The exception is , a Paul McCartney song originally intended for his 2012 album, on which Krall played piano. It didn't make the CD, and Krall asked if she could record it instead. McCartney said yes.

The other 11 tracks on the standard version of the CD are covers of tunes by The Eagles, Elton John, Jim Croce, Gilbert O' Sullivan, Crowded House and 10cc, among others. A "deluxe edition" includes four extra tracks: a duet with Georgie Fame on his old hit , The Beatles' , and live versions of and Elton John's .

Fame, incidentally, will be appearing at Grappa's Cellar on February 27 and 28.

It's rather cosily Canadian. Bublé guests on and Bryan Adams rasps along with Krall on Randy Newman's . According to Krall, she had wanted to work with her label boss - who she has known for 25 years - producing for some time.

"I was ready to work with David and let him do what he does best. He did all of the arrangements and played a lot of the piano. I always knew David was good, but I gained an even greater appreciation for his talents as a producer and as a musician," she says.

According to Foster, who is not and does not see himself as a jazz musician, it was Krall's decision to spend most of her time in the vocal booth, and he had to persuade her to play a few piano solos as well.

"On songs like and , Diana plays beautiful, simple, solid, picturesque piano solos filled with melody. They are almost sing-able. Her solos have a real arc. Like a lot of the great jazz musicians, she sees the end of the solo before she starts. That's what separates the good from the great," says Foster.

Krall says she has loved the title track since hearing Dylan's original rough and ready demo with a dog barking in the background.

"I love Bob Dylan like crazy," she says. "I've only met him a few times. I told him I love the way he plays piano. He said, 'Well, you're a piano player, so you should know.' Dylan's music runs so deep."

Dylan also has a new album out, and like it is a collection of cover tunes, but the resemblance ends there. (Columbia) is a collection of songs recorded by Frank Sinatra, and it's not nearly as bad an idea as you might suppose.

Most pop or rock artists when they decide, wisely or unwisely, to have a crack at the Great American Songbook opt for accompaniments of the kind that Nelson Riddle orchestrated for Sinatra - essentially the approach Foster took in arranging the songs on .

Dylan, however, is nothing if not perverse, and has done the opposite. The bare-bones arrangements here are performed, live in the studio, by Dylan and his road band. His vocals, eerily set off by some fine pedal steel guitar playing from Donny Herron, are well to the fore.

In his prime, Dylan's craft as a vocalist was very different to Sinatra's, but they shared the ability to fully inhabit a lyric.

Dylan's range, always limited, has diminished with age. He is now 73. His sense of pitch was never exact, but it is a good deal more reliable in a studio environment, and he sings some of the finest songs from Sinatra's repertoire with world-weary profundity. There are more technically accomplished versions of all these songs on record, but probably none more soulful - and that includes the opener Other songs include , and

Three other noteworthy albums inspired by Frank Sinatra.

• (1959, Verve): The Oscar Peterson Trio, at that time comprising Peterson on piano, Ed Thigpen on drums and Ray Brown on bass, put their spin on some of Sinatra's biggest early hits.
• (2006, Telarc): a fine swinging set from singer and guitarist John Pizzarelli with the Clayton Hamilton Jazz Orchestra.
• (1992, Columbia): Tony Bennett pays his tribute in intimate style with just a piano trio for accompaniment.