singing over a lush bed of strings. For a huge portion of the world, that voice belongs to Diana Krall. Specifically, it’s the sound of her 2001 breakout masterpiece. The Look of Love by Diana Krall wasn't just another jazz vocal album; it was a cultural shift that brought bossa nova and orchestral pop back into the mainstream during an era dominated by teen pop and nu-metal.
It feels timeless now. But back then? It was a gamble.
Krall was already a respected pianist. She had the chops. But with this record, she stepped away from the trio-heavy swing of her earlier work to embrace something far more cinematic. Produced by the legendary Tommy LiPuma and featuring arrangements by the titan Claus Ogerman, the album became a juggernaut. It didn't just top the jazz charts; it cracked the Billboard Top 10. That's almost unheard of for a jazz record in the 21st century.
The Sound of 700 Senses
The title track, originally a Burt Bacharach and Hal David composition, has been covered by everyone from Dusty Springfield to Isaac Hayes. Krall’s version is different. It’s slower. More deliberate. You can practically hear the velvet curtains moving.
Claus Ogerman’s involvement cannot be overstated here. If you aren't a crate-digger, you might not know his name, but you've heard his soul. He’s the man who worked with Antônio Carlos Jobim and Frank Sinatra. His strings don't just "accompany" the singer; they wrap around the vocals like a warm fog. On tracks like "I Get Along Without You Very Well," the orchestration is so precise it feels like it’s breathing with Krall.
Honestly, the "vibe" of this record is its greatest strength and its only real weakness. Some critics at the time—the purists who wanted Krall to stay a "piano player first"—felt it was too polished. Too commercial. They called it "audio wallpaper." But they missed the point. To make music this smooth without it becoming cheesy takes an incredible amount of restraint. You try playing a piano solo that is both technically proficient and emotionally minimalist. It’s hard. Krall makes it look like she’s barely trying, which is the ultimate flex.
Why the Bossa Nova Influence Stuck
The album leans heavily into the Brazilian aesthetic. You’ve got "S'Wonderful" and "Cry Me a River," but they aren't played as standard American songbook pieces. They have that rhythmic "tug" of the bossa nova.
- The phrasing is pushed just behind the beat.
- The percussion is skeletal—mostly shakers and light brushes.
- The guitar work (shoutout to Christian McBride on bass and Peter Erskine on drums for the foundation) stays crisp.
This wasn't just a stylistic choice. It was a bridge. In the early 2000s, there was a massive resurgence in "lounge" culture. People were buying mid-century modern furniture again. They were making martinis at home. The Look of Love by Diana Krall provided the literal soundtrack for that entire lifestyle movement.
The Production Magic of Tommy LiPuma
Tommy LiPuma was a giant. He knew how to sell jazz to people who didn't think they liked jazz. When he sat down with Krall for this project, the goal was clearly "mood." They recorded at Capitol Studios in Hollywood—the same place where Sinatra and Nat King Cole laid down their hits. You can hear the room. There is a depth to the recording that modern, digital-only productions often struggle to replicate.
The album won three Juno Awards. It was nominated for Grammys. It went Platinum in the US and Multi-Platinum in Canada. But beyond the trophies, its real legacy is how it opened the door for artists like Norah Jones and Michael Bublé. Without the massive commercial success of The Look of Love, labels would never have taken the risk on acoustic-driven, vocal-centric jazz in the mid-2000s.
A Track-by-Track Reality Check
Let’s be real: not every song is a banger. "Dancing in the Dark" is beautiful, but it can almost put you to sleep if you aren't careful. That’s the danger of the "Orchestral Jazz" genre. However, when they nail it, like on "Maybe You’ll Be There," it’s devastating. Krall’s voice has this specific grain to it. She’s an alto, which gives her a groundedness that a lot of soprano jazz singers lack. She doesn't do "runs" or vocal gymnastics. She just tells the truth.
And the piano? Even though the strings take center stage, her touch on the keys is still there. It’s tasteful. She plays like a writer, not a performer. Every note has a reason for being there.
Is It Still Relevant Today?
In 2026, we’re seeing a massive comeback for "Hi-Fi" listening. Vinyl sales are still through the roof. People are investing in high-end speakers again. In that world, The Look of Love by Diana Krall is a reference disc. Audiophiles use this album to test their systems because the frequencies are so well-balanced. The bass is thick but tight. The vocals sit perfectly in the phantom center.
The cultural context has changed, too. We live in a world of high-stress digital noise. Putting on a record that demands you slow down and just feel something is a form of therapy. You don't "multitask" to this album. You sit. You listen. You maybe cry a little if you’ve recently had your heart stepped on.
The Misconception of "Easy Listening"
People love to throw the term "Easy Listening" around as a pejorative. They use it to mean "boring" or "music for dentists' offices."
That’s a lazy take.
Complex music doesn't always have to sound difficult. The arrangements on "Besame Mucho" are actually quite intricate if you sit down and transcribe what the strings are doing. The harmonic shifts are sophisticated. Krall’s ability to sing in Spanish while maintaining her signature Canadian-cool delivery is a feat of artistic branding. Calling it "easy" ignores the thousands of hours of practice required to make something sound that effortless.
Actionable Insights for the Modern Listener
If you’re coming back to this album or discovering it for the first time, don't just stream it on your phone speakers. You’ll miss 60% of what makes it great.
- Listen on Headphones: You need to hear the way the reverb tails off Krall’s voice.
- Check the Credits: Look up Claus Ogerman’s work with Jobim (specifically Francis Albert Sinatra & Antônio Carlos Jobim). It will give you a whole new appreciation for the DNA of this record.
- A/B Test the Title Track: Listen to the Dusty Springfield version from Casino Royale and then Krall’s. Notice how the tempo change completely alters the meaning of the lyrics. Springfield is hopeful; Krall is almost resigned.
The Look of Love by Diana Krall remains the gold standard for vocal jazz production. It’s an album about intimacy, recorded during a time when the world was feeling increasingly disconnected. Whether you’re a jazz snob or just someone who likes a good melody, there’s no denying the gravity of this work. It’s the sound of a master artist finding her lane and driving it perfectly.
To truly appreciate the nuance, try listening to the album in its original sequence. The transition from the upbeat "S'Wonderful" into the melancholic "Love Letters" is a masterclass in album pacing. If you're looking to expand your collection, seek out the Verve 180g vinyl pressing—it’s widely considered the definitive way to experience the warmth of LiPuma’s production. For those diving deeper into Krall’s catalog, follow this with Live in Paris to hear how these same songs transform when she lets the trio lean into the swing.