After making jazz young again and receiving five Grammy Awards, Norah Jones manages to reinvent herself on The Fall, her fourth album released on Nov. 17. The Fall includes a contemporary rock/pop sound never before explored on Jones’ previous albums.
Accompanying the latest transformation is a new, talented group of collaborators. According to Jones’ website, she chose to work with producer Jacquire King who worked with Kings of Leon, Tom Waits and Modest Mouse. There is also a new group of musicians who perform on the album. Drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer) complement Jones’ new direction.
That is not to say Jones’ sultry, smooth sound disappeared completely in The Fall, but listeners expecting to find another “Come Away with Me,” beware. The Fall includes many tracks about heartache and not as many romantic ballads. The majority of the album addresses the topics of failed relationships and loneliness in an accessible manner.
The album begins with three of its strongest songs. “Chasing Pirates,” the album single, exemplifies what Jones seems to want out of this album. It has an upbeat tone that is more rock than her previous albums, but nothing too extreme. It is followed by another higher tempo song, “Even Though.” The lyrics allude to a bad relationship reluctantly ended. This is also the case for the third track, “Light As A Feather.” Jones’ voice is so distinct and smooth; it is almost impossible to focus on anything else on the track. The mood lightens again with “Young Blood,” a mysterious track that builds, but never really reaches its full potential.
“I Wouldn’t Need You” and “Back to Manhattan” both reflect more of Jones’ mellow, classic style. “It’s Gonna Be” contains the most obvious contemporary rock influence, straying the farthest from Jones’ original sound.
Just in time for the snowy winter is “December.” Jones’ sings legato beautifully on this track. All of the notes tie together dreamily. Once again, her vocal ability is impressive.
It is on “Tell Yer Mama” the influence of Ryan Adams, with whom she collaborated on songwriting, is most prominent. The harmony and folksy lyrics create a comforting sound.
The Fall ends with “Man of the Hour,” a lighthearted, playful track. With lyrics like, “But I can’t choose between a vegan and a pothead,” the tone of this song is much more humorous and jazzy compared to the rest of the album. It is a simple, sweet ending.
If Jones chose to continue producing the same style of music, it would only make her a one-dimensional, shallow musician. The Fall is a testament to her ability to evolve as an artist. Will it win her another Grammy? Probably not, but it does provide evidence of her growth as a diverse artist.
As of Nov. 17, The Fall is available for free, as an NPR exclusive first listen. Visit npr.org/music.
3 stars out of 5.
