NORAH JONES — Interview | NORAH JONES: Live At Ronnie Scott's - Vidéo Dailymotion

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NORAH JONES — Interview | NORAH JONES: Live At Ronnie Scott's  Artist: Norah Jones  NORAH JONES Interview by  PAUL SEXTON  NORAH JONES  Live At Ronnie Scott's  Release date: November 16, 2004 Released: 2018 Performer: Norah Jones Label:Eagle Vision  NORAH JONES  Vocals, Piano   BRIAN BLADE  Drums   CHRISTOPHER THOMAS Double Bass  DVD VIDEO EREDV1317   Film Director: Nick Wickham Film Producer: Jamie Silk Supervising Producer: Peter Worsley  Executive Producers for Eagle Rock Entertainment Ltd: Geoff Kempin and Terry Shand  Executive-Producer (For Eagle Rock Entertainment Ltd.): Geoff Kempin, Terry Shand  Director Of Photography: Brett Turnbull Film Editor: Reg Wrench Film Technician, Colourist: Andy Lee  Film Producer: Jamie Silk Film Producer (Supervising Producer): Peter Worsley Legal (For Eagle Rock Entertainment: Legal And Clearances): Charlotte Godfrey, Rebecca Bradshaw, Rochelle Winn Audio Mix: Jamie Landry Performer With Bass: Christopher Thomas Performer With Drums: Brian Blade Assistant Mix Engineer: Josh Welshman Stereo Audio Mastering: Greg Calbi, Sterling Sound, New York Surround Sound Mastering: Tim Summerhayes Audio Dubbing engineer: Andy Coles Production Manager: Melissa Morton Hicks  Photography: Christie Goodwin Product Manager For Eagle Rock Entertainment: Freya Houlding Production Manager: Melissa Morton Hicks Production Manager For Eagle Rock Entertainment: Rosie Holley Packaged in clear blu-ray sized case Studio: Blue Note Records Photography: Christie Goodwin  © Gullible Jones, LLC NORAH JONES MANAGEMENT  Silva Artist Management An Eagle Rock Film production for Eagle Rock Entertainment Ltd  © 2018 Gullible Jones, LLC, exclusively licensed to Eagle Rock Entertainment Ltd  An Eagle Rock Vision Release. Eagle Vision is a division of Eagle Rock Entertainment Ltd, a Universal Music Group company. All Rights Reserved.  Universal Music Group Eagle Rock Entertainment Ltd. Stereo Audio Mastering: Sterling Sound, New York VIDEO DVD9 / 16:9 / NTSC 0  AUDIO DOLBY DIGITAL STEREO / DOLBY DIGITAL 5. 0 / DTS DIGITAL SURROUND SOUND  Eagle Vision   Gleich vier ausverkaufte Konzerte spielte Norah Jones im vergangenen Herbst im legendären Londoner Jazzclub Ronnie Scott's - jetzt kommt der Konzertfilm zu den einzigartig intimen Shows: "Live at Ronnie Scott's" erscheint als DVD, Blu-ray und Download.  Fans von Norah Jones können sich auf magische Szenen freuen, in denen die seit über 15 Jahren erfolgreiche Sängerin ans Klavier und somit zu ihren (Jazz-)Wurzeln zurückkehrt: Minimalistisch und elegant, hypnotisch und wunderschön beginnt sie den Abend mit einer bewegenden Interpretation von "Sleeping Wild" vom aktuellen Album "Day Breaks" (2016), um danach u.a. auch "After The Fall" und "Flipside" als Trio zu präsentieren - sowie eine grandiose Version von Duke Ellingtons "Fleurette Africaine (African Flower)". Das aus insgesamt 16 Songs bestehende Live-Set, das sie mit dem GRAMMY-Hit "Don't Know Why" und "I've Got To See You Again" ausklingen läss

Transcript

00:00 (traffic noise)

00:02 - Well, Nora, welcome back to the UK.

00:13 - Thank you.

00:14 - And welcome to Ronnie Scott's.

00:16 - It's exciting.

00:17 - We should explain that we're in the upstairs bar,

00:19 so this is kind of like the calm before the storm,

00:21 isn't it?

00:22 I mean, everyone's getting ready downstairs.

00:23 Sound checking and so on.

00:25 What's the kind of routine for you on a gig day?

00:28 - You know, I try to get enough sleep.

00:31 That's the main thing, 'cause you gotta be up late.

00:32 But I have no crazy routines.

00:35 I try to warm up now, and that's about it.

00:38 - When did Ronnie Scott's kind of come

00:40 into your consciousness as a sort of landmark

00:42 on the jazz scene?

00:43 - It was a long time ago when I was in town playing,

00:46 and I was just kind of struck at how beautiful the room was,

00:49 you know, and how good it sounded.

00:51 And I did a little promo thing here once,

00:53 and it was just so, it just has a good vibe,

00:57 and it feels good.

00:59 - There are certain spots around the world, aren't there,

01:03 which you obviously become associated with

01:06 the more you play.

01:07 - Yeah.

01:08 - But it's quite an achievement, isn't it,

01:10 to keep a place like this with the reputation

01:12 that it still has after all this time, you know,

01:14 in a world where you can't guarantee

01:17 that live venues are even gonna carry on.

01:19 - Yeah, no, I mean, it's really special

01:20 to play an older club like this that has a lot of history,

01:24 because, yeah, a lot of them aren't around anymore.

01:27 - So we're right before the show.

01:30 Just explain a little bit about what people

01:31 are gonna see downstairs.

01:33 - So these are some trio shows I'm doing

01:35 with Chris Thomas on bass and Brian Blade on drums.

01:38 And they played on my record,

01:40 and I've played with Brian off and on over the years,

01:44 but I've never gotten to really just do some loose,

01:48 stripped down stuff with him until we made the record.

01:50 And even though we added a lot of stuff to the record,

01:53 different instruments, played with different people,

01:55 it started out as just the three of us

01:57 doing some of the songs as a trio, and it just felt good.

02:01 They're such great guys and amazing musicians.

02:04 And we kinda, to me, we clicked.

02:06 I mean, I'm sure they click with everyone

02:08 'cause they're so good, but we've been trying

02:11 to book this for a long time, so it finally came together.

02:14 And for me, it's been really, really exciting

02:16 to play the piano in the last couple years.

02:18 I've played more and more piano,

02:20 and even though it's the instrument I started on,

02:22 I kinda shied away from it

02:24 and played a lot of guitar over the years,

02:26 and kinda whatever makes the song.

02:29 But lately, I've been enjoying it,

02:31 and so it feels really good to just sort of

02:34 be the only chordal instrument on stage.

02:38 It's the first time I've really done this

02:39 since I moved to New York and was playing small trio shows.

02:43 But when I started writing songs and making my first album,

02:47 that kinda stopped, and I always had a guitar player,

02:49 at the very least, in addition.

02:51 So it's really fun to strip it down,

02:53 and I've been able to play a lot differently.

02:56 And it's just kinda loose.

02:58 The songs sound different every night,

02:59 so you never really know what's gonna happen.

03:01 The freedom of it is really fun.

03:03 It's just got less structure.

03:05 - And it's a reflection of the fact

03:06 that the album itself has more space in it, doesn't it?

03:09 - Yeah, the album has a lot of space in it.

03:12 I mean, I think all my albums have a lot of space in it,

03:15 some more than others,

03:16 but I'm kind of a minimalist in a way.

03:18 But yeah, over the years, I've really enjoyed

03:21 having a full band with guitar, and sometimes two guitars.

03:26 It's fun to strip it all back down

03:28 and just sort of reconnect with the way I'm playing piano.

03:33 You know, when I started making this album

03:34 and when I started thinking about these trio shows,

03:37 I was thinking of kinda going back to where I started,

03:40 which was more in the jazz genre.

03:42 But now that we're doing these shows,

03:44 I realize that's not how I would define this, necessarily.

03:48 It's just, it's got its own thing, you know?

03:50 It's a trio and it's piano, but we're just playing songs.

03:55 That's all it is.

03:56 It kinda turns into its own thing.

03:59 - Yeah, I wouldn't be the first person to say

04:01 that you kind of are your own genre, basically.

04:04 - I mean, I think everyone is, to a point.

04:06 I think genres can be a little limiting

04:09 when you try to talk about music.

04:11 Music should be this free thing

04:13 that if you try to put it in a box,

04:16 I don't think it'll fly as much.

04:18 So this is really, what playing with these guys is

04:22 in this sort of format and having it be loose

04:25 and doing two sets a night and small clubs and stuff,

04:29 it's supposed to be a little bit of freedom, more freedom.

04:32 - Because jazz, much as we love it,

04:35 it's an emotive word, isn't it?

04:35 It's the same as country or anything.

04:37 People think they know what it means.

04:39 - Yeah, it means something different

04:40 to a lot of different people, the genre words.

04:43 So I try to stay away from that.

04:45 And also, it's funny, I was thinking about these shows

04:48 and thinking, oh, there'll be more jazz shows.

04:51 No, actually, I'm not adding any songs

04:55 that are really outside of my normal repertoire.

04:59 Like I'm not necessarily playing jazz songs.

05:01 There are just a lot of songs from the albums

05:03 and they're just songs.

05:05 - With every new album comes the challenge

05:08 of building the set list and which ones you leave out

05:10 from the old days 'cause you wanna do justice

05:12 to the Daybreaks album, don't you?

05:14 - Yeah.

05:15 - Has that been a challenge to fit it all in?

05:18 - No, I mean, it's fun.

05:21 Actually, we played five shows last week in New York

05:24 and we did two sets a night, but with the same audience.

05:27 So it was totally different sets,

05:29 whereas these are a different audience.

05:30 So there'll be a few songs repeated,

05:32 but I mean, it made it really fun

05:35 because it gave us more options

05:37 so we didn't have to play the same set every night.

05:40 But yeah, there's songs that are the favorites

05:42 and that I've enjoyed more and then songs

05:44 that, oh, that was nice, we could do that anytime,

05:46 but I don't have to do it every night.

05:48 ♪ It's a wonderful time for love ♪

05:52 - The Daybreaks album had a kind of specific

05:57 starting point, didn't it?

05:58 Or there was a show that you played

06:00 where the idea kind of formed for the album,

06:03 is that right?

06:03 - Yeah, kind of.

06:04 I mean, I did, I kind of was off the road for a while

06:07 and I wasn't playing a ton of music

06:09 and then I did a show at the Kennedy Center

06:11 with Wayne Shorter and Brian Blade

06:14 and Jason Moran and John Patitucci

06:17 and it was a 75th anniversary concert

06:20 for my record label, Blue Note, which is a jazz label.

06:23 So the musicians all there were great,

06:28 all these amazing musicians.

06:30 And I don't know, it just kind of reminded me

06:33 of this sort of style that I love

06:37 and that I am schooled in, you know?

06:40 But I just haven't really gone in that direction

06:42 in a long time.

06:43 So it kind of inspired me

06:45 and I get excited playing piano for the first time

06:47 in a long time and just sort of collecting new stuff.

06:52 - 'Cause you'd done, you know, right before that,

06:53 you'd been kind of experimenting in different styles,

06:55 hadn't you?

06:56 And, you know, moving down to a slightly more pop avenue,

06:58 I guess.

06:59 - Yeah.

07:00 Yeah, I mean, I did the album with Danger Mouse last

07:03 and I love that album.

07:06 It's fun.

07:07 It's fun doing different things.

07:08 Actually, the songs from that album

07:09 might be my most favorite songs

07:12 that we're doing in this trio,

07:13 just the way they are totally different.

07:16 'Cause that song was so different production-wise

07:18 and so specific sonically.

07:20 And so to strip those songs down and realize that,

07:22 oh, they're just great songs too.

07:25 And they fit, I mean, whatever,

07:28 as long as you're singing the song heartfelt,

07:30 then the structure of the song should be able to float

07:34 into any arrangement, I feel like.

07:38 ♪ I never told you ♪

07:43 ♪ About the winter ♪

07:47 - Do you think your relationship with the piano

07:51 has changed back, you know, with this record

07:53 and the different way that you've made it?

07:55 I mean, it's a bit like sort of reacquainting yourself

07:58 with a very old friend.

07:59 - Yeah, I think my relationship with the piano

08:01 has changed a lot.

08:02 I think a long time ago, I shied away from certain things

08:06 and I felt like, oh, this sounds too piano-y.

08:09 And now I kind of own it a little bit more.

08:11 And if it sounds piano-y,

08:13 if I don't like the piano-y way it sounds,

08:16 then I change it and I make it sound cool,

08:18 you know, in a way that I like.

08:20 And so I think I feel, I mean, as anything with age

08:25 and practice, you just get better at it.

08:27 You get more second nature.

08:29 You get more familiar with the instrument.

08:32 And I mean, I hope I keep getting better.

08:34 I don't want to stop.

08:35 - I remember having a lovely conversation

08:37 with Bruce Lundvall,

08:38 which featured a lot of talking about you, of course,

08:42 at a certain point around the time of the second album,

08:44 I think.

08:44 And just talk about how important he was to you

08:48 and also to Blueno,

08:49 because he is the guy that kind of revived,

08:51 you know, created the modern version

08:52 of the Blueno label, really, isn't it?

08:54 - Yeah, I mean, Bruce was super supportive of me

08:58 and also gave me a chance

09:00 when I didn't quite fit into the mold

09:03 of what the label was,

09:04 but he decided to say, "Okay, it's okay.

09:08 "You don't have to just make a jazz record

09:09 "and do what you're doing, which is interesting."

09:12 Not the jazz, you know,

09:13 because the kind of jazz I was playing at the time

09:15 was just old standards, which I loved so much,

09:18 but it has been done so much.

09:19 So I wasn't writing those kinds of songs.

09:22 I was writing these weird three chord country songs,

09:24 not weird, but simple songs.

09:27 So I think Bruce gave me a lot of freedom

09:32 to just kind of explore whatever avenue

09:34 I was going down.

09:36 I was so young when I signed to the label,

09:38 so he could kind of recognize

09:39 that I haven't quite found my voice yet.

09:43 And so when we were just sort of striking out

09:45 and I was finding what I was doing,

09:49 I was figuring it all out,

09:50 I mean, that's when I met Bruce.

09:53 And so he let me continue to do that,

09:54 and that was a big deal,

09:55 and he was a good friend.

09:56 - Yeah.

09:57 What was your knowledge of Blueno growing up?

10:00 I mean, was it with an important label to you?

10:03 - Yeah, I mean, I grew up listening

10:04 to all these old classic jazz records,

10:06 and Blueno was a huge,

10:08 I was like, legend to me, of course.

10:12 I didn't know much about behind the scenes.

10:15 I didn't know much about the people who ran it,

10:18 but then in the '90s, when he kind of revived it

10:21 and put out some modern records,

10:24 I was in love with the Cassandra Wilson album,

10:26 New Moon Daughter,

10:27 and so that's definitely continued my sort of love

10:32 for the label.

10:34 - The great thing with Blueno now, of course,

10:35 is that it's such a lovely combination

10:37 of its own history and the future,

10:39 I mean, as proved by someone like Wayne Shorter,

10:42 who you've worked with, you know,

10:44 you're looking backwards and forwards

10:45 at the same time, really.

10:46 - Yeah.

10:47 Yeah, I mean, Wayne is so amazing,

10:50 and he's still just doing it.

10:52 He's just incredible to watch and listen to

10:55 and even talk to.

10:57 He's just sort of this being, you know,

11:03 he just sort of embodies this music,

11:06 so it was a real honor to play with him

11:08 and watch him play and just work with him side by side.

11:12 - And the modern day Blueno, you know,

11:14 has such a identity, you know, 21st century identity

11:18 under the guidance of the inimitable Don Woz,

11:22 which is important because he's both, you know,

11:24 head man for the label,

11:25 but also, you know, a very much in demand producer

11:28 and musician.

11:29 - Yeah, he's busy.

11:30 - Yeah.

11:31 - He's very busy.

11:31 - And you have an artist who's running the ship.

11:35 - Yeah, I mean, Don has been super,

11:37 super helpful and loving and just like,

11:41 comes at everything with the right intentions,

11:46 and that's, of course, what you want.

11:49 And not everybody has that, I guess, you know, historically.

11:52 I've been really lucky working with Bruce

11:54 and now with Don, but yeah,

11:56 you've heard a lot of horror stories out there,

11:58 so it's been wonderful that Don's kind of taken it on.

12:02 - And, you know, you're in a position where you

12:04 are able to do side projects and, you know,

12:07 the little willies and things like that,

12:09 and then, of course, you're on Keith Rich's last album,

12:10 which was such a highlight of that record.

12:12 - Thanks, I love that song.

12:14 - Yeah, yeah.

12:14 I mean, I felt like that was the kind of, you know,

12:17 really secret kind of soul track of the year in a way.

12:19 (laughing)

12:21 - That's cool.

12:21 Yeah, I was super surprised and excited

12:23 to get the call to do it.

12:25 - But that's, I mention it because it's a good example

12:29 of how your style stretches out

12:31 in many different directions, doesn't it?

12:33 You know, it includes that,

12:36 working with somebody from the rock arena,

12:37 but then there are shades of country

12:39 about what you do sometimes as well, aren't there?

12:41 - Yeah, I mean, I'm from Texas

12:42 and you can't take that out of me.

12:43 - Was that a big part of your early listening country music,

12:46 would you say?

12:47 - I mean, it was and it wasn't.

12:49 It was just kind of in the air down there, I guess,

12:51 but my mom's also from Oklahoma,

12:52 so my grandparents' house growing up, you know,

12:55 yeah, it definitely was around.

12:57 And my mom listened to a lot of soul music.

12:59 She loved Aretha Franklin and Ray Charles,

13:02 but all that stuff is country too, you know?

13:04 It's got that element in it,

13:06 so I have it from kind of a few different sides for sure.

13:10 - You think you've ever been able to sort of analyze

13:12 your own vocal style and think, yeah,

13:15 actually there is a little bit of Aretha in there

13:16 or is it a bit of, I mean, are there people specifically--

13:18 - Oh, I try to stay away from that, especially singing.

13:20 It's like the second you try to analyze your vocal style

13:23 or your, it just gets thought out

13:25 and to me it feels wrong and contrived,

13:29 so I try not to think about that.

13:31 But I grew up, of course I grew up imitating Aretha

13:34 and singing along with her records

13:36 and Billie Holiday and so many others,

13:38 so, you know, that's how you learn.

13:42 - Were you a record buyer from an early age?

13:44 - I loved music.

13:45 Yeah, I mean, I bought cassettes and then I bought CDs

13:49 and I had some albums too, yeah.

13:53 - Well, more in the pop area, would you say, at first?

13:55 Or this way?

13:56 - I mean, I think my mom always had a lot of great records,

13:59 so I grew up listening to her records,

14:01 which was Ray Charles and Aretha Franklin

14:03 and Willie Nelson and Billie Holiday.

14:07 And then when I, I mean, the first cassette tape I bought

14:10 was Digital Underground, so.

14:12 - Right.

14:12 - I definitely bought all kinds of stuff.

14:15 I remember buying Jeff Buckley's CD

14:18 and not having no idea what it was.

14:20 I just thought it was a cool cover, you know?

14:24 And then when I bought Grace and then, you know,

14:27 in high school I got really obsessed with jazz

14:29 and I bought a ton of jazz at home.

14:32 - Did it take you a while to get comfortable with performing?

14:36 I mean, is it something that came naturally to you?

14:38 - Yeah, I mean, it's still getting comfortable with it.

14:41 I mean, I've always loved playing music.

14:45 I mean, performing is a funny term

14:47 because performing is really just playing music

14:49 in front of people, but there's a whole art

14:51 to like performing too, which I've never quite,

14:55 I have a hard time being fake in general,

15:00 but I have, so I have a hard time being fake on stage.

15:02 So when I'm performing, sometimes I'm nervous

15:06 and sometimes I don't want to talk to the audience.

15:08 And sometimes I'm loose and comfortable

15:11 and I do talk to the audience.

15:12 Sometimes I look more at the audience, sometimes I don't.

15:14 You know, it's just about the comfort level.

15:17 Hopefully the music never suffers for it.

15:19 But as far as like performing, yeah, the in-between bits,

15:23 in-between songs is the hard part for me.

15:25 - Yeah, the playing's easy.

15:26 - Yeah, the music part's easy.

15:28 Just talking to people is kind of like,

15:30 either you feel comfortable or you don't.

15:32 Just like going to a party, right?

15:34 You're either the life of the party or you're the wallflower

15:36 and you don't know what to say.

15:38 You feel awkward.

15:39 (laughing)

15:40 - Have some of the early songs changed over the years?

15:42 Do you think as you perform them,

15:42 it should take a song like "Come Away With Me"?

15:44 I mean, is it different now from where it was born?

15:48 - I mean, yes and no.

15:49 It's like the way you relate to songs

15:51 can change over the years.

15:53 And yeah, I mean, the way I sing it and play it,

15:58 I'm sure is different from the beginning,

16:00 but hopefully it's just like a nice jacket

16:04 that wears well with age, you know?

16:06 It gets better and better.

16:07 Or not.

16:11 It depends on the song, you know?

16:13 - Well, when you go to a show,

16:15 what are you like as a member of an audience?

16:18 Are you a good member of an audience?

16:20 - I mean, I try.

16:20 I don't go to a lot of shows and sit in the front row

16:22 and go like this, but like, you know, I don't know.

16:27 I listen, yeah.

16:28 - I had a conversation with another artist recently

16:31 who told me that he's convinced

16:33 that all artists are terrible members of the audience.

16:35 - Oh, probably.

16:36 - 'Cause they're just working and figuring things out.

16:38 - Yeah, they're probably overthinking everything.

16:40 Oh, well, that lighting cue is interesting.

16:43 Oh, well, the sound is whatever.

16:44 Oh, well, you know, you sound good,

16:46 but they're really hamming it up up there.

16:47 Yeah, I'm sure.

16:49 I'm sure I analyze things more than normal audience members,

16:52 but it's so rare that I get to go to a show these days.

16:55 I used to always go see music when I moved to New York

16:59 and, you know, things change over the years.

17:02 I'm so excited when I get to go see music now.

17:04 - And back to you as a performer.

17:07 I mean, here we are at Ronnie's

17:08 where you are extremely close to the audience.

17:10 I mean, almost touching distance.

17:12 - Yeah.

17:13 - Does that change the nature of it

17:14 when people are that close?

17:15 - I mean, I honestly think it's kind of nicer

17:17 when people are close,

17:18 'cause when they're far away,

17:19 you feel a little distant from them.

17:21 But I look out in the audience a little less

17:24 when they're close 'cause it's a little scary.

17:27 But that's okay.

17:28 - It's the whites of the eyes.

17:29 - Yeah, it's okay.

17:30 I don't wanna like stare at them too much

17:32 if they're that close.

17:33 - Yeah.

17:34 Well, as you lead into a show, I mean,

17:37 is it good to be nervous?

17:38 You need to be nervous, really, don't you,

17:39 to some extent?

17:40 - I don't think you need to be nervous.

17:42 I think you should not be like,

17:43 whatever, let's get this over with.

17:45 But you should be excited, sure.

17:48 I think nerves are okay,

17:50 but if you're not nervous,

17:51 it doesn't mean it's bad.

17:53 - Yeah.

17:54 - It just means you've done it a lot.

17:55 (laughs)

17:57 - Hey, Chris, can you play the flip side bass line

18:05 for us, please?

18:06 - Is there anything from day breaks in particular

18:11 that you look forward to

18:13 when you sit on the set list?

18:14 Is there one or two that really stand out for you

18:16 as live moments?

18:19 - I mean, a lot of them do.

18:20 It just depends on the night.

18:21 Flip side's always really fun to play live,

18:23 and carry on always feels comfortable and sweet.

18:28 Yeah, it just depends.

18:30 It's really easy to go on stage

18:32 and get kind of self-conscious

18:34 and think, oh, they don't like this.

18:35 Oh, they don't like me.

18:36 Oh, you know, let the energy of the room

18:40 sort of dictate how you're feeling about the show,

18:43 but it's also important to not let that

18:47 really mess with your head.

18:50 Most times you're doing a show,

18:51 these people are on your side.

18:52 That's why they're there,

18:54 and so if they're quiet and feeling very polite

18:57 and not very like, woo-hoo,

18:59 you have to remember it's the room,

19:02 maybe it's the venue, maybe it's you.

19:05 Maybe you're not super like, hey,

19:08 but it doesn't mean that they don't like you,

19:10 and if they don't like you, fine, whatever.

19:13 - And you have to make some allowance

19:14 for our famous English sense of reserve, of course.

19:17 - That's everywhere.

19:18 You know, it just depends on the room.

19:20 It depends on what they think they're supposed to do.

19:22 I've had so many questions with interviews over the years,

19:25 but how do these audiences compare to these audience,

19:28 you know, country to country,

19:30 and the truth is, it really depends on if it's seated,

19:35 if they're serving drinks, if they're a little drunk,

19:37 if they're, you know, if the venue is really harsh about,

19:40 don't take pictures or a lot of rules, you know,

19:43 then it makes an audience more polite.

19:45 So it depends.

19:47 Jamie, you need anything else from us?

19:50 - No, we got open doors.

19:51 - Okay. - Thanks.

19:52 (laughing)

19:54 - Sounds a little exciting.

19:56 - After this, a little bit of a break for you,

19:59 and then what?

20:01 Do you know what's next?

20:02 - I don't know.

20:03 - That's good, right?

20:04 - Yeah, doesn't matter.

20:05 - But good place to be.

20:06 - Yeah, hopefully soon, yeah.

20:08 - Well, have a great show, Nora, thank you so much.

20:10 - Thank you.

20:11 [BLANK_AUDIO]

NORAH JONES — Interview | NORAH JONES: Live At Ronnie Scott's

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