Categories:
Cart 0

Your cart is empty

Norah Jones - Not Too Late (24Bit /192 kHz)

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Not Too Late (24Bit /192 kHz)

Norah Jones

Available in
logo Hi-Res
24-Bit 192.0 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Select Audio Quality

To be elegible for this price, subscribe to Sublime+

Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. ~ Stephen Thomas Erlewine

More info

Not Too Late (24Bit /192 kHz)

Norah Jones

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app
Listen on Webplayer

Copy the following link to share it

You are currently listening to samples.

Listen to over 40 million songs with an unlimited streaming plan.

Listen to this album and more than 40 million songs with your unlimited streaming plans.

1
Wish I Could
00:04:18

Julia Kent, Unknown, Other - Greg Calbi, Mastering Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, StudioPersonnel, ComposerLyricist - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - Jeffrey Zeigler, Unknown, Other

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

2
Sinkin' Soon
00:04:38

Greg Calbi, Mastering Engineer, StudioPersonnel - Jesse Harris, Unknown, Other - M. Ward, Vocals, AssociatedPerformer - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Andrew Borger, Drums, Drum, Unknown, Other, AssociatedPerformer - Daru Oda, Vocals, AssociatedPerformer - Kevin Breit, Mandolin, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - J. Walter Hawkes, Trombone, AssociatedPerformer

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

3
The Sun Doesn't Like You
00:02:59

Greg Calbi, Mastering Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Andrew Borger, Drums, AssociatedPerformer - Adam Levy, Electric Guitar, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - Paul Bryan, Unknown, Other

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

4
Until the End
00:03:55

Greg Calbi, Mastering Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Larry Goldings, Hammond B3, AssociatedPerformer - Norah Jones, Organ, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Andrew Borger, Drums, AssociatedPerformer - Adam Levy, Electric Guitar, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

5
Not My Friend
00:02:55

Greg Calbi, Mastering Engineer, StudioPersonnel - Jesse Harris, Acoustic Guitar, AssociatedPerformer - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Andrew Borger, Cymbals, Marimba, AssociatedPerformer - Adam Levy, Unknown, Other - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

6
Thinking About You
00:03:20

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Organ, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - Devin Greenwood, Hammond B3, AssociatedPerformer - Tony Mason, Drums, AssociatedPerformer - Rob Suddith, Tenor Saxophone, AssociatedPerformer - Chuck Mackinnon, Trumpet, AssociatedPerformer - Ilhan Ersahin, ComposerLyricist

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

7
Broken
00:03:21

Julia Kent, Cello, AssociatedPerformer - Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Electric Guitar, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Unknown, Other, StudioPersonnel, ComposerLyricist - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

8
My Dear Country
00:03:25

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Larry Goldings, Hammond B3, AssociatedPerformer - Norah Jones, Piano, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - Bill McHenry, Tenor Saxophone, AssociatedPerformer - J. Walter Hawkes, Trombone, AssociatedPerformer - Jose Davilla, Tuba, AssociatedPerformer

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

9
Wake Me Up
00:02:47

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Acoustic Guitar, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, Steel Guitar, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Andrew Borger, Drums, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

10
Be My Somebody
00:03:36

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Larry Goldings, Hammond B3, AssociatedPerformer - Norah Jones, Organ, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Andrew Borger, Drums, AssociatedPerformer - Richard Julian, Vocals, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel - Tony Scherr, Electric Guitar, AssociatedPerformer

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

11
Little Room
00:02:43

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Acoustic Guitar, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Daru Oda, Whistle, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

12
Rosie's Lullaby
00:03:56

Robbie McIntosh, Electric Guitar, AssociatedPerformer - Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Organ, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel - Andrew Borger, Drums, AssociatedPerformer - Daru Oda, Vocals, AssociatedPerformer, ComposerLyricist - Adam Levy, Electric Guitar, Vocals, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

13
Not Too Late
00:03:32

Greg Calbi, Mastering Engineer, StudioPersonnel - TOM SCHICK, Mixer, Recording Engineer, StudioPersonnel - Norah Jones, Piano, Vocals, Mellotron, MainArtist, AssociatedPerformer, ComposerLyricist - Lee Alexander, Producer, Mixer, Bass, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Andrew Borger, Drums, AssociatedPerformer - Yohei Goto, Asst. Recording Engineer, StudioPersonnel

A Blue Note Records Release; ℗ 2012 Capitol Records LLC

Album Description

Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. ~ Stephen Thomas Erlewine

About the album

Distinctions:

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...
At Fillmore East The Allman Brothers Band
The Allman Brothers Band (Remastered) The Allman Brothers Band
More on Qobuz
By Norah Jones

Playlists

You may also like...
In your panoramas...
Rudy Van Gelder, THE sound of jazz

Considered as the greatest inventor in the history of jazz music, Rudy Van Gelder was an artisan that worked with the greatest musicians in the post-war period for Blue Note, Impulse!, Prestige, CTI and Savoy.

The Prince of the 80s

In the family of funk Prince Rogers Nelson was a genre all by himself. In 40 years of career, he managed to mix the legacy of the founding fathers (James Brown, Sly Stone and George Clinton) with influences like rock 'n' roll, electro and even jazz. An exuberant and stunning groove that shone mainly between 1978 and 1988...

New Order: From Darkness to Dance-floor

How does one Mancunian group move from perhaps the gloomiest band of the punk era to a master of the dance-floor? In the early eighties, straight out of Joy Division’s ashes, New Order marked one of the first successful unions of rock’n’roll and dance music. A perfect soundtrack for a morose, Thatcherite England.

In the news...