One of the satisfying things about Norah Jones’ career is that she follows her own music, sometimes singing her own material, other times doing covers or jazz standards. Here, she’s exploring sounds that are reminiscent of the Cumberland Gap, giving a traditional American feel in mood, instrumentation and message. There’s a dash of spiritual quest on the way as well with gospel-ish choir joining on “Thes Life” and a soulful piano during “To Live”. She’s back with drummer Brian Blade along with Christopher Thomas, John Patitucci, Jesse Murphy, and Josh Lattanzi, on bass, other drummers Nate Smith, Dan Rieser, and Josh Adams, keyboardist Pete Remm, violinist Mazz Swift, violist Ayane Kozasa, cellist Paul Wiancko, percussionist Mauro Refosco, and guests on vocals and horns. Dave Guy loans his trumpet on a strong voiced “Say No More” and pedal steel guitarist Dan Lead creates a McCabes mood on the rural “I’m Alive”. Jones uses her voice as a paint brush, pencil thin and intimate as she wisps on “Howl Weep” reflective and casual on “Heaven” and laconic with an early Tom Waits earthiness on “Heartbroken, Day After”. More American than jazz, country or indie, and that’s a good thing for the wide range of listeners and fans.