Norah Jones Is Playing Along
Original podcast
GRAMMY-winning legends Ron Carter and Bill Frisell join Norah for a special episode full of stories, deep listening, and remarkable music.
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This episode is also available as video on YouTube. You can visit Norah Jones' channel and be sure to subscribe while you're there. Hey, I'm Norah Jones, and today I'm playing along with Ron Carter and Bill Frisell.
Hi, welcome to the show. I'm Nora. This is Sarah Oda.
Welcome to our show.
What a show.
Oof, we got a big one. We have two incredible guests today, two deeply respected, very much admired Grammy-winning musicians. Ron Carter is the most-recorded bassist in history.
Are you serious?
Yes. He's widely known as Maestro, and he's been a part of countless landmark recordings, everything from Miles Davis, to Wayne Shorter, to Herbie Hancock, to Aretha Franklin, and over 2,200 other albums.
Roberta Flack, some of my favorites.
He's incredibly prolific. And he just released a new album this year called Sweet, Sweet Spirit, in collaboration with choir master Ricky Dillard. And Bill Frisell is a highly-regarded guitarist and composer who has stretched across jazz, country, folk, Americana, lending his distinct style and improvisation to recordings with Lucinda Williams, to Elvis Costello, to John Zorn, and many others.
And me.
And you.
You played on my first record.
That's right.
Yeah.
He also released his fifth Blue Note album earlier this year, titled In My Dreams, and it features a sextet of his close musical friends, Jenny Schieman, Avon Kung, Hank Roberts, Thomas Morgan, and Rudy Royston. So be sure to check that out. And I'm just excited that we could get them in a room together with you.
It was kind of random how this came about, because Ron Carter, of course, bass player that I've been listening to my whole life, Bill Frisell, also an incredible guitar player who I have been listening to for at least 30 years.
I wouldn't normally put them together, actually. But they were doing a string of gigs in New York City together as a duo or a trio. I can't remember. And so we just thought, you know, why not have them on together?
Yeah, it was perfect.
Yeah. It was such an honor to play with both of them and to have them on the show.
It was amazing. Between the two of them, it was like a lifetime of music and stories in the room.
Yeah, and there was so much stuff that we didn't even get a chance to cover. But it was a really fine episode, and I hope you enjoy it. Ron Carter and Bill Frisell.
There's a sweet, sweet spirit in this place.
And I know that it's the spirit of the Lord.
There's a sweet expression on each face. And I know they feel the presence of the Lord.
Sweet Holy Spirit,
Sweet Heavenly Dove,
Stay right here with us,
Filling us, filling us with your love.
And for these blessings,
We lift our hearts in praise. Without a doubt, we know We have been revived When we shall leave this place.
When we shall leave this place.
Sweet heavenly dove,
We lift our hearts in praise.
Without a doubt, we'll know That we have been revived.
That's pretty.
I do.
It's a good one.
So that song's from your new album.
Yes.
Which is a, it's a gospel album.
Yes, yes.
That's great.
You know, I think, there's a long history to this, I'll make it short. My mother, who was getting up in years, needed some assistance. And my sisters found a lovely, a lovely nursing home for her. But they thought that she was, needed some company as her lonely hours, because my father passed away shortly before. So they asked me, could I put together some songs for her that she knew? And I put together 11, 10 songs that she was identified with her. And so whenever she wanted to lie down and rest, or just kind of be still, she could
put the CD in the disc in the machine that they bought her, and she could hear her favorite song or songs of this list.
And I've wanted to do this for a long time, but I didn't have the skill to hire choir or vocalist, and I just didn't have enough skill there to make this work as I knew it was possible. And after telling people who kept asking me what my next record was, I finally said, "I do gospel records."
So we stopped it right there. And I ran into Don Was one day, and he asked me the same thing. He said, Well, I know a maestro of the choirs, church choirs, who would love to help you. I said, "Well, does he know anything about jazz?" He said, "Well, he'll learn something with you play with him." And so, we met at my house and we had a nice, long talk about how to make this gospel record with the meaningful lyrics and what input would the bass have when this stuff start jumping off?
Mm-hmm.
I said, "Well, if I can find the right notes, it'll jump off pretty good." So, he hired this choir, 80-voice choir.
Yeah, it's a lot of voices.
Yeah, man, they were just singing, just singing the ass off, it was just incredible.
Where are they from?
He's from Baltimore, but his choir's from everywhere.
Oh, cool.
So, it was a couple, like a bunch of people coming together?
Yeah, yeah, 80 voices or something like that.
Wow.
And man, it's just, the sound was just overwhelming, you know? So, all I had, what I had to do was try to find some space when they were inhale, put a bass note right there.
And it took some time, but I figured out where that was and the arrangements were just so perfect to walk a bass line or a little bass fill just because the voices were so strong and so positive. And, you know, the more I heard the lyrics for the year, I understood really what they meant.
You know, when you're 11 and 12, you just kind of go with the
no one's hearing the word, "Did you want to see you mimic this melody?", you know? But I listened to the words for, straight on for a year, I really understood three things. One, the choir, the audience, the attendance, attendees to the service, they were singing these songs for some relief, that the melodies were relief for them from their daily grind. Secondly, they were asking for some help, they were pleased for, "Can, can you, great person, almighty..." wherever they were calling them back in the day. Give us some swag. Can you get their knee off our neck? Can you help us be, treat us better people?
And the third thing I realized that those lyrics are even more meaningful now. The hymns that they sang for relief and some inspiration. We can use those things now when they hit this record. The lyrics are saying the same thing that they were saying 250 years ago. Help us, give us relief. Can you show us the better way? Don't leave us behind. You know, and the more I heard this song and the more they sang with my view of the lyrics, it was just overwhelming. I just had to stop and just kind of get my tissues nearby and understand what they meant and not realize that these people, 70 years ago, I'm pretty up in age, they were saying these sayings live, 70 years ago. They were going right over my head.
I was just trying to get them out. These little stuff, you know? And man, it's just stunning. And I like to think that the people who buy this disc or whatever form they hear it in, it would be their Bible. You want some Bible? Buy this record.
Because this music, all those songs are dedicated to freedom and love and happiness and equality.
And the bass sounds not bad either.
It sounds great. And in another 100 years or 200 years, I think these songs will still have the same relevance.
They make it work, yeah.
Yeah, they're just so universally
The need is.
To the heart of the human condition.
Yes, absolutely.
And the voices are just stunning.
Yeah, it's really beautiful.
Amazing.
I love it. You grew up going to church with your mom?
And your family then?
Yeah, yeah.
Where did you grow up?
It was a small church and it's in Front d'Al Michigan, which was a suburb suburb of Detroit back in the day. So, I moved to Detroit when I was 13 or so, but the church was still the same church.
So it's like going back to the start.
You know, one of my concerns is always that people who didn't really know the history of jazz didn't understand that jazz players, especially in my age group, they came from the church.
There was jazz players who were singing the hymnals before Richard Franklin was born and the Helyia Jackson and the people who are now really the top view of what gospel music has sounded like, it sounds like now. And we were doing that stuff back in the day and didn't understand what it was, but we was getting through the melodies and mumbling the words. But we came up in that spirit, that hope, that prayer, that can we get better than this, you know? And we were using our improvised lines to ask those things that those people were singing about 250 years ago.
Yes, the same spirit of the music and the need to just get it out.
Absolutely.
Make it available to people, understand what the plea was.
Yeah, that's beautiful.
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Bill, did you grow up in a church?
Not, I went to Presbyterian church.
Yeah, different church, maybe, but a church?
Yeah, quite a bit.
I'm always curious about people's musical church influence.
It was more, probably not the same kind of singing that you were doing, but you know, those hymns and
Musically, what I remember most about it was the Oregon player. You know, that he would play some wild stuff. And but also that's where I got to see Martin Luther King speak.
At your church?
Yeah, he came to our church in 1964.
Oh, that's incredible.
Talk about an inspiring person and.
Do you remember how old you were?
So I was like 12.
Oh, wow. That's my son's age. I'm just imagining.
And I guess there was some story. I was, I was looking it up in the Denver paper and there was, I guess he got locked in some office before he was supposed to come out to speak. He got locked in some office off to the side of the church. And they, he had to climb out the window and climb down the thing and then come in.
That's funny.
Anyway. I'm just thankful I got to be a little bit near that.
It's pretty amazing.
Yeah. Do you remember your impression at, at that age? Did you understand the gravity and the weight of how important he was?
Came up more in the next coming years, you know, because thinking about what was happening in the world and the music that was coming at me at that, that moment. And that year, 1964, it was, it was two weeks after that, that the Beatles were on the Ed Sullivan Show.
You know, it was just the last, I guess, a couple of months since John F. Kennedy had been killed. All these things happened that year. Martin Luther King got the Nobel Peace Prize. The Civil Rights Act was signed. Bob Dylan, The Times They Are Changing, came out. And then there's this Miles Davis record that it's Miles Davis in concert, live at Philharmonic Hall. It was George Coleman, but Herbie Hancock, Tony Williams.
And Ron Carter. And, boy, when I first heard that, to this day, it remains one of the... For me, it's just like, I don't know how human beings can get even to that level of beauty. And it just, I don't know how to describe it. It just gives me something to strive for.
You know, or it gives me hope, or you just realize how amazing people can be, or how beautiful things can be. And then to think that he's right here with us now, it's, wow, what a... Music is like a miracle, you know? Somehow, it helps me a little bit, thinking about what's happening now, that that was rough, and things are rough now. And then there's these songs that just keep coming back and being as relevant as they ever were, as, like you said, 250 years ago.
Or however, it's, we have to just somehow hold on to that.
They give people such comfort, you know? That's how I think of it. Almost like a meditation. These songs hit that way, you know?
Yeah, there's a...
They give a comfort that is very unique, you know, and special.
Yeah, this, I mean, just the sound, the... Talking about the words, but the, but there's the melodies take you to places, you know, and lift you up and...
And the simplicity of the songs also, I think. And there's just no...
There's only a straight path with what is happening somehow, even though there's variations. But I don't know, I just love, I love these song structures.
It puts you in a certain frame of mind. Because it's not, for as complicated as it is, and they are really complicated. It's simple enough that the lyrics don't get in the way of understanding what they say. And you aren't so overwhelmed by the music that's helping you understand this. It's just a perfect picture of how to hear a Bible.
Exactly. It's much easier for me to digest in song form, personally. Yeah, it's beautiful.
I was wondering how you feel specifically coming from, when you were young, playing jazz, at a time when jazz was just becoming what it was and being sort of, you know, one of the trailblazers of it. What's your relationship to genre? Are you protective of that genre specifically? Or do you just see music as music?
Well, I try to be as open-minded as I can. But there's no question that jazz music and some of its players have clearly influenced the world of music styles. A lot of jazz players are on the background, on the back-s background singers, background players of all the big pop records. And some of the arrangers who arrange some of the big pop hits are wonderful jazz players and jazz arrangers. They have a chance to practice their skills, not doing what they do for a living, but for now adding another skill to their set to be able to make some wonderful arrangements and wonderful songs. I mean, I've enjoyed playing with Michelle LaGranne, who is not a jazz player, but she's written some wonderful tunes that jazz players just fall over.
So I think it's difficult to have a line that separates them. People should look for a better ways, they look for the line that connects them. And you'll find a lot more choices.
Yeah. I feel like most musicians I know don't think in terms of genre. So it's almost a silly question, but I guess I was wondering if you felt protective of it, coming from where you come from and...
No, I'm interested to have a chance to play wherever I can. I'm going to kind of spread the gospel, so to speak. The more varied topics, the more varied groups I can play with. It allows me to proselytize jazz just because I'm there with these people who are not of the jazz community.
But clearly, they know the music because they're hired people who are to hear on jazz records and part of their normal listening for ideas and concepts.
And that makes the meld of these combinations of one, four, or five songs to one, four, or five with the F sharp and the bass all the time or no chords. That makes them all from the same language skill set. It's great to see those guys manipulate their stuff to fit this sound.
Yeah. And what do you think of genre? Because you're so country, Bill. You get put in the jazz category, but you're like my favorite country guitar player sometimes, you know?
I like what Mr. Carter just said about trying to find the line that connects it all rather than... So much energy goes into trying to categorize this, this is this, and this is that. Music has never been that way in my imagination. It's always, it's all happening all at once. And you know, when you're in the midst of playing, you're not thinking, now I'm playing country.
Exactly, yeah.
This is jet, you're singing a melody. And all that, all those words that we use to describe it melt. You're not, that's the farthest thing from your mind.
I know, it's almost like they don't matter. They're for other people, maybe.
Yeah, I mean, it's...
Not for the musicians, you know what I mean?
After the fact, we talk about it and we try to figure out what it is. But I wish more energy was put into that, like, oh, wow. Like, look at the history of this and look at where this guy came from and this.
Woman came from and where we came, you know, and it's all, it's so connected. It's way more than you.
We accept.
Yeah, I mean, like I had a moment, I like dropping a, like say, dropped a needle in the midst of a Bill Monroe song. And it sounded like, it sounded like Duke Ellington for a second, you know? And everybody's learning from each other and.
Borrowing, borrowing, borrowing chord voicings.
It's the best.
Yeah, it's just flying around and music is so amazing.
I know.
Everything is possible there and.
Well, that's the funnest when you can just go wherever you want to go. It doesn't, it doesn't matter.
And it gives us a model for how things can work, you know? You think, I've said this so many times before, but the words that we do use to try to figure out what we're doing, like harmony and rhythm and.
That's translatable into life.
If only.
It's so, you know, said that if everybody played a guitar, there'd be no problem.
That's right. You are correct.
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Let's play another song.
You want to try softly and tenderly?
Also from your new record.
Okay, I'll begin.
Four, five.
Softly and tenderly, Jesus is calling, calling for you and for me.
Patiently waiting Jesus is watching Watching for you and for me
Come home
Come home You who are weary Come home
Earnestly tenderly Jesus is calling Calling, oh sinner Come home
You who are weary Come home
Calling all sinners, come home. Calling all sinners, come home.
Pretty.
Very nice.
I liked it. I thought it was beautiful.
Yeah, very nice.
It's such an honor to play with you both. Before we play one more song, I wanted to ask, what instrument are you playing?
Guitar.
No, I know. What you got?
Well, this, oh, it's a who has become a good friend, a guy named Jay Black. He's... You really want to know all this stuff?
Well, I, yeah. He put it together from old stuff?
So this is sort of a conglomeration of... There's JW Black built the guitar, and a guy named Jeff Callahan made the pickups, which are awesome. I love the way they sound. And it has a mastery bridge and a big speed vibrato.
I'm with you. I'm in it.
And then there's this really far out guy that lives in...
Joshua Tree, or close to Joshua Tree.
His name is TK Smith. And he builds guitars, but he made this pickguard for this thing.
It is so cool.
That I thought this guitar should have a fancy little thing on it.
I mean, that pickguard is everything. It's amazing.
And so this guitar has a whole bunch of stuff from different people that I know.
I love it. What sounds great? You have a ton of guitars, I'm sure.
I'm afraid I have more than I should.
Do you have, do you go through phases where you just want to play one all the time? And then you kind of move on to another one?
Well, yeah. You find something in each one. There's different overtones come out and then that'll inspire you in a certain way. And then you get that in your ear and then you can, maybe you can pull it out of another one somehow.
It's like they start talking to each other.
That's cool. It's like they're, they're human almost. They all have their own personality, right?
For me, yeah.
And what about your bass?
I bought it in 1960.
What?
It's the same one.
Seriously?
See, that's what I'm talking about.
One and done.
Well, I have two. One is the Piccolo bass I had made smaller.
Okay.
And I think every bass player needs a second bass, just in case someone bumps into it. Of course, the elevator's all wrong.
True.
Yeah, I've been all there and that. They don't see you coming, you know, they're running to you in the stairwell. But this is the same one since 1960 or so.
That's insane.
Yeah. It's got some battle scars.
But it sounds better every day.
I bet it does. When you got it, was it new or old already?
No, it was mid 1910.
I was not old already, but I was working toward that goal.
Was it, is it, do you know the make?
It's a German violin bass that was assembled in Berlin.
Back in the day, they had to cross-country exchange of music, music, music itself, the physical parts of the music, you know, the sheets. And the makers would make the instruments in a country and then ship them over to somewhere else to be assembled. This is one of those done in 1910, it's a Jusik.
It's a pretty well-known name. It's not up in the highly sought-after, but it's too bad because it's a really good instrument.
I know that name because I used to date a bass player. So I'm aware of the Jusik, yeah. That's cool. And what's on top there?
It's called my Jesus string.
So you have an extra string?
It's an extra, no, it's an extra extension up here.
Oh, it's just longer, okay.
It makes the lower string go from E to C.
Ooh, so how often do you bust it out?
Depends on the tune, the key.
How my hands feel.
If chords are coming by too fast.
But you're not using it every, every time? It's just sort of...
No, it's a specialty string.
Special occasion string?
Yeah, if I want to get someone's attention to a real root.
And then chords to C, bam.
There you go. Well, maybe on this one, this next song is in C.
Eyebrows go up like this.
Is the piccolo bass smaller than?
Yes, it's, I call it the overgrown shallow. One of the reasons I had it made is I was starting a quartet with two basses. Me, Ben Riley on drums, Kenny Baron on piano, and Buster Williams on the second bass.
And I wanted to be in front of the band. Well, if you have two basses the same size, I'd want people tossing my card to guess who's the bandleader and taking bets on who's coming to the chart. So I just, my friend in New Jersey just make an instrument to, and just I figure out my specifications for a smaller bass. And it's basically a half-size bass that's tuned upper fourth.
Oh, so it's tuned differently?
Yeah, that takes me up out of his range. Wherever he's going to play, he will not be in my register.
Or whoever the second bass player is, as it turns out. Buster was there, and so they formed a group with Kenny and Dan with the... The Sphere Bank, the Monk Music Bank.
So Leon Madsen, my bass player for, my friend and bass player for about thirty years, he understands what ranges are and he's careful for all these years not to get too stuff, too much stuff within my register of the bass so that we hear, we see two basses and you hear two basses.
It's great sound.
That is cool.
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For holding their value, which could mean big savings when it's time for your next Toyota. So get a great deal today and a great value tomorrow. Shop toyota.com for more Toyota, let's go places. So growing up in your house, was there a lot of different music? You just listen to everything?
I mean, my parents weren't musicians, but they were always, that's where I feel so lucky that they were always supportive of me wanting to play.
That's cool.
And then also I feel lucky that in the public school system, there was, when I was in fourth grade, they'd come around and they'd ask all the kids if they want to play an instrument. And that was just a normal part of the education that they thought music was actually important for people.
And so I started on clarinet in the school music program and I'm just thankful for that.
That's lucky.
And as a kid, did you study other instruments? What did you start on?
Well, I'm kind of like Bill, the teacher came in with these instruments on the table.
At school?
At school, through the fourth grade, maybe the 10, 11.
I said that she was going to start an orchestra. And she said, children, come up to the table and pick out an instrument that you think you want to spend some time with.
There's a couple of trumpets and maybe a trombone, a couple of string instruments and the cello.
It just seemed to me the cello had the two things. It was easiest to make a terrible sound. And it's the easiest to get a sound on at all. And I said, I think I like this one. Can I ask my parents if I can keep this at home? I said, of course you can have it, you know? So we worked it out and I got very good at it. And I still pick it up every now and then and fool people and amaze myself because I still have the skills. But as I got, as I got better at playing the instrument and looked forward to being
I don't know what a major player was, but somebody who was really good. Whatever they call him when you're thirteen to fourteen. I just wanted to be one of the good players. I wanted to be the best player I could. And my parents encouraged us to follow our dreams and help us when they could and make sure we got to the concerts and make sure we rehearsed certain acts that I wanted to hear.
Make sure we could get to forward the lessons of better teachers. As I got better, everything went up. So they were instrumental in assuring me that I could determine what I wanted to be, that no one else could do that for me.
That's really lucky also.
To start hearing that stuff back in those days in the forties and fifties, when that was clearly not the vibe of the nation.
Of the nations. And to be able to see the results of other people doing it and having to be a part of that history of watching these things take place despite those things that are not in their favor.
You know, I got better and better at playing charlatans. I got some calls and stuff. And as a matter of fact, when they, the last act, you remember the Copa Cabana in New York?
The last actor player there was Samuel Davis Jr. And the viola player, who was a contractor, who I knew, called me one day and said, "Look, the last charlatan in this band is not available. Can you do the three shows?" I said, "Yeah," and he said, "Hundred footballs and home notes. That's I can do that." So I played the last show at the Copa Cabana with Samuel Davis Jr.
That's pretty cool.
Yeah, that story.
And as I got better and better, I realized they were telling me that it was, "You gotta get better, kid." And I worked on with that concept because I was determined to get where I thought I I belonged in the playing good category, wherever that was, you know? And as I got through college, I was told that by a major conductor that he loved the way I played and my interest. But the orchestra at that time weren't interested in having people of color, you know? Along that same journey, I was playing in a house band where a big jazz act came through and we were back, I'm a solo player, Sonny Stitt for one, a slam gal, you know. And they would say, well, you got some skills, could you come to New York? Because they need good bass players.
So when I graduated June of 1959, packed up my bag, and then Chuck Mangione got into a car and we drove to New York with my personal belongings. And I got out with my wife, got a place to stay in. I still have that chip on my shoulder. I belong here. I belong here. I belong here.
That's beautiful.
I'm still doing that side.
Yeah. That's amazing.
And these songs remind me of those days.
Yeah, I bet. When did you switch to bass?
My senior year in high school. It'd be the spring of 19... Spring of 1840. It goes so far back. The spring of 1955. I was a senior in high school.
Okay. Time flies.
Yeah. 1735. It just seems so far, so long ago.
Goes fast, right?
Yeah. It's nice to be in the current time with you and Bill to see some people who really love music and who have made their life journey to play some great melodies. I love that kind of stuff.
Yeah, it's a pleasure. Wow. Well, thanks for bringing that bass down here.
Me too.
Yeah. Let's try "Nervous of You."
Yeah. Okay. One, two.
It's not the pale moon that excites me That thrills and delights me Oh no It's just the nearness of you
It isn't your sweet conversation That brings this sensation Oh no
It's just the nearness of you
When you're in my arms And I feel you so close to me All my wildest dreams came true
I need no soft lights to enchant me If you only grant me The right to hold you ever so tight And to feel in the night The nearness of you
Great ending.
I went for the high note.
Oh, that was great. I loved it. Well, that was a pleasure. Thank you.
I guess,
you just came back from Japan. You got any tours coming up?
I'm trying to avoid them.
Yeah, I get it. I hear you.
I want to know where the refrigerator is every night.
It's hard to travel now.
Yeah, it's difficult.
Get to the airport three hours early.
No, that's the hard part. The playing is the fun part.
Have you been touring a lot? You're always playing, right?
Yeah, there was a time when you'd be in New York and you'd play for like a month in the same club. I just can't imagine what the effect that would have on the music, you know. We talked about playing four or five nights in a row, which is amazing. But to play for four or five weeks and go home every night and...
The only thing different is the order of the notes for the next night.
Yeah, that's pretty nice.
Back in the day when I was younger and the sets were long, we worked with Sonny Rollins in early 60s and we worked six weeks in a row.
And before that, I worked with the Gil Evans Big Band for seven weeks. Six weeks in one place called The Jazz Standard before The Jazz Standard. And freelancing in New York, you would work for a whole seven weeks, but all two weeks at different clubs.
And I miss that, not just the chance to play, but the chance to hear other guys play.
The community.
Yeah, you get to develop a fan base, you develop a library, you develop a sound, you develop friends in the band. I mean, it's just a way to make music even more difficult, but more fun. Every night, you got a chance to play with these great guys who will help me get better. Wonderful feeling. I miss that in New York now.
Yeah, it's changed. It's changed.
Well, thank you.
You're welcome.
Both. I really appreciate it. It's so nice to play and hang and meet you finally and see you again.
Yeah, you too.
Thank you more, please.
This was great. Thanks so much for inviting us.
Thank you.
Thank you so much for listening. Oh, that was so fun.
That was beautiful.
What great humans.
I loved it.
This was really interesting.
I mean, they could, there's so many more stories there. We just, that was the tip of the iceberg, but we got the good stuff.
I played with Ron Carter. Oh, my God.
No big deal. He brought you an H.
He brought me an H. That was the funniest. If you want to know which songs we did in this episode, the first one was Sweet, Sweet Spirit, and that was from the album that Ron Carter just released earlier this year in a collaboration with Ricky Dillard titled Sweet, Sweet Spirit. The second song we did was called Softly and Tenderly, from the same album, Sweet, Sweet Spirit. The third song we did was The Nearness of You, and that's a classic jazz standard written in 1938 by Hoagy Carmichael and Ned Washington. And it's been on countless albums, but I recorded it on my first album, which came out in 2002. Special thanks to Ron Carter and Bill Frisell for joining us today. We'll be back next week with Sasami.
Norah Jones is Playing Along is a production of iHeart Podcasts. Visit Norah Jones' channel and be sure to subscribe while you're there. I'm your host, Norah Jones. This episode was recorded by Matt Marinelli, mixed by Jamie Landry, audio post-production and mastering by Greg Tobler, artwork by Eliza Fry, photography by Sherwin-Linaz, produced by Norah Jones and Sarah Ora, executive producers Erin Wong Kaufman and Jordan Run Tog, marketing lead Allison Cantor-Graeber. It's like I got a mouthful of marbles today. It's the allergy medicine.
You're good.
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