Norah Jones returns to the Monterey Peninsula for her Monterey Jazz Festival debut.

A LITTLE OVER A YEAR AGO, Norah Jones closed her set at the 50th anniversary of the Monterey International Pop Festival with a spellbinding delivery of the Grateful Dead’s wistful gem “Ripple.” As dusk slowly peeled away the last remnants of the sunset-orange sky, revealing early-evening’s purplish hue, the talented songstress strummed an acoustic guitar; her Nashville-tinged backing band, complete with pedal steel and mandolin, followed alongside her unrushed tempo.

“If my words did glow with the gold of sunshine, and my tunes were played on the harp unstrung/ Would you hear my voice come through the music? Would you hold it near as if it were your own?”

The entranced audience swayed together like a collective wave of consciousness – some sang along, but most swayed in silence, mesmerized by Jones’ voice uttering the prose once sung by Jerry Garcia.

The set also included one of Jones’ massive chart-toppers, “Don’t Know Why,” and a reimagined take on Neil Young’s deep cut “Don’t Be Denied,” which Jones transformed from a first-person to a third-person narrative.

Later that evening, Jones returned to the Fairgrounds stage during Jack Johnson’s set for a rousing duet of Bob Dylan’s spirited “I Shall Be Released.”

Whether she’s performing Townes Van Zandt’s Americana roots-heavy “Be Here to Love Me,” one of her definitive originals like “Sunrise,” or even a Texas two-step-inspired duet with Dolly Parton, “Creepin’ In,” Jones’ vocals always come through.

After Jones helped celebrate the 50th anniversary of the Monterey Pop Festival, the versatile talent is set to make her Monterey Jazz Festival debut on the same stage, this time with her trio, drummer Brian Blade and bassist Christopher Thomas.

Blue Note Records signed Jones in 2004, and it’s clear why they would gamble on an emerging artist who isn’t a clear-cut jazz musician: One of Jones’ most genius pieces, the emotional waterfall “Don’t Miss You at All” – which she wrote to the music of “Melancholia” by Duke Ellington – is a modern jazz revelation.

Fourteen years and several projects later – including an Everly Brothers homage, Foreverly, a collaboration with Green Day frontman Billie Joe Armstrong – Jones’ 2016 Day Breaks marked her return to the restrained, nuanced, stripped-down arrangements that the world fell head over heels for after hearing Come Away With Me.

Sax great Wayne Shorter, jazz organist Dr. Lonnie Smith and drummer Brian Blade were enlisted on covers of Horace Silver’s beloved hard-bop jazz standard “Peace,” Neil Young’s “Don’t Be Denied” and Ellington’s experimental classic “Fleurette Africaine (African Flower),” which Jones tweaks a bit with an insertion of some well-placed, subtle, scat-like hums.

Additionally, the nine originals featured on Day Breaks are some of Jones’ most personal and introspective pieces she’s ever penned. “Flipside,” Jones’ jazz-funk throwback to Eddie Harris’ timeless “Freedom Jazz Dance,” is the heart of the record: “I finally know who I’m supposed to be/ My mind was locked but I found the key, hope it don’t all slip away from me,” she sings.

Nearly two decades ago, Jones was an unknown crooner, performing clubs and bars around New York City, trying to hide behind the piano as she masterfully navigated the ivory keys in smoky, loud rooms where her music was just something to fill the background. Even back then, around the age of 22, Jones’ voice was described as almost unnaturally soulful for someone so young. But that voice helped carry Jones through the threshold of the mainstream almost instantly following her 2002 debut Come Away With Me, which ended up selling over 8 million copies and earning her eight Grammy Awards. Music critic Tom Moon recommended the record to those who want to get “transported by that tousled half-whisper and by the 24-year-old’s affectation-free Texas-saloon-chanteuse vibe.”

Armed with a newly-inked deal with Blue Note Records, Jones’ 2004 sophomore follow-up is further proof of her versatility. On Feels Like Home, in addition to signing with one of the most respected record labels in the jazz world, Jones’ many Grammy nods included nominations for Best Pop Vocal Album and Best Country Collaboration with Vocals for her duet with Dolly Parton.

NORAH JONES WITH BRIAN BLADE AND CHRISTOPHER THOMAS 9:40pm Sunday, Sept. 23. Jimmy Lyons Arena Stage.