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“There was a lot of ‘I might not be a great guitar player, but this works,’” Jones says, noting that many of the final takes are just the duo multitracking multiple parts. There are impressionistic forays into ’70s country (“Travelin’ On”) lonesome, bittersweet road songs (“Out on the Road”) moments of high-energy groove (“Say Goodbye”) and languid dream-sequence reflections (“After The Fall”).īecause they were writing as a team, Jones and Burton found themselves switching roles and instruments in order to capture what they were hearing.
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While some tracks sound like classic Norah Jones – such as the contemplative opener “Good Morning” – most of them explore rhythms and textures far from her comfort zone. In Jones’ case, she landed in many different spots: Little Broken Hearts is a tour of stunningly nuanced environments too expansive to be labeled merely “pop,” each one a showcase for her intimate, seemingly effortless phrasing. I really responded to that curiosity, because everybody jumps off the diving board and lands in a different spot.” So he’d play something very innocently but you could tell there was a purpose, too, sort’ve a ‘let’s hear this and see what happens’ mindset. “It seems that one trick in the studio has to do with inspiration,” Jones says, “and that’s a great thing about Brian – it was really cool to discover his influences, things I enjoy but am not nearly as influenced by.
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It helped that they listened to lots of music, bonding over, among other things, Fleetwood Mac and the Violent Femmes. Once they started, it didn’t take long for her to warm to the challenges of creating on the fly, using whatever resources she and Burton had between them. Jones says she was initially excited about working in this way, then nervous about coming up with ideas. Each time she’s entered a studio to record an album – from her debut Come Away With Me through The Fall – she has brought finished songs and at least basic arrangement ideas. Jones arrived empty-handed – no tunes, no arrangements, just a few ideas in a notebook. Jones rented a house in Los Angeles for two months, and the two established a regular work schedule. It took several years before their schedules eventually meshed. Whenever the two crossed paths, they vowed to follow up on the promise of those initial songs they’d brainstormed. Jones was locked into a heavy touring itinerary for her 2009 album The Fall, and Burton was on tour with Broken Bells and recording many other projects. Our goal was to just try things out, and if they didn’t work, cool. We started from scratch and came up with five rough songs. “It felt completely easy, not like working at all.
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So when the opportunity to spend a few days writing songs at Burton’s studio arose, Jones said yes right away. “But I knew I wanted to do something with him – he has this terrific energy in the studio, and I was open to trying anything.” “I remember saying to myself that wasn’t necessarily the record I’m trying to make right now,” Jones recalls, laughing. She’s such a great singer.”Īfter those sessions Jones asked if they could work together again, and Burton suggested collaborating on something dark and moody someday. We didn’t really talk about many people, but Norah was the first person we went to. “I’ve always known about Norah’s voice,” says Burton, “and it was in my mind when doing the parts for Rome.
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Jones had known Danger Mouse, aka Brian Burton, since he called her in 2008 to contribute vocals to Rome, his valentine to classic Italian film score music. Each an exploration of wounded emotions from various perspectives that invariably leads to a place of beauty and uplift. With Little Broken Hearts, her new collaboration with Danger Mouse, NORAH JONES has expanded her sound in thrilling and characteristically subtle ways.