Alexander's bass work gives the album its spine, solid and inventive without calling attention to itself.
Walk into Not Too Late (2007) and you hear Norah Jones at the piano, which is what the cover promises. But the album's actual architecture belongs to Lee Alexander on bass. By this point Alexander had already shaped the sound of Jones's two previous records, and on this one he does something quieter and more essential — he lets the other players breathe while holding down a groove that never feels rushed or obvious. Listen to how he moves underneath the horns, never competing, never lagging. He's not flashy. That's the point. A bassist can disappear into the mix or can anchor it, and Alexander anchors this record the way a building needs a foundation.
The album debuted at number one on the Billboard 200, her third consecutive number-one release, but what matters more is what happens inside the songs. Jesse Harris adds acoustic guitar warmth, Adam Levy brings electric textures, and the horn section — Rob Sudduth on tenor saxophone, Chuck MacKinnon on trumpet, and J. Walter Hawkes on trombone — gives tracks a sophisticated swing. Devin Greenwood on Hammond organ adds color and body. Jones produced the record with Alexander, a partnership that had proven itself twice before. The band feels settled, like people who know what they're after.
This sits between her earlier work and whatever comes next. It's not as immediate as Come Away with Me (2002), and it doesn't chase trends. It's a working band playing good songs, and that turns out to be enough. If you've heard her first two albums, this is a natural place to go. If you're new to Jones, start there first, then come here.