It had only been a few days since singer and pianist Diana Krall publicly announced that she and husband Elvis Costello were expecting their first child. Her remarks may have primarily focused on her upcoming album, but it was easy to discern the rosy glow as she discussed imminent arrivals, and how she came up with the name for one of them. “I already knew before we went into the studio the title of the record. I definitely knew it was going to be From This Moment On.” Cole Porter’s romantic ode to great expectations (with its hip, heartening couplet, “No more blue songs/Only whoop-dee-doo songs”) could not be more apt a title track for Krall’s tenth album. From This Moment On is an eleven-song collection that captures the Canadian-born sensation in full swing, in great company, and at the top of her game. It could also be called her strongest, most cohesive release to date. Krall is the first to admit that the album’s marked, upbeat theme was not originally her intention (“I never try to link tunes together or find songs that work together as a whole. It happens organically in the recording process, or not at all.”) But she does assume credit for knowing the songs she would be recording when she, her quartet and the Clayton/Hamilton Jazz Orchestra assembled for two weeks in Los Angeles’s famed Capitol Studios this spring. “I didn’t really sit down with anybody prior to recording it and say, ‘I think I want to do this.’ I knew exactly what I wanted from the get go. I started writing down song titles last summer, but a lot of these tunes I’ve had in my back pocket for years. I’ve been working on ‘How Insensitive’ for about ten years. ‘Day In, Day Out’ I started working on when I was about 24. I mean these are all tunes that finally have found their place. “Every tune has to have some sort of personal connection. But I didn’t want it all to be too upbeat �" like ‘Willow Weep For Me’, which for me is more of a social comment, adds a question mark to that positive feeling.” 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. It’s musical territory that Krall has often explored, but this album was certainly not a case of simply repeating past formulas: Krall’s A-team of support—producer Tommy LiPuma, engineer Al Schmitt and arranger/bandleader John Clayton—were on hand to ensure that inspiration was kept on an edge, unhindered by the studio environment.