Come Away With Me http://www.fishpond.co.nz/Music/Come-Away-With-Me-Bill-Frisell-Brian-Blade-Jesse-Harris/0724354174728

Super Audio CD

Artist: Norah Jones

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Label:

Blue Note

Performer Notes

Personnel: Norah Jones (vocals, piano, Wurlitzer piano); Jesse Harris, Kevin Breit (acoustic & electric guitars); Tony Scherr (acoustic guitar, slide guitar); Adam Levy, Bill Frisell (electric guitar); Adam Rogers (guitar); Jenny Scheinman (violin); Sam Yahel (Hammond B-3 organ); Rob Burger (organ); Lee Alexander (bass); Brian Blade (drums, percussion); Dan Reiser, Kenny Wollesen (drums).
Producers: Arif Mardin, Norah Jones, Jay Newland, Craig Street.
Recorded at Sorcerer Sound, New York, New York and Allaire Studios, Shokan, New York.
Norah Jones won the 2003 Grammy Award for Best New Artist.
COME AWAY WITH ME won the 2003 Grammy Awards for Album Of The Year, Best Pop Vocal Album and Best Engineered Album (Non-Classical).
"Don't Know Why" won the 2003 Grammy Awards for Record Of The Year, Song Of The Year and Best Female Pop Vocal Performance.
Arif Mardin won the 2003 Grammy Award for Producer Of The Year (Non-Classical).
A direct descendant from the pedigree of one of the 20th century's virtuosos, Norah Jones might not be on such a lofty artistic level as her dad Ravi Shankar, but certainly inherited some musical intuition from him. With nary a sitar nor raga within earshot, the young newcomer sounds very much an assimilated, western, 21st century pop-jazz singer. One thing that separates her from the pack is Ms. Jones' own piano stylings--not flashy, but deftly doubling or echoing her voice--that discreetly act as the glue holding together these airy, delicate, and beautiful arrangements.
But the centerpiece is certainly the 22-year-old's confident-beyond-her-years vocal delivery in addition to a precise diction and velvety tone. Shades of Nina Simone, vintage Phoebe Snow, and a less beatnik Rickie Lee Jones are evident throughout as the young siren coolly sashays through mostly new material by guitarist-songwriter Jesse Harris (formerly of Once Blue) and a few choice covers. Veteran producer Arif Mardin frames a most notable debut with a translucent touch, and appearances by jazz heroes Bill Frisell and Brian Blade gild the lily.

Professional Reviews

Rolling Stone (12/26/02, p.104) - Ranked #8 in Rolling Stone's list of 2002's "10 Best Debuts"

Rolling Stone (3/28/02, pp.68,70) - 3.5 stars out of 5 - "...A quietly captivating triumph of torch song[s]..."

Entertainment Weekly (12/20-27/02, p.128) - Ranked #10 on EW's list of 2002's "Albums of the Year"

Entertainment Weekly (3/8/02, p.73) - "...Jones' album has the lope of Western swing and the flow of a good live set....Her voice is supple and precise, her touch on piano lovely..." - Rating: A-

Down Beat (June 2002, pp.63-64) - 3.5 out of 5 stars - "...Jones delivers...multigenre cross-cultural eclecticism....It is a voice containing seductive mysteries and also the most exposed human vulnerabilities..."

JazzTimes (6/02, p.88) - "...Ranks among the most bracing and beautiful in recent memory..."

Vibe (4/02, p.168) - 3.5 discs out of 5 - "...She allows a pared-down, semi-acoustic backdrop to showcase her lilting soprano....an auspicious debut..."

Mojo (Publisher) - Ranked #74 in Mojo's "100 Modern Classics" -- "[S]eductive, mysterious songs, slouched jazzily around the rhythm, and slipped in a lonesome touch of twang."

Mojo (Publisher) (April 2002, p.110) - "...Jones' debut is a calming delight, a delicate acoustic dance that pulls country, blues and jazz into a gorgeous, soft-edged rootsy singer-songwriter world...Soothing and substantial."

Format: Compact Disc
Country: USA
UPC: 0724354174728
Studio/Live: Studio
Release Date: 9 September, 2003
Guest Artist: Bill Frisell; Brian Blade; Jesse Harris

Tracks

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Reviews

2.0 out of 5 based on 6 reviews. 2 of 5 Stars! – Customer review on 30/11/2006

The overall feel to this album is smooth, refined with an edge of laid-back posh-ness. If you’re into that then you’ll love it, if not then you may find it begins to grate. Similar in a way to how Jack Johnson tries to bottle Californian beach cool, this album tries to do the same with New York smoky jazz. Technically there is nothing wrong here. It all works, but it just feels all a little contrived.