インディー・カントリー・ポップの歌姫ジェニー・ルイスが贈るビタースウィートな名盤。
ライロ・カイリーでの活動を経て、ベックやライアン・アダムスが参加した19年のソロ作「On The Line」で評価を決定付けたジェシー・ルイスの5作目がブルーノートからリリース。プロデュースはグラミー常連のナッシュビル系の名プロデューサーデイヴ・コブが手掛け、ネイト・スミス、ブライアン・アレンらが参加し伝統あるRCAスタジオAで録音。スキーター・デイヴィスのアルバムや衣装にインスパイアされたレトロ風味なアートワークも秀逸。クラシックなカントリー・マナーとインディー・ジャングリーなポップなセンスがブレンドされた彼女独自の魅力を堪能できる1枚。

タワーレコード （2023/06/16）

ラスヴェガス生まれのシンガー・ソングライター/女優、ジェニー・ルイスの4年ぶりとなる5枚目のソロ・アルバムがBlue Noteから登場。

本作は様々なサウンドを駆使しており、クラシック・ソウルから90年代のR&B、さらにカントリーやシンガーソングライターの名盤までの影響を受けている、リッチでウォームなライブ・サウンドは、プロデューサーであるデイヴ・コブ(ジョン・プリン、ブランディ・カーライル、クリス・ステイプルトン、ジェイソン・イズベルなどを手掛けている)の特徴。ナッシュビルのRCAスタジオAで録音された。

発売・販売元 提供資料 （2023/04/27）

Early in JoyAll, Jenny Lewis sings "My forties are kicking my ass, and handing them to me in a margarita glass," a line that suggests that this, her fifth solo record, would be a chronicle of middle-aged woes. That interpretation necessitates ignoring the fact that Lewis prominently places "joy" in the title of her record, an indication of its sound, spirit, and sentiment. The accompanying "All" shouldnt be ignored, either, as its a tip of the hat to Nashville, the town Lewis sometimes calls home since she bought a house in the Music City in 2017, splitting her time between Nashville and her native Los Angeles. It sounds like the citys started to seep into her blood, if JoyAll can be trusted. Recorded with producer Dave Cobb in Nashvilles legendary RCA Studio A, the album has a polished professionalism that radiates warmth, its sunniness suggesting 1970s radio of both the AM and FM variety more than anything modern. The writing process behind JoyAll also vaguely resembles the professional songwriter rooms of Nashville. In the thick of the COVID-19 pandemic, Lewis joined a Zoom songwriting workshop orchestrated by Beck, one where the participants wrote new tunes according to prompts handed out to the group at large. Its a method not a million miles removed from the music industry in the 50s or 60s, where professional songwriters wrote songs on assignment. Here, Lewis carried her contributions into the studio with Cobb, letting them form the heart of JoyAll. Although these songs are not lacking in autobiographical elements, they still bear the outlines of being made-to-order -- theres a song about the road, theres a blues boogie, etc. -- but this is a blessing, as it frees Lewis up to play with her storytelling while relaxing into the burnished groove created by these studio rats. Throughout the record, Lewis makes a conscious decision to embrace joy, not sorrow, which means hints of melancholy are resolved within a verse and ballads arent quite forlorn. Mostly, it means that JoyAll hums to a rhythm thats happy, if not quite beatific: Lewis bears her sorrows and scars proudly, which makes the sepia-toned positivity of the album feel earned. ~ Stephen Thomas Erlewine

Rovi