The subtlest of pop stars, Norah Jones beguiled listeners with her low-key delivery and classic vocal pop sensibilities on her 2002 debut smash,
Come Away with Me. She hasn't changed her tune much on the follow-up, wisely resisting any sophomore impulse to add a glossy sheen to her organic, jazz-informed arrangements. Again produced by Arif Mardin,
Feels Like Home is a cozy listen for Jones fans, as she brightens various hues in her palette but maintains the noirish tone of
Come Away with Me. The singsongy single "Sunrise" is up-tempo for Jones, a tuneful toe-tapper with an optimistic message, and "Carnival Town" reinforces her warm embrace of traditional vocal pop as the circular, piano-led melody echoes a study of the symbolic possibilities in a Ferris wheel. Both songs were co-written by Jones and her bassist, Lee Alexander, a sign of the singer's stepped-up songwriting contributions. Jones lets a little more steam out on her completely self-penned "What Am I to You?," a slow-cooking blues that captures the restrained passion in her voice, with instrumental support from
Levon Helm and
Garth Hudson of the Band and guitarist Tony Scherr, and on "In the Morning," penned by her regular six-stringer Adam Levy, a slinky examination of lovesickness flavored by Jones's tasteful playing on a Wurlitzer electric piano. She gets a little bit country on "Creepin' In," wherein
Dolly Parton reciprocates for Jones's contribution to the Parton tribute
Just Because I'm a Woman with typically stellar vocals, trading verses on a tasteful and twangy breakdown. But Jones shines equally on "Don't Miss You at All" -- actually
Ellington's instrumental "Melancholia" with new, original lyrics -- a piano-and-voice, post-breakup look at a relationship. Whether on her own at the piano or joined by close friends, Norah Jones continues to enchant with her honeyed voice, sophisticated playing, and sincere expression. Welcome home.
