10 Songs, 42 Minutes

EDITORS’ NOTES

Rickie Lee Jones’ recording career began with the big splash of the unexpected hit “Chuck E.’s In Love,” and over the years the jazz-pop hipster has given way to a songwriter who’s turned some unusual corners. 2009’s Balm In Gilead reflects a folkier, at times more solemn and ambient Jones. “Wild Girl” is an even-paced ballad that gently explodes in a torrent of words. (Jones wrote it for her daughter as she turned 21, undoubtedly expecting the apple to fall near the tree). Ben Harper duets for the blues-laced, experience-laden “Old Enough.” Vic Chesnutt and Alison Krauss (on violin) join Jones for the country-inflected “Remember Me.” “His Jeweled Floor,” with guests Chesnutt and Victoria Williams, calls from another sonic station with a sweet ache in its slow gait. The gentle sprinkle of piano notes on “Eucalyptus Trail” shadow Jones’ elusive poetry, and a creeping nightclub organ follows the R&B- based instrumental “The Blue Ghazel.” “Bayless St.” ends things with dobro, mandolin and slide guitar, taking us further back in time before Jones found her current aches and cares.

EDITORS’ NOTES

Rickie Lee Jones’ recording career began with the big splash of the unexpected hit “Chuck E.’s In Love,” and over the years the jazz-pop hipster has given way to a songwriter who’s turned some unusual corners. 2009’s Balm In Gilead reflects a folkier, at times more solemn and ambient Jones. “Wild Girl” is an even-paced ballad that gently explodes in a torrent of words. (Jones wrote it for her daughter as she turned 21, undoubtedly expecting the apple to fall near the tree). Ben Harper duets for the blues-laced, experience-laden “Old Enough.” Vic Chesnutt and Alison Krauss (on violin) join Jones for the country-inflected “Remember Me.” “His Jeweled Floor,” with guests Chesnutt and Victoria Williams, calls from another sonic station with a sweet ache in its slow gait. The gentle sprinkle of piano notes on “Eucalyptus Trail” shadow Jones’ elusive poetry, and a creeping nightclub organ follows the R&B- based instrumental “The Blue Ghazel.” “Bayless St.” ends things with dobro, mandolin and slide guitar, taking us further back in time before Jones found her current aches and cares.

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