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Norah Jones - Come Away With Me

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Come Away With Me

Norah Jones

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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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Come Away With Me

Norah Jones

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1
Don't Know Why
Norah Jones
00:03:06

Arif Mardin, Producer - Jay Newland, Producer - Jesse Harris, Guitar, AssociatedPerformer, ComposerLyricist - Norah Jones, Producer, Piano, Vocals, MainArtist, AssociatedPerformer - Dan Rieser, Drums, AssociatedPerformer - Lee Alexander, Bass Guitar, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2001 Capitol Records, LLC, Licensed courtesy of EMI Music Australia Pty Limited

2
Seven Years
Norah Jones
00:02:25

Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Producer, Mixer, StudioPersonnel - S. Husky Hoskulds, Engineer, StudioPersonnel - Norah Jones, Producer, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, AssociatedPerformer, ComposerLyricist, Bass (Vocal) - Kevin Breit, Acoustic Guitar, Steel Guitar, AssociatedPerformer - Craig Street, Producer - Brandon Mason, Asst. Recording Engineer, StudioPersonnel - Todd Parker, Assistant Mixer, StudioPersonnel - Brian Blade, Drums, Percussion, AssociatedPerformer - Husky Huskolds, Engineer, StudioPersonnel

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

3
Cold Cold Heart
Norah Jones
00:03:38

Arif Mardin, Producer, Mixer, Horn Arranger, AssociatedPerformer, StudioPersonnel - Hank Williams, ComposerLyricist - Jay Newland, Mixer, Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, Bass Guitar, AssociatedPerformer - Adam Levy, Electric Guitar, AssociatedPerformer - Dick Kondas, Engineer, StudioPersonnel

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

4
Feelin' The Same Way
Norah Jones
00:02:57

Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Producer, Mixer, StudioPersonnel - S. Husky Hoskulds, Engineer, StudioPersonnel - Norah Jones, Producer, Keyboards, Piano, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, AssociatedPerformer, ComposerLyricist, Bass (Vocal) - Kevin Breit, Acoustic Guitar, Electric Guitar, AssociatedPerformer - Craig Street, Producer - Brandon Mason, Asst. Recording Engineer, StudioPersonnel - Todd Parker, Assistant Mixer, StudioPersonnel - Brian Blade, Drums, AssociatedPerformer - Husky Huskolds, Engineer, StudioPersonnel

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

5
Come Away With Me
Sam Yahel
00:03:18

Arif Mardin, Producer, Mixer, StudioPersonnel - Jay Newland, Producer, Mixer, Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - S. Husky Hoskulds, Engineer, StudioPersonnel - Norah Jones, Producer, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Dan Rieser, Drums, AssociatedPerformer - Lee Alexander, Bass Guitar, AssociatedPerformer - Craig Street, Producer - Adam Levy, Electric Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Tony Scherr, Slide Guitar, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC, Mit freundlicher Genehmigung der EMI Music Germany GmbH & Co. KG (LC: 00542)

6
Shoot The Moon
Sam Yahel
00:03:56

Arif Mardin, Producer, Mixer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer, ComposerLyricist - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, AssociatedPerformer, Bass (Vocal) - Adam Levy, Electric Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Asst. Recording Engineer, StudioPersonnel - Brian Blade, Drums, AssociatedPerformer - Sam Yahel, Hammond B3, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

7
Turn Me On
Sam Yahel
00:02:34

John D. Loudermilk, ComposerLyricist - Jay Newland, Producer - Adam Rogers, Guitar, AssociatedPerformer - Norah Jones, Producer, Piano, Vocals, MainArtist, AssociatedPerformer - Dan Rieser, Drums, AssociatedPerformer - Lee Alexander, Bass Guitar, AssociatedPerformer - Sam Yahel, Hammond B3, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2001 Capitol Records, Inc.

8
Lonestar
Norah Jones
00:03:06

Arif Mardin, Producer, Mixer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Norah Jones, Piano, MainArtist, AssociatedPerformer - Lee Alexander, ComposerLyricist - Rob Burger, Organ, AssociatedPerformer - Adam Levy, Acoustic Guitar, AssociatedPerformer - Todd Parker, Mix Engineer, StudioPersonnel - Dick Kondas, Engineer, StudioPersonnel - Brian Blade, Drums, AssociatedPerformer - Tony Scherr, Acoustic Guitar, Slide Guitar, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

9
I've Got To See You Again
Norah Jones
00:04:13

Arif Mardin, Producer, Mixer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer, ComposerLyricist - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, AssociatedPerformer, Bass (Vocal) - Adam Levy, Electric Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Asst. Recording Engineer, StudioPersonnel - Brian Blade, Drums, Percussion, AssociatedPerformer - Jenny Scheinman, Violin, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

10
Painter Song
Norah Jones
00:02:42

Arif Mardin, Producer, Mixer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Lee Alexander, AssociatedPerformer, ComposerLyricist, Bass (Vocal) - Rob Burger, Accordion, AssociatedPerformer - Adam Levy, Acoustic Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Asst. Recording Engineer, StudioPersonnel - Brian Blade, Drums, AssociatedPerformer - J.C. Hopkins, ComposerLyricist

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

11
One Flight Down
Sam Yahel
00:03:05

Arif Mardin, Producer, Mixer, String Arranger, AssociatedPerformer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer, ComposerLyricist - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Dan Rieser, Drums, AssociatedPerformer - Lee Alexander, AssociatedPerformer, Bass (Vocal) - Adam Levy, Electric Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Asst. Recording Engineer, StudioPersonnel - Sam Yahel, Hammond B3, AssociatedPerformer - Jenny Scheinman, Violin, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

12
Nightingale
Norah Jones
00:04:12

Arif Mardin, Producer, Mixer, StudioPersonnel - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Bass Guitar, AssociatedPerformer, Bass (Vocal) - Adam Levy, Electric Guitar, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Asst. Recording Engineer, StudioPersonnel - Brian Blade, Drums, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

13
The Long Day Is Over
Bill Frisell
00:02:44

Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Producer, Mixer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer, ComposerLyricist - S. Husky Hoskulds, Engineer, StudioPersonnel - Norah Jones, Producer, Piano, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Bass Guitar, AssociatedPerformer - Kevin Breit, Electric Guitar, AssociatedPerformer - Craig Street, Producer - Brandon Mason, Asst. Recording Engineer, StudioPersonnel - Bill Frisell, Electric Guitar, AssociatedPerformer - Kenny Wolleson, Drums, AssociatedPerformer

(C) 2002 Blue Note Records ℗ 2002 Blue Note Records

14
The Nearness Of You
Norah Jones
00:03:07

Arif Mardin, Producer, Mixer, StudioPersonnel - Ned Washington, Author - HOAGY CARMICHAEL, ComposerLyricist - Ted Jensen, Mastering Engineer, StudioPersonnel - Jay Newland, Mixer, Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer - Todd Parker, Assistant Mixer, StudioPersonnel - Dick Kondas, Engineer, StudioPersonnel

(C) 2002 Blue Note Records ℗ 2002 Capitol Records, LLC

Album Description

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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