Jewell serves up minor-key melodies at Arbor Crest show

Idaho-bred, Boston-based singer-songwriter Eilen Jewell draws on a broad base of influences including blues, bluegrass, folk, classic country and early R&B for her latest album, “Queen of the Minor Key.”

In order to write the new record, released last month, the Boise native sequestered herself deep in a cabin in the central Idaho mountains.

In a phone interview, Jewell (her first name is pronounced “ee-len”) talked about the balance between challenging herself artistically without succumbing to pandering novelty, her affinity for minor-key melodies, and her period of isolation in a cabin with no running water or electricity.

Q: What were you looking for up in that cabin while writing “Queen of the Minor Key?”

A: I wanted more inspiration than a hotel room. I usually write words and music at the same time. It used to happen a lot more that songs would pop in my head when I’m doing dishes or driving. That still happens now and then, but I’m finding that I have to take more timeouts from life to get my thoughts across.

Q: This is your most collaborative album to date, with a significant number of guest players (including rockabilly veteran Big Sandy). Why go that route now?

A: For this record I wanted to do something that was challenging to me. That’s the only way I’m going to grow as a songwriter and performer. I have to be ready to go to that unexplored territory.

I’ve never had the guts to ask people to sing on my stuff before. I’m really shy when it comes to collaborating, especially when it comes to singing with other people.

Q: You’ve stated in the past that you try to resist calculation masquerading as inspiration. Can you elaborate on that?

A: I see it a lot in music today, especially contemporary music. It seems like it’s primarily focused on novelty for novelty’s sake, and then it’s not about the music, it’s about “Look at this wacky thing I do.” Which is fine, but it’s not music, it’s in disguise as music. This is what works for me, I’m avoiding novelty and staying honest and true to the music as much as possible.

Q: What is it about minor-key melodies?

A: I’m still trying to get my finger on that. Since I can remember I’ve always been drawn to more eerie-sounding songs. There’s something magnetic about it to me; even as a child studying classical piano, I was always drawn to minor keys.

When it comes to music, I think sad songs are important for our culture. It reminds everyone that they are not alone when they are in trouble. I’ve always felt that if you can sing about something then you have it beat already. It’s when you can’t sing about something, that’s when I worry it might be too heavy on the shoulders.

As long as there’s communication, or discussion of any kind, that’s a sign of triumph.  But depressing music has always had the opposite effect on me because I grew up listening to the blues.

Q: Where are you now? Are you still in “Queen of the Minor Key”-mode or are you looking ahead to the next album?

A: I’m starting to look ahead, which is a little unusual for me. I’m looking forward to writing for the next record. I might go back to the same place, but I wonder if I’m just missing that place (the cabin).

I think for my next album the thing that will challenge me will be to write songs that are more strictly autobiographical; that’s a thing you can’t force. That’s different for me because mostly what I write is a blend of autobiographical fiction.