Rickie Lee Jones - Pieces Of Treasure

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 34:09
Size: 79,4 MB
Art: Front

(3:11) 1. Just in Time
(3:20) 2. There Will Never Be Another You
(3:26) 3. Nature Boy
(4:16) 4. One For My Baby
(2:50) 5. They Can't Take That Away from Me
(2:31) 6. All The Way
(4:08) 7. Here's That Rainy Day
(4:44) 8. September Song
(2:53) 9. On the Sunny Side Of The Street
(2:46) 10. It's All In The Game

Ever since Linda Ronstadt bravely took on the Great American Songbook with three albums back in 1983, pop singers with a rock background have taken on the classics of the first half of the 20th century and reinterpreted them for contemporary audiences. When Ronstadt sang them with the Nelson Riddle Orchestra, critics considered the act revolutionary. Rock originated as a rebellion against the mainstream pop of the 1950s. Now rock was dissenting from what it had become by embracing what it had campaigned against. Artists as varied as the once vulgar Rod Stewart (remember songs such as “You’re So Rude” from A Nod Is as Good as a Wink?) and anti-authoritarian as Bob Dylan have gone on to release multi-volume collections of smooth standards.

Now it’s Rickie Lee Jones‘ turn. As one might expect, she does it coolsville style with a jazz combo. She makes the songs her own through her combination of little girl style and wizened woman narration. When Jones sings, her vocals tell a story through her intonations as well as through the lyrics. At times, she makes one put down the whiskey and grab the cigarette from the ashtray as she wistfully recalls “There Will Never Be Another You”. In other songs, such as “It’s All in the Game”, the opposite is true. Listening to the singer’s sadness makes one want to reach for a drink.

Russ Titelman, who co-produced Jones’ 1979 self-titled debut (and her second record, Pirates), helms this production. But this is no retro album or exercise in 1970s nostalgia. The music and style are very different than it used to be. Titleman assembled a small jazz combo (Rob Mounsey on piano, guitarist Russell Malone, bassist David Wong, and drummer Mark McLean) to back Jones and let her vocals breathe. More importantly, to let the songs move in a metropolitan air where the spaces between sounds are as significant as the instruments themselves. There is a spareness to the arrangements that conveys urbane refinement. The music was recorded at Sear Sound during a five-day stint in New York City and sounds as sophisticated as the city that never sleeps.

Even the rural connotations of “Nature Boy” come across as cosmopolitan, thanks to Ara Dinkjian’s lead oud playing. The instrumental introduction situates Jones’ intonations about “the strange, enchanted boy” into something transcendent. The singer’s declaration that love is the secret of life makes perfect sense in this context.

Love is the primary topic of songs from the Great American Songbook, whether it’s the lack of it (i.e., “One for the Road”) or that it redeems (“Just in Time”), or how it’s the end all / be all (“All the Way”) or the memories of it (“They Can’t Take That Away From Me”). Jones croons about love with sweetness but never gushes too sentimentally. Her persona suggests that she’s always in control, even when she sings about being out of control.

May that's just a function of age. When she croons, “Here’s That Rainy Day”, she doesn’t seem upset about her fate (being alone) as much as accepting her destiny. The same is true of the opposite side of the coin. The young narrator of “On the Sunny Side of the Street” extols life’s positive virtues. You can feel the singer leaving her troubles at the door and walking down the avenue with a big smile on her face.

Jones’ ability to be both old and young makes her rendition of “September Song” compelling. She can identify with each lover of a May/December romance, no matter what age. Jones is a pirate who plunders the treasures of the Great American Songbook for all of its riches. The music is as timeless as she is. By Steve Horowitz
https://www.popmatters.com/rickie-lee-jones-pieces-of-treasure

Personnel: Rickie Lee Jones voice / vocals; Russell Malone guitar, electric.; David Wong bass; Mark McLean. drums; Mike Mainieri. vibraphone.

Pieces Of Treasure

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Rickie Lee Jones - It's Like This

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 37:31
Size: 86,4 MB
Art: Front

(4:35) 1. Show Biz Kids
(5:12) 2. Trouble Man
(2:32) 3. For No One
(1:49) 4. Smile
(5:13) 5. Low Spark of High Heeled Boys
(3:26) 6. On the Street Where You Live
(4:30) 7. I Can't Get Started
(2:50) 8. Up a Lazy River
(2:03) 9. Someone to Watch Over Me
(3:16) 10. Cycles
(1:58) 11. One Hand, One Heart

Not since Billie Holiday has there been a vocalist who so completely transforms a song into her own. On It's Like This, eclectic folkie Rickie Lee Jones envelops standards, showtunes, '70s soul, and even slick jazz-rock, interpreting them with her familiar childlike, breathy shouts. In a very similar vein as 1991's Pop Pop, Jones pulls together a collection of diverse songs from throughout the 20th century and gives them a sparse, fragile spin, kind of like Diana Krall and Björk sharing coffee at an all-night diner.

Produced by Bruce Brody (who has also worked with Maria McKee and Bette Midler), this album is really a showcase for the dynamic vocalist her voice pitching and yawing like a sloop far out at sea. Several notable artists scatter themselves unobtrusively throughout the album like Joe Jackson, Ben Folds, John Pizzarelli, and Taj Mahal; each lend a subtle bassline or harmony vocal, cautiously not stepping on any of Jones' delicate lines.

Her passionate, earthy version of Marvin Gaye's "blaxploitation" hit "Trouble Man" is as soulful as her cover of the Beatles' "For No One" is pleading, each reaching out to the listener like a whisper from an inch away. Jones' unmistakable style is unlike anyone else's, and that fact alone will turn away some potential listeners; however, for fans of gentle jazz-pop, It's Like This is an intimate, dreamy wander through the songbooks of the last century. By Zac Johnson
https://www.allmusic.com/album/its-like-this-mw0000094246

It's Like This

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Rickie Lee Jones - Dutch Courage (Live 1979)

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:30
Size: 123,7 MB
Art: Front

( 6:17) 1. High Gear And Young Blood
( 4:36) 2. Young Blood
( 5:57) 3. The Last Chance Texaco
( 3:40) 4. Easy Money
( 3:41) 5. Chuck E's In Love
( 6:10) 6. Weasel And The White Boys
( 3:17) 7. Sentimental Journey
( 5:04) 8. Coolsville
( 3:16) 9. On Saturday Afternoons In 1963
(11:27) 10. Jam

Hilton Als is a staff writer for The New Yorker magazine; advisory editor at Grand Street magazine; has written about photography and prominent members in the field. The Women, his first book, an extended essay about women and self-invention, was published in November by Farrar, Straus, & Giroux. Think of what you are about to read as a documentary film of sorts, replete with close-ups and fade-outs, starring the premiere song-stylist and songwriter of her generation, Rickie Lee Jones. In this film we see: Rickie Lee Jones’ face, her distinctive mouth, and her thick, beyond shoulder length blonde hair as she walks down a road in a bucolic section of Tacoma, Washington, where she currently resides. It is springtime. She does not wear shoes. She carries a guitar. The sky overhead is as shiny as mica. As Jones searches for a place to sit and play in the sun, we see various aspects of her contemporary life come into frame, engaging Jones’ attention as she smiles, and listens, and reflects. We see her daughter, Charlotte Rose; Jones’ mother and siblings; various friends. All of these people come and go, passing in front of, and behind, our primary focus: Rickie Lee Jones playing her guitar and singing any number of her award winning songs: "Chuck E.’s in Love," or her interpretation of the classic, "Making Whoopee," for which she won a Grammy® in 1990.

As Rickie Lee Jones sings, we hear, in voice over: Rickie Lee Jones is the second of three daughters and one son who are of Welsh and Irish ancestry. She was born on November 8, 1954, in Chicago, Illinois. Her parents, Richard Loris Jones and Bettye Jane Jones, both had peripatetic childhoods: her father lived from hand to mouth in a number of transient hotels, and rode the rails, wandering the country. Her mother was an orphan. She has described her family as "lower-middle-class-hillbilly-hipster. The late Mr. Jones was a performer who supplemented his income as a waiter, furniture mover, and gardener. (Richard Jones’own father was a one-legged vaudeville and carny dancer named Peg Leg Jones. Jones says of her paternal grandfather: "I have one clipping of him, advertising his act, where his name is bigger than Milton Berle’s.") Bettye Jones worked as a waitress; later, she became a nurse.

Between jobs, Richard Jones taught his musically inclined daughter how to sing. And to honor that, Jones used to perform, in her early concerts, "The Moon is Made of Gold," a lullaby her father wrote for her. Since her family led a largely marginal existence, Jones lived in Chicago, Los Angeles, Phoenix, Arizona, and Olympia, Washington by the time she entered high school. By all accounts, Rickie Lee Jones was an extremely solitary child who was especially close to her older brother, Danny. Nevertheless, she preferred the secret world of her imaginary friends and playmates. In an interview, Bettye Jones said that her daughter’s imaginary playmates had "strange names like Bashla and SlowBeeSlow." She continued, "[Rickie] would take them with her to church." When he was sixteen, Rickie’s brother, Danny, suffered a motorcycle accident that left him with one leg and partial paralysis. At the time, Rickie lived with an aunt. But she visited her brother in the hospital constantly. Her mother recalls that she would sing in the hospital’s elevator shaft. "You could hear it all around the hospital," Bettye Jones has said. "It was the eeriest sound I think I ever heard."

When Rickie was fourteen, she was living in Arizona with her father. Jones has said in an interview that her mother was always afraid she would run away a heartbreak she couldn’t take and so sent her to live with her father; her parents were separated by then. Jones recalls that she once ran away from her father as a result of his need to control his wildly imaginative young daughter, her burgeoning sexuality and charisma, and powerful talent. In an interview for a Rolling Stone cover story published in 1979, Jones said: "I never knew when I was gong to leave. I might be walking over to a kid’s house, then of all a sudden I would just stick out my thumb and hitchhike across three states." In this, Rickie resembles Cissy, the heroine of Tom Robbins’ classic novel, Even Cowgirls Get The Blues, the story of a young girl trying to find the world through the kindness of strangers offering her a ride to anywhere but here. After high school in Olympia, which she had returned to in her mid-teens, Jones began singing more and more. She also wrote lyrics in a little notebook she kept. Sometimes, she’d sing the entire score of "West Side Story," to amuse herself.

By the time she nineteen, Jones was living in Los Angeles, waiting tables and occasionally playing music in out of the way coffee houses and bars. All the while, she was developing her unique aesthetic: music that was sometimes spoken, often beautifully sung, and while emotionally accessible, she was writing lyrics as taut and complex as any by the great American poet, Elizabeth Bishop. In her voice and songs, we saw smoky stocking seams, love being everything but requited. And it was during these years that Jones’ song, "Easy Money," caught the attention of one musician and then the music industry. The song was recorded by Lowell George, the founder of the band, Little Feat. He used it on his solo album, "Thanks, I’ll Eat It Here." Warner Brothers auditioned Jones and quickly signed her to the label.

Her debut on Warners, Rickie Lee Jones, released in 1979, won the Grammy® for Best New Artist. She was hailed by one critic as a "highly touted new pop-jazz-singer-songwriter" and another critic as "one of the best if not the best artist of her generation." In addition to the album’s brilliant songs including the exceptional "On Saturday Afternoons in 1963," the haunting "Last Chance Texaco," and the popular "Chuck E’s in Love"--Jones was becoming a figure whose life was bearing a great deal of emulation by young women and men who found, in her deep and personal and idiosyncratic life and work, a model for the new generation of hipster: She was heralded as a trendsetter in dress (beret, subdresses, heels) and in lifestyle, given her by then famous relationship with two boys she helped to make famous, too: Chuck E. Weiss, a Los Angeles character, and the singer and songwriter Tom Waits, about whom Rickie has said: "We walk around the same streets, and I guess it's primarily a jazz-motivated situation for both of us. We're living on the jazz side of life."More...... https://www.rickieleejones.com/biography.htm

Dutch Courage (Live 1979)

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Rickie Lee Jones - Rickie Lee Jones

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 41:48
Size: 97,3 MB
Art: Front

(3:29)  1. Chuck E's in Love
(2:31)  2. On Saturday Afternoons in 1963
(3:18)  3. Night Train
(4:03)  4. Young Blood
(3:19)  5. Easy Money
(4:05)  6. The Last Chance Texaco
(4:06)  7. Danny's All-Star Joint
(3:48)  8. Coolsville
(5:59)  9. Weasel and the White Boys Cool
(4:52) 10. Company
(2:13) 11. After Hours (Twelve Bars Past Midnight)

With her expressive soprano voice employing sudden alterations of volume and force, and her lyrical focus on Los Angeles street life, Rickie Lee Jones comes on like the love child of Laura Nyro and Tom Waits on her self-titled debut album. Given the population of colorful characters who may or may not be real people that populate her songs Chuck E., Bragger, Kid Sinister, and others she also might have had Bruce Springsteen in her bloodline (that is, the Springsteen of his first two albums), and her jazzbo sensibility suggests Mose Allison as a grandfather. Producers Lenny Waronker and Russ Titelman, who know all about assisting quirky singer/songwriters with their visions, have brought in a studio full of master session musicians, many of them with jazz credentials, and apparently instructed them to follow Jones' stop-and-start, loud-and-soft vocalizing, then overdubbed string parts here and there. The music thus has a sprung rhythmic feel that follows the contours of Jones' impressionistic stories about scuffling people on the streets and in the bars. There is an undertow of melancholy that becomes more overt toward the end, as the narrator's friends and lovers clear out, leaving her "Standing on the corner/All alone," as she sings in the final song, "After Hours (Twelve Bars Past Goodnight)." It's a long way, if only 40 minutes or so, from the frolicsome opener, "Chuck E.'s in Love," which had concluded that he was smitten by "the little girl who's singin' this song." But then, the romance of the street is easily replaced by its loneliness. Rickie Lee Jones is an astounding debut album that simultaneously sounds like a synthesis of many familiar styles and like nothing that anybody's ever done before, and it heralds the beginning of a potentially important career. ~ William Ruhlmann https://www.allmusic.com/album/rickie-lee-jones-mw0000190561

Rickie Lee Jones

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Rickie Lee Jones - The Other Side Of Desire

Styles: Pop/Rock
Year: 2015
File: MP3@320K/s
Time: 46:15
Size: 106,3 MB
Art: Front

(3:57)  1. Jimmy Choo
(4:35)  2. Valtz de Mon Pere
(3:28)  3. J'ai Connais Pas
(3:25)  4. Blinded By The Hunt
(5:29)  5. Infinity
(4:06)  6. I Wasn't Here
(4:48)  7. Christmas In New Orleans
(5:22)  8. Haunted
(6:29)  9. Feet On The Ground
(1:26) 10. Juliette
(3:04) 11. Finale (A Spider in the Circus of the Falling Star)

'Rickie Lee Jones has been pushing down musical boundaries for over four decades with her hauntingly beautiful voice and fearless experimentation' ~ NPR

'a blend of bravado and vulnerability [that] wavers on indefinable borders' ~ Rolling Stone

Two-time Grammy winner Rickie Lee Jones exploded onto the pop scene with her groundbreaking self-titled debut and has fearlessly experimented with her sound and persona over 15 critically acclaimed albums. Her latest, The Other Side of Desire was written, recorded and rooted in the city of New Orleans, where Jones lives on the opposite side of the street made famous by Tennessee Williams. Produced by John Porter (of Roxy Music) and Mark Howard, this is the first new music Jones has written in over a decade. 'This work is inspired by many years of sitting with all the events of my life until I had something to paint with,' says Rickie. 'I came to New Orleans to write and to live a different way than what I have known on the west coast...

Here is another record then, made of my imagination, and whatever else that has no words, using the clay of this place and the shapes of my eyes to form some kind of picture of my life, or my heart, that I alone can understand, and hopefully that others can enjoy.' ~ Editorial Reviews  http://www.amazon.com/Other-Side-Desire-Rickie-Jones/dp/B00WIB1ZX0

The Other Side Of Desire

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Rickie Lee Jones - The Devil You Know

Styles: Vocal, Pop/Rock
Year: 2012
File: MP3@320K/s
Time: 42:25
Size: 97,8 MB
Art: Front

(6:28)  1. Sympathy for the devil
(3:53)  2. Only love can break your heart
(4:27)  3. Masterpiece
(6:31)  4. The weight
(2:18)  5. St. James infirmary
(3:12)  6. Comfort you
(5:17)  7. Reason to believe
(3:44)  8. Play with fire
(3:54)  9. Seems like a long time
(2:36) 10. Catch the wind

Rickie Lee Jones' The Devil You Know is a collection of classic rock cover songs that follows the intimate and excellent Balm in Gilead. Jones has performed covers since she began singing in dive bars in Los Angeles in the 1970s. They've made steady appearances in her recording career: Girl at Her Volcano (1983), Pop Pop in 1991, and It’s Like This (2000). Jones is a truly gifted interpreter. She takes songs inside herself, pulls them apart, reveals previously hidden meanings, and imbues them with new shades of meaning while transforming them into something of her own. Ben Harper, who collaborated with her on Balm in Gilead, produced the set. He gets it exactly right: the instrumentation is sparse, leaving lots of space for Jones' voice at the forefront. Ultimately, The Devil You Know is about Jones' voice and the journey it takes through these songs. So intimate are these proceedings, the listener may feel she is eavesdropping. In Jones' voice, "Sympathy for the Devil" is no longer a swaggering statement of rebellion, but an exposed view of the heart of the being who boasts. Neil Young's "Only Love Can Break Your Heart" sheds the innocence of the original and imparts experience, wisdom, and scars from love's battlefield without bitterness or cynicism, only tenderness. Her reading of Van Morrison's "Comfort You" is proof. 

She takes the songwriter's sense of want and expresses it as a pure intention in spite of its cost. The two seeming oddities here Harper's original "Masterpiece" and the standard "St. James Infirmary" add striking depth and dimension. The former is obviously modeled on Morrison's Astral Weeks period and as such, Jones gives it that anchor. Her take on the latter tune strips away the decades of nostalgia and brings it right back to the blues. Her emotive resonance brings back the depth of emotion the song was meant to convey. Jones' version of Tim Hardin's "Reason to Believe" and Ted Anderson's "Seems Like a Long Time" both appeared on Rod Stewart's Every Picture Tells a Story. Jones adds a different kind of authority to both. Her voice, while less grainy, is more world-weary, more broken, but more convincing in its resolve. Between them is the Rolling Stones' "Play with Fire," its refrain is a warning (once more stripped of its boast), an act of simple, dark truth-telling. With its restrained arrangements and spacious production, The Devil You Know allows Jones' enigmatic voice the room it needs to rise and deliver these songs, not from rock & roll history, but from her heart, marrow, and bones. ~ Thom Jurek  http://www.allmusic.com/album/the-devil-you-know-mw0002404588

Personnel: Rickie Lee Jones (vocals, guitar, piano, percussion, background vocals); Ben Harper (guitar, organ, vibraphone, drums, percussion, background vocals); David Lindley (violin); Larry Goldings (piano, organ); Jesse Ingalls, Jamie Elman (piano); Chris Joyner, Jason Yates (organ); D.J. Bonebrake (vibraphone).

The Devil You Know

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