For her fourth studio album, 2009’s The Fall, Norah Jones engages new engineers, musicians and songwriting pals for her most expansive album to date. With the transition that began with 2007’s Not Too Late, Jones moves away from the jazz-inflected cabaret of her past (“Man of the Hour”) and towards singer-songwriter pop (“Waiting”), mild country-styled influences (a co-write with alt-country star Ryan Adams on “Light As a Feather” and the pedal-steel laced “Back to Manhattan”) and sassy studio funk (“It’s Gonna Be”). Her nightlife pop breathes a new sophistication as “Chasing Pirates” bounces with extra textures courtesy of two guitar players, two pianists (one being Jones), a programmer and additional drummers. “Even Though”, a co-write with old friend and collaborator Jesse Harris, allows Jones to sing at her seductress best with synths and electric guitars aiding the mild funk. “You’ve Ruined Me” excels with multi-tracked vocals and eerie organ and “Marxophone”. Jones shifts to guitar on a number of tracks, most notably for extra muscle on “Young Blood”, “I Wouldn’t Need You” and “Stuck”, her co-write with Okkervil River’s Will Sheff. Masterful throughout.