Willie Nelson and Norah Jones sang "Crying Fourth dimension" at Lincoln Center with a style that makes the song all theirs. Something about Jones' magnificent ease dolefully shimmers against Nelson'southward deep, plain, and profound narration.
On the other hand, Wynton Marsalis led the virtuoso musicians. Other members include Mickey Raphael, Walter Blanding, and Ali Jackson. They all did an excellent performance also.
"At present everything inverse," Marsalis says in introduction, "And You know how that happens? Suddenly your centre is unchained and it's crying time."
Norah Jones was born in New York City on March 30, 1979, to the Indian musician Ravi Shankar. Jones grew up in Texas and studied jazz piano at the University of Due north Texas. Later in 1999, she moved to New York City. In hither, she started performing in clubs and waited tables. She signed with Blue Note Records in 2001, and went on to win v Grammy awards for her debut album, Come Away with Me, in 2002. Moreover, her contempo albums include her 2012 solo effort Little Broken Hearts and Northo Fools, No Fun.
Willie Nelson and Norah Jones (You Tube)
Crying Fourth dimension, The Original: Buck Owens
"Crying Time" is a song from 1964 written by country music artist Buck Owens. Owens recorded the original version of his vocal and released it as the B side to the 45th unmarried "I've Got a Tiger by the Tail" in 1964.
Oh, it's cryin' time again, yous're gonna leave me I can see that far away wait in your eyes I can tell by the way y'all hold me darlin'. Alright now That information technology won't be long earlier it's cryin' fourth dimension
Buck Owens (photo from amazonaws.com)
Crying Time: Ray Charles Cover
Most of Ray Charles' song choices and arrangements drew from theNashville Sound. Information technology is a style of land and western centered around lush ballads, orchestral instrumentation, and smooth, de-accented vocals. While the Nashville Audio was geared toward mainstream crossover,Buck Owens pioneered the rival Bakersfield Sound, which embraced the less polished honky-tonk tradition.
Despite the rougher style, Charles' alterations to Owens' "Crying Time" feel surprisingly subtle and natural. Charles slightly slows the tempo to emphasize the heartbreak and adds a female counterpoint, courtesy of his regular backing singers, the Raelettes. The e'er-present strings and choir that is featured on all Charles' country records appear intact, but with a lighter impact than that which graced "I Can't Stop Loving You" and other tracks.
The shuffling rhythm betrays the vocal's honky-tonk origins. However, "Crying Time" blends seamlessly into the Ray Charles songbook, while remaining true-blue to the spirit of Owens' original.
Country, R&B, and Ray Charles
At first glance, rhythm & blues and country & western would seem to exist consummate opposites – not simply in audio only also in the demographics of their audiences. Still both R&B and country are remarkably similar nether the skin, sharing in mutual song structures, thematic concerns, and raw emotional honesty far removed from the more restrained sounds of traditional pop.
Both genres are also music for and by marginalized people, for decades granted little respect by the mainstream pop establishment, who marketed their platters to fringe audiences as "race records" or "hillbilly music." The affinity between the two seemingly disparate genres reached a tiptop in the racially divided America of the early '60s, when an R&B legend, Ray Charles, earned his greatest pop success singing C&Due west songs — and, in the procedure, helped bring Country a piffling closer to the mainstream.
Ray Charles (gif from media.tenor.com)
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