I have never written that musicians only become known to audiophiles as a result of a certain type of marketing. You are arguing with yourself. 
However, Ms. Krall sells many more recordings than Ms. Barber - a result of great marketing.
Perhaps I misunderstood your use of the word “popular”. I didn’t take it to mean units sold, which I’m sure she’s sold more than Patricia Barber, for the reasons you stated.
I took it to mean, audiophiles revering her recordings for the sound quality.
I own more Patricia Barbara CDs than Diana krall, because I find her music more interesting. I own Diana krall CDs primarily for the sound quality more so than the music.
Ms. Krall’s music, as well as the sound of her recordings, are overrated by both the general public and by audiophiles.
One reason for this is her looks. Another is marketing. Another is the ear candy mic’ing (which many enjoy, but I find tiresome).
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I love Krall not at all for her looks, but because her voice reminds me a lot of Julie London. Now Julie wowed me with her voice, her presentation and her looks. And Dixie McCall? Mmmm, mmmm, mmmm!!
I’m done with Krall, her attraction was being married to one on the coolest men on the planet who can do anything.
I far prefer Melody Gardot and Stacey Kent, just better musically, Meshell Ndegeocello, hell, even Norah Jones.
I liked Krall when she did piano trio jazz. The chanteuse stuff I find disappointing.
I purchased Diana Krall… I never listen to her… I guess that says it all for me.
Tom Waits… I never tire of his work… never. Odd, I never really classified his recordings in my show-off list. I have no opinion of the technical aspects of his recordings accept they are not bad. I guess this shows that, for me at least, when an artist is outstanding as an artist, I listen to them and not the recording.
Honestly, I never thought of Tom Wait’s recordings, but only his art. Interesting thread for me.
Peace
Bruce in Philly
Several years ago my wife and I were very fortunate to see Stacey Kent in a local cabaret. Our table was front row, smack dab in front of her. One of the best musical evenings of my life.
It’s been a while since I revisited the thread. My, my I had no idea what feathers I would ruffle by mentioning Diana Krall. I’ve seen her live in performance at Ravinia. She has chops, and the audience wasn’t both SRO and enthusiastic about her performance because of her blonde hair and looks. You are entitled to your opinion Elk and I’m entitled to mine. I find your analysis wherein you seem to believe ‘… albums replete with sultry glamour shots …’ is germane to a debate about appreciation of her artistry a tad sexist. There was none of that at Ravinia.
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The side discussion is of her popularity. How she is packaged is highly relevant and, yes, the packaging is indeed sexist; i.e., the marketing is indeed selling the accurately titled “The Look of Love,” not “The Sound of Love.”
I expect the audience of any pop performer to be enthusiastic - otherwise they would not be there.
The main point is the sound of various artist’s recordings. As I mentioned, Ms. Krall’s albums annoy me with the hyper-close micing as ear candy. It is painful. The often steely and muddy orchestral sound further detracts. For me, it is carefully packaged competent adult contemporary.
Others love the stuff - there is nothing wrong with this.
What do you think is his best album? I’ll go have a listen.
I am far from a Tom Waits expert, but am impressed with Mule Variations.
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His earlier music is his most accessible, IMO. One of my favorites is Small Change. It has his beautiful piano playing, wonderful melodies, and his fabulous poetry. His singing and music is not so stylized as his later work.
The challenge with all his work is his gravelly voice… some can’t get over it. Later albums, it got more gravelly and stylized… like yelling, and his music became real stylized… sometimes it was industrial with pipe banging and such. Again, the earlier work is pretty much straight ahead beautiful music and immersive story telling.
Peace
Bruce in Philly
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His singing. like that of Bob Dylan and Leonard Cohen, obscures the often gorgeous melodies.
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