Norah Jones
Feels Like Home
Blue Note
By Danté Dominick
 This
is not exactly a review in the typical tradition. The Rockzillaworld
motto, "shining a light upon music that matters," implicitly
suggests a mission statement to give exposure to artists that
deserve more attention than they are currently given by mainstream
media. Norah Jones has sold over 10 million records and won
eight Grammy Awards in two short years. With multiple cover
stories in glossy magazines available everywhere, Norah Jones
needs no help gaining exposure today. In fact, every indication
suggests she would enjoy a little less.
If, by an unforeseeable chance, you have yet to hear any word
on her sophomore effort, here is the shortened scoop: if you
loved her first disc, you'll love this one. It has much the
same feel, but not the same exact sound. If you have yet to
hear either Norah Jones record, you should probably remedy that
situation.
For the record, I definitely like Feels Like Home.
It does not encroach upon even the perimeter of my personal
favorites, but that is, of course, a matter of preferences.
Jones certainly is far, far superior aesthetically than probably
any music that has been so well received by pop culture in my
lifetime.
With that being said, Jones' remarkable reception worries
me in some major ways. First and foremost is the effect these
records may have on Blue Note and, more to the point, jazz ("whatever
that is") music.
The jazz world has been closing in on itself (largely its
own doing) and alienating wider appeal for decades. Admittedly
there are monumental hurdles to be overcome in a quick-clip,
sound-byte society. Americana enthusiasts pine how one term
cannot adequately represent all their musical interests...let
me tell ya, that's like a preacher complaining to a eunuch about
sexual frustration. Jazz is impossible to pin down. At least
a half-dozen different styles exist that are 100%, straight-up,
hard-core "jazz" that sound not even the slightest
bit related. The sub-genres, mutations and fusions within are
enormous.
The highbrow mentality among jazz critics, fans and many artists
is even worse. The adherents have made what they love unattractive
and inaccessible to a huge audience. This is unfortunate as
jazz is among the earliest forms of American folk music (long
before bluegrass or even classic country), and still should be
today. Granted, the structure is harder to tackle than most
folk music, but classrooms and doctorates are absurd prerequisites
for "music for the people." Many of the greatest jazz
pioneers couldn't read or write a single note and people today
are still trying to re-create their magic.
Listen to live recordings of Parker, Davis, Basie, Hines,
any era but ours, and you will hear glasses crashing, hooting,
hollering and a hell of a good time. Attending a performance
of today's notable jazz artists is most often a bullshit experience
less exciting than a museum trip. No talking, no smoking, no
fun. Strict reverence and demanded respect result in a recital
experience that terribly distances audience from performer.
Back to Blue Note: Blue Note has been the standard-bearer for
emerging jazz artists since 1939; only Verve can claim comparison
without looking ridiculous. Profit was elusive throughout Blue
Note's glory days, but founder Alfred Lion's unparalleled dedication
to soulful music and perfect production (thanks to Rudy van Gelder)
remained the cornerstone regardless of outside elements.
Another Blue Note staple was cementing major stylistic shifts
in the evolution of jazz. Thelonious Monk was as big an exclamation
point as any in ushering the post-swing era. Later, Jimmy Smith's
organ laid the foundation for future Blue Noters Medeski, Martin
& Wood and Charlie Hunter. So many giants in the making
debuted on Blue Note. Looking forward has been a hallmark.
In context of today's moribund jazz sales, Blue Note has once
again been looking forward to a new sound. The phenomenal success
of Norah Jones could be seen as a much needed resurgence -- or
can it?
Daring, bold, risky and inventive are the last characteristics
of Jones' records. This is not intended to be a negative remark
on her music. It is very pleasing and timeless. Feels Like
Home will sound just as good in 2034 as it does in 2004.
There is nothing troubling about Norah Jones continuing to create
her brand of sensual, calming melodies. She does it so well
we can only hope Jones is at it for many years to come.
What worries me is the effect her success may have on the
future output of Blue Note and other (jazz and non-jazz) labels.
Indeed the influence will stretch far beyond the jazz world;
no surprise since her records hardly fit in any of the thousand
jazz genres.
In the Americana/roots-rock world, the present is looking relatively
rosy. New high-profile magazines champion the sound and, moreover,
the movement away from overbearing mega-labels and producers.
Radio airplay is slowly accepting indie artists on a grander
scale. A perfect time to deliver a knockout blow to the industry's
love affair with immature, musically illiterate entertainers
with a wave of inspired releases (there is not a lack of artists,
that much is certain).
Again, isolated from any cause and effect scenario, Feels
Like Home is fantastic. Only I do not have much faith that
record-makers will be unaffected by Blue Note's success with
Norah Jones. There are countless artists trying to stretch the
envelope of acceptance in countless genres. Eight million records
and eight Grammys are telling producers to tell artists to tone
it down.
Perhaps I should just enjoy the present and stop being so
paranoid. So back to a proper review.
The first single released, "Sunrise," is also the
first track on the record and, honestly, the weakest track.
In fact, the record starts out with very little umph. Track
five is where it all turns around; "In the Morning"
finds Jones singing without the safety net. The Wurlitzer-driven
song relates an inability to get over a faded love. When she
cries, "funny how my favorite shirt smells more like you
than me," she holds nothing back.
Next, Jones opens herself even more on a cover of Townes Van
Zandt's "Be Here to Love Me." This take could be slipped
onto Al Green's immortal 1972 I'm Still in Love With You
album. Garth Hudson backs with accordion walking between romantic
and lovesick, and Jones allows herself to be vulnerable, exposed.
The result: goose bumps. "In the Morning" and "Be
Here To Love Me" exemplify that Jones is usually playing
it safe, and that when she lets loose, stirring things happen.
The following duet with Dolly Parton marks the debut of country
on Blue Note, and wouldn't you know, it's damn good.
A slow start, but Feels Like Home gets better and better.
Of the first four tracks, only "What Am I To You?"
is on par with the excellence of the final nine.
And those ten tunes make the best "pop" album that
has come out in decades.
www.norahjones.com
Contact Dante Dominick at dominick-at-rockzilla.net
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