If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
One can't help being curious about the contents of Norah Jones' music collection after listening to her debut, "Come Away With Me". They would probably not be far off in assuming she grew up singing into various makeshift microphones around her household alongside the vocals of Billie Holiday, Ella Fitzgerald, Joni Mitchell, and Sarah Mclachlan.
Despite the album's various jazz standards, one should not be so naïve to classify Norah Jones as a jazz singer. Hardcore jazz traditionalists, snobs, and academics may deny her jazz credibility for her folk infusion, however, her rendition of The Nearness of You would have made any of the songs predecessors proud. Regardless of how listeners may argue and classify the roots of her musical stylings, the consistent adjective in all of these debates should be "spectacular".
Jones succeeds in making listeners feel as though they are eavesdropping on an experience that ultimately, seems private. The innocence in her voice and purity of her instruments make adult listeners feel both pedophilic and guilty for falling in love with her.
Her voice stretches across a bed of lyrics like a full size sheet on king size bed - just barely making it and yet successfully pulling it off. We should reserve being more critical of lesser talents.
Track Listing: Don't Know Why; Seven Years; Cold Cold Heart; Feelin' The Same Way; Come Away With Me; Shoot the Moon; Turn Me On; Lonestar; I've Got To See You Again; Painter Song; One Flight Down; Nightingale; The Long Day Is Over; The Nearness Of You.
Personnel: Norah Jones- vocals, piano, electric piano; Lee Alexander- bass; Jesse Harris, Adam Levy, Tony Scherr, Adam Rogers, Kevin Breit- guitar; Dan Rieser- drums; Brian Blade- drums, percussion; Sam Yahel- organ; Rob Burger- pump organ, accordion; Jenny Scheinman- violin; Bill Frisell- electric guitar on "The Long Day is Over;" Kenny Wollesen- drums on "The Long Day is Over."
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!