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Vocale jazz - Verschenen op 1 januari 2012 | Verve

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Vocale jazz - Verschenen op 17 januari 2014 | ECM

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Vocale jazz - Verschenen op 1 januari 2012 | Verve

Hi-Res Onderscheidingen Hi-Res Audio - Sélection JAZZ NEWS
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Vocale jazz - Verschenen op 1 januari 2012 | Verve

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Vocale jazz - Verschenen op 1 januari 2013 | Verve

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Vocale jazz - Verschenen op 1 januari 2006 | Prestige

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Vocale jazz - Verschenen op 14 februari 2012 | world village

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Vocale jazz - Verschenen op 27 augustus 2013 | Bethlehem Records

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Vocale jazz - Verschenen op 22 maart 2013 | ACT Music

Hi-Res Booklet Onderscheidingen 4F de Télérama - Le top 6 JAZZ NEWS - Qobuzism - Qobuz Referentie - Hi-Res Audio - Sélectionné par Ecoutez Voir
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Vocale jazz - Verschenen op 16 september 2011 | Winter & Winter

Hi-Res Booklet Onderscheidingen CHOC de JAZZmagazine-jazzman - Découverte JAZZ NEWS - Hi-Res Audio
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Vocale jazz - Verschenen op 31 maart 2011 | Bonsaï Music

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Vocale jazz - Verschenen op 23 april 2013 | Bonsaï Music

Hi-Res Booklet Onderscheidingen Sélection FIP - Hi-Res Audio
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Vocale jazz - Verschenen op 1 november 2010 | Bonsaï Music

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Vocale jazz - Verschenen op 28 april 2011 | Bonsaï Music

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Vocale jazz - Verschenen op 1 januari 2013 | Blue Note

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What does a shrug sound like? On "Don't Know Why,” the opening track of her debut effort, Norah Jones suggests a few possibilities. The first time she sings the title phrase, she gives it a touch of indifference, the classic tossed-off movie-star shrug. Her tone shifts slightly when she hits the chorus, to convey twinges of sadness; here the casual phrasing could be an attempt to shake off a sharp memory. Later, she shrugs in a way that conveys resignation, possibly regret—she's replaying a scene, trying to understand what happened. Those shrugs and shadings, tools deployed by every jazz vocalist of the 1950s, are inescapable throughout Come Away With Me—in part because everything surrounding Jones' voice is so chill. There's room for her to emote, and room for gently cresting piano and organ chords. Unlike so many of her contemporaries, Jones knows instinctively how much (or how little!) singer the song needs. The secret of this record, which came out when Jones was 22, is its almost defiant approachability: It is calm, and open, and gentle, music for a lazy afternoon in a porch swing. As transfixing covers of Hank Williams' "Cold Cold Heart” and Hoagy Carmichael's "The Nearness of You” make clear, Jones thinks about contours and shadows when she sings; her storytelling depends as much on the scene and the atmosphere as the narrative. And Jones applies the same understatement to the original songs here, which weave together elements of country, pop, jazz and torch balladry in inventive ways. It's one thing to render an old tune with modern cleverness, a skill Jones had honed as a solo pianist/singer before she was discovered. It's quite another to transform an original tune, like Jesse Harris' "Don't Know Why,” into something that sounds ageless and eternal, like a standard. Jones does that, over and over, using just shrugs and implications, rarely raising her voice much above a whisper. © Tom Moon/Qobuz
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Vocale jazz - Verschenen op 1 januari 2013 | Blue Note Records

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Vocale jazz - Verschenen op 1 januari 2013 | Verve

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Vocale jazz - Verschenen op 1 januari 2013 | Impulse!

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Vocale jazz - Verschenen op 1 januari 2013 | Verve

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Vocale jazz - Verschenen op 1 januari 2013 | Blue Note

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Uitzonderlijke Geluidsopnamen - Hi-Res Audio

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Jazz in het magazine