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Pop - Released October 7, 2016 | Blue Note (BLU)

It is important to realize that Norah Jones is not just a famous persona waving from the cover of a glossy magazine, or simply “a pretty face". The truth is far deeper... Day Breaks is further evidence of her undeniable talent, but also of a tangible artistic evolution. Mixing beautiful original compositions with a sprinkling of great classics (Horace Silver, Neil Young and Duke Ellington), the sixth album from the New Yorker who grew up in Texas brings her many and diverse passions together in one place.  Always lying within the realms of jazz, soul, pop and folk, it is her sincere and visceral love for the former that inhabits this stylish album, which doesn't dwell in the past for a single second. Over the years, the piano (much like her vocals) have toggled between nonchalance and pugnacity. Saxophonist Wayne Shorter, bassist John Patitucci and drummer Brian Blade are among the accomplices invited to the party here, and the experience of those involved is truly telling. Somehow, Day Breaks manages to see eye to eye with Come Away With Me, her first disc released back in 2002, and one that propelled her to the top of the charts. This 2016 vintage is even more structured than previous efforts. Mastered to perfection, the latest effort serves to epitomize the grace and beauty of this timeless artist. © MZ / Qobuz
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Pop/Rock - Released April 12, 2019 | Blue Note Records

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Labels have never been her thing… Jazz, pop, country, folk, world, Norah Jones has always played music that she has to blur boundaries. And that her collaborators include legends of jazz like Wayne Shorter, of soul like Ray Charles, of country like Willie Nelson, of rap like Q-Tip and of rock’n’roll like Keith Richards, this American has worked tirelessly to, above all, be herself. A serene and beautifully nonchalant voice capable of inhabiting her own themes as well as revisiting any song. Three years after the ambitious Day Breaks, this brief Begin Again (28 minutes, 7 tracks) is more than just a thrown-together collection of tracks. Instead, it’s a new self-portrait, alternating between assumed pop (My Heart is Full), expressive soul (It was You) and up-tempo jazz (Begin Again). To stay amongst people of taste, Jeff Tweedy from Wilco made appearances on the magnificent A Song with No Name and Wintertime. Surrounded as always by the finest musicians (Brian Blade's velvet drums are wonderful), Norah Jones masterfully guides us through this no-man’s land of a little bit of jazz, a bit pop, a bit soul. And it's as enjoyable as ever. © Clotilde Maréchal/Qobuz
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Pop - Released January 1, 2013 | Blue Note Records

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Pop - Released January 1, 2009 | Blue Note Records

With The Fall, Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer/songwriter. Jones began this shift on 2007's Not Too Late, an album that gently rejected her tendencies for lulling, tasteful crooning, but The Fall is a stronger, more cohesive work, maintaining an elegantly dreamy state that's faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones' choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; The Fall does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon Brion productions do. Instead, the focus is always on Jones' voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's easy to overstate the artiness of The Fall, especially when compared to Not Too Late, which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs. © Stephen Thomas Erlewine /TiVo

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Norah Jones in the magazine
  • Qobuz: Exclusive Interview with Norah Jones
    Qobuz: Exclusive Interview with Norah Jones Ahead of her new album release this coming Friday, 7th October, Marc Zisman of Qobuz had the opportunity to sit with the world renowned jazz artist to chat about life, music, and more...