By Fawn Renee

The saying goes, “if it ain’t broke, don’t fix it,” but there aren’t many artists in the music industry today that couldn’t use a little maintenance. Norah Jones is the exception. With her refined, sultry voice and honed piano skills, Jones quickly, and quite effortlessly, earned the designation of musical prodigy when she made her debut in 2002. Three albums in and nine Grammy’s later, Jones is back with a new album, a new direction and a new attitude. The once reserved, light-hearted songstress is now a much more mature, experienced woman who knows a bit about love and heartbreak. On her latest release The Fall, Jones takes you on an unforeseen journey, both emotionally and musically.

 From the very first single, “Chasing Pirates,” it’s evident that this isn’t the same conservative, lulling Jones that listeners are accustomed to hearing. The lyrics are much lighter as the endearing crooner sings, “And I don’t know how to slow it down. My mind’s racing from chasing pirates.”   There is also a conspicuous absence of the jazz overtones that made singles such as “Come Away With Me” and “Sunrise” such huge successes commercially.

 On “I Wouldn’t Need You” Jones showcases her sensual side, which compliments her mellifluous alto perfectly. In three albums, it’s questionable as to whether fans have ever heard Jones sing as candidly as she does on this track. Here she reverberates her undeniable need for a man as she sings, “If I touched myself the way you touched me; if I could hold myself the way you held me, then I wouldn’t need you to love me.” Again, listeners hear an absence of the classic keys that typically envelope Jones’ voice, and instead are inundated by her blissful guitar strums.

 With the help of producer Jacquire King, best known for his work with Modest Mouse and Kings of Leon, Jones showcases her ability to transform into a modern alternative singer on the upbeat “It’s Gonna Be.” The only song on the album that doesn’t draw from Jones’ failed relationship; the song is a pleasant surprise with its funky electric guitars layered atop a tuneful bass line.

 While much of the album centers around prevalent guitars and programmed drum beats, a far cry from what listeners have grown accustomed to from Jones, her voice remains as pure and complete as its ever been. Even on songs that seem awkwardly paired with the singer’s whimsical vocals, such as “Even Though” and ‘Tell Yer Mama,” Jones’ voice overrides the inconsistency. And on “Waiting” and “December” we hear the modesty and sincerity that pours from her emotionally expressive tone. In spite of singing of love lost and heartache, Jones does it so beautifully that it’s more than tolerable.

 Jones has proven, once again, that she’s as relevant now as she was eight years ago. No maintenance necessary. Still, it’s impressive to note her uncanny ability to evolve into a more diverse artist without necessity, and do it brilliantly. Whether you prefer the placid, conservative side of Jones or the more modern, edgier side, you’ll fall in love with The Fall.

3.75 out of 5

Follow  Fawn Renee on Twitter @ http://twitter.com/fawnrenee

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Check out Planet Ill’s page on Essence.com

Follow us on Networked Blogs