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Brown, Lewis called up in addition to Carrasco
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Jeff Daniels Making Music at Kent Stage
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Find the Hidden Kitten–and Peace Too!
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Cavs change uniforms … again
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Basketball team faces tougher schedule than usual
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Beck: "Lord Sending Wakeup Calls"
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Ohio's Suit Against Bank of America Survives Motion to Dismiss
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Love Is In The Air (SING IT!)
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Robert Wilson, Gap Band bassist, dies
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From the White House – New Federal Approach to Hiring
Singer continues to evolve with each of her albums, says she believes in taking 'natural approach' to music
By Malcolm X Abram
Beacon Journal music writer
POSTED: 11:50 a.m. EST, Mar 10, 2010
In 2001, Geethali Norah Jones Shankar, a Texas-born and bred singer/pianist, moved to the Big Apple to ply her trade in a band with friend and guitarist/collaborator/songwriter Jesse Harris and hopefully garner some attention.
The University of Texas grad (she majored in jazz piano) and daughter of Sitar master Ravi Shankar (and older half-sister to young sitar star Anoushka Shankar with whom she shares matching tattoos) played the usual bars, clubs and lounges throughout the city. But it was not until her independently recorded and released six-song EP, First Sessions, which featured a sleepy little ditty written by Harris called Don't Know Why, that record labels begin to take notice and the buzz began.
Better known as Norah Jones, she was quickly snapped up by Blue Note Records. (Jones will perform Thursday night at the University of Akron's E.J. Thomas Hall.) Her 2002 debut album, Come Away With Me, produced by recording legend Arif Mardin, was a mix of her mellow, relaxed jazz and country-flavored piano; smooth, sultry and soothing voice; and pleasant originals and choice covers.
Come Away With Me was released in the winter of 2002 and by late summer of the same year was certified platinum. The album would go on to earn a diamond award for sales of 10 million domestically. It sold more than 20 million copies worldwide.
On record and in concert, Jones, then 22, projected a naivete and lack of guile — like a pretty wide-eyed doe staring into the blinding headlights of oncoming fame. While Jones' genuine surprise and appreciation of her meteoric rise would likely make unapologetic fame-clutching artists such as Lady Gaga gag, Jones' openness only added to her allure.
In 2003, Jones swept the Grammys, earning eight honors including best new artist and three biggies — album, record and song of the year.
''It was a bit overwhelming and I can't say it was all fun,'' Jones told the UK's Music Week magazine last fall.
''In the beginning it was a lot of work, but, yeah, it was insane. But people struggle their whole lives making music and don't get any notoriety, so I felt really lucky and I also felt, 'Wow, I can't believe people really like this.' It is not that I didn't have any confidence in my music; I was so young I didn't even know what I was doing yet,'' she said in the article. ''I came to New York to sing jazz and then two years later I had a record deal, and was writing songs. It was amazing.''
Naturally, with a meteoric rise and massive hit song that was nearly unavoidable on AAA radio, the backlash began. Jones' music became fodder for late-night, talk-show hosts and comedians and was a buzzword for 21st century elevator music.
It was likened to the amiable, easily digested sounds heard in coffeehouse chains and doctors' waiting rooms, symbolizing the safe, comfortable, (allegedly) worry-free lifestyles of yuppies and soccer moms.
Jones didn't attempt to duplicate her initial success with her 2004 follow-up Feels Like Home, though the script didn't change much. That album sold ''only'' 10 million world wide.
Her third offering, Not Too Late, recorded in her home studio with longtime boyfriend/bassist Lee Alexander, stripped away much of the lush arrangements and production of her previous discs (Mardin died in 2006) and added more Americana touches such as acoustic and lap steel guitar and mandolin.
It was a polite about-face, still pleasant and soothing if not as immediately catchy. It reached double platinum status — selling ''just'' 2 million.
Jones took a break after the album and tour cycle collaborating with disparate artists. She sang some naughty words on Faith No More/Tomahawk/Mr. Bungle singer Mike Patton's Peeping Tom project and sang passionately about Chex Mix on Saturday Night Live comedy trio the Lonely Island's musical album as well as adding vocals to tunes by Outkast, Q-Tip, Dolly Parton, Ray Charles, Herbie Hancock and appearing in a few movies.
She also recorded with a country-fueled side project called The Little Willies, also the name of the group's first album.
When it came time to write and record her latest album, The Fall, Jones, who had amicably ended her seven-year relationship with Alexander (they are still friends and Little Willies' members), she decided to stretch out a bit musically. She hooked up with producer Jacquire King (Tom Waits, Modest Mouse) and brought in all new musicians including guitarist Marc Ribot (Tom Waits, Elvis Costello, the Black Keys) and other first-call musicians.
She wrote or co-wrote all of the songs working with singer/songwriter Ryan Adams and Okkervil River's Will Sheff. She also plays more guitar than her previous albums, though tracks, such as the easy grooving lead single Chasing Pirates feature her on the Wurlitzer electric piano.
The Fall was released in fall 2009, reached No. 3 on the Billboard 200 and was certified platinum for sales of 1 million, last month.
''I wanted more groove-based drums but at the same time I wanted to be a little grittier, because with my voice the tendency is for things to get smooth very quickly,'' she said in Music Week of working with former Waits producer King and the new band.
''I don't sound like Tom Waits. There has to be a bit of juxtaposition and [King] really helped me find the right balance.''
Jones hasn't suddenly turned into a screaming wild woman. But songs such as the surprisingly blunt and slightly ham-fisted social commentary of It's Gonna Be featuring a tribal beat and distorted guitar and electric piano, the peppy guitar-driven Young Blood and the lightly funky groove of Even Though are a departure from the usual sedate sounds and understated piano that fans have grown accustomed to hearing from her.
With songs such as the Waits-ian Tell Your Mama, with its kiss-off lines including ''So tell your mama I said hello, and that she raised you too damn slow,'' The Fall has been characterized as a break-up album. But Jones said the record represents a transitional period in her life during her self-imposed hiatus where she cut her hair, took pottery classes and got a dog for whom she wrote the album-ending ode Man of the Hour.
At 30, Jones seems to have found the self-confidence and self awareness that allows her to shake off any outside or self-induced pressure from having her career start at a place that most artists —even successful veterans — are never able to reach.
''I am very aware of the way things go. It would have been nice to have a steady career and go up and up,'' she said in Music Week. ''And if you look at it that way, yeah I am just going to keep on going down and that's kind of sad, but the truth is it is fine; I have been very successful.
'' . . . What made my first album so successful? It's hard to analyze, but I think part of what it was is that it had no ambitions. And I think I'm going to stick with that; the whole natural approach to trying to make good music, and if it doesn't sound good I won't do it.''
Malcolm X Abram can be reached at mabram@thebeaconjournal.com or 330-996-3758.
DETAILS
Who: Norah Jones
When: 7:30 Thursday
Where: E.J. Thomas Hall at the University of Akron
Tickets: $55, $42
Information: http://www.ejthomashall.com, 330-972-7570; http://www.ticketmaster.com, 800-745-3000
In 2001, Geethali Norah Jones Shankar, a Texas-born and bred singer/pianist, moved to the Big Apple to ply her trade in a band with friend and guitarist/collaborator/songwriter Jesse Harris and hopefully garner some attention.
The University of Texas grad (she majored in jazz piano) and daughter of Sitar master Ravi Shankar (and older half-sister to young sitar star Anoushka Shankar with whom she shares matching tattoos) played the usual bars, clubs and lounges throughout the city. But it was not until her independently recorded and released six-song EP, First Sessions, which featured a sleepy little ditty written by Harris called Don't Know Why, that record labels begin to take notice and the buzz began.
Better known as Norah Jones, she was quickly snapped up by Blue Note Records. (Jones will perform Thursday night at the University of Akron's E.J. Thomas Hall.) Her 2002 debut album, Come Away With Me, produced by recording legend Arif Mardin, was a mix of her mellow, relaxed jazz and country-flavored piano; smooth, sultry and soothing voice; and pleasant originals and choice covers.
Come Away With Me was released in the winter of 2002 and by late summer of the same year was certified platinum. The album would go on to earn a diamond award for sales of 10 million domestically. It sold more than 20 million copies worldwide.
On record and in concert, Jones, then 22, projected a naivete and lack of guile — like a pretty wide-eyed doe staring into the blinding headlights of oncoming fame. While Jones' genuine surprise and appreciation of her meteoric rise would likely make unapologetic fame-clutching artists such as Lady Gaga gag, Jones' openness only added to her allure.
In 2003, Jones swept the Grammys, earning eight honors including best new artist and three biggies — album, record and song of the year.
''It was a bit overwhelming and I can't say it was all fun,'' Jones told the UK's Music Week magazine last fall.
''In the beginning it was a lot of work, but, yeah, it was insane. But people struggle their whole lives making music and don't get any notoriety, so I felt really lucky and I also felt, 'Wow, I can't believe people really like this.' It is not that I didn't have any confidence in my music; I was so young I didn't even know what I was doing yet,'' she said in the article. ''I came to New York to sing jazz and then two years later I had a record deal, and was writing songs. It was amazing.''
Naturally, with a meteoric rise and massive hit song that was nearly unavoidable on AAA radio, the backlash began. Jones' music became fodder for late-night, talk-show hosts and comedians and was a buzzword for 21st century elevator music.
It was likened to the amiable, easily digested sounds heard in coffeehouse chains and doctors' waiting rooms, symbolizing the safe, comfortable, (allegedly) worry-free lifestyles of yuppies and soccer moms.
Jones didn't attempt to duplicate her initial success with her 2004 follow-up Feels Like Home, though the script didn't change much. That album sold ''only'' 10 million world wide.
Her third offering, Not Too Late, recorded in her home studio with longtime boyfriend/bassist Lee Alexander, stripped away much of the lush arrangements and production of her previous discs (Mardin died in 2006) and added more Americana touches such as acoustic and lap steel guitar and mandolin.
It was a polite about-face, still pleasant and soothing if not as immediately catchy. It reached double platinum status — selling ''just'' 2 million.
Jones took a break after the album and tour cycle collaborating with disparate artists. She sang some naughty words on Faith No More/Tomahawk/Mr. Bungle singer Mike Patton's Peeping Tom project and sang passionately about Chex Mix on Saturday Night Live comedy trio the Lonely Island's musical album as well as adding vocals to tunes by Outkast, Q-Tip, Dolly Parton, Ray Charles, Herbie Hancock and appearing in a few movies.
She also recorded with a country-fueled side project called The Little Willies, also the name of the group's first album.
When it came time to write and record her latest album, The Fall, Jones, who had amicably ended her seven-year relationship with Alexander (they are still friends and Little Willies' members), she decided to stretch out a bit musically. She hooked up with producer Jacquire King (Tom Waits, Modest Mouse) and brought in all new musicians including guitarist Marc Ribot (Tom Waits, Elvis Costello, the Black Keys) and other first-call musicians.
She wrote or co-wrote all of the songs working with singer/songwriter Ryan Adams and Okkervil River's Will Sheff. She also plays more guitar than her previous albums, though tracks, such as the easy grooving lead single Chasing Pirates feature her on the Wurlitzer electric piano.
The Fall was released in fall 2009, reached No. 3 on the Billboard 200 and was certified platinum for sales of 1 million, last month.
''I wanted more groove-based drums but at the same time I wanted to be a little grittier, because with my voice the tendency is for things to get smooth very quickly,'' she said in Music Week of working with former Waits producer King and the new band.
''I don't sound like Tom Waits. There has to be a bit of juxtaposition and [King] really helped me find the right balance.''
Jones hasn't suddenly turned into a screaming wild woman. But songs such as the surprisingly blunt and slightly ham-fisted social commentary of It's Gonna Be featuring a tribal beat and distorted guitar and electric piano, the peppy guitar-driven Young Blood and the lightly funky groove of Even Though are a departure from the usual sedate sounds and understated piano that fans have grown accustomed to hearing from her.
With songs such as the Waits-ian Tell Your Mama, with its kiss-off lines including ''So tell your mama I said hello, and that she raised you too damn slow,'' The Fall has been characterized as a break-up album. But Jones said the record represents a transitional period in her life during her self-imposed hiatus where she cut her hair, took pottery classes and got a dog for whom she wrote the album-ending ode Man of the Hour.
At 30, Jones seems to have found the self-confidence and self awareness that allows her to shake off any outside or self-induced pressure from having her career start at a place that most artists —even successful veterans — are never able to reach.
''I am very aware of the way things go. It would have been nice to have a steady career and go up and up,'' she said in Music Week. ''And if you look at it that way, yeah I am just going to keep on going down and that's kind of sad, but the truth is it is fine; I have been very successful.
'' . . . What made my first album so successful? It's hard to analyze, but I think part of what it was is that it had no ambitions. And I think I'm going to stick with that; the whole natural approach to trying to make good music, and if it doesn't sound good I won't do it.''
Malcolm X Abram can be reached at mabram@thebeaconjournal.com or 330-996-3758.
DETAILS
Who: Norah Jones
When: 7:30 Thursday
Where: E.J. Thomas Hall at the University of Akron
Tickets: $55, $42
Information: http://www.ejthomashall.com, 330-972-7570; http://www.ticketmaster.com, 800-745-3000
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