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The darker, more mischievous mood at work is perfectly complemented by arrangements that are as inventive as they are austere.
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A very good showcase for Jones's evolution as a writer and musician.
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This collection of quaint, feel-good numbers is not going to set the world alight, but it offers something warm and comforting to come home to.
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UncutWhat's especially daring about Not Too Late is the degree to which Jones and [producer Lee] Alexander trust their songs and her languorous voice to hold the listener's interest. [Feb 2007, p.75]
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MojoThe majority of Not Too Late hums with a placid darkness and neurosis which is as delicious as it is unexpected. [Feb 2007, p.104]
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Nobody's rocking the boat too much, though Jones does seem to be trying to dig a little deeper into the heart of the material.
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Too good to hate, not exciting enough to love, she still makes most of what’s out there sound like phony baloney.
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Subtlety was a defining characteristic of her first two records, and it carries over onto "Not Too Late," where even the differences are understated and discreet.
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Norah Jones proves herself to be as great a songwriter as she is a pianist and vocalist.
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Norah Jones has the potential to be one of the defining singers of the decade, but her songwriting needs to take on more styles and more voices.
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Not Too Late may not be the break from form that Jones is capable of, but it's an album that takes enough chances to suggest that she's started down that path.
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Yes, there could be more new ground broken in this material, but this does not necessarily equate to artistic diffidence.
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Sonically, at least, the album takes only a small step away from the latte-lover mainstream.
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Jones has concocted a pleasing effort underneath its delicate air.
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While the music remains modest, there are a few moments of gratifying lyrical incision and indecision befitting this being Jones’ first album bereft of covers.
User score distribution:
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Positive: 37 out of 51
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Mixed: 6 out of 51
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Negative: 8 out of 51
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Jun 23, 2018
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Nov 9, 2012
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Jun 29, 2012