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The Amazing Nina Simone reveals Nina Simone at the dawn of her recorded legacy—already assured, deeply expressive, and impossible to categorize. Moving effortlessly between jazz, blues, folk, and classical influences, Simone delivers performances of striking intimacy and emotional precision, pairing a distinctive, searching voice with elegant, commanding piano work. This special repressing on 180g orange vinyl brings renewed warmth and presence to these recordings, enhancing their dynamic range and tactile immediacy. A timeless listening experience, The Amazing Nina Simone remains a powerful introduction to one of the most singular voices in modern music

"Little Girl Blue, released in 1957, was Nina Simone's first studio recording ever. It was originally issued on the Bethlehem label and features the singer/ pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert ""Tootie"" Heath, one of the celebrated Heath brothers (the other two being saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial version of ""My Baby Just Cares For Me"".

THE COMPLETE ALBUM + 3 BONUS TRACKS - 180-GRAM VIRGIN VINYL -
LIMITED EDITION"

a A1 I Love Your Lovin' Ways; Arranged By [Arr. By] – Horace Ott; Written-By – B. Benjamin*, S. Marcus*
[b] A2 Four Women; Written-By, Arranged By [Arr. By] – Nina Simone
[c] A3 What More Can I Say; Arranged By [Arr. By] – Horace Ott; Written-By – H. Ott*, W. Brown Jr.*
[d] A4 Lilac Wine (From "Dance Me A Song"); Arranged By [Arr. By] – Nina Simone; Written-By – J. Shelton*
[e] A5 That's All I Ask; Arranged By [Arr. By] – Horace Ott; Written-By – H. Ott*
[f] A6 Break Down And Let It All Out; Arranged By [Arr. By] – Horace Ott; Written-By – V. McCoy*
[g] B1 Why Keep On Breakin My Heart; Arranged By [Arr. By] – Horace Ott; Written-By – B. Benjamin*, S. Marcus*
[h] B2 Wild Is The Wind; Arranged By [Arr. By] – Nina Simone; Written-By – D. Tiomkin*, N. Washington*
[i] B3 Black Is The Color Of My True Love's Hair; Arranged By [Arr. By] – Nina Simone; Written-By – N. Simone*
[j] B4 If I Should Lose You; Arranged By [Arr. By] – Nina Simone; Written-By – Robin*, Rainger*
[k] B5 Either Way I Lose; Arranged By [Arr. By] – Horace Ott; Written-By – V. McCoy*

[a] A1 I Love Your Lovin' Ways; Arranged By [Arr. By] – Horace Ott; Written-By – B. Benjamin*, S. Marcus*
[b] A2 Four Women; Written-By, Arranged By [Arr. By] – Nina Simone
[c] A3 What More Can I Say; Arranged By [Arr. By] – Horace Ott; Written-By – H. Ott*, W. Brown Jr.*
[d] A4 Lilac Wine (From "Dance Me A Song"); Arranged By [Arr. By] – Nina Simone; Written-By – J. Shelton*
[e] A5 That's All I Ask; Arranged By [Arr. By] – Horace Ott; Written-By – H. Ott*
[f] A6 Break Down And Let It All Out; Arranged By [Arr. By] – Horace Ott; Written-By – V. McCoy*
[g] B1 Why Keep On Breakin My Heart; Arranged By [Arr. By] – Horace Ott; Written-By – B. Benjamin*, S. Marcus*
[h] B2 Wild Is The Wind; Arranged By [Arr. By] – Nina Simone; Written-By – D. Tiomkin*, N. Washington*
[i] B3 Black Is The Color Of My True Love's Hair; Arranged By [Arr. By] – Nina Simone; Written-By – N. Simone*
[j] B4 If I Should Lose You; Arranged By [Arr. By] – Nina Simone; Written-By – Robin*, Rainger*
[k] B5 Either Way I Lose; Arranged By [Arr. By] – Horace Ott; Written-By – V. McCoy*

Nina Simone was one of the most extraordinary artists of the twentieth century, an icon of American music. She earned the moniker

‘High Priestess of Soul’ for she could weave a spell so seductive and hypnotic that the listener lost track of time and

space as they became absorbed in the moment. She was who the world would come to know as Nina Simone. Herewith an

EP Selection from Nina with “I Love To Love You”, “Jazz As Played In An Exclusive Side Street Club” and “My Baby Just Cares For Me,”

previously recorded by Nate King Cole, Count Basie, and Woody Herman. The song was used by Chanel in a perfume commercial in

Europe in the 1980’s and it became a massive hit for Nina, a British chart topper at #5, and thus a staple of her repertoire for the rest of her career.

This is one of Nina Simone’s best albums in a long time. She’s taken a flock of Duke Ellington tunes, some familiar and some not-so-familiar, and handed them interesting and intriguing renditions in her own special style. The album’s a bit straighter than later efforts, with large backings by Stu Phillips that also feature vocals by the Malcolm Dodds Singers. The result is a masterpiece, proof that even in her early years, Nina could completely transform anything she laid her hands on, and unlock a soulful depth that even the original recordings might have missed. Titles include “I Got It Bad”, “Solitude”, “The Gal From Joe’s”, “It Don’t Mean A Thing”, and “I Like The Sunrise”.

Nina Simone said that she’d rather have people remember her for her album Nina Simone And Piano! then for her surprise hit “My Baby Just Cares For Me”. And when you listen to the album, you fully understand why. This is Nina Simone stripped bare; an introspective, intimate album about death, reincarnation, loneliness, and love. The simple piano arrangements and poignant vocals make you creep closer to the music - and the artist - with every listen. Though commercially unsuccessful, this album was released to great critical acclaim in 1969, and it is a true gem in Nina Simone’s body of work.

Available as a limited edition of 1500 individually numbered copies on solid gold vinyl.

Three complete album masterpieces by the inimitable Nina Simone on
180gram vinyl and boxed together as her The Essential Albums.
Little Girl Blue: Little Girl Blue, released in 1957, was Nina Simone’s first recording, originally issued on the Bethlehem label. It showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. (Scott Yanow/AllMusic) Nina Simone at Town Hall: From the start of her career, Nina Simone carved out
her own unique niche, bringing together her classical piano technique with folk singing, civil rights protest lyrics and jazz. All of those elements are in evidence on this highly recommended set. (Scott Yanow/AllMusic) Nina Simone at The Village Gate: Nina Simone at the Village Gate was her third live album for Colpix recorded at The Village Gate, a nightclub in Greenwich Village, New York. It was particularly notable for the number of folk songs and African related songs on the album early in Simone’s career. Eunice Kathleen Waymon (1933-2003), known professionally as Nina Simone,
incorporated a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. The sixth of eight children born to a poor family in Tryon, North Carolina, she initially aspired to be a concert pianist, but due to racial discrimination she was denied admission to the prestigious Curtis Institute of Music in Philadelphia.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between
1958 and 1974.

Um aus der Masse der LP-Wiederveröffentlichungen herauszuragen, gibt es nur ein Rezept: besondere Qualität!

In der Machart der audiophile BLUE NOTE TONE POET-Serie spielt jetzt auch Verve mit, mit seiner neuen ACOUSTIC SOUNDS-Serie.

Die dritte Staffel präsentiert zwei absolute Nina-Simone-Klassiker. So exquisit gefertigt wie hier gab es diese allerdings noch nie: gemastert ohne digitale Zwischenschritte von den Original-Analogbändern, in 180gVinyl gepresst von Quality Record Pressings und in stabile Tip-on-Gatefold-Sleeves verpackt, gedruckt und verarbeitet bei Stoughton Printing Co. Die gesamte Fertigungskette betreut der legendäre Chad Kassem vom audiophilen LP-Label Acoustic Sounds.

[k] Central Park Blues [Instrumental]

This reissue of Nina Simone’s ‘Forbidden Fruit’ includes a bonus album, ‘Nina Simone sings Ellington’ plus 2 bonus tracks. On the 1960/1 recording Nina sings and plays piano, accompanied by Al Shackman, guitar Chris White, bass and Bobby Hamilton, drums.
The bonus album was recorded in 1961 with an orchestra conducted and arranged by Ralph Burns. The two bonus tracks are from 1957 with Jimmy Bond on bass and Albert “Tootie” Heath on drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “With Forbidden Fruit, Simone became one of the defining voices of the 1960s.” Penguin Guide to Jazz

Hailed as the ‘High Priestess of Soul’, Nina Simone’s unique style seamlessly fused jazz and R&B with her classical piano roots to accompany her profoundly beautiful voice.

Includes FREE download card enabling you to download the full album as well as bonus Nina Simone tracks.

From classics such as ‘I Loves You Porgy’ and ‘My Baby Just Cares For Me’ to dynamic live recordings from her creative heyday, this collection charts her rise

to stardom and shows why she remains a hugely inspirational figure to this day. ‘An overwhelming artist, piano player, and singer,’ - Bob Dylan

LP comes with cotton tote bag featuring the album artwork and sticker.







[g] A6. Black Is The Colour Of My True Love's Hair [Live At Town Hall]






[n] B6. Wild Is The Wind [Live At Town Hall]

The versatile singer, songwriter, pianist, musical arranger and civil rights activist Nina Simone was one of the most iconic of all jazz performers. Operating in a range of genres, from folk, blues and rhythm ‘n’ blues to pop, gospel and classical, Simone issued over 40 albums during a long and successful career, though bipolar disorder dramatically affected her later years. Born Eunice Kathleen Waymon in 1933, she was one of eight children in a poor black family raised in the small southern border town of Tryon, North Carolina, where her father was a reverend and her mother a Methodist minister; young Eunice began playing piano in the local church by the age of four. Her mother’s employer paid for her music lessons, leading to her first classical recital, aged 12, and her teacher was so impressed with her skills that a local fund was established to allow her to attend the Allen High School for Girls in Asheville and subsequently enroll at the Juilliard School of Music in New York. Aspiring to be a professional classical pianist, she then tried for a scholarship to study further at the Curtis Institute of Music in Philadelphia—her family moving to Philly in anticipation of her success—but was denied admission, which she felt was due to the color of her skin. To fund her private piano lessons and to support her uprooted family, she began performing at a bar in Atlantic City and gained a sizeable following under her alias, chosen in 1954 to disguise herself from family members that would surely disapprove of her non-religious repertoire. Her breakthrough came in 1958 with the release of her debut album Little Girl Blue, issued on upcoming jazz label Bethlehem Records, which contained her outstanding hit rendition of the theme song from Porgy and Bess. Moving to Coolpix Records, the first record label established by Columbia Pictures, allowed Simone greater artistic control. She recorded a range of albums for the company before switching to Philips in 1964; Coolpix’s1963 release, Nina’s Choice, was titled in reference to the fact that Simone chose the entire contents, drawing from a range of pop, folk, blues and show tunes, all interpreted and delivered in her uniquely expressive style.

As noted above, the singer-songwriter and pianist Nina Simone came to prominence in the late 1950s after she signed to the Bethlehem label for her debut album, Little Girl Blue, which contained the breakthrough hit “I Loves You Porgy,” as well as future anthem, “My Baby Just Cares For Me.” Her subsequent move to Coolpix Records, the audio subsidiary of Columbia Pictures, allowed her near total artistic control of her material and her lengthy tenure with the company brought plenty of popular album releases. The 1966 oddity Nina With Strings was issued by Coolpix a couple of years after she left the company to begin recording for Philips; a strange mix of live recordings and studio outtakes, released without her knowledge or permission, the presence of orchestral strings on several tracks gives the album its title and overriding theme. The version of “I Loves You Porgy” included here is noticeably slower than the hit version issued by Bethlehem and the sense-surround strings are suitably retarded; “Falling In Love Again,” “Baubles Bangles and Beads,” “Spring Is Here,” “That’s All” and “The Man With A Horn” are all given similarly lush orchestral arrangements, though Canonball Adderley’s “Chain Gain,” Simone’s moving original “Blackbird” and “Porgy I Is Your Woman Now” are all present in their unadulterated forms.

It Is Finished is a live album from Nina Simone with sitar, Madagascar harp, Spanish guitar and lots of interesting-sounding African percussion instruments. This live album includes the epic heavy-afro version of “Funkier Than A Mosquito’s Tweeter” with a massive percussion breakdown. Simone is at her best when she performs live and the energy of these recording is absolutely phenomenal.

The limited 45th anniversary edition is available as 1500 individually numbered copies on pink & black marbled vinyl.

Wild Is The Wind, Nina Simone’s sixth album for Philips, has all the variety her work for the label was known for—from the minimal title track to the traditional folk song “Black Is The Color Of My True Love’s Hair” to the banned-on-radio “Four Women”. In 2020, the album was ranked 212 on Rolling Stone's 500 Greatest Albums of All Time.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

“Nina Simone at the Village Gate” is a live album by singer, pianist & songwriter Nina Simone. The album was recorded at The Village Gate, a nightclub in Greenwich Village, New York in late March 1961.On this LP eight songs performed at the gig and three bonus tracks from her album “At Town Hall”.

From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to oer a rich and authentic listening experience.

Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.

Released in 1959, The Amazing Nina Simone marked her debut with Colpix Records, blending jazz, gospel, and folk with a striking orchestral touch. Unlike her piano-driven debut, this album leans on lush string arrangements led by renowned conductor Bob Mersey. A bold departure that highlighted her vocal depth, it showcased Simone’s ability to transcend genres with effortless grace.

In late November of 2018, long-time collaborators (& life-long Los Angelenos) Carlos Niño & Miguel Atwood Ferguson flew to Chicago to participate in the album release performance of Makaya McCraven's Universal Beings. Just 11 months prior, Carlos & Miguel were part of recording the 'Los Angeles Side' of Universal Beings at Jeff Parker's house in Altadena, California, and this performance in Chicago would be the first time that all of the musicians reunited to re-learn and perform the music they'd collectively composed during those sessions. The Universal Beings performance and preceding days of rehearsal took place at the iconic South Shore Cultural Center - a historic gilded-era urban club-turned-public facility deep on Chicago's Southside and right along the reedy shore of Lake Michigan, giving the building's backdrop an infinitely blue Northern expanse.

High quality, 2 x 180g pink marbled vinyl, gatefold sleeve and download
code containing the digital album in multiple formats. Singer Nishla
Smith creates vivid, enigmatic stories through sound, her voice stretching
from melancholic sweetness through to dark intimacy
Her debut album 'Friends with Monsters' confirms Smith as a major new vocal
talent and sees the vocalist's affinity for inventive narratives extended over the
span of a full album. The Australian performer travelled via Berlin to eventually
settle in Manchester and is joined here by some of the city's most talented
improvisers. Richard Jones and Johnny Hunter cover piano and drums
respectively, whilst bassist Joshua Cavanagh-Brierley and trumpeter Aaron Wood
add graceful touches to complete the quintet's intimate feel. Smith's depictions of
night-time have an enigmatic quality, inviting listeners on an atmospheric journey
but all the while pointing to something greater.
Smith's work moves swiftly through genres, driven by her unique artistry. A City
Music Foundation artist, she has received commissions from Manchester
Collective and Opera North, as well as Manchester Jazz Festival and Jazz North.
As co-creator of theatre company Ulita, she also creates collaborative pieces that
blend theatre, music and visual arts. 'Friends with Monsters' continues that
theatrical drive - "I'm a very natural storyteller, I just love to tell stories. I find
myself weaving everyday events into tales that are very narratively pleasing."
Set over the course of a single evening, 'Friends with Monsters' explores changing
states of insomnia, informed by Smith's own sleepless nights. It's realised in four
distinct sections; each is introduced by a scene-setting interlude. Delving deeper
into the dreamy world of Smith's storyland rewards greatly.

‘Lemon The Moon’ features Nitai’s long-time collaborators - drummer Amir Bresler, who played in Avishai Cohen’s trio, along with Nitai, and bassist Or Bareket. Like in his previous albums, Nitai teams with Rejoicer (Yuvi Havkin) to produce this ten-track braid of music; an abundance of musical terrains ranging from the cinematic “Invite Me, Dance” through the exploratory “Bridge Under Water” and marbling Ethio-Jazz “Bonfire Wiggle” to the mischievous “Goat”, the listener finds proof of true teamwork.

With Call on the Old Wise Nitai Hershkovits delivers an entrancing solo album In this largely improvised solo rendering, the pianist draws from broad influences, ranging from his extensive work in jazz contexts and cutting-edge contemporary explorations to his background in classical music. This immaculate balance of idioms gives rise to an abundance of colours and timbres, explored by a pianist, who has successfully forged his very own voice as improviser and shapedesigner. With a soft touch, light action and washing harmonies, Nitai's improvisations unfold like compositions being created in real- time, making Call on the Old Wise a testimony to the pianist's unique inventiveness as well as an essential addition to ECM's celebrated line of solo piano recordings. The album, recorded in Lugano in 2022 and produced by Manfred Eicher, follows after his contributions in Oded Tzur's quartet on the acclaimed recordings Here Be Dragons (2020) and Isabela (2022).

In this 7th opus, Nojazz keeps exploring electro jazz and world music, the group's real trademark, remaining faithful to its grounding in soul music.
Their new highly funky voice, which appeared in their "Soul Stimulation" album, surfs on powerful sometimes even confusing rhythms, slips with ease between the ever so strong horns and perfectly finds its place in the midst of unbridled arrangements.
Nojazz are more than ever deploying their listening and improvisation skills in this album. They like to surprise as much as they like to be surprised! Each new title is an opportunity for them to plunge into the unknown, initiating new collaborations across the planet. "Beautiful Life" is a pristinely modern illustration of this desire for exploration.

"7"" single for the djs of the initial digital 45 of Peixeira Amolada e Quebra Queixo b/w Mariposa Tigre.

Peixeira Amolada e Quebra Queixo It represents two popular stereotypes common in the third world: the sharp cutting knife and the quebra-queixo, the coconut candy brought from Angola by enslaved blacks. But, playfully, it is also the expression of direct speech and a sharp blow, also as a duo of anti-heroes in search of justice, equality and fraternity. This song also features an element never used before in the band: the guitar. One of the most popular instruments in the world, it provides the basis for the song, which goes through a groove full of counter-melodies that bring that feeling of a cut (hence the name of the song), in non-obvious conventions, and a surprising ending in another time signature. As well as the musical reference for the name, this track represents the struggle that many Brazilians go through every day to have a decent life. You have to have a ""sharpened knife"" to open the way.

Quebra Queixo Represents the playful and magical beings of the forest. How can a moth be a tiger? This song carries a lot of the sound Nomade has built up over the course of their career. Strong funk influences, ethno groove, with unconventional brass themes and a very jazzy accent. Halfway through the song, another of the band's very strong references comes to the fore: reggae, more precisely ragga, which makes the song even more danceable. Finally, a convention from the whole band brings the song to a grand end, making you want to listen to it again."

Angel Marcloid’s recordings as Nonlocal Forecast focus the trajectory of a vast catalog squarely in the realm of retro Weather Channel-inspired smooth jazz fusion, intricate prog, and expansive new age experiments.
Trading off a measure of the typically overloaded compositional style found in other projects to favor lush atmospheres and relatively pared down arrangements, Marcloid populates Nonlocal Forecast pieces with progressive keyboard and synth harmonies, complex drum programming, and majestic leads performed on guitar, keyboards, and guests’ saxophones.
The project runs alongside the omni-combinatory works of the flagship project Fire-Toolz and many other monikers including the vapor-focused works of Mindspring Memories. Holographic Universe(s?)!, the second Nonlocal Forecast full-length and the first to be released on
vinyl, follows Bubble Universe! with a cycle of songs that elevates Marcloid’s grandiose compositions to previously undiscovered heights, while packing the music with dramatic shifts
that allow it to journey off into dynamic new directions.

Norah Jones didn't mean to make another album. After she finished touring 2016's Day Breaks — her beloved return to piano-based jazz — she walked away from the well-worn album cycle grind and into an unfamiliar territory without boundaries: a series of short sessions with an ever-changing array of collaborators resulting in a diverse stream of singles (with Mavis Staples, Rodrigo Amarante, Thomas Bartlett, Tarriona Tank Ball, and more). But then an odd thing happened. Slowly but surely, the session songs Jones hadn't released congealed into that very thing she'd meant to avoid — an album, lucky for us. Because Pick Me Up Off The Floor is not some disjointed collage. It holds together beautifully, connected by the sly groove of her piano trios, lyrics that confront loss and portend hope, and a heavy mood that leans into darkness before ultimately finding the light.

Norah Jones has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has made her first-ever holiday album with I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. I Dream Of Christmas will be released October 15 on Blue Note Records and can be pre-ordered now on vinyl, CD, and digital download.

“I’ve always loved Christmas music but never had the inclination to make a holiday album until now,” Norah says. “Last year I found myself listening to James Brown’s Funky Christmas and Elvis’s Christmas Album on Sunday’s during lockdown for a sense of comfort. In January 2021, I started thinking about making a Christmas album of my own. It gave me something fun to work on and look forward to.”

The album’s opening track, Norah’s original “Christmas Calling (Jolly Jones)” is available to stream or download today. Over chiming piano chords, Norah expresses a deep desire for holiday cheer and companionship. “I wanna hear the music play / I wanna dance and laugh and sway / I wanna happy holiday for Christmas.”

“When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah explains. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year. Then there are all the classics that have that special nostalgia that can hit you no matter who or where you are in life. It was hard to narrow down, but I picked favorite classics that I knew I could make my own.”

Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late” by David Seville (aka Ross Bagdasarian), which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” and “Christmas Time Is Here.”

I Dream Of Christmas was produced by Leon Michels, and features an excellent cast of musicians including Brian Blade on drums, Tony Scherr and Nick Movshon on bass, Russ Pahl on pedal steel guitar, Marika Hughes on cello, Dave Guy on trumpet, Raymond Mason on trombone, and Michels on saxophone, flute, percussion, and more.

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Jones has become a nine-time GRAMMY-winner. She has sold 50 million albums and her songs have been streamed six billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), Day Breaks (2016), Pick Me Up Off The Floor (2020), and her first-ever live album ‘Til We Meet Again (2021)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade, some of which were compiled on the 2019 singles collection Begin Again.