i'd hit it


she has a good band too (no i wouldn't hit them)

i bet she's a moaner too


[sex]

Yes indeedy, and she is from the DFW area to boot. She got a great voice. Sultry, sexy, sleepy, jazzy type.

Ohhhhhh yeaaaaaaa!!!!!
definitely a hottie.[naughty]

All this talk and no pics?

WTF is wrong with you guys??? [shock]

[img]http://www.shorefire.com/artists/njones/images/mayexclusiveblack2.jpg[/img]


[img]http://www.shorefire.com/artists/njones/images/NorahJones_maycolor4.jpg[/img]

[img]http://www.shorefire.com/artists/njones/images/NorahJones_color5.jpg[/img]

i edited my post to upgrade the pics

my google images kung foo is better than yours

mu ha ha

Glad I was sitting down for this thread!



You said it TomJ...

She's all kinds of beautiful.

Finally, as my buddy Chris would say "You could never run out of fun with that!"

Nice.  [:)]

I like her music but had never seen a picture of the lovely lass.  Quite nice indeed.  She looks latina.  Does anyone know her story/biography?

Norah has a DVD concert video out now.  It was recorded last year at the House of Blues in New Orleans.  It contains most of the songs from her Grammie winning album, plus more that aren’t on the CD.    
The DVD is better than the CD.  

Plus you get a few good thong shots when she’s sitting at the piano.  

Here’s an article about Norah and her link to another of my favorites, Eva Cassidy.

Jazz Condition -- UPI Arts & Entertainment
By Ken Franckling
Published 4/29/2003 8:00 PM

Oh, how America loves to pigeonhole its music. Slot it into neat categories. Put it in tidy boxes. Too often favoring fluff over substance.

In Europe, as an example, radio stations have fewer rigid boundaries separating styles and artists they'll play. Anything goes in some cases, from classical to rock to jazz and the avant-garde.

Some of the U.S. phenomenon can be attributed to commercial radio consultants and programmers -- and sometimes even recording executives, who hold much sway, too much perhaps, as arbiters of public taste and success.

Exceptions to the rule are refreshing, sometimes having the effect of a playful yet well-deserved noogie.

Two such exceptions come to mind.

Take Norah Jones, for example, whose armful of Grammys in February was a wakeup call for many, a confusion for some and a pleasant sort of introduction for others.

Her debut on the Blue Note label, "Come Away With Me," was Album of the Year and its single hit, "Don't Know Why," was Record of the Year and Song of the Year. Jones also collected several other Grammys, including Best New Artist and Best Female Pop Vocal Performance -- shocking both pop and rock veterans and other stronger-hyped young rivals. Jones seemed bemused by the sudden success -- and the huge CD sales.

But there were many dynamics at work.

Hard core jazz fans mused aloud what the pleasant young lady from Texas -- with a charming voice, passable piano skills and a style drawing as much from country and folk -- with a twang that could remind some of a Patsy Cline, was doing on a jazz label at all. Let alone Blue Note, one of the historically important and prestigious jazz labels.

The answer to that question was that Blue Note President Bruce Lundvall heard a demo tape and quickly decided he wasn't going to let that voice get away.

Jones quickly touched a nerve throughout America. Perhaps in the world after Sept. 11, 2001, her lower key music and reflective lyrics about relationships, romance and the importance of everyday things -- many written by Jesse Harris and Lee Alexander -- were a balm of sorts.

While a number of fine jazz artists -- Bill Frisell, Brian Blade, Tony Scherr, Sam Yahel, Adam Rogers and Kenny Wollesen -- played on the CD, Blue Note was smart not to promote it as a jazz recording or enter it in jazz categories at the Grammys.

Blue Note certainly will benefit in other ways, including more to invest in its jazz artists and prospects, though it is not known how much revenue from Jones' album sales bypassed the label altogether and went straight to the coffers of its corporate parent, Capitol/EMI.

Lundvall's brilliant decision to sign Jones rather than let the voice find its way to another label -- or go unsigned altogether -- undoubtedly is rooted in the one that did get away.

Back in the early 1990s, Lundvall had a chance to sign Eva Cassidy but it never happened because he couldn't figure a way to fit her into his jazz niche. So away went Eva, back to suburban Washington, D.C., dividing her time between work at a local garden shop, painting and singing songs she loved for a rather small but devoted coterie of fans.

Cassidy died from melanoma at age 33 in 1996, before the music world at-large got to know her. But a wave of recordings from the Los Angeles-based Blix Street label, including the splendid compilation "Songbird" and "Live at Blues Alley," brought posthumous success, selling in the millions, at first largely by word of mouth.

They showed that without a doubt, and without hype or category,
[b]Eva Cassidy was blessed with one of the finest voices of the 20th century.   Period.[/b]

More proof emerged in February when BLP Records issued the CD version of a rare, hard-to-find self-titled album by a Washington-based pop rock band called Method Actor. It includes the original 1988 album and two previously unreleased bonus tracks from 1989. The band broke up in 1990.

All of the tracks feature the band's lead singer, Eva Cassidy. She could sing every style of music and refused to limit herself to any one style. It's been said that some singers are so versatile they could sing a telephone book. In Eva's case, it probably was true.

Method Actor guitarist, principal songwriter and founder David Christopher has observed Cassidy was far more comfortable in the studio than on stage.

"Eva had no diva qualities at all; that was totally foreign to her personality," he said. "She was very critical of herself. No matter how many times people praised her singing, she never really acknowledged how talented she was. She thought people were just trying to be nice."

The world ought to be thankful that Cassidy's musical high art was recorded and is now available.

In some way, Norah Jones owes her a "thank you" for paving the way.

btt for TJ

[b]I don’t know why[/b] - [i]Nora Jones[/i]

I waited 'til I saw the sun
[b][red]I don’t know why I didn’t come[/b][/red]
I left you by the house of fun
[b][red]I don’t know why I didn’t come[/b][/red]
[b][red]I don’t know why I didn’t come[/b][/red]
When I saw the break of day
I wished that I could fly away
Instead of kneeling in the sand
Catching teardrops in my hand
My heart is drenched in white
You'll be on my mind
Forever
Out across the endless sea
I would die in ecstasy
But I'll be a bag of bones
Driving down the road alone
My heart is drenched in white
You'll be on my mind
Forever
Something has to make you run
[b][red]I don’t know why I didn’t come[/b][/red]
I feel as empty as a drum
[b][red]I don’t know why I didn’t come[/b][/red]
[b][red]I don’t know why I didn’t come[/b][/red]
[b][red]I don’t know why I didn’t come[/b][/red]



... Never dated [b]Winston Wolf[/b] that's why