by Michael LelloWeekender Editor
The idea of Norah Jones without her ubiquitous piano almost seems preposterous. But on “The Fall,” the chanteuse’s fourth album, Jones avoids her trademark instrument for the most part, instead blanketing her emotive voice with echoing guitars, chiming keyboards and drums. It’s a natural progression for artists to challenge themselves at the point Jones has reached in her career — commercial success, loyal fans, critical approval — and on “The Fall,” she pushes the envelope just enough.
Exuding grace and even some aggressive sexuality — “The Fall” is said to be Jones’ “breakup” album, and it is her first since splitting with boyfriend and bassist Lee Alexander — Jones avoids girl power clich�s. Instead, she sings songs that are about empowerment that work on a specific, personal level, using a discreet feminism that is quite unlike, say, “The Vagina Monologues.” In other words, the songs are not just for women to listen to. Thematically, “I Wouldn’t Need You” is chief among these; “If I touched myself, the way you touch me/ … I wouldn’t need you,” Jones sings over trilling guitar and muted organ. From her mouth, the words are sophisticated, not salacious.
Subtlety is Jones’ greatest attribute as a writer and a performer, no matter whom she works with, and that’s the case this time with new cohorts producer Jacquire King (Kings of Leon, Tom Waits, Modest Mouse), guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer), drummers Joey Waronker (Beck.) and James Gadson (Bill Withers) and keyboardist James Poyser. Jones’ voice is still the most important instrument in the mix, and longtime listeners shouldn’t feel alienated by the new direction, which is more of an update than an overhaul.
Jones opens with the sly “Chasing Pirates,” which rides a solid yet gentle beat and is driven by organ. “Even Though” introduces some echo-y atmospherics and a reggae bassline; “Light As a Feather,” co-written with Ryan Adams, is dark and quiet; and “Young Blood” is as close to guitar rock as it gets for the 30-year-old, but with a whispery quality.
With Jones entering a new phase of her life, “Back to Manhattan” is an important track. She’s back at the piano but is singing about transition. “What a fool I was to think I could live in both worlds,” she sings. “I know nothing ’bout leaving/ But I know I should do it today.”
Rating: W W W W
