CD 1

1. A Whole Lot of Angels (03:31)
2. No Easy Way (04:44)
3. Cover Me With Snow (03:42)
4. Welcome Home (04:34)
5. As Tears Clear Our Eyes (04:16)
6. Powder Room Collapse (05:02)
7. To Be Your Lover (03:39)
8. Korset vil Jeg Aldri Svike (04:40)
9. September (04:3
10. Not a Woman (03:12)
11. Is That You? (03:31)
12. Daylight Is Short In Fall (03:50)
13. You Bring New Stars (03:59)
14. Forever Young (05:40)
15. Der Schnee Draussen Schmilzt (03:24)

CD 2

1. Waiter and Cake (03:42)
2. Virgin’s Lullaby (03:22)
3. Any Pretty Girl (03:31)
4. Going Home (Is a Lonely Travel) (04:00)
5. Same Kind (04:00)
6. If You Don’t Ask For More (02:46)
7. The Art of How To Fall (03:42)
8. Didn’t I (04:14)
9. Ghost In This House (04:30)
10. Never Been To Paris (03:40)
11. Everything Can Change (Orchestra Version) (03:41)
12. Starlight of Your Heart (03:00)
13. Say Goodbye To What Is Gone (05:32)
14. As I Lay Myself Bare (02:57)
15. Used To Be My Movie (04:00)

MOST PERSONAL is a kind of best of by singer Rebekka Bakken taking the material from her Emarcy recordings .. and a few new tracks, ranging from a touching Norwegian folk song to one in German by the late singer/songwriter Ludwig Hirsch and three new songs in English – all worth listening to beside all the great songs from her 5 albums so far. A showcase for her great song writing and singing skills. Essential listening. --- wulfmuller.wordpress.com

Nordic folk-jazz chanteuse Rebekka Bakken was the most successful exponent of a new generation of Scandinavian jazz singers that also included Silje Nergaard, Sidsel Endresen, and Solveig Slettahjell. Born in Oslo in 1970, Bakken studied violin and piano as a child, and in 1995 relocated to New York City to pursue a professional music career. There she paired with Austrian-born guitarist Wolfgang Muthspiel, and together they toured the local nightclub circuit as a duo. In time Bakken also befriended German pianist Julia Hülsmann, with whom she recorded the 2003 album Scattering Poems, a collection of jazz performances inspired by the poems of e.e. cummings. Upon completing the project Bakken returned to Europe, settling in Vienna and signing a solo deal with the Universum label. Her debut LP, The Art of How to Fall, followed by year's end, and in 2005 she resurfaced with her commercial breakthrough, Is That You? I Keep My Cool followed a year later. --- Jason Ankeny, Rovi

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1 	Not A Woman 	3:13
2 	Sometimes 	3:28
3 	Ghost In This House		4:32
4 	Powder Room Collapse 	5:04
5 	No Easy Way 	4:47
6 	To Be Your Lover 	3:42
7 	If You Don't Ask For More 	2:48
8 	I Can Always Forget 	3:06
9 	Starlight Of Your Heart 	3:02
10 	Contents Of My Heart 	3:02
11 	October Nights 	3:05
12 	Like Cologne 	3:53
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13 	In The Early Morning Hours 	3:22

Backing Vocals – Sven Lindvall
Backing Vocals, Harmonica – Marc Anthony Thompson
Bass – David Piltch
Drums – Earl Harvin
Guitar – Marc Ribot
Guitar, Bass – Christopher Bruce
Keyboards – Patrick Warren
Keyboards, Backing Vocals – Glenn Patscha 
Vocals - Rebekka Bakken

Fusing Scandinavian folk melodies with American jazz influences, Morning Hours is the fourth studio album from Norwegian vocalist Rebekka Bakken. Recorded in a converted church outside Nashville, the 2009 follow-up to I Keep My Cool was produced by Craig Street (Norah Jones) and features contributions from guitarist Marc Ribot (Tom Waits) and singer/songwriter Glenn Patscha. ---Jon O'Brien, AllMusic Review

With her new album "Morning Hours", the Norwegian blonde beauty emerges like a princess from the forest and presents songs destined to take the hearts of her listeners by storm. Despite that big ambition, it is the small things in life Rebekka Bakken weaves her stories from, portraing persons whose view and perspective she assumes: "Powder Room Collapse" was a propsosal of a friend as the title of the collection.

A song with this name is included—although it didn't make it as the title of the album. Nevertheless it can be regarded as representative for that kind of special female perspective that Rebekka Bakken portraits in many of her songs. Without being unambitious, "Morning Hours" definitely also doesn't lean towards being experimental. But it has appeal. In short: "Morning Hours" reaches out and touches. ---jazzdimensions.de

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