In contrast to the introspective tones of her previous album Pick Me Up Off The Floor, released during the early stages of the pandemic, Visions reflects a more uplifted perspective. Reflecting on the creative process behind Visions, Jones shares, «The album’s title, Visions, comes from those late-night moments when ideas flood in, like with «Running», where you’re halfawake and suddenly inspired.» She elaborates on her collaboration with Michels, describing their approach as raw and soulful, capturing an organic, garage-y sound that resonates with their musical roots. Michels, known for his work with Sharon Jones & The Dap-Kings and The Arcs among others, previously collaborated with Jones on projects including her 2021 holiday album «I Dream of Christmas». «Visions» also features contributions from notable musicians such as trumpeter Dave Guy, bassist Jesse Murphy, and drummers Brian Blade and Homer Steinweiss. Since her breakthrough debut album Come Away With Me in 2002, which swept the 2003 GRAMMY Awards, Norah Jones has consistently pushed musical boundaries across a diverse discography. With over 52 million albums sold worldwide and a catalogue spanning genres from jazz to folk and beyond, Jones continues to captivate audiences globally. We traveled to Paris to meet her in person and discuss her new album.

SETTE: First of all, congratulations on «Visions». It’s a beautiful album. How does it differ from your previous work, where you explored darker emotions, especially in «Pick Me Up Off the Floor»? It definitely feels different.

Norah Jones: Thank you! Yes, it does feel different. Working with Leon has made a big impact, sonically and musically. Having him play drums on most of the songs has given it a unique sound that reflects our collaboration. Emotionally, it’s more of a reflection of where I am right now. You experience ups and downs in life, and that naturally influences the music. This album has a lot of introspection as well.

It’s not the first time you’ve worked with Leon Michels. How was the process different this time, considering this is your first full album together? I mean, aside from the Christmas album.

But that was, you know, Christmas music. That was different. It was great. I had a lot of song ideas and a few songs already done. Many of the ideas were just snippets that came at odd times, like right before falling asleep. So I had this collection of stuff I wanted to flesh out and finish with him. We also wrote many songs together from scratch. Initially, we planned to go in with a band and record everything, but we ended up starting with him on drums and me on piano. We found the form of each song this way, recorded it, and then added vocals and other elements. By the time we finished that, we liked the results so much that we only ended up doing about three or four songs with the band.

You also had some amazing musicians in the band like Dave Guy, Brian Blade, Homer Steinweiss, and others. Collaborations can often make or break songs. What does it take to have a great collaboration? How did your collaboration with Leon and these musicians succeed?

Yeah, it’s always a chemistry thing. And sometimes even when you have good chemistry with someone, it’s just not in the cards that day. But usually, when you get together with people you love, musically, something happens. 

Were there any difficulties or particularly great moments during the process?

There were definitely great moments, and they’re all on the record. Leon and me, we re-recorded some of the songs we had already worked on together and somehow, that never quite works for me. This has happened in the past as well; it has nothing to do with the musicians because they did great jobs. I really get attached to the first version of a recording and have a hard time letting that go. So we did some of that where we re-recorded songs but ended up liking the original versions more.

If you had to choose between your favourite songs on this album, do you have a favourite? And if so, why?

I have a few favourites. Can I choose more than one?

Yes, of course.

Well, I love «All This Time» because I love the vibe of it, and I love the birds so much. And I love the «Staring at the Wall». So I put them first and second. I love the second song because I love the guitar with the drums and I love the lyrics. And then I love «Queen of the Sea» because that’s just a special one for me. And I can’t wait to play that live. Having said that, I love them all.

«Staring at the Wall» gives a feeling as if the listener is actually with you in the room. Can you tell us about how you wrote, recorded and produced it? 

We actually made a video for it, and if you watch the video, it’s pretty much how we did it. I tried to convey that intimate feeling. Basically, we were about halfway or almost finished with the album, with most songs in progress, when Leon suggested adding something fast-paced. I agreed, so we started with the drums. Initially unsure what to play on the piano, I picked up the guitar instead, and we instantly locked in. It was exhilarating—we were flying and having so much fun. By the time we finished, my heart was racing. Once we nailed down the song’s structure, the melody and lyrics came quickly. We recorded drums and guitar with just one microphone on the drums for that raw, immediate sound. After that, we added vocals, and the song was done—it all happened very quickly and spontaneously.

Did you write the lyrics on the same day as well?

Pretty much, yeah. A lot of them came together on the same day. After we laid down the drums and guitar, we sat there and I tried to do a scratch vocal. As I was singing, the lyrics were coming to me quickly—it was a rapid process, and those are usually the best moments. It was like jamming out and everything just flowed naturally with the energy of the song.

How was the process of recording «Running» different compared to the process of «Staring at the Wall»?

The process of recording «Running» was very similar to «Staring at the Wall». I already had the basic idea for the song, and listening back to a voice memo where I recorded myself singing, I could hear the answering harmonies clearly. The background vocals were also fleshed out in my mind. However, beyond that, I didn’t have much else—no bridge or additional sections. So, I sat at the piano while he was on the drums. As soon as he started playing, it felt amazing. He has a knack for capturing a great drum sound, and his studio piano has this old, funky sound that I absolutely love. It’s not a modern upgrade, but it’s perfect for our sound together. I think our unique sound comes from me playing his piano and his drums—it creates a real vibe.

Do you find inspiration or visions, as your album is titled, in moments like just before sleeping or during the day? Or do ideas come to you in unexpected ways?

I’ve come to realise that the more we’re glued to our phones, the less mental space we have. So I make a conscious effort to create quiet moments. For example, when I take long walks for exercise, I don’t listen to music. I’ve noticed that ideas often come to me during these times. Similarly, if I’m taking a bath, I avoid playing music so that I can have my own mental space. Ideas also tend to flow when I’m falling asleep or during meditation. Life has become increasingly noisy and hectic nowadays, leaving little room for silence. Plus, having kids adds to the constant activity.

Was there a specific moment during the recording of this album that stands out to you as unforgettable?

One particular moment I think I’ll never forget while recording this album was during «Staring at the Wall.» It was a moment of exhilaration.

We did notice all the synthesisers in the music videos.

Oh yes, in the studio, there was some trial and error, but I ended up playing synthesizer bass on about three of the songs.

How did you find working with synthesisers compared to more traditional instruments?

I felt like we did it more out of necessity because it was just the two of us, and Leon wasn’t as familiar with the bass or chords as I was. I don’t play bass very well either, so I tried it on a keyboard and figured it out as we went along.

As you mentioned, it aligns with the spontaneous creativity and experimentation evident on «Visions». Particularly on this album, it seems you’re delving into your deepest emotions and thoughts. How do you navigate this vulnerability?

I don’t see it as overly exposing in the moment. If it feels too revealing afterward, maybe I’ll tweak it a bit. But I don’t approach it with a literal mindset. It’s deeply emotional, yes, but I don’t feel like I’m divulging factual details. You know what I mean? So I think that ambiguity or cloudiness is intentional.

Could you share the story behind «I Just Want to Dance»? We understand that Leon had ideas to record more elements, but you preferred to keep it as it is.

Yes, he was enthusiastic about the take, saying, «That’s great, we could add more words», but I insisted, «No, what else needs to be said? I don’t want to talk about it. I just want to dance». I found it fun to keep it straightforward like that. It aligns well with the overall vibe of the song.

What importance do you place on capturing the vibe rather than technical perfection in your recordings?

I believe that the beauty of recorded music lies in capturing raw emotions. In songwriting, it’s more crucial to convey genuine emotions than to focus solely on clever rhyming. While both elements can enhance a song, emotional authenticity should always take precedence over contrived cleverness.

What are your thoughts on the future of your career as an artist and the direction you see it heading?

I prefer not to think too far ahead. Overplanning can be frustrating, and I believe in taking things one day at a time.

We discussed the album. Now, let’s shift the focus to you personally. Could you share a guilty pleasure of yours?

I don’t really feel guilty about pleasures. Maybe overthinking? I don’t know. It’s a tough question.

Are there any artists, genres, or specific songs that people might be surprised to know you enjoy?

I mean, I love Guns N’ Roses because I grew up in the 80s and 90s. But who doesn’t, right?

What’s something you would like to see more of in the world?

Kindness, definitely kindness. Whether it’s in daily life or on social media. Also, listening. People don’t listen anymore; they just project their opinions.

What quote or life philosophy resonates with you the most, and how do you apply it in your life?

I like the quote «Dance like no one’s watching». It reminds me to try to enjoy life without self-consciousness. That’s something I strive to live by.

Norah, thank you for sharing your insights with us today.

Thank you, it’s been a pleasure.

– Interview by Dylan Lodise; Main Photo by Joelle Grace Taylor