As far as genres go few have been as unfairly categorized as jazz; relegated to the past and unfairly represented by cheap copycats. But things have changed, the past two years alone have seen a cavalry of artists breakthrough with their own unique style; Thundercat, Kamasi Washington, Esperanza Spalding, Robert Glasper, Jeff Parker, Makaya McCraven all contributing to the dialogue. So when a name like Norah Jones comes up it’s important not to look at her as a throwback, but as an artist who is using classic traditions to speak to the masses.
Jones’ sixth studio album Day Breaks has her revisiting a familiar sound. But that doesn’t translate into stagnation, the theme shows us that this is not the same doe-eyed crooner from years past. She’s keenly aware of the current social climate, and instead of playing it safe she infuses the album with politics — both personal and social. The important thing is she doesn’t overstate anything, staying true to her style. And with the help of jazz giants Wayne Shorter and Dr. Lonnie Smith, Norah Jones has added yet another bold statement to the ever-evolving conversation that is jazz.
‘Burn‘
Reinvesting in a proven strategy, Jones traverses familiar land but with a newfound perspective. The thick bassline clears the way and the brass adds a level of whimsy that makes the lyrics vibrate with intensity. Supple in its melodies there is a tension brewing that is far greater than your standard pop ramblings. The music is her guiding light, and it’s what keeps her coming back:
‘Tragedy‘
Slow groove breaks and delicate piano licks counterbalance what is an all too familiar and tragic tale. Alcoholism is the inspiration, and the message resonates with a deep and somber tone. She’s maintaining an even keel, and her tenderness adds an angelic touch that can be felt from the first note. The feelings are strong, but instead of being critical she’s expressing concern and sympathy:
‘Flipside‘
The instrumentation explodes out the gate as the sense of urgency reaches a boiling point. The leaky organ that was flirting around in previous songs screams out, demanding the listener’s attention. Jones responds with a caustic verse, pointing her creative sword at those who have made a mockery out of the justice system. She’s not the type to make a fuss, which makes her verse all the more moving:
‘It’s a Wonderful Time for Love‘
After a spirited outburst, Jones returns to a familiar disposition. A smokiness slowly fills the air, and her nimble voice slices through it with serpentine grace. It’s moody and rich with texture, the piano speaking where words fail. Love is her bedrock, and she’s using it to rise against tyranny. On the surface it reads as casual (aloof even), but the heart of it speaks of revolution and action:
‘And Then There Was You‘
The love revolution is in full swing. But instead of brash, over zealous debauchery she opts for subtle nuances, letting her feathery touch do all the work. It’s refreshing to know that even after all these years she can still be caught off guard by love’s unpredictable nature. The instrumentation adds to the mood with flirtatious melodies and pastel harmonies, a sweet portrait of strong emotions:
‘Don’t Be Denied‘
Jones extends her vocal range just a touch, hitting a note that has her sounding more like a country western singer than a jazz crooner. As a savant does, she makes sure not to stray too far from her wheelhouse, which in the end makes for a balanced and altogether surprising deviation from the norm. The instrumentation holds integrity and seals in all the familiar flavors Jones is lauded for:
‘Day Breaks‘
The title cut begins with a little more pick me up, drawing in fans with the immediacy of its sound. The instrumentation holds very fine distinctions, inviting the listener to participate in the festivities. The title hints at several different meanings, and Jones being the vet that she is makes sure not to divulge too much; the value of simple songwriting underscored by genuine emotion:
‘Once I Had a Laugh‘
There is an old soul quality to Jones’ voice that makes her words resonate. Even when she’s being tongue-in-cheek, there is still an air of seriousness that demands your attention. The ragtime theme draws upon strong traditions, and she’s skillful enough to know how to honor it while still adding her own touch. She’s expressing disappointment, specifically the lack of humor and camaraderie:
‘Sleeping Wild‘
Not as saucy as the title suggests, but still sultry enough to raise the hairs on your arms. She’s describing a sleepless night where she’s tossing and turning in bed, thinking about the love of her life. The desire is subdued but powerful nonetheless. She strips down the instrumentation to the bare essentials and the nakedness of the beat matches the intensity of her desire:
‘Peace‘
With Wayne Shorter in the background illuminating the way, Jones has no problem covering a Horace Silver classic. Messages of peace and well-being stand at the forefront, which is consistent with the theme of the album. She’s advocating for a just world and doing it in her own way. An emotional plea that stands in direct contrast to the excessive and overstated methods of today’s stars:
‘Carry On‘
Jones utilizes multiple styles to create a song rooted in praise and understanding. It’s equal parts blues and jazz with enough of her own personal style to make it a unique work of art. What separates it from every other jam is the way in which she expresses her ideas; she’s pushing and pulling at the same time, expressing deep understanding and knowing when and how to walk away:
