Cover art included, liner notes not included DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD.

Likewise, her reverent version of Costello’s “Almost Blue” takes it out of its original countrypolitan setting and brings it back to the blues.

As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello.

Jazz diva Krall is normally sophisticated with a capital S.

But on Glad Rag Doll, she reveals a down to earth side few would have suspected.

That sober look is a far cry from the racy sleeve of Glad Rag Doll, on which the mum of two poses provocatively in stockings, suspenders and a saucy basque.

It is a picture inspired by the Ziegfeld Follies, the famously lavish Broadway productions of the 1920s.

Her interpretation of Waits’ “Temptation” is far more sultry than Holly Cole’s because Krall understands this pop song to be a jazz tune rather than a jazzy pop song.

“Black Crow” exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation.

It was through her that I got into songs like I’m A Little Mixed Up.

When we meet for a cup of tea at a London hotel, Diana is dressed in a smart, pinstriped suit.

The fact that it isn’t made up of musty and dusty “classics” may irk the narrow-minded and reactionary, but it doesn’t change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs.