LAURA JOHNSON
A&E Assistant
There once was a little girl who lived in Texas. Her father, Ravi Shankar, happened to be the greatest sitar player in the world. He hung out with people like George Harrison and John Coltrane. She wanted to be great at music, like her father, but she wanted to do it in her own way.
Norah Jones has grown up to become a talented singer, one who has won eight Grammy’s, collaborated with the likes of Dolly Parton and Ray Charles and boasts a cult following simply because of her musical abilities. She may not have brought sexy back, but she certainly put the sexy back in jazz. With the release of her 2002 debut, “Come Away With Me,” she took a genre of music usually reserved for those born in the Stone Age, and thrust it into the forefront of pop music.
Now Jones, 27, returns with a vengeance in her third release, “Not Too Late,” after spending last year doing a side project with her country band, the Little Willies. The CD, released Tuesday, was the most pre-ordered album on Amazon.com ever, is sure to add to her already staggering number of previous record sales.
With a sleek album jacket cover that would make Jack and Meg White of the White Stripes proud, Jones shows that she is no longer just about sunshine and Frank Sinatra covers — she has a richer, darker side too.
Lines like “But the day after is darker, and deeper and deeper we go, who knows maybe it’s all a dream, who knows maybe I’ll wake up and scream” from “My Dear Country” would not have been included anywhere in her previous works.
Proving her ability not only as a piano player but also as a writer, this is Jones’ first effort entirely written by her. Although her producer-boyfriend, Lee Alexander, does help on a few tracks, Jones has definitely come into her own on “Not Too Late.”
The ebb and the flow of Jones’ voice may drift some people off to sleep. But while the simplicity of her voice with its smoky, swirl-like qualities may have a lulling effect on some, her music is much more than background noise usually reserved for elevators.
Here she shies away from the straight bluegrass sound that she was very fond of in her sophomore disc, but she uses the same instruments, this time using varied ensembles. Strings, piano and light rock guitar are the heartbeat of the album. Blending her usual helping of jazzy, bluesy sweetness, with some cabaret-like beats — especially prevalent in the song “Sinkin’ Soon”— the lines of many genres run and bleed together, tearing down Jones’ ordinary musical tendencies and meeting the listener’s high expectations.
The first single off the album, “Thinking About You,” is the most poppy sounding of the bunch, but it works as a good bridge between the jazz and pop flavors, satisfying the middle of the road listener. However, it is in no way the best track. That title goes to the title track, “Not Too Late.”
Here, it’s just Jones, her piano and her heart. Melodious and tranquil, not only is it a good closing but it should be the next big hit from her.
Overall, the album is a triumph. It may be that women are more inclined to relate with Jones, but the way in which she captures the human spirit in her music, is something that cannot be taught.
Some reviewers will probably claim that this album should have been better, that maybe Jones should have evolved more, but as the artist once said in an interview with Rolling Stone, “I get why people like my music. It’s easy to listen to. It’s easy to digest. It’s not offensive. I get it. It’s also not genius. But I think it’s where I’m supposed to be.”
This is where she is supposed to be and it is a privilege simply to hear what she has done thus far.
This album is pure languid goodness, and must be heard even on the busiest of days, if just to slow one down.
02-01-2007