Jesse Harris on If You Believed In Me

Celebrated for his skilled songwriting and artistry, Jesse Harris has made a name both as a solo artist and as the pen behind hits for some of the world’s biggest performers - including Norah Jones, Madeleine Peyroux, and Melody Gardot. His music seamlessly blends across jazz, pop, and folk sounds, showcasing a melodic sophistication that has won him a GRAMMY and the respect of collaborators and audiences alike.

With the release of his latest album that features him alone with his guitar, as well as accompanied by orchestral arrangements by Brazilian composer Maycon Ananias, Harris opened up about the creation of the project, why the orchestral sound was key, and how his approach to songwriting continues to evolve after decades in the industry.

Many listeners may recognise what is arguably your most well-known song, 'Don’t Know Why', famously recorded by Norah Jones. The track won a Grammy and introduced your songwriting to a huge audience. How did that moment shape your path?

Although I had a previous life in a band called Once Blue on EMI Records, it seemed that overnight I went from almost total obscurity to winning a Grammy Award on live TV. At first, I felt a bit overwhelmed, but that song created a lot of opportunities for me to work with great artists and also to work on my own music. It's been a pleasure to hear many wonderful versions of the song that have also been recorded by artists like Pat Metheny, Smokey Robinson, George Benson and others. 

Looking at your career, you’ve always had a foot in multiple worlds: jazz, folk, pop, Brazilian music. Has that genre fluidity been a conscious choice, or more of a natural result of your musical curiosity?

Definitely the latter. I've never consciously sought to combine musical styles or made music "in the style of," except perhaps in choosing a rhythmic basis for a song. For example, there are times when I choose to use swing, waltz, bossa or rhumba.  

How does your latest album If You Believed In Me reflect where you are creatively right now?

This album came as a surprise to me. I had no prior intention to make an album with an orchestra. The opportunity fell into my lap, because Maycon Ananias (arranger and conductor) told me he was in Estonia working on a commission for the birthday celebration of Arvo Pärt, was going to do some recordings with the ESPR Orchestra and could include an arrangement for any songs I might have. We started with "Dolores." The sound blew me away. I decided there and then to do a whole album with him. 

Considering that you’ve written songs for and with some iconic voices over the years, how do you approach writing for yourself versus writing for others?

These days, whenever I write a song for an artist, I collaborate with that artist in the writing process. Otherwise, when I write songs by myself, I think only of the song itself and how to make it as good as it can be. Sometimes songs in the latter category still get recorded by other singers, but more and more that is the exception.

What prompted you to include the orchestra in this album? How did it affect the sound?

The sound of the orchestra completely defined this album, and, in fact, I wrote and recorded the majority of the songs in preparation for its inclusion.  

You’ve mentioned writing eight songs in five weeks. Was it liberating to write with orchestration in mind from the start, or did it require a different kind of mindset?

It was liberating. Having an "assignment" can make writing a song much easier, because there's a direction. For example, if in writing a lyric I have a title, then the rest of the words can come quickly.  

You also brought in Norah Jones, with whom you’ve had such a long creative history. What was it like reconnecting musically for this project?

Working with Norah is always natural and inspiring. Her singing brings such magic and energy to every song. When I first recorded "Having a Ball" in January I could hear her voice on it immediately and asked whether she would like to be a guest on the recording. She said yes but that she didn't have time until March, and I happily waited! 

Where are you headed next musically?

Actually, I've already recorded a number of new songs with Maycon conducting an orchestra. But I may also want to record something new with my instrumental project, Cosmo. Since our last album, I've written a lot of instrumental compositions that I would love to record with them. We'll see!