I don't see how you can put back, or put in (by up-res-ing to 96/24) what wasn't already there (original being 44.1/16 or 24) in the first place?!?
I'm sure I've heard counter-arguments that all you do is add a load of noise beyond the upper frequency limits of 44.1khz when you upsample..!!
Curious as to how Norah Jones' new album (or indeed any of her studio recorded output) can be aided by SACD/DSD if they're all at 44.1/16 or 44.1/24?!?
We shall have to wait and see I guess?
I'd love to be proven wrong.. but unless the first time around the CD mastering was wonky for all these Norah albums, what's the point?!?
Let's have some more gorgeous analogue recordings in real high res (preferably 5.1, or 4.0/4.1 if they're quad masters, of course!) instead, please..!!
(sigh).
Here we are yet again with people who seem to think the whole point of 24/96 is extended frequency responses.
It is not. Nobody can hear anything above 23kHz at any point in any time, and this degrades with age.
The point is to move the transition band from the audible to the ultrasonic, where aliasing, pre-ringing & other problems caused by steep slopes to nyquist & poor filter design will no longer be audible - which is sadly not the case on most CD because it is cheaper to make a bad DAC and a bad DAC causes issues at low sample rates.
If you fancy some homework (research it properly - it may stick) check out Peter Craven's excellent paper "Controlled pre respone anti-alias filters for use at 96kHz and 192kHz" (AES 114th convention) where he shows that adding a properly configured gentle slope anywhere in the reproductiob chain will eliminate these issues.
As Bob Katz says, this alone is justification for upsampling even a digital source from 44.1 to 96.
As for adding noise, you are actually shifting it from the audible band to the ultrasonic.
Finally, IMHO nothing is ever helped by SACD. It is a terrible format, as all that ever existsabove 23kHz at the very, very best is noise, and lots of it too - the ultrasonic crap from DSDIFF encoding goes to a whopping -55dB at 40kHz, so even if your speakers can actually reproduce anything above 20kHz (and most cannot) or your amplifier can output it (again, most cannot) all you would get is an irritating noise like a mosquito in the room right on the edge of your hearing. When we play any SACD or decoded DSD in the studio, the cats leave immediately. PCM they remain.
Spectral analysis will not tell you how a record sounds either. You need to play it, not look at pictures of it.