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Norah Jones remembers dancing around her bedroom to Mingus’ “Haitian Fight Song,” but was hit hardest by vocal-piano confessions: Billie Holiday’s 1952 version of “These Foolish Things” with Oscar Peterson; Sarah Vaughan’s way with “My Funny Valentine” “where the melody is all over the place,” heard on 1973’s Live in Japan. Jones went on to play alto saxophone in her teens as well as piano, and attended the same summer jazz camp as another future Blue Note artist, pianist Robert Glasper. “I grew up loving Billie, John Coltrane and Miles Davis,”
Jones goes on. “It made me feel something different, introspective. Part of why I love Miles is the space. That has suited me well as a musician-a lot of space.” She cites the trumpeter’s electric breakthrough, 1969’s In a Silent Way, one of her favourite Davis LPs. “It is not vocal balladry,” Jones notes. “But it is a moody little record.”
David Fricke / Jazz Times
Photo: Clay Patrick McBride (Maybe)
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