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Norah Jones|Come Away With Me (Remastered)

Come Away With Me (Remastered) by 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 (Remastered)

Norah Jones

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1
Don't Know Why
00:03:06

Arif Mardin, Producer - Jay Newland, Producer - Jesse Harris, Guitar, ComposerLyricist - Norah Jones, Producer, Piano, Vocalist, MainArtist - Dan Rieser, DrumKit - Lee Alexander, BassGuitar

℗ 2001 Capitol Records, LLC

2
Seven Years
00:02:25

Ted Jensen, MasteringEngineer - Jay Newland, Producer, MixingEngineer - S. Husky Hoskulds, Engineer - Norah Jones, Producer, Vocalist, MainArtist - Lee Alexander, ComposerLyricist, BassVocalist - Kevin Breit, AcousticGuitar, SteelGuitar - Craig Street, Producer - Brandon Mason, RecordingSecondEngineer - Todd Parker, MixingSecondEngineer - Brian Blade, Percussion, DrumKit - Husky Huskolds, Engineer

℗ 2002 Capitol Records, LLC

3
Cold Cold Heart
00:03:38

Arif Mardin, Producer, MixingEngineer, HornArranger - Hank Williams, ComposerLyricist - Jay Newland, Engineer, MixingEngineer - Norah Jones, Piano, Vocalist, MainArtist - Lee Alexander, BassGuitar - Adam Levy, ElectricGuitar - Dick Kondas, Engineer

℗ 2002 Capitol Records, LLC

4
Feelin' The Same Way
00:02:57

Ted Jensen, MasteringEngineer - Jay Newland, Producer, MixingEngineer - S. Husky Hoskulds, Engineer - Norah Jones, Producer, Piano, Vocalist, MainArtist, Keyboard - Lee Alexander, ComposerLyricist, BassVocalist - Kevin Breit, AcousticGuitar, ElectricGuitar - Craig Street, Producer - Brandon Mason, RecordingSecondEngineer - Todd Parker, MixingSecondEngineer - Brian Blade, DrumKit - Husky Huskolds, Engineer

℗ 2002 Capitol Records, LLC

5
Come Away With Me
00:03:18

Arif Mardin, Producer, MixingEngineer - Jay Newland, Producer, Engineer, MixingEngineer - Jesse Harris, AcousticGuitar - S. Husky Hoskulds, Engineer - Norah Jones, Producer, Piano, Vocalist, MainArtist, ComposerLyricist - Dan Rieser, DrumKit - Lee Alexander, BassGuitar - Craig Street, Producer - Adam Levy, ElectricGuitar - Todd Parker, MixingSecondEngineer - Tony Scherr, SlideGuitar

℗ 2002 Capitol Records, LLC

6
Shoot The Moon
00:03:56

Arif Mardin, Producer, MixingEngineer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Jesse Harris, ComposerLyricist, AcousticGuitar - Norah Jones, Piano, Vocalist, MainArtist - Lee Alexander, BassVocalist - Adam Levy, ElectricGuitar - Todd Parker, MixingSecondEngineer - Dick Kondas, RecordingSecondEngineer - Brian Blade, DrumKit - Sam Yahel, HammondB3

℗ 2002 Capitol Records, LLC

7
Turn Me On
00:02:34

John D. Loudermilk, ComposerLyricist - Jay Newland, Producer - Adam Rogers, Guitar - Norah Jones, Producer, Piano, Vocalist, MainArtist - Dan Rieser, DrumKit - Lee Alexander, BassGuitar - Sam Yahel, HammondB3

℗ 2001 Capitol Records, Inc.

8
Lonestar
00:03:06

Arif Mardin, Producer, MixingEngineer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Norah Jones, Piano, MainArtist - Lee Alexander, ComposerLyricist - Rob Burger, Organ - Adam Levy, AcousticGuitar - Todd Parker, MixingEngineer - Dick Kondas, Engineer - Brian Blade, DrumKit - Tony Scherr, AcousticGuitar, SlideGuitar

℗ 2002 Capitol Records, LLC

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

Arif Mardin, Producer, MixingEngineer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Jesse Harris, ComposerLyricist, AcousticGuitar - Norah Jones, Piano, Vocalist, MainArtist - Lee Alexander, BassVocalist - Adam Levy, ElectricGuitar - Todd Parker, MixingSecondEngineer - Dick Kondas, RecordingSecondEngineer - Brian Blade, Percussion, DrumKit - Jenny Scheinman, Violin

℗ 2002 Capitol Records, LLC

10
Painter Song
00:02:42

Arif Mardin, Producer, MixingEngineer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Norah Jones, Piano, Vocalist, MainArtist - Lee Alexander, ComposerLyricist, BassVocalist - Rob Burger, Accordion - Adam Levy, AcousticGuitar - Todd Parker, MixingSecondEngineer - Dick Kondas, RecordingSecondEngineer - Brian Blade, DrumKit - J.C. Hopkins, ComposerLyricist

℗ 2002 Capitol Records, LLC

11
One Flight Down
00:03:05

Arif Mardin, Producer, MixingEngineer, StringArranger - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Jesse Harris, ComposerLyricist, AcousticGuitar - Norah Jones, Piano, Vocalist, MainArtist - Dan Rieser, DrumKit - Lee Alexander, BassVocalist - Adam Levy, ElectricGuitar - Todd Parker, MixingSecondEngineer - Dick Kondas, RecordingSecondEngineer - Sam Yahel, HammondB3 - Jenny Scheinman, Violin

℗ 2002 Capitol Records, LLC

12
Nightingale
00:04:11

Arif Mardin, Producer, MixingEngineer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Jesse Harris, AcousticGuitar - Norah Jones, Piano, Vocalist, MainArtist, ComposerLyricist - Lee Alexander, BassGuitar, BassVocalist - Adam Levy, ElectricGuitar - Todd Parker, MixingSecondEngineer - Dick Kondas, RecordingSecondEngineer - Brian Blade, DrumKit

℗ 2002 Capitol Records, LLC

13
The Long Day Is Over
00:02:45

Ted Jensen, MasteringEngineer - Jay Newland, Producer, MixingEngineer - Jesse Harris, Composer, AcousticGuitar - S. Husky Hoskulds, Engineer - Norah Jones, Composer, Producer, Piano, MainArtist - Lee Alexander, BassGuitar - Kevin Breit, ElectricGuitar - Craig Street, Producer - Brandon Mason, RecordingSecondEngineer - Bill Frisell, ElectricGuitar - Kenny Wolleson, DrumKit

℗ 2002 Blue Note Records

14
The Nearness Of You
00:03:07

Arif Mardin, Producer, MixingEngineer - Ned Washington, Composer - HOAGY CARMICHAEL, Composer - Ted Jensen, MasteringEngineer - Jay Newland, Engineer, MixingEngineer - Norah Jones, Piano, Vocalist, MainArtist - Todd Parker, MixingSecondEngineer - Dick Kondas, Engineer

℗ 2002 Capitol Records, LLC

Review: Norah Jones - Come Away With Me (Remastered)

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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