The Fall (Remastered) Norah Jones
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- 1Chasing Pirates (Remastered)02:41
- 2Even Though (Remastered)03:52
- 3Light As A Feather (Remastered)03:52
- 4Young Blood (Remastered)03:38
- 5I Wouldn't Need You (Remastered)03:30
- 6Waiting (Remastered)03:31
- 7It's Gonna Be (Remastered)03:11
- 8You've Ruined Me (Remastered)02:45
- 9Back To Manhattan (Remastered)04:10
- 10Stuck (Remastered)05:16
- 11December (Remastered)03:05
- 12Tell Yer Mama (Remastered)03:26
- 13Man Of The Hour (Remastered)02:57
Info for The Fall (Remastered)
Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on HiRes-Audio, The Fall, Jones’ fourth album, may surprise some of Jones’ die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones’ smoky voice and soulful veneer highlight the opening track and first single, 'Chasing Pirates.'
Jones displays a slinky kind of ambience on 'Light As a Feather (co-written with Ryan Adams). The social commentary 'It’s Gonna Be' offers a garage-rock attitude, and 'You’ve Ruined Me' has a rich Americana flavor. But Jones is still a little bit country ('Tell Yer Mama') and a little bit rock’n’roll ('Stuck'). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.
„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, AMG)
Norah Jones, vocals, Wurlitzer electric piano, piano, guitars, Glockenspiel
Zac Rae, synthesizer, Rhodes electric piano, vibraphone, marimba, organ, clavinet
James Poyser, Wurlitzer electric piano, organ
John Kirby, synthesizer, tack piano, piano
Matt Stanfield, synthesizer
Sam Cohen, electric guitar
Smokey Hormel, electric guitar
Peter Atanasoff, electric guitar
Sasha Dobson, acoustic guitar
Lyle Workman, acoustic guitar, electric guitar
Marc Ribot, electric guitar
Jon Graboff, pedal steel guitar
Jesse Harris, acoustic guitar
Frank Swart, bass
Dave Wilder, bass, 6 string tick tack bass
Gus Seyffert, bass
Catherine Popper, bass
Tony Scherr, bass
Marco Giovino, drums and percussion
Robert DiPietro, drums
Pete McNeal, drums
Joey Waronker, drums
James Gadson, drums
Will Sayles, tambourine, hand drum, percussion
Mike Martin, backing vocals
Recorded 2008-2009 at House Of David, Nashville, TN; Sunset Sound Recorders, CA; The Coop, NY; The Magic Shop, NY
Engineered by Brad Bivens
Produced by Jacquire King
Sultry vocalist and pianist Norah Jones developed her unique blend of jazz and traditional vocal pop with hints of bluesy country and contemporary folk due in large part to her unique upbringing. Born March 30, 1979, in New York City, the daughter of Ravi Shankar quietly grew up in Texas with her mother. While she always found the music of Billie Holiday and Bill Evans both intriguing and comforting, she didn't really explore jazz until attending Dallas' Booker T. Washington High School for the Performing and Visual Arts. During high school, Jones won the Down Beat Student Music Awards for Best Jazz Vocalist and Best Original Composition in 1996, and earned a second Best Jazz Vocalist award in 1997. Putting her vocal talents on the back burner, Jones worked toward earning a degree in jazz piano at the University of North Texas for two years before accepting a friend's offer of a summer sublet in Greenwich Village during the summer of 1999.
Although she fully intended to return to college that fall, the lure of the folk coffeehouses and jazz clubs proved too strong and she was soon inspired to write her own songs. Jones appeared regularly with the trip-hop-electronica band Wax Poetic and assembled her own group around songwriters Jesse Harris (guitar) and Lee Alexander (bass), with Dan Rieser on drums. In October of 2000, the group recorded a handful of demos for Blue Note Records and on the strength of these recordings, Jones signed to the jazz label in early 2001. Following an appearance on Charlie Hunter's Songs from the Analog Playground, Jones spent much of 2001 performing live with Hunter's group and working on material for her debut.
Come Away with Me, recorded by Craig Street (Cassandra Wilson, Manhattan Transfer, k.d. lang) and legendary producer Arif Mardin (Aretha Franklin, Dusty Springfield, the Bee Gees), was released in early 2002 and garnered much public attention. The combination of her striking beauty and the fact that she was the daughter of an internationally renowned musician placed Jones in the awkward position of defending her music from those who dismissed her as another pretty face (the same argument used by those opposed to Diana Krall) and/or another riding the coattails of her musical royal heritage (see Natalie Cole, Miki Coltrane, Corey Parker). Although not by any stretch a "jazz" album (the label chose to call it "jazz-informed"), it featured jazz guitarist Bill Frisell and session drummer Brian Blade, and indicated a new direction for Blue Note combining jazz aesthetics and talent with a pop sensibility. Come Away with Me eventually went multi-platinum, selling 18 million copies worldwide and winning Jones eight Grammy Awards.
In 2004, Jones released her highly anticipated follow-up album, Feels Like Home. Pairing once again with producer Arif Mardin, Jones pursued a similar approach to Come Away with Me, mixing '70s singer/songwriter-style tracks with blues, country, and her own mellow take on piano jazz. In 2003, Jones played in a group called the Little Willies along with Lee Alexander (bass), Richard Julian (guitar/vocals), Dan Rieser (drums), and Jim Campilongo (guitar), playing covers of classic American music like Hank Williams, Willie Nelson, and Kris Kristofferson. This one-off performance ultimately turned into sporadic shows at the venue whenever their individual schedules would allow, slowly incorporating original songs into their set along the way. In time, the Little Willies began considering the release of a live album, but instead wound up documenting their sound in the recording studio. Milking Bull Records issued the resultant self-titled album in March 2006.
Late in 2006, the single "Thinking About You" announced a return to her solo career. It landed on the album Not Too Late, released in early 2007. The Fall arrived in 2009, followed in 2010 by ...Featuring Norah Jones, a collection of musical collaborations. The following year Jones was asked to provide some vocals for Danger Mouse (aka Brian Burton) and Italian composer Daniele Luppi's spaghetti Western project, Rome. Burton returned the favor in 2012 by producing and co-writing the songs on Jones' fifth studio album, Little Broken Hearts. She next teamed with Green Day's Billie Joe Armstrong in a project to re-create the classic 1958 Everly Brothers album Songs Our Daddy Taught Us. Recorded in nine days with bassist Tim Luntzel and drummer Dan Rieser, Foreverly was released in 2013.
This album contains no booklet.