Norah Jones, Courtesy: Diane Russo.

Winding down the evening listening to the second album from Norah Jones’ country side-project, the Little Willies. (For the Good Times, Jan. 10, EMI).

I should admit that traditional country music is not my cup of tea; it just doesn’t have the zing of bluegrass, which has been growing on me for a couple of years. But after seeing Norah Jones and her band play on early slot at last fall’ s Bridge School benefit concert, I thought I’d give this album a listen.

The Littles Willies, who include Lee Alexander (bass), Jim Campilongo (guitar), Richard Julian (guitar, vocals), and Dan Rieser (drums), came together as a group of friends in New York City. What started as a one-off show at a Lower East Side bar led to a well-received 2006 debut album.

As with their first album, the Little Willies cover the greats; this time including Loretta Lynn, Willie Nelson, Johnny Cash and Dolly Parton. The results vary, with the highlights coming on trucker romp “Diesel Smoke, Dangerous Curves,“ “Foul Owl on the Prowl,” from the soundtrack to “In the Heat of the Night,” and Parton’s “Jolene,” which the highpoint of the Willies’ Bridge School set.

The album flows nicely, with Jones and Julian taking turns leading the band, or sharing the microphone. But that also makes the music more anonymous; perhaps what they are seeking here. And when Jones plays the piano, her jazz tendencies are more transparent.

Listen: “Jolene.”

Grade: B-

Follow editor Roman Gokhman at Twitter.com/RomiTheWriter.