Although standards are an important part of the jazz catalogue, standards albums are often disappointing affairs, predictable and too reverential to allow any magic to happen. Cassandra Wilson’s Loverly is a reminder that standards albums can also be remarkable when the artist has the courage to—in the words of American Idol—make the song his or, in this case, hers.

The album opens with “Lover Come Back to Me,” which is its most conventional moment. It swings and features excellent solos by pianist Jason Moran and guest trumpeter Nicholas Payton, whose muted tone gives it a trad jazz feel. Central to the transformations on Loverly are the Nigerian percussionist Lekan Babalola and guitarist Marvin Sewell. Wilson removes the bourgeois sheen from the songs with her own performance, but Babalola’s drumming connects them to Africa. Sewell’s guitar then gives the song its fundamental vibe, whether it’s his notion of funk for “St. James Infirmary” or his novel take on the ballad for “Spring Can Really Hang You Up the Most.” Everyone gets significant moments, from Moran to drummer Herlin Riley, but focusing on the songs and contributions misses the organic beauty of the whole.

On Loverly, Wilson mixes jazz, blues, pop and Afrobeat into something that is unique to her and something that reflects a system of cultural and artistic values. It stands for something, and it does so pleasurably.