Norah Jones - The Fall (Hybrid SACD)
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Norah Jones – vocals, piano , Wurlitzer electric piano, acoustic guitar, electric guitar, tack piano, glockenspiel [click here to see more vinyl featuring Norah Jones]
John Kirby - synthesizer , tack piano, piano, Casio
James Poyser - Wurlitzer electric piano, organ
Matt Stanfield - programming, synthesizer
Zac Rae – synthesizer, Rhodes electric piano, vibraphone, marimba, organ, Marxophone, clavinet
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, banjo
Jon Graboff – pedal steel guitar
Frank Howard Swart – bass
Dave Wilder – bass
Gus Seyffert – bass
Catherine Popper – bass
Tony Scherr – bass
Marco Giovino - drums
Robert Di Pietro - drums
Pete McNeal - drums
Joey Waronker - drums
James Gadson – drums
Will Sayles - percussion
Mike Martin - backing vocals
Written by Norah Jones
1 Hybrid SACD
Original analog Master tape : YES
Stereo
Studio
Label : Analogue Productions
Original Label : Blue Note
Recorded 2008 - 2009 at The Coop, NY, The Magic Shop, NY, Sunset Sound Recorders, CA, and House Of David, Nashville, TN.
Produced by Jacquire King and Tom Schick
Remastered by Kevin Gray at Cohearent Audio
Originally released in 2009
Reissued in 2012
Tracks :
- Chasing Pirates
- Even Though
- Light As A Feather
- Young Blood
- I Wouldn't Need You
- Waiting
- It's Gonna Be
- You've Ruined Me
- Back To Manhattan
- Stuck
- December
- Tell Yer Mama
- Man Of The Hour
Reviews :
« 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. » AllMusic Review by Stephen Thomas Erlewine
"It's tricky reviewing the work of Jones, who — like Alicia Keys and Aimee Mann — has redefined the nature of the distaff soloist. Unlike their predecessors, epitomised by Carole King and others, then learning how to translate the freedoms of feminism into a new language, this Jones is traceable to Rickie Lee Jones and even Sade, both of whom have added a sense of ease and sa voir faire in place of the angst. Jones has always come across as more mature than her years could possibly account for, because she exhibits the sensibilities of the great stylists of the 1940s-1950s. Thus, she seems both modern and 'vintage' all at once. The result is simply gorgeous." Ken Kessler, Hi-Fi News, August 2013
"The Fall sounds particularly good — with Jones going for a different sonic palette ... The bass and general bottom end of tracks like 'Chasing Pirates' and 'Waiting' sounds exceptional on this vinyl pressing." — Review of the Norah Jones Vinyl Collection by Paul Sinclair, SuperDeluxeEdition.com, January 2013
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 200-gram, super-silent vinyl from Analogue Productions, 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.
For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).
Ratings :
AllMusic : 4.5 / 5 , Discogs : 4.11 / 5