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Editorial Reviews
Amazon.com
Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible. --Don McLeese
Product Description
Album Details
1. "Wish I Could" (Norah Jones-Lee Alexander): Norah Jones: vocals; Jesse Harris: acoustic guitars; Julia Kent: pizzicato cello; Jeffery Ziegler: bowed cello
2. "Sinkin' Soon" (Lee Alexander-Norah Jones): Norah Jones: vocals, piano; Daru Oda: vocals; M. Ward: vocals; Jesse Harris: guitjo; Kevin Breit: mandolin; J. Walter Hawkes: trombone; Lee Alexander: bass; Andy Borger: drums, slit drum, pots and pans
3. "The Sun Doesn't Like You" (Norah Jones-Lee Alexander): Norah Jones: vocals, piano; Jesse Harris: acoustic guitar; Adam Levy: electric guitar; Lee Alexander: bass; Andy Borger: drums; Paul Bryan: Chamberlain keyboards
4. "Until The End" (Norah Jones-Lee Alexander): Norah Jones: vocals, Wurlitzer, piano; Jesse Harris: acoustic guitar; Adam Levy: electric guitar; Lee Alexander: bass; Andy Borger: drums; Larry Goldings: Hammond B-3 organ
5. "Not My Friend" (Norah Jones): Norah Jones: vocals; Jesse Harris: acoustic guitars; Adam Levy: backwards electric guitars; Lee Alexander: bass; Andy Borger: marimba, cymbals
6. "Thinking About You" (Norah Jones-Ilhan Ersahin): Norah Jones: vocals, Wurlitzer; Chuck Mackinnon: trumpet; Rob Suddith: tenor sax; Lee Alexander: bass; Tony Mason: drums; Devin Greenwood: Hammond B-3 organ
7. "Broken" (Norah Jones-Lee Alexander): Norah Jones: vocals, electric guitar; Julia Kent: outro cellos; Lee Alexander: pizzicato, bowed basses
8. "My Dear Country" (Norah Jones): Norah Jones: vocals, piano; J. Walter Hawkes: trombones; Jose Davilla: tuba; Bill McHenry: tenor sax; Larry Goldings: Hammond B-3 organ
9. "Wake Me Up" (Norah Jones-Lee Alexander): Norah Jones: vocals, acoustic guitars; Lee Alexander: bass, lap steel; Andy Borger: drums
10. "Be My Somebody" (Norah Jones): Norah Jones: vocals, Wurlitzer; Richard Julian: vocals; Tony Scherr: electric guitar; Lee Alexander: bass; Andy Borger: drums; Larry Goldings: Hammond B-3 organ
11. "Little Room" (Norah Jones): Norah Jones: vocals, acoustic guitar; Lee Alexander: bass; Daru Oda: whistle
12. "Rosie's Lullaby" (Norah Jones-Daru Oda): Norah Jones: vocals, Wurlitzer; Daru Oda: vocals; Adam Levy: electric guitar, vocal; Robbie McIntosh: electric guitar; Lee Alexander: bass; Andy Borger: drums
13. "Not Too Late" (Norah Jones-Lee Alexander): Norah Jones: vocals, piano, Mellotron; Lee Alexander: bass; Andy Borger: drums
Produced by Lee Alexander
Norah Jones Photos (by Danny Clinch)
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Customer Reviews
Most Helpful Customer Reviews
72 of 75 people found the following review helpful
By Amskeating
Format:Audio CD
While the first two albums were dominated by covers, "Not Too Late" is all solo or co-written original material.
It's not startling, as these songs continue her pop-meets-country with a dash of smoky cabaret style. Nor is it exactly revelatory. Firstly her life, apart from the fame, has been remarkably normal and uneventful and lyrically the new material is mostly observational. ("I have a wonderful boyfriend. So how am I going to write a tortured break-up song? My life is really good and I don't want to ruin it just for a good song.").
Still, there are a few pointed lines about misplaced love and even some mild political commentary in "My Dear Country".
The album has its share of strong tracks, like the Dylanesque "Wish I Could", with its unexpected half-note elisions, or the trad-jazzy Tom Waits-like "Sinkin' Soon", or the haunting, whimsical, cello-darkened "Broken".
The mood is mostly dreamy, lazy country-rockers, quirky waltzes, a little earthy bluesiness and bits of laid-back funk, and there's even a demurely delivered anti-Bush song.
Jones's voice, always more characterful than the easy-listening tag ever implied, sometimes shifts to a strange place between Madeleine Peyroux's or Diane Krall's jazzy smokiness and the sultry, jazz/soul balladry a la Billie Holiday..
But Norah's and partner Lee Alexander's tunes need to improve if the singer isn't to retreat to covering classics again, as she almost certainly will. It's pretty music (though the sugary " Little Room" gets to tooth-twinge point), beautifully performed.
But Norah Jones has more to offer than this, and the needs of the EMI boardroom probably won't help her find it.
It's not startling, as these songs continue her pop-meets-country with a dash of smoky cabaret style. Nor is it exactly revelatory. Firstly her life, apart from the fame, has been remarkably normal and uneventful and lyrically the new material is mostly observational. ("I have a wonderful boyfriend. So how am I going to write a tortured break-up song? My life is really good and I don't want to ruin it just for a good song.").
Still, there are a few pointed lines about misplaced love and even some mild political commentary in "My Dear Country".
The album has its share of strong tracks, like the Dylanesque "Wish I Could", with its unexpected half-note elisions, or the trad-jazzy Tom Waits-like "Sinkin' Soon", or the haunting, whimsical, cello-darkened "Broken".
The mood is mostly dreamy, lazy country-rockers, quirky waltzes, a little earthy bluesiness and bits of laid-back funk, and there's even a demurely delivered anti-Bush song.
Jones's voice, always more characterful than the easy-listening tag ever implied, sometimes shifts to a strange place between Madeleine Peyroux's or Diane Krall's jazzy smokiness and the sultry, jazz/soul balladry a la Billie Holiday..
But Norah's and partner Lee Alexander's tunes need to improve if the singer isn't to retreat to covering classics again, as she almost certainly will. It's pretty music (though the sugary " Little Room" gets to tooth-twinge point), beautifully performed.
But Norah Jones has more to offer than this, and the needs of the EMI boardroom probably won't help her find it.
71 of 81 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
One interesting thing about Amazon reviews is that readers really don't like negative ones; just look at the feedback votes for the pans on this page. I think that's because people come to an Amazon page wanting to buy the item, wanting to like it, and the negative reviews are not really what we want to see, not when we've got credit card in-hand.
With the new Norah Jones record, Not Too Late, you've also got the burden of expectation; in a short time she's become a major, Grammy-winning star. You couldn't escape Come Away With Me the summer it was out; it seemed like every time I went to someone's house, they simply HAD to play me this new, great record that it was impossible not to like.
And that's the thing about Not Too Late. It is not impossible to dislike this record. Come Away From Me was lightning in a bottle; it sold 18 million copies yet it was a small record. It was that rarest of albums--a hit on merit, not record company push (heck, it was on Blue Note). It oozed simple earnest charm.
But you can't make your first record more than once, and you probably can't make another universally acclaimed 18-million seller either. Not Too Late is a more challenging work. Of course it boasts the natural gifts of Jones and crew (notably boyfriend/collaborator Lee Alexander.) But it is a genre-hopping, at times almost experimental work, nowhere as consistent, uniform, or in the pocket as her earlier records. If you have expectations based on previous records (not unreasonable), then this will almost undoubtedly not live up to them.
But that means she is painting with a broader palate, and sometimes that takes getting used to; it is indeed possible that with a few years time, Not Too Late will look like Norah's creative breakthrough, maybe something like Elvis Costello's Imperial Bedroom. When I first heard Come Away With Me, my immediate reaction was to go and listen to my Rickie Lee Jones records again, because I thought that, as likable as it was, it was derivative. But what you hear on Not Too Late is an artist finding her own voice.
If you are a fan, then of course you ought to pick this up (and in my opinion, the price is right.) If you are just coming to Norah's work, then (a) where have you been; and (b) you really should start with Come Away With me. There are moments of sublime beauty here ("Not My Friend"), and I have a feeling this album will sound very different after I've let it "breathe" a few months. It does not scale the heights of her first two main records on the "I Instantly Love This and So Will You"-o-meter. Where it falls out in time, we'll just have to wait and see. But I do think that whatever she does from here, this record points the way.
With the new Norah Jones record, Not Too Late, you've also got the burden of expectation; in a short time she's become a major, Grammy-winning star. You couldn't escape Come Away With Me the summer it was out; it seemed like every time I went to someone's house, they simply HAD to play me this new, great record that it was impossible not to like.
And that's the thing about Not Too Late. It is not impossible to dislike this record. Come Away From Me was lightning in a bottle; it sold 18 million copies yet it was a small record. It was that rarest of albums--a hit on merit, not record company push (heck, it was on Blue Note). It oozed simple earnest charm.
But you can't make your first record more than once, and you probably can't make another universally acclaimed 18-million seller either. Not Too Late is a more challenging work. Of course it boasts the natural gifts of Jones and crew (notably boyfriend/collaborator Lee Alexander.) But it is a genre-hopping, at times almost experimental work, nowhere as consistent, uniform, or in the pocket as her earlier records. If you have expectations based on previous records (not unreasonable), then this will almost undoubtedly not live up to them.
But that means she is painting with a broader palate, and sometimes that takes getting used to; it is indeed possible that with a few years time, Not Too Late will look like Norah's creative breakthrough, maybe something like Elvis Costello's Imperial Bedroom. When I first heard Come Away With Me, my immediate reaction was to go and listen to my Rickie Lee Jones records again, because I thought that, as likable as it was, it was derivative. But what you hear on Not Too Late is an artist finding her own voice.
If you are a fan, then of course you ought to pick this up (and in my opinion, the price is right.) If you are just coming to Norah's work, then (a) where have you been; and (b) you really should start with Come Away With me. There are moments of sublime beauty here ("Not My Friend"), and I have a feeling this album will sound very different after I've let it "breathe" a few months. It does not scale the heights of her first two main records on the "I Instantly Love This and So Will You"-o-meter. Where it falls out in time, we'll just have to wait and see. But I do think that whatever she does from here, this record points the way.
20 of 20 people found the following review helpful
By D. Ohnemus
Format:Audio CD
This album is another solid performance from one of my favorites.
I have listened to it many many times and I like it better as listen to it more. Once again we have the voice and the piano. There are a few new moves she shows us but nothing heart stopping.
At the end of the day I don't think most of us care what she sings frankly, her voice is addicting and is like a drug to us. Oh you say you wish she would sing something different and stretch her talent and grow and yada yada but most of us would listen to her no matter what she sings because you become so addicted to the voice and sound that it doesn't really matter if she is singing an old country song like Cold Cold Heart, an early rockabilly like Love Me (from the Little Willies) a Bob Dylan number or somthing of her own composition. In the end it is just the soothing that we want and that is what she does. Her music is sometimes interesting, sometimes a little boring but always soothing. Even if she is talking about a broken heart and lost love she is making us feel like with her voice to hang on to we can make it.
So I love her and listen to whatever she puts out. I am not enough of a music expert to judge her artistically, I like what I like and if it sounds good to me I say it is good. Norah..you are as good as it gets.
I have listened to it many many times and I like it better as listen to it more. Once again we have the voice and the piano. There are a few new moves she shows us but nothing heart stopping.
At the end of the day I don't think most of us care what she sings frankly, her voice is addicting and is like a drug to us. Oh you say you wish she would sing something different and stretch her talent and grow and yada yada but most of us would listen to her no matter what she sings because you become so addicted to the voice and sound that it doesn't really matter if she is singing an old country song like Cold Cold Heart, an early rockabilly like Love Me (from the Little Willies) a Bob Dylan number or somthing of her own composition. In the end it is just the soothing that we want and that is what she does. Her music is sometimes interesting, sometimes a little boring but always soothing. Even if she is talking about a broken heart and lost love she is making us feel like with her voice to hang on to we can make it.
So I love her and listen to whatever she puts out. I am not enough of a music expert to judge her artistically, I like what I like and if it sounds good to me I say it is good. Norah..you are as good as it gets.
Most Recent Customer Reviews
3.0 out of 5 stars
Not her best, but still an interesting album to listen to
Norah Jones is quite an interesting new talent who captured my attention with her first major album, Come Away With Me. Read more
Published 2 months ago by Kurt A. Johnson
4.0 out of 5 stars
songs
I enjoyed this CD even though I didn't care for some of the songs, her voice is wonderful. I am glad I purchased it.
Published 3 months ago by Linda J. Davis
5.0 out of 5 stars
my favorite
I love Norah Jones and her songs. It would be useful to have the possibility to by DVDs too with her new songs.
Published 3 months ago by Carmen Scripca
5.0 out of 5 stars
great
love the music give them to many people.really a great gift thanks so very very very much. Thanks thanks thanks thanks
Published 4 months ago by Shari L. Swedlund
5.0 out of 5 stars
Great style.
Great choices in music for her singing style. Soft, mellow, jazzy, but sweet. Something for everybody in her versatile repertoire.
Published 4 months ago by Frankie M. Conaway
5.0 out of 5 stars
Not Too Late by Norah Jones
Norah Jones is SPECIAL. Her music is special and her sound is special too. Great music enjoument here! Read more
Published 4 months ago by "Granny" Johnson
5.0 out of 5 stars
Bought for Sister
I bought this for my sister for her birthday a couple of years ago. Who doesn't love Nora Jones? She has such a great voice and her lyrics are something you can relate to!
Published 4 months ago by Marie O
4.0 out of 5 stars
Nice for a stormy day
This album is more subdued than Norah's other stuff...but then again, some might call that maturity! Regardless, Norah has an amazing voice and her style is all her own. Read more
Published 6 months ago by Jessica N. Holland
5.0 out of 5 stars
is it really 5 stars?
J. Walter Hawkes alone is worth close to this on "Sinkin Soon". I have heard many different improvisations but very few come close to this amazing originality and depth. Read more
Published 8 months ago by Axel H. Baumgarten
3.0 out of 5 stars
I just don't listen to it often enough
WIth that being said, this album has its high points, but its not a fully realized recording like her first two albums. I actually like the second one the most.
Published 13 months ago by Overwhelmed Counselor
Listmania!
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