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Norah Jones: Day Breaks

 A l b u m   D e t a i l s


Label: Blue Note Records
Released: 2016.10.07
Time:
 48:47
Category: Pop/Rock
Producer(s): Norah Jones, Sarah Oda, Eli Wolf
Rating:
Media type: CD
Web address: www.norahjones.com
Appears with:
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Burn (N.Jones/S.Oda) - 4:38
[2] Tragedy (N.Jones/S.Oda) - 4:14
[3] Flipside (N.Jones/P.Remm) - 3:41
[4] It's a Wonderful Time for Love (N.Jones/S.Oda) - 3:53
[5] And Then There Was You (N.Jones/P.Remm) - 3:05
[6] Don't Be Denied (N.Young) - 5:36
[7] Day Breaks (N.Jones/P.Remm) - 3:57
[8] Peace (H.Silver) - 5:15
[9] Once I Had a Laugh (N.Jones) - 3:12
[10] Sleeping Wild (S.Oda) - 3:07
[11] Carry On (N.Jones) - 2:48
[12] Fleurette Africaine [African Flower] (D.Ellington) - 5:21

 A r t i s t s ,   P e r s o n n e l


Norah Jones - Electric Guitar, Hammond B3, Piano, Vocals, Wurlitzer Electric Piano, Producer
 
Vicente Archer - Bass Guitar
Brian Blade - Drums
Jon Cowherd - Hammond B3
Dan Iead - Pedal Steel Guitar
Tony Maceli - Bass Guitar
John Patitucci - Bass Guitar
Catherine Popper - Vocals
Peter Remm - Electric Guitar, Hammond B3
Karriem Riggins - Drums
Daniel Sadownick - Percussion
Tony Scherr - Electric Guitar, Background Vocals
Lonnie Smith - Hammond B3, Background Vocals
Petter Ericson Stakee - Background Vocals
Chris Thomas - Acoustic Bass, Bass Guitar, Electric Guitar
Dave Guy - Trumpet
J. Walter Hawkes - Trombone
Leon Michels - Tenor Saxophone
Wayne Shorter - Soprano Saxophone
Sasha Dobson - Background Vocals
Dave Eggar - Cello, String Arrangement
Chuck Palmer - Arranger, String Conductor
Phil Faconti - Copyist, Orchestration
Katie Kresek - Violin
Todd Low - Viola
Max Moston - Violin
 
Sarah Oda - Producer
Eli Wolf - Producer
Ted Tuthill - Engineer
Owen Mulholland - Assistant Engineer
Tom Elmhirst - Mixing
Joe Visciano - Mixing Assistant
Greg Calbi - Mastering
Marcela Avelar - Art Direction
Danny Clinch - Photography
Adam Tilzer - Studio Assistant
Cameron Alexander - Studio Assistant
Brandon Bost - Studio Assistant
Jeff Citron - Studio Assistant

 C o m m e n t s ,   N o t e s


2016 CD Blue Note/Virgin EMI 4795571
 
 
 
Norah Jones took liberty with her blockbuster success to set out on a musical walkabout, spending a good portion of the decade following 2004's Feels Like Home experimenting, either on her own albums or on a variety of collaborations. Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers. Such similarities are immediately apparent, but Day Breaks is much slyer than a mere revival. That term suggests a slight air of desperation, but Jones comes from a place of confidence on Day Breaks, happy to demonstrate everything she's learned over the years. Often, these tricks are deliberately sly: she'll pair her torchy original "And Then There Was You" with a woozy, bluesy cover of Neil Young's "Don't Be Denied" that winds up evoking Come Away with Me, then follow that up with the dense, nocturnal rhythms of "Day Breaks." She threads in versions of Horace Silver's "Peace" and Duke Ellington's "African Flower" while inviting saxophonist Wayne Shorter and organist Lonnie Smith in to play -- moves that signal that there's a strong, elastic jazz undercurrent to Day Breaks that means this record breathes more than her debut. Such a sense of quiet adventure gives the record depth, but what gives it resonance are the exquisitely sculpted songs. Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship.
 
Stephen Thomas Erlewine - All Music Guide
 
 
 
The human voice is as individual as a fingerprint: the emotional, melancholic pull of Billie Holiday; the slightly nasal, always ironic quality of Donald Fagen; the overheated melismas of Mariah Carey; and Michael Bolton, the aural equivalent of the Krakatoa eruption. Listening to “Carry On”, the lead single from her sixth solo album Day Breaks, Norah Jones's voice is characterised not only by its great tonal warmth but also by its conversational intimacy.
 
The album is being billed as a return to the sound-world of her much garlanded debut Come Away With Me, which it is – to an extent. In fact, thanks to impressive covers of Horace Silver’s “Peace” and Duke Ellington’s “Fleurette Africaine (African Flower)”, plus a mouth-watering personnel list which includes Blue Note label mates Wayne Shorter on soprano sax, bassist John Patitucci and drummer Brian Blade, it’s considerably jazzier than that debut. There are actual solos, for a start.
 
There’s also considerably greater textural interest: a string quartet, sparingly used; the churchy Hammond B3 of another Blue Note artist, Dr Lonnie Smith; and, on a terrific cover of Neil Young’s raw, disenchanted “Don’t Be Denied” (which sees Jones switching the lyrics to the third-person and making the protagonist a girl) the wonderfully rich, layered backing vocals of the original and the additional punch of a horn section.
 
A number of beautiful originals include the statuesque, Bill-Evans-meets-Erik-Satie alternating chords of “And Then There Was You” and the folk-like simplicity of the title track, featuring Jones in her airy upper register, whose shuffling drums, riffing guitar ostinatos, bell-like piano patterns and ghostly strings fade into eternity over a vintage Shorter solo. Meanwhile, in the righteous anger of “Flipside” (“Put the guns away or we’re all gonna lose”) we see just how far the singer-songwriter has journeyed since the debut.
 
Peter Quinn - Wednesday, 05 October 2016
 
 
 
One of the beautiful and wildly talented daughters of the great Indian sitar master Ravi Shankar (sitarist Anoushka Shankar is another), Norah James came to New York with her aristocratic musical bloodlines in 1999 intending to fit into its small club jazz life. Which she did until her 2002 record "Come Away With Me" became a huge Grammy presence and launched her into a career that has now accounted for sales of 45 million records.
 
Flash forward to 2014 and her performance in the Kennedy Center at a concert honoring the 75th birthday of Blue Note records. For the occasion she was joined in a performance of "I've Got to See You Again" by the great Wayne Shorter, Brian Blade, John Patitucci and on piano Jason Moran. At such a moment, a smash-hit singer/songwriter might well have fond memories of what she first came to New York to do.
 
So here, courtesy of memories awakened by Kennedy Center, is what is more or less a Jones jazz record in which drummer Blade plays almost all the way through, Lonnie Smith plays Hammond B-3 on one cut (and sings backup on another) and no less than Shorter accompanies her on four cuts, including Horace Silver's "Peace" and the final wordless Jones' hum of Ellington's gorgeous tune "Fleurette Africaine."
 
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After that night in the Kennedy Center, says Jones "I was just chilling at home. I had a new baby and I was up in the middle of the night, things would go through my head and I would try to record them while I was feeding the baby. I got into playing more piano. We have a piano in our kitchen, so it became a late-night kitchen piano thing." The songs for the record came together. Her new songs are strong, especially "Flipside" and the title tune. Add Neil Youg's "Don't Be Denied" and you've got a solid Norah Jones record with all the lack of size and pretense that people have always found so refreshing about her. It's undiminished here.
 
3 1/2 stars (out of four)
 
Jeff Simon - September 30, 2016     
© 1999 - 2016 - The Buffalo News
 
 
 
What kind of music does Norah Jones make? On her five previous solo albums, her songs cozied up to folk, country, blues, R&B, and Spaghetti Western rock. A compilation of her prolific collaborations (….Featuring Norah Jones), brought hip-hop to the party. Together, it painted Jones as the Schweppes of musical partners: Clearly, she can mix well with any sound.
 
Jones’ new album showcases another side: jazz. Because her blockbuster debut album, Come Away With Me, appeared on Blue Note Records, many listeners considered Jones a jazz singer from the start. And while she has flirted with the genre since her early club days, only on Day Breaks does she fully explore its adventurous chord progressions and luxuriate in its freer phrasing. She does both with confidence and skill, aided by input from genre experts Wayne Shorter and Dr. Lonnie Smith.
 
One element on Day Breaks brings Jones back to her debut. She concentrates on her piano after working with guitar on many of her releases in between. In fact, she shows greater command of the instrument than before, presenting her solos and fills as equal to her melodies and vocals.
 
One through-line in Jones’ sound holds: She still operates on slow-burn, singing intimately while hushing the volume and measuring the pace. It’s a wee-small-hours-of-the-morning sound yet it’s far from sleepy. Amid that groove, Jones found a sensual new texture for her voice. There’s more smoke in her tone and her vibrato lingers longer, melting into her dexterous keyboard work. During “And Then There Was You,” Jones channels a young Diana Washington. In “Sleeping Wild,” she invokes the subtler tones of Ella Fitzgerald.
 
A role model for the arrangements seems to be Roberta Flack’s take on “Compared To What.” That’s especially clear on “Flipside, with its roiling piano and flinty bass.
 
Two classic jazz covers turn up: “Peace,” by Horace Silver,” where Jones swans over the melody, and “African Flower,” by Duke Ellington, where her piano creates a dreamy dialogue with Shorter’s painterly soprano sax. There’s one “off-message” cover: Neil Young’s “Don’t Be Denied,” which Jones punches up with jazzy horns. The original compositions prove equal to the covers, running from the swing of “It’s A Wonderful Time For Love,” to the bluesy reflection of “Tragedy.” Still, it’s the relationship between Jones’ voice and her piano that impresses most. Not since her entrancing debut has she sounded this engaged.
 
Jim Farber - October 7 2016
Copyright © 2016 Entertainment Weekly
 
 
 
Nojo is back behind the piano for her sixth studio album, a work that feels closer in spirit to her 2002 debut Come Away With Me than anything she’s done, albeit with the confidence that age, motherhood and nine Grammy awards brings.
 
The voice is as pristine as ever, especially on smouldering opener, Burn, one of nine originals. Only Tragedy, a tale of a life wasted, fails to grab, its lyrics rendered bland by a cover of Neil Young’s pithy Don’t Be Denied. 
 
Of the many highlights, Flipside is a rollicking toe-tapper driven by Dr Lonnie Smith on B3 organ, while the closing track, a gossamer version of African Flower featuring Wayne Shorter on sax, showcases Jones’s considerable jazz piano skills and new penchant for honeyed humming. Gorgeous.
 
Jane Cornwell - Friday 7 October 2016
EVENING STANDARD
 
 
 
Norah Jones goes back to basics with her new straight up jazz album, Day Breaks. While her 2002 breakout debut Come Away With Me is arguably more of a pop record, and subsequent records dabbled in country and folk, Jones has never been shy about showing her jazz roots, and with this 12-track full-length, she hews closely to the genre.
 
As a musician, vocalist and lyricist, Jones is in a solid place in terms of mastery. This time out, a collaboration with names such as saxophonist Wayne Shorter, percussionist Brian Blade and bassist John Patitucci sees a the self-professed "jazz dropout" helm a strong project of original material, save for a sweet rendition of Duke Ellington's "Fleurette Africaine" and a bulletproof interpretation of Neil Young's "Don't Be Denied." Together, the tight ensemble conveys a warmth and quietude that envelops the entire affair.
 
Opener "Burn" sets the jazz stage, and unfolds with a sultry smoulder. Title track "Day Breaks" rushes in with restrained intensity, its sax breaks and urgent bass layered brilliantly. The gentle bass-assisted swoon of "Then There Was Youis sublime, while the fluidity displayed on "Peace" sees Jones establish a modern standard by way of strong lyrics and piano playing. The lone soft spot is "Tragedy," with its repetitive chorus — "It's a tragedy" times five — slightly obscuring the intended impact of an account of wayward love.
 
"I finally know who I'm supposed to be," Jones sings on "Flipside," a declaration signifying a gifted artist's return to a beloved genre she builds on nicely here. (Universal/Blue Note) 
 
Rating: 8/10
 
Ryan B. Patrick - Oct 05, 2016
Exclaim!
 
 
 
Let’s get this out of the way. Yes, “Day Breaks” (Blue Note) does mark Norah Jones’ long-awaited return to piano-based jazz. No, this isn’t “Come Away With Me II: Still Don’t Know Why.”
 
After all, it’s been 14 years since Jones burst on the scene with the lovely jazz-tinged piano pop of “Come Away With Me,” which landed her five Grammys and more than 11 million sales. She has experimented with country, folk, Everly Brothers covers, punk rock, and a bit of electronic music in the intervening years and those choices still inform her music.
 
Jones is a far more seasoned songwriter now, as seen in the sultry, poetic “Burn,” the angry protest of “Flipside,” and the patient first single “Carry On” with its gorgeous New Orleans vibe. And she can still deliver a knockout ballad like “It’s a Wonderful Time for Love,” while holding her own with greats like saxophonist Wayne Shorter in a classic like Duke Ellington’s “Fleurette Africaine.”
 
Glenn Gamboa - October 5, 2016
Copyright © 2016 Newsday
 
 
 
Mit ehrgeizigen 200.000 verkauften Exemplaren hatte die Plattenfirma Blue Note kalkuliert, als sie 2002 das Debütalbum einer jungen, in Texas aufgewachsenen Singer-Songwriterin herausbrachte. Mehr als zehn Millionen wurden es allein in den USA im ersten Schwung nach dem Erscheinen. "Come Away with Me" von Norah Jones ist bis heute der überragende Bestseller des renommierten Jazzlabels. Kein Wunder also, dass Blue Note ein neues Album von Jones zelebriert. Und zwar nicht irgendwo.
 
In den geschichtsträchtigen Jazzclub Ronnie Scott's in London, wo sich Genregrößen wie Sonny Rollins und Lee Konitz die Klinke in die Hand gaben, aber auch Jimi Hendrix seinen allerletzten Auftritt hatte, wurden Journalisten aus aller Welt anlässlich des Erscheinens von "Day Breaks" geladen. Ja, sie habe viel Klavier auf dem neuen Album gespielt, sogar mehr als auf dem Debüt, bestätigte die 37-Jährige im Blumenkleid bei einer Fragerunde etwas einsilbig und war dann sichtlich erleichtert, als sie zum Flügel gehen und ihre Musik für sich sprechen lassen konnte.
 
Nicht zufällig hat ein heimeliger, mittlerweile geschlossener Club an der New Yorker Lower East Side mit dem Namen Living Room Jones auch dann noch als Laboratorium gedient, als sich ihre süffige Melange aus angejazzten Singer-Songwriter-Balladen, Country, Folk und Soul längst als Erfolgsmischung entpuppt hatte. Eine Mischung, die von Lokalen und Boutiquen in aller Welt auf Jahre rauf und runter gespielt, von genervten Kritikern gerne harmloser Lieblichkeit bezichtigt wurde. Die studierte Jazzpianistin tauschte ihr Instrument indes zunehmend gegen die Gitarre und richtete ihre Musik zuletzt mit Produzent Danger Mouse auf "Little Broken Hearts" neu aus.
 
Seitdem sind vier Jahre vergangen, Jones hat zweimal Nachwuchs bekommen und in der Küche, "dem Herzen des Hauses", ein Klavier für spätnächtliche musikalische Einfälle installiert. Die Musik von "Day Breaks" klingt indessen nicht so idyllisch, wie es eine solche Konstellation vermuten lässt, ist stattdessen dunkler geworden. "Carry On" hört man seine Küchenpiano-Genese am ehesten an. Auch "Tragedy", das seine traurige Geschichte mit federndem Groove erzählt, schließt an den soulig-folkigen Sound der ersten Alben an.
 
Dass Jones' Musik auf "Day Breaks" über weite Strecken so betörend klingt, hat nicht wenig mit dem vielgefragten und vielseitigen Schlagzeuger Brian Blade und seiner leicht verhatschten New-Orleans-Rhythmik zu tun. Das gilt auch für einen Song wie "Flipside", in den sich gehöriges Unwohlsein angesichts der Welt da draußen eingeschlichen hat, der dann aber tüchtig anschiebt. Für die verwirbelten Orgelströme der von Les McCanns "Compared to What" inspirierten Meditation sorgt niemand geringerer als Dr. Lonnie Smith.
 
Smith ist neben Bassist John Patitucci und Wayne Shorter eine der Jazzgrößen, die sich auf "Day Breaks" einfinden. Als Initialzündung für ein solches Gipfeltreffen, das Jones noch heute als "etwas nervenzerfetzend" bezeichnet, fungierte das Jubiläumskonzert anlässlich des 75-jährigen Bestehens von Blue Note im Jahr 2014. Mit der Lust am Jazz ist auch die Freude am Klavierspiel wiedergekommen, das den Zusammenhalt der recht abwechslungsreichen Liedersammlung garantiert.
 
Jones' Vorstellung eines rhythmisch geprägten Jazzalbums, über das Shorters Saxofonspiel schwebt, geht in den Stücken mit Joe Zawinuls einstigem Weather-Report-Sparringpartner aufs Schönste auf. Da wäre etwa eine fein ausbalancierte Version von Horace Silvers "Peace", für das sich die Singer-Songwriterin schon vor einiger Zeit einen neuen Text hat einfallen lassen.
 
Und dann natürlich die in ihrem Minimalismus bezwingende Interpretation des Schlusssongs, Duke Ellingtons "Fleurette Africaine (African Flower)", für den es keine Worte mehr, alt oder neu, braucht: Jones summt einfach die Melodie, bevor Shorter zu einem letzten Solo abhebt. Das genügt.
 
Am Ende herrscht kein Zweifel mehr, dass Jones, die es von Anfang abgelehnt hat, zu einer anderen, Pop-orientierteren Plattenfirma zu wechseln, nicht nur für Verkaufserfolge gut ist. "I finally know who I'm supposed to be/My mind was locked but I found the key", singt sie in "Flipside". Man wünscht es ihr, dass sie besagten Schüssel nicht so schnell verliert.
 
 
Karl Gedlicka - 5. Oktober 2016
© DER STANDARD 2016
 
 
 
»Sehr souverän und ein Album das Jones Renomee weiter stärken wird.«
 
stereoplay, November 2016
 
 
 
»Ihre Stimme ist einzigartig anziehend und gleichzeitig total unkitschig. Mit dieser Stimme macht sie jeden Song besser. Mühelos. Und die Stücke auf ihrem mittlerweile sechsten Studioalbum ›Day Breaks‹ sind sowieso schon gut. (...) Das Ergebnis ist eine Klasseplatte, voller wunderbar jazzigem Pop, der die Stimmung von ›Come Away With Me‹ aufnimmt.«
 
Audio, November 2016
 
 
 
Vier Jahre ist es her, dass Norah Jones ihr letztes Soloalbum veröffentlichte, drei seit ihrer Kollaboration mit Green-Day-Frontmann Billie Joe Armstrong. Mit »Day Breaks« stellt die US-amerikanische Soul- und Jazzsängerin, Pianistin und Songwriterin 2016 endlich ein neues Album vor, ihr mittlerweile sechstes.
 
Insgesamt zwölf Songs hat sie dafür aufgenommen. Neben neun eigenen Kompositionen enthält »Day Breaks« auch drei Coverversionen, und zwar von Neil Youngs »Don’t Be Denied«, Horace Silvers »Peace« sowie Duke Ellingtons »Fleurette Africaine (African Flower)«.
 
Mit »Carry On« präsentierte Jones bereits Anfang August die erste Single des neuen Albums. Der gefühlvolle, relaxte Pianosong zeigt, dass die Jazz- und Soulsängerin darauf zu ihren musikalischen Anfängen zurückkehrt. So komponierte sie alle neun Songs am Piano, statt wie zuletzt immer häufiger auf der Gitarre. Der Sound erinnert deshalb sehr an ihr Erfolgsdebüt »Come Away with Me« aus dem Jahr 2002.
 
Unterstützung erhielt Norah Jones im Studio von einigen renommierten Musikern. Brian Blade und Karriem Riggins saßen hinterm Schlagzeug, John Patitucci spielte Bass, Tony Scherr Gitarre, Lonnie Smith Hammondorgel und Wayne Shorter Saxofon - um nur einige zu nennen.
 
Back to the roots: Mit »Day Breaks« kehrt Norah Jones ein Stück weit zurück zu ihren Anfängen. Relaxter Pianojazz mit unglaublich viel Soul - niemand kann das besser als sie.
 
JPC.de
 
 
 
Endlich das neue Album. Die Rückkehr zum unverwechselbaren Norah-Jones-Sound. Wie keine andere Musik lebt der Jazz von spontanen Begegnungen. Zu einer solchen kam es 2014, als das Label Blue Note sein 75-jähriges Jubiläum feierte, zwischen Norah Jones und dem Wayne Shorter Quartet. Der kurze, gemeinsame Auftritt sollte Norah an ihr ursprüngliches Ziel erinnern, als Jazzpianistin und -sängerin Karriere zu machen. Er inspirierte sie, die Musik zu ihrem neuen Album zu kreieren. Zweimal zeigt sie sich hier an der Seite von Saxophonist Wayne Shorter, Bassist John Patitucci und Schlagzeuger Brian Blade. Einmal ist sie auf dem Album, das neben neun wunderbaren Eigenkompositionen auch drei Klassiker von Horace Silver, Duke Ellington und Neil Young enthält, zudem mit dem großartigen Dr. Lonnie Smith zu hören, einem Meister jazzig-groovender Musik.
 
Amazon.de
 
 
 
Day Breaks is the sixth solo studio album by American singer and songwriter Norah Jones, released on October 7, 2016, through Blue Note Records. The album, which features nine new songs and three covers, sees Jones return to a piano-driven sound as heard on releases early in her career. It peaked at number two on the US Billboard 200, becoming her sixth album to reach the top ten. Day Breaks received positive reviews from music critics, with many praising the album's production and Jones' vocals with many comparing it favorably to her debut album Come Away with Me. It charted successfully peaking within the top 5 of ten national charts.
 
In August 2016 Rolling Stone magazine reported an October 7, 2016 release date for the album, Day Breaks.
 
Eight songs are composed or co-written by Jones on piano, which is a return to the sound of her 2002 debut album, Come Away with Me. The album was co-produced by Jones and Eli Wolf and features drummer Brian Blade, organist Lonnie Smith and saxophonist Wayne Shorter. Blade previously worked with Jones on her debut, Come Away with Me. Having just had a baby and a piano in her kitchen, Jones wrote much of the album during late-night sessions at the piano while drawing influence from a wide range of jazz music. "I was listening to a lot of organ trio stuff, soul jazz from the 60s, and listening to the Les McCann version of "Compared to What" a ton," says Jones. In an interview with Billboard, Jones states, "The goal was to do everything live, get really good takes...When you have great musicians there’s no reason to overdub."
 
There are three cover songs on Day Breaks: "Peace", originally performed by Horace Silver, "Fleurette Africaine (African Flower)", originally performed by Duke Ellington and "Don't Be Denied", originally performed by Neil Young. The album also includes "Sleeping Wild" written by Sarah Oda, who co-wrote three other tracks on the album and also co-produced it.
 
On August 5, 2016, Day Breaks' lead single, "Carry On", was released to digital outlets.
 
On September 9, 2016, "Flipside" was released as the first promotional single to digital outlets.
 
On September 30, 2016, "Tragedy" was released as the second promotional single to digital outlets.
 
In support of the album, Jones is scheduled to tour portions of North America and Europe throughout late 2016.
 
Promotional appearances in the media included a performance of "Flipside" on The Tonight Show Starring Jimmy Fallon on October 5, 2016, and "Carry On" on The Today Show on October 10, 2016. Jones was also interviewed on PBS's Tavis Smiley show on October 14, 2016.
 
Day Breaks was released on October 7, 2016, through Blue Note Records. At the time of its release it was made available on CD, vinyl and as a digital download. A limited edition orange vinyl was also released. Target's exclusive edition of the album contains four additional live songs.
 
Day Breaks received mostly positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has an average score of 79 out of 100, which indicates "generally favorable reviews" based on 9 reviews.
 
Stephen Thomas Erlewine of AllMusic rated the album four out of five stars and states: "Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship." Glenn Gamboa of Newsday rated the album an "A", calling it Jones' "latest masterpiece." Rating the album an "A-", Entertainment Weekly's Jim Farber writes of Jones: "Not since her entrancing debut has she sounded this engaged."
 
Day Breaks debuted at number two on the US Billboard 200, moving 47,000 equivalent album units; it sold 44,000 copies in its first week, with the remainder of its unit total reflecting the album's streaming activity and track sales. The album debuted at number one on the US Jazz Albums chart, making it Jones' second album to reach number one, after 2002's Come Away with Me spent 115 nonconsecutive weeks at the top spot.
 
Wikipedia.org
 

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