Norah Jones is the daughter of sitar legend Ravi Shankar and Sue Jones and was raised in Grapevine, Texas before attending Dallas’ Booker T. Washington High School for Performing and Visual Arts.

She began by singing backup for other artists such as Ray Charles and Foo Fighters frontman Dave Grohl of Foo Fighters. Additionally, she has recorded an Everly Brothers tribute album with Billie Joe Armstrong of Green Day as well as appearing on Seth Macfarlane’s Family Guy series.

Come Away With Me

Norah Jones released her debut album, Come Away With Me, just when America was still reeling from September 11, 2001’s tragic events. Jones’ soothing vocals and piano-driven songs immediately struck a chord among American listeners and resonated deeply.

Jones had recently moved from Texas to New York City with the intention of pursuing music full time; she was doing what most post-collegiate musicians do – waitressing by day and performing in local clubs by night. But upon meeting Blue Note employee Shell White on her 21st birthday, an audition opportunity presented itself: she provided him with both a demo record and audition session with label president Bruce Lundvall himself!

That recording, which included both a jazz classic (Billie Holiday’s ‘I’ve Got To See You Again’) and her self-penned ballad “Don’t Know Why,” completely floored Lundvall and secured Norah Jones her very first record deal. Working alongside producer Arif Mardin who had worked with artists such as Aretha Franklin and Dionne Warwick helped Norah explore new avenues beyond traditional cafe jazz realm.

Feels Like Home

Norah Jones followed up her success of Come Away With Me with another hit album Feels Like Home. While on her initial effort she performed solo, for this release she collaborated with other musicians including bass player Lee Alexander and singer/guitarist Richard Julian.

Norah found much of her early musical inspiration from Billie Holiday and Etta James, two idols that served as role models. After attending University of North Texas to study jazz piano, Norah joined UNT Jazz Singers where she met future bandmate, Jesse Harris.

Jones and her band have been much more generous with writing credits compared to some artists who quickly capitalize on their fame, writing almost all songs on this album between themselves and band mates; an excellent move which ensured they would gain publishing royalties over time.

Little Broken Hearts

Jones has put in considerable work over the decade since her debut to overcome any accusations of being “boring.” With help from Danger Mouse, her fifth album sees her exploring some of her darker corners by unveiling carefully chosen personal details while creating elaborate facades to build drama – this album marks Jones as creating one of her headiest and most complex work to date.

This album never seems too morbid; even the darkest songs find her playing them with enough verve and charm to make them enjoyable. After years of sounding mostly like dinner party background music, this release stands as a welcome change.

Burton’s production is an ideal fit for this fresh new direction, allowing her voice to lead and not forcing too far out of her comfort zone. Little Broken Hearts is an exciting reinvention that proves she can still make this genre her own.


Switching their Converse for country, Green Day’s Billie Joe Armstrong and Norah Jones of Mother’s Day fame make for a wonderful pairing on this lovely duet album, Foreverly. While not offering many of their most notable hits from Everly Brothers’ catalogue, their harmonious harmonies blend in perfect unison to provide an enjoyable listening experience.

The duo’s vocals are so harmonious it’s difficult to tell who is singing at any time; this is particularly evident on “Roving Gambler,” where their high and low harmonies combine seamlessly while they deliver a tune about a gambler falling for his pretty little mama’s daughter.

On this album, two artists experiment with original songs to produce fresh interpretations of classic material. With its use of twangy guitar licks, dramatic snare drum hits and soothing piano flourishes – this album makes listening enjoyable despite having similarities to its 1958 predecessor at times.