Jazz(y) Singers, Gone To The Dogs

In reading over yesterday's Billie Holiday discussion, I was reminded of these three photographs of Holiday and her dog, Mister. There's also, of course, this.

Perhaps I was thinking about these shots in light of two Exclusive First Listens we've had up at NPR Music recently: one featuring the new effort from Nellie McKay, the other — available now — featuring Norah Jones' The Fall. Ahem:

Enlarge courtesy of Blue Note and Verve Records

How much is that doggie in that album cover?

courtesy of Blue Note and Verve Records

How much is that doggie in that album cover?

McKay and Jones both like jazz, work with traditionally jazz-oriented record labels and are frequently described as having something about them that is jazz-inflected — something "jazzy." (I've got nothing against their music, I might add.) They're also both into large canines, apparently.

From a jazz fan's perspective, you could look at their successes in a glass half-empty sort of way. Why is it that these singers, who draw on some sonic tropes associated with jazz, are significantly more successful than their contemporaries who more completely embrace jazz ideas?

But you could also look at McKay and Jones as a good portent for jazz. In 2009, where jazz occupies some 1-3% of U.S. record sales, evoking jazz — or even just being labeled "jazzy" — can still help win you widespread success.

Food for thought — or are we barking up the wrong tree?