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Rough Guide To Legends Of Indian MusicIndia's classical music is deeply bound to the country's mystical ancient traditions. Stretching back through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's 'Raga Chhaya Nat' is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music's greatest figures Syama Sastri (1762-1827). Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on 'Ahir Bhairav'. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar's radiant sitar shines bright on the fast-paced track 'Devgiri Bilawal Dhun'. Shankar's name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a 'scientific, precise, subtle and aesthetic melodic form'. Another sitar scholar, Vilayat Khan is heard on 'Dhun Punjabi Ang'. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire. Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track 'Ek Taal'. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as 'a spirit who was created to work for music by God'. Carnatic vocalist Dr M. Balamuralikrishna's marvellously melodic instrument sparkles on 'Sadhathava Pada'. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music - when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes 'Annapoorne', a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace. Uncover the mystery and beauty of India's verdant classical tradition on this excellent introduction to one of the world's most valuable musical repertoires.1. Ravi Shankar: Devgiri Bilawal Dhun
2. Allah Rakha & Zakir Hussain: Ek Taal (Live)
3. Shivkumar Sharma, Hari Prasad Chaurasia & Brij Bhushan Kabra: Ahir Bhairav
4. Bismillah Khan & Vilayat Khan: Thumri Bhairavin
5. U. Srinivas: Sankari Sankuru
6. Vilayat Khan: Dhun Punjabi Ang$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ImprovisationsSome of the first eastern-jazz fusion ever recorded, finally reissued on LP!! Originally recorded in 1962 for World Pacific and featuring jazz musicians Gary Peacock on bass and Bud Shank on flute, the album opens with improvisations on the theme that Shankar wrote for the 1955 Indian neorealist film Pather Panchali, by legendary Indian filmmaker Satyajit Ray. "Fire Night" was another jazz-fusion piece, recorded to commemorate the fires that were burning all around LA when this session was recorded. The remaining two tracks, however, are traditional Indian pieces and serve to juxtapose the two major styles in Indian classical music. The first piece, Karnataki, is in the Carnatic (southern Indian) style, while the second, Raga Rageshri, is in the (northern) Hindustani style (which, of course, Shankar's himself was a master of). Includes original liner notes.1. Improvisation on the Theme Music from Pather Panchali
2. Fire Night
4. Raga Rageshri: part 1 (alap) part 2 (jor) part 3 (gat)$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
PassagesPassages is a collaborative chamber music studio album co-composed by Ravi Shankar and Philip Glass, released in 1990. The album is a hybrid of Hindustani Classical music and Glass' distinct American minimal contemporary Classical style.
A collaboration between an avant-garde modern Classical composer and a traditional Indian/Hindi composer/performer seems pretty unlikely. However, Passages works splendidly. Shankar's smooth style fits nicely with Glass' dissonant orchestrations.
The album reached a peak position of number three on Billboard's Top World Music Albums chart. Recommended to fans of other minimalist composers such as John Cage, Steve Reich and Terry Riley.1. Offering
3. Channels And Winds
4. Ragas In Minor Scale
5. Meetings Along The Edge
6. Prashanti$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
West Meets EastThe Rga chosen by Ravi Shankar for his piece Prabhti for solo violin and tabla (drums) is nearly identical with the national Japanese scale. Others are equivalent to our major and harmonic minor scales, to Greek modes, to those used in Gypsy and Flamenco music and there are hundreds more, each expressing a different world of feeling and thought, of which we in the West have never even heard. I have chosen as the Western contribution to this recording the remarkable and haunting Sonata in the Popular Romanian Style by George Enescu. Although it is a Western composition in the purest sonata form, the piece exudes the rhapsodic and improvisatory atmosphere characteristic of the Rumanian Gypsy violinist and it is thus a rare and authentic example of improvised folk music giving birth to a composition in an evolved Western form. The Sonata on this record could only have come from the mind and heart of one born and bred of a union between the intuitive world of the East and the crystallized and consolidated world of the West.
-Yehudi Menuhin1. Prabhti (Based On The Raga Gunkali)
2. Rga: Puriy Kalyan
3. Swara-Kkali (Based On The Raga Tilang)
4. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 1st Movement: Moderato Malinconico
5. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 2nd Movement: Andante Sostenuto E Misterioso
6. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 3rd Movement: Allegro Con Brio, Ma Non Troppo Mosso$23.99Vinyl LP - Sealed Buy Now
Traces Of YouAnoushka Shankar returns with another outstanding recording: Traces of You, featuring three new songs with her half-sister, Norah Jones.
Traces of You developed from the notion that everything in the universe leaves an indelible mark - or a subtle trace - on everything it encounters.
Inspired by her relationships, multicultural upbringing and global career, Anoushka traces a journey of love, change and loss.
Produced by British composer and multi-instrumentalist Nitin Sawhney, Traces of You features contributions by Anoushka's longtime associates, tabla
genius Tanmoy Bose, flutist Ravichandra Kulur, and percussion wizard Pirashanna Thevarajah. Other highlights are the collaboration with Norah Jones,
and explorations of the unique sound of the Hang drum, played by its foremost exponent, Manu Delago.
Traces of You draws on Indian classical ragas, Western classical string arrangements, mid-20th century-style lyrics of extended poetry and modern
soundscapes. Anoushka finds modern and fresh ways to reinterpret and keep alive Indian musical traditions learned from her father, the legendary Ravi
Shankar.1. The Sun Won't Set
3. Indian Summer
8. In Jyoti's Name
10. Traces Of You
11. River Pulse
12. Chasing Shadows
13. Unsaid$24.99Vinyl LP - Sealed Buy Now
Fifth Dimension (MONO)By 1966, the Byrds had powered up like a mammoth Atlas rocket boosting Astronauts into orbit around the Earth, with their third album, Fifth Dimension. This amped-up new soundimmediately dubbed raga-rock due to the Byrds newfound fascination with the music of Ravi Shankar and John Coltraneis best exemplified by Eight Miles High, yet another national pop smash, and 5D (Fifth Dimension), both swirling, multi-hued masses of sonic energy on an interplanetary scale. 5D is tethered to a generation newly interested in LSD mind-trips, while Eight Miles High details the Byrds' first transcontinental flight to the United Kingdom. Folk-rock, always a Byrds staple, appears in the luscious form of Wild Mountain Tyme and John Riley. Hey Joe, soon to become a standard of shaggy-haired garage rock nation, is a standout, while Mr. Spaceman, a brilliant, humorous blend of deep space and country-rock also scaled the national charts.
Unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. 5 D (Fifth Dimension)
2. Wild Mountain Thyme
3. Mr. Spaceman
4. I See You
5. What's Happening?!?!
6. I Come And Stand At Every Door
7. Eight Miles High
8. Hey Joe (Where You Gonna Go)
9. Captain Soul
10. John Riley
11. 2-4-2 Fox Trot (The Lear Jet Song)$28.99Vinyl Mono LP - Sealed Buy Now
Long Lost Tapes 1970Import
While remaining largely unknown to the general public, Peter Walker was something of a legend along the Boston-New York folk axis of the 1960s, releasing a few celebrated albums for Vanguard during this period. Playing with various folk luminaries like Fred Neil, Joan Baez, Tim Hardin and Karen Dalton, and studying Spanish flamenco and Indian classical guitar with none other than Ravi Shankar, Walker was both a true student of his instrument and a pioneer, using not only acoustic guitar, but, as can be heard on this album, also electric. Recorded in 1970 at Levon Helm's (The Band) house in Woodstock, with the likes of legendary Detroit drummer Maruga Booker and tabla god Badal Roy, this is an essential release for fans.Side A:
1. Meditation Blues
2. Camel Ride
3. City Pulse
1. Missing You
2. 102nd Psalm
3. Mellowtime$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Take Refuge In Clean LivingRemastered For Vinyl From Original Recordings
Opening with a nod to Syd Barret's Pink Floyd (Piper at the Gates of Dawn) Take Refuge In Clean Living begins with morse code and drops into one of the heaviest slow-burn grooves in the Grails canon. Sounding something like Hawkwind and Ravi Shankar scoring Blade Runner, it's lysergic and earthy for Grails in a new way. The rest of the record moves from blissful Eno-inspired ambience, to epic Morricone rock hymns, to an unexpected take on a Ventures tune that returns the listener to the very beginnings of instrumental rock music. The touring incarnation of Grails in 2006 and 2007 included good friend and drummer Ben Nugent, allowing Emil Amos to switch to 3rd guitar for the band's live instrumentation. The DNA of this guitar-heavy line-up allowed for new kinds of arrangements and bigger melodies. In early 2007, the then-5-piece entered Steven Lobdell's (Faust) Audible Alchemy studio to document the new songs written with this augmented ensemble. Those sessions make up Take Refuge In Clean Living.
Remastered for vinyl and reissued for the first time in nearly a decade, Take Refuge In Clean Living sees Grails pulling back their already wide lens on multiple sonic horizons. Grails often take what would sound over-ambitious on paper and make it sonically flow in an effortless, laid-back style. The band is defined by exploration and they've created a template for themselves where any style or method can be ingested to reap legitimate rewards. Take Refuge In Clean Living rightly suggested that Grails wouldn't run out of ideas.1. Stoned at the Taj Again
3. 11th Hour
4. Take Refuge
5. Clean Living$23.99Vinyl LP - Sealed Buy Now
SanctuaryNow heavily influenced by the earth-shaking creations of two master musicians -John Coltrane and Ravi Shankar-the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillman's swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimensionwas as outspoken and defiant as the man, himself. Acreative zenith in the Byrds' career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio sweetening-strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. EIGHT MILES HIGH
3. RYDER (I Know My Rider)
4. JOHN RILEY I
5. 2-4-2 FOX TROT (The Lear Jet Song)
6. PSYCHODRAMA CITY
7. JOHN RILEY II
8. WILD MOUNTAIN THYME
9. HEY JOE (Where You Gonna Go)
10. I SEE YOU
11. WHAT'S HAPPENING?!?!
12. CAPTAIN SOUL(30 Minute Break)$28.99Vinyl LP - Sealed Buy Now
Another DimensionNow heavily influenced by the earth-shaking creations of two master musicians (John Coltrane and Ravi Shankar)the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillmanï¿½s swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimension was as outspoken and defiant as the man, himself. Acreative zenith in the Byrd's career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio Sweetening of strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. Eight Miles High
3. Ryder (I Know My Rider)
4. John Riley I
5. 2-4-2 Fox Trot (The Lear Jet Song)
6. Psychodrama City
7. John Riley II
8. Wild Mountain Thyme
9. Hey Joe (Where You Gonna Go)
10. I See You
11. What's Happening?!?!
12. Captain Soul (30 Minute Break)$24.9910 Vinyl LP Gatefold Set - 2 LPs Sealed Buy Now
Eight Miles High / Why (Mono)"Eight Miles High" b/w "Why" - The Rare RCA Studios Versions Original Mono Masters!!!
During an action-packed Byrds tour of the UK in August 1965, ideas began to form in Gene Clark's mind for a new song. After germinating for several weeks, he began to put his thoughts on paper during the band's U.S. tour in November 1965.
Traveling from gig to gig, David Crosby's cassettes of Ravi Shankar and John Coltrane provided the tour bus soundtrack. As Clark continued writing the song that would become ''Eight Miles High,'' this exotic music, especially Coltrane's recordings, found their way into the composition. Juxtaposed against lyrical snapshots of London, like ''rain grey town, known for its sound,'' the modal melody created a striking contrast and summoned a surreal, flight-like feeling.
Despite Clark's increasing isolation from the group, it was obvious that ''Eight Miles High'' was a work of major importance and the group promptly made plans to record it. The band entered RCA Studios in Los Angeles on December 22, 1965, to track ''Eight Miles High,'' along with a new Roger McGuinn- David Crosby song ''Why.'' They had worked up an explosive arrangement for the Clark song, adding elements culled from their recent highway listening sessions. The Coltrane influence is especially evident in McGuinn's electric twelve-string solo, inspired by Coltrane's free-form sax lines on ''India.'' Shankar's sitar work is reflected in Chris Hillman's driving bass part, a hypnotic drone against which McGuinn's guitar lines shine in high relief. This Eastern influence also emerges on the high energy ''Why'' with McGuinn creating a sitar-like solo on his guitar while employing non-Western scales. Though not a conscious attempt, these songs were later cited as pioneering examples of raga rock, one of several innovative sub-genres, along with folk rock and country rock that the band explored in their career.
Despite the unqualified artistic success of the RCA sessions, Columbia refused to release the tracks because they had not been recorded in a Columbia-owned studio. The band dutifully re-recorded the two songs at Columbia Studios in Hollywood and these recordings were released as a single and later included in the Fifth Dimension album. However, the band was not fully satisfied with this second attempt, believing that the RCA recordings were better.
This special Sundazed release marks the first use of the recently located original mono mixdown masters. McGuinn has always felt that the first recordings of these songs were more spontaneous. And when asked about the RCA version of ''Eight Miles High'' Crosby declared, ''It was a stunner, it was better, it was stronger. It was the way we wanted it to be.''1. Eight Miles High
2. Why$9.997 Vinyl Single Mono - Sealed Buy Now
The Lady In The Van Soundtrack
First Pressing Of 500 Numbered Copies On 180 Gram Light Blue Vinyl
Gatefold Sleeve / Insert
PVC Protective Sleeve
The Lady In The Van is a big screen adaptation of writer Alan Bennett's celebrated memoir, directed by Nicholas Hytner. The film tells the true story of the relationship between Bennett and the singular Miss Shepherd, a woman of uncertain origins who 'temporarily' parked her van in Bennett's London driveway and proceeded to live there for 15 years. Their unique story is funny, poignant and life-affirming.
Best known for his work in film and television, George Fenton is one of the UK's most successful composers, who has written scores for over 100 films and collaborated with some of the most influential filmmakers. His transition from television to film scoring began in 1982 with Richard Attenborough's biopic Gandhi for which he was nominated, with his collaborator Ravi Shankar, for an Academy Award.
About the work on The Lady In The Van, George Fenton said: ''The Lady In The Van was a unique experience for me, writing a score for a story about someone I actually know ( Alan Bennett) and someone I knew or at least met (Mary Shepherd ). The film not only tells an extraordinary story but also celebrates an extraordinary character - her triumphs and failings. I hope the music in some way belongs to her because music was at her heart. She was a musician, albeit a cantankerous one. In the score I've tried to show both sides. A great opportunity for me certainly and a special occasion thanks to the beautiful playing of the Philharmonia Orchestra The BBC Concert Orchestra and the brilliant pianist Clare Hammond.''LP 1
1. Miss Shepherd's Waltz
2. Moving In
3. Two Women - Tango
5. In Care
6. The Neighbours
7. Special Paint
8. Collision and Confession
9. Piano Concerto No. 1 in E Minor, Op.11 (Excerpt)
10. The New Van 3. Broadstairs
11. Impromptu No. 3 in G-Flat Major, Op. 90, D 899
12. Curtain Down
13. Alive and Well
15. The Day Centre
1. A Sepulchre
2. Remembering Miss Shepherd
3. Walk Through the Cemetery
4. The Ascension (Miss Shepherd's Waltz)
5. Impromptu No. 3 in G-Flat Major, Op.90, D 899
6. Piano Concerto No. 1 in E Minor, Romanze
7. Piano Concerto No. 1 in E Minor, Vivace$36.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Nostalgia SuiteThe Roger Kellaway Cello Quartet made two albums for the A & M label in 1971 and 1973, The group's name presented a puzzle to some people. It seemed to connote four celli. In fact it was a chamber group built around the sound of one cello, that of the brilliant Edgar Lustgarten, and featuring the virtuosic piano of Kellaway, the powerful and sensitive bass of Chuck Domanico, and the rich, coloristic percussion of Emil Richards. Roger wrote all the group's music.
''The idea,'' Roger says, ''was for it to be a marriage of wood - cello, marimba, bass, and piano. Also, I wanted to prove that a band of that instrumentation had the flexibility to do anything. And I was afraid the drums would fill up the spaces between the instruments, which is why we didn't have a drummer.''
But throughout the life of the Cello Quartet, Roger maintained a second group, a trio, whose purpose was (among other things) hard swinging. Roger was actually somewhat afraid of putting the two concepts together, but in time he began to feel a need to do so. And at this point, drummer and percussionist Joe Porcaro became a member of the group, thereby transforming it into the Cello Quintet. Joe is, in addition to being a fine jazz drummer, a symphony percussionist. He and Emil Richards are both natives of Hartford, Conn., and in fact went to high school together. Joe played with the Hartford Symphony. It is this background Roger feels, that makes him so sensitive to the purposes and textures of the Cello Quartet - pardon, Quintet. ''If the drummer can't hear the cello'', Roger said, ''then he's playing too loud. And Joe is simply perfect for this group.''
Porcaro, in fact, does one of the most difficult things a drummer can be called on to do: he swings quietly. It is a natural physiological tendency of a drummer (or any instrumentalist, for that matter) to push when he is involved in the high energy of swinging. Any musician knows that it is harder to play softly than loud. But I think it is particularly difficult for a jazz drummer to put out an excited and exciting pulse softly. Certainly few drummers can do it. Joe is one who can. ''Another thing,'' Roger says. ''Joe works beautifully with Emil, and this gives Emil more freedom to play melodic instruments, such as chimes. And Joe's abilities as a percussionist mean that at times we can have two percussion players.''
''The album represents only one aspect of why the drums were added. I've been interested in a maximum of versatility, and in a way the Nostalgia Suite was written to show the possibilities of swinging with the cello.''
''At this point in my life, when I?ve had 25 years or so of involvement with the pop market as well as with jazz and classical music, seeing so many of my colleagues beating their brains out trying to get a hit single, it almost seems novel that I've been able to hold onto my roots. I've dealt with the AM singles market too, but I've never forgotten where I came from, and that?s what the Nostalgia Suite is about.''
''There is no other piece in our repertoire like it, It is an entity unto itself. It is essentially a bebop piece, and it may come as a surprise to people who are familiar with the other albums. But it should not be considered the new sound of the group. I just wanted to hear bebop by the Cello Quartet.''
''As a matter of fact, we first did it with the Quartet, without drums, at Shelly's Manne Hole. Shelly couldn?t stand it. He'd grab a stick and start playing on Emil's cymbals. He kept saying, 'Man, this piece needs drums.' I began to think that perhaps he was right. Joe Porcaro was the logical choice, because he could, as an excellent percussionist, enable us to continue doing the mellow sounds of the group.''
''This album could be thought of, then, as an extension of the previous albums, a broadening out. The way I think about the group and the people in it is that we can do any kid of music from Jelly Roll Morton to Ravi Shankar to Luciano Berio.''
''I have never thought of the Cello Quartet and now the Quintet as a jazz or a classical band. It is its own band.''1. Ungh!
2. Won't You Come and Feed Me
3. The Escalator As Applied To Anti-War
4. He Bluezd While She, In All Her Blessed Blather...Blushed
5. May I Interest You In A Little Recreation While You Sleep? They Whispered
6. Let's Cook It Right$49.99180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
Come Away With Me (Out Of Stock)Mastered by Kevin Gray at Cohearant Audio from the original source recordings!
Part of Analogue Productions' reissue of the Norah Jones' solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album will also be featured in an exclusive LP box set to come that will include Norah's Covers album!
The winner of eight 2003 Grammys, Come Away With Me was Norah Jones' breakthrough triumph. Now Jones' mellow, soul-and-country tinged music gets the richly-deserved Analogue Productions treatment on 200-gram, super-silent vinyl! Hits like the signature cut of this record Don't Know Why, have never sounded clearer and more sensual. Close your eyes and you'll swear you're sitting in the recording studio, watching the magic happen. Jones' debut on Blue Note was immaculately produced by the great Arif Mardin. Jones, the the daughter of Ravi Shankar, is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wolleson; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics.1. Don't Know Why
2. Seven Years
3. Cold Cold Heart
4. Feelin' The Same Way
5. Come Away With Me
6. Shoot The Moon
7. Turn Me On
9. I've Got To See You Again
10. Painter Song
11. One Flight Down
13. The Long Day Is Over
14. The Nearness Of You$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock