Cynics may decry this latest chapter in the 33 year-old American vocalist's career as his lunge for the commercial jugular but that view is too simplistic. This set contains songs that have catchier choruses than those on 2009's Black Magic or his 2007 debut The Dreamer, and the arrangements have more of the electric tonalities that generally appeal to a soul and hip-hop crowd attuned to the swish crunch of Fender Rhodes and the svelte crackling of guitars. Having said that, James, as both a vocalist and songwriter, by no means eschews his roots in the artistry of anybody from Billy Eckstine to Betty Carter. He is essentially showing their proximity to such as Stevie Wonder, Leon Ware, and above all Marvin Gaye. More importantly, James is largely building on the platform laid by Roy Hargrove's RH Factor project in 2003 insofar as the bulk of the songs have something of the airy, leisurely tempos and sharp rhythmic twists that are laden with the weight of post-Quest engineering and mixing. Among the heaviest but most lithe numbers is the brilliant ‘Sword & Gun’, a duet with fellow vocalist Hindi Zahra that centres on a cunning blend of Afrobeat groove and gnawa percussion well marshaled by the drums and bass dream team of Chris Dave and Pino Palladino. No Beginning... should buy James greater radio play but not at the cost of his artistic integrity.

Jazzwise talks to José James about the album

This is your debut for Blue Note. How did the deal come about?

Basically, I was on Verve and that was pretty much a nightmare just because as soon as I signed the economy collapsed, and about three months after that, about 50 people got fired from the Universal New York office, ten of whom were working on my next album. At that point, I decided to just do the album myself and I was still living in London. I had met Pino Palladino and we started writing. I also worked with vocalist Hindi Zahra and met her A&R from Blue Note France who really liked the stuff and then he started talking to Blue Note US and we took it from there.

Tell me about working with drummer Chris Dave and bassist Pino Palladino.

They're like the illest rhythm section in the world – it's D'Angelo's band. Pino, it's like working with McCoy or Chico Hamilton or Junior Mance. They just breathe music, they don't even play music. They just speak through their instruments just like we're speaking now. It's such a miraculous thing. They've spent so much time on the craft. They've developed their voice to such an extent they just speak.

You also spent time with the great Leon Ware, a superb singer, writer and close collaborator of Marvin Gaye.

Yes, I actually met Leon through Amp Fiddler and I had a writing day with him in LA. And the most important thing that happened that day was that he really just kind of mentored me.

How significant was Robert Glasper's input on the album?

You look at Robert's Black Radio – it's hip hop, neo-soul and Nirvana. I was very aware of what Robert was doing and I felt that I really wanted to work with him because he gets hip hop. And not only does he get it, he can do it well.

What does this album represent in your career path?

Well, it takes a long time to develop a voice. The Dreamer was my first album and I feel that this – not to knock Black Magic or For All We Know – is my second album really as a writer.