Norah Jones has witnessed a magnitude of success that was quite overwhelming for her own devices. What could’ve been just another experimentation of a pseudo jazz artist, developed into this whole new genre of contemporary music that had overlapping tones of pop and blues. Come Away With Me as a record librated Norah from a sculpting phase of an artist where one simply tries to shape oneself to fit the voids carved out by the industry.
The resounding success of her debut studio album led to a series of transcending musical adventures where genres such as country and indie pop were also explored. In a span of four studio albums we saw Norah grow musically with her commercial prowess unable to keep up with such diversification.
It was in 2012, that Norah Jones deviated the most from her self produced ‘style’ and released Little Broken Hearts that brought electronic undertones to both her music and vocals. The mixed reviews from the critics and lukewarm reception from the audience kind of faded Norah’s presence from the music scene for at least four years. She did have a couple of collaborative albums being released with The Little Willies and Billie Joe but both the works were merely covers of classical hits.
So after this history of rise and apogee of Norah Jones’s musical trajectory, how do we perceive her new album. Well, the answer comes from the singer herself.
Day Breaks has been translated as an album that shows the completion of Norah’s full circle. This term is quite intriguing for it not only represents a journey but also the various threads of realisation that a person has imbued while embarking upon it. Like a circle is made up of many points that lead to the meeting of the starting point with the end, a full circle journey is one’s professional or personal travel that crosses various moments with each having its own space and value in the whole.
In the lead single Carry On, Norah goes back to perch behind her piano and belt out a soothing melody about the most ordinary yet unfelt moments of romance. Though the lyrical context has matured, the glimpse of that innocent smile breaking between piano solos is still the same. Day Breaks have given a rebirth to Come Away With Me with a refined flavour of instrumental profoundness. There are welcoming features of organ, double bass and saxophone. This is not just Norah going back to her debut era but it’s also a celebration of what she has become today.
So, how does this full circle album treats us? The very idea of going back to your roots, embracing your beginnings, is potentially very impacting in one’s quest for answers about self. We often tread upon various versions of ourselves and get thrown into this twisted maze of complexities about our own identity. It is during this mayhem, that going full circle becomes an answer to that much needed calmness.
Reiterating it yet again, going full circle doesn’t reflect loss or giving up. Neither does it stand for denying what the present shows itself to be. One should not confuse this idea with lack of prospective thinking or death of creativity. This is because you can never make a circle until you merge all the points. Or you ignore to tap upon them. When you go full circle you not only begin to understand your own evolution as a person but also find yourself at a position where you can objectively differentiate between substance and superficial. You get the power to describe your own history and take pride in what you’ve done. Such constructive approach towards past can build strong foundations for future realisation of one’s potential. Therefore, instead of crumbling walls of pride, going full circle makes you preserve the ones that matter.
One should hardly pay attention to the commercial success of Day Breaks because that’s not what Norah seems to prioritise with this album. This album is a realisation, a celebration that has made us realise what Norah Jones was, is and can potentially blossom into.
Picture Credits – Rolling Stones