Cover girl no more

Norah Jones on writing on her own, her Page Six-free lifestyle, and her new movie turn.

Editor's note: This interview is a part of Salon's Conversations podcast. To listen to an MP3 of the interview, click here. To subscribe to the podcast using iTunes, click here.

By David Marchese

Read more: Music, Interviews, Arts & Entertainment, Arts & Entertainment Music Interviews, Norah Jones

Jan. 31, 2007 | It's not exactly Dylan going electric, but Norah Jones' decision to tinker with her multi-platinum formula comes as a risky move for a musician who, only three quiet and reflective jazz-pop albums into her career, has already enjoyed the success of a major star. Jones' first album, 2002's "Come Away With Me," won five Grammy Awards -- including album of the year -- and sold more than 10 million copies. Her 2004 album, "Feels Like Home," did almost as well. Where those albums mostly found the New York resident singing covers of songs by classic songwriters like Hank Williams and Hoagy Carmichael, the new "Not Too Late" consists wholly of Jones-penned material. It's a bold step for a singer and pianist who has proven herself to be one of the music industry's few reliable young acts. But don't expect much self-revelation from the songs. "There is a lot of personal stuff in there," the publicity-shy Jones, 27, told Salon, "but you'll never be able to pick it out."

Less than a week before the release of "Not Too Late," Jones met with Salon at her record company's office to talk about her songwriting and her nascent movie career, and to respond to criticism that she makes "background music."

Pop culture is so intense these days and everything is so fast and loud," she says. "Maybe it's refreshing to have something moving slowly."

In a recent story, you said that you like "slow music."

Is it that obvious? [laughing]

What do you think is the appeal of slow music?

I don't know. I like the feeling of slow music. I don't like [just] any slow music, though; I like good slow music. I like Jeff Buckley's version of "Hallelujah." And I love a Tom Waits ballad -- when he does 'em, they're just killer. I think there's more room to breathe. There's room to sort of get caught up in it.

When you were starting out in New York, you sang with electronica band Wax Poetic and with jazz musician Charlie Hunter. And you just did the Peeping Tom album. Obviously you're comfortable and have experience with electronic or groove-oriented music, which doesn't show up on your own albums.

I'm not really that comfortable with it. I don't really know a lot about it. Those are situations I got put in that I really enjoyed, but all I had to do was sing. I'm not that familiar with it. That's good that I seem comfortable. I wasn't uncomfortable, but I don't really know much about that world.

Do you decide to keep the wacky stuff to guest appearances, and that Norah Jones albums are going to sound a particular way?

No. I have a lot of different sides. I'm in a few different bands that play very different kinds of music. It's funny, I don't know if the records, especially my first two records, represent every aspect of me. I think this one has more sides of my personality to it. The first two albums were done in two weeks and we were just throwing songs on the wall and whatever stuck ended up on the record. I also think that I've tried out different things that didn't make it on the records for a reason. I definitely think my strength is in what I've been doing, but that's not to say that I'm not going to change. I would love to try different things.

Is there a particular reason why it took you two albums before you wrote the bulk of the material?

I wasn't a writer. I didn't grow up that way. I grew up wanting to sing jazz standards and play music, but songwriting was never something that was on my radar. I wrote a couple songs in high school -- they were so bad and I completely shut the door on that, like, "Oh, I should not write." I think about songs in such a different way now. I also think I started writing before the first record and then all the craziness happened and it got pushed aside and I didn't really have a chance to get back to it until I felt less overwhelmed and got back to normal a little bit.

You just mentioned the craziness. Last night I was at a bar with a friend of mine and I mentioned I was going to interview you. He said, "That's pretty much as big as a musician gets these days."

Yeah, these days.

I don't mean that as a backhanded compliment.

No, I don't take it that way. I agree with you.

Next page: "Music doesn't always have to be so serious"