Jill Detroit

“Talk oaks and tanglewood"

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Jill Detroit's fourth album is a mesmerizing collection of ten musical jewels from this one-of-a-kind prolific singer-songwriter. As with her previous albums, Tall Oaks and Tanglewood defies musical genre categorization. Bill Bentley, who produced, arranged, performed on, recorded, mixed and mastered these ten gems, demonstrates unparalleled musical and technical abilities with arrangements, performances, and quality that provides the perfect looking glass for these original delicious compositions. Be prepared to journey through Jill's folk roots to easy listening pop, adult contemporary, bluegrass-tinged country, and, even swing jazz. The title and opening song, “Tall Oaks and Tanglewood” (which obliquely refers to the cross streets where Jill once lived) delivers a madrigal folk-tinged ode to independence with a nod to Joni Mitchell, one of Jill's greatest musical influences. “I Don't Know,” is a classic Fleetwood Mac- style pop song in which Jill professes to know little about love or life except that each contain both pleasure and pain. Jill goes on to open her heart on the deeply personal “The Story of My Life,” a song that was adapted for the musical “Paris on the Brain,” which Jill co-wrote with her playwright brother, Scott Phillips. “Take You Home,” with it's jazz swing feel and harmonies evocative of Manhattan Transfer, is pure and simple fun. The tone is darker on “Something So Final,” as Jill describes the heartache and emptiness of a “phone that doesn't ring.” Jill's children, Emily Goeke and Sean Phillips, contribute background vocals. Bill Bentley's exquisite simplicity on the musical track for the love song, “Please Let Me Stay,” sets the stage for Jill's perfectly understated vocal delivery with vocal support from Bill. “An Affair To Remember,” one of two songs on the album co-written with Bill, is a witty lyrical double entendre, with a country-pop feel and catchy chorus, featuring Jill in both lead and background vocals (the “Jill-ettes”). “Tomorrow I Will Start Again,” another song co-written with Bill Bentley, features rich orchestration that underscores and complements an unforgettable vocal performance as Jill reflects on the past and looks forward to “starting again.” The seductive light jazz feel of “Reclaiming My Life” transitions to “Woman of Faith,” a gospel-infused affirmation of faith. Together, Bill and Jill create their own “choir,” with the song culminating in a virtuoso vocal performance that reminds listeners what a treasure they've found in this singer-songwriter. Look for future releases from this unique and gifted singer-writer and her outstanding musical partner.

“The sea"

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This is the third in a planned six volume set of albums from Jill Detroit, a prolific writer/performer whose compositions span diverse musical genres. Together, Jill and producer/arranger/musician/engineer Bill Bentley, have crafted an album that blends pop, folk, blues, country, bluegrass, and new age in a seamless flow of musical gems that will intrigue and delight listeners. Bill's virtuoso-level performances and arrangements demonstrate his deep respect for the songs as well as his instrumental proficiency while Jill's blend of lyric and melody, delivered in her unassailable style, reinforces her reputation as a unique, gifted singer-songwriter. Bill masterfully produces and arranges the album's haunting title cut, "The Sea," to evoke the ocean's relentless ebb and tide while highlighting Jill's remarkable vocal performance. Other songs on the album that pay homage to Jill's love of the ocean include "Seventeen Summers" and "The Other Side." "Seventeen Summers," the sole song on the album co-written by Jill and Bill, expresses the surprise and wonder that comes from a relationship that endures and continues to grow after "17 years" while "The Other Side," blends harsh reality with optimism as patterns emerge from a review of life experiences. This hypnotic track gives way to "Little Rosie," a bluegrass-tinged homage to Jill's daughter, Rosie, who was three years old when the song emerged. Just when you think you've experienced a full diversity of musical genres, "You Don't See" appears, with it's bluesy feel and heartfelt lead vocal supported by ear-catching background vocals sung by Jill's daughter, Emily Goeke, and son, Sean Phillips. Jill pays homage to Emily's unflinching spirit in the song, "All For Emily," a fun accordion-tinged tune that chronicles events in Emily's young life and reinforces a mother's enduring support. The lament and angst of "Languishing," which features performances by Pat Schrein and Bill McKinney, who produced the original version of the song, evolves into the pop-tinged parent-to-child coming-of-age warning "Welcome to the Real World." "I Gave My All" chronicles a re-affirmation of love that comes from a decision to focus on the positive benefits of a relationship rather than the insignificant daily insults that occur from inattention to the big picture. The album opens with "I Just Met A Man," full of double entendres and uplifting musical and vocal performances. The album's closing song, "The Sea," with it's deep psychological and introspective lyrics, provides a fitting postscript to this work of art and will leave the listener longing for more songs from this inspired musical partnership.

“No man’s land" 

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When Jill Detroit stepped into Bill Bentley's northern California recording studio one lovely day in May 2009, she made the prescient statement that their meeting felt “serendipitous.” Truer words were never spoken. A musical partnership began that day which continues to astound and delight listeners. To quote Jill: “I found my musical soul-mate.” What began as a project to record songs from “Paris on the Brain,” the first musical that Jill created with her playwright brother, Scott Phillips, blossomed into a multi-CD collection of original songs spanning Jill's lifetime to date. “No Man's Land” is the seventh album (eighth if you include “Devil May Care,” the second musical Jill and her brother created, which featured two previously un-recorded original songs) from this extraordinarily prolific and eclectic singer-songwriter. With support from multi-talented producer, arranger, recording engineer, and musician, Bill, Jill has crafted ten songs into forty plus minutes of sheer pleasure and, sometimes, a little pain. The title of this album is no accident. Most of the songs address some aspect of existentialism, albeit delivered with Jill's signature optimism. The album opens with the song, “All Alone,” featuring an upbeat track that belies it's title. This catchy tune is followed by the bluesy, “Find Out On Your Own,” with the Jill-ettes providing their signature vocal support. The Jill-ettes are back on “What You're Going Through,” a song co-written by Jill and her partner, Bill Bentley, and one that showcases their artistic versatility. Clearly, Bill is in his element with a stellar hip, light jazz arrangement, performances, and production while saxophonist, Tony Malfatti, adds the perfect finishing touch. “Just Another Commoner,” is a gorgeous ballad of the sort we've come to expect from this sensitive artist and articulates the heartbreak that accompanies an inevitable breakup when one partner is less engaged than the other. Jill picks up the pace with the rock-tinged title song “No Man's Land,” which culminates in an engaging tag section that makes it clear no-man's-land is about learning how to be “all alone.” (Is the theme sounding familiar?) The bluesy mood returns with Jill's plea to “come back to bed” in “Baby Please,” featuring an inspired guitar solo from Bill. “Let Me Go” sees Jill return to her folk roots with Bill providing the perfect acoustic guitar support for this sublimely simple, touching song. “Her or Me” is, quite simply, a work of art, with a delicate musical track that underscores Jill's achingly soulful vocal performance, one of the finest she has ever delivered. Jill hits another vocal high watermark with the lyrically provocative, melodically haunting “Living a Lie,” complemented by Bill's jazz-Latin samba arrangement and exceptional performances. The album closes with “Do We Need Love?” which features performances by Jill's favorite back-up singers: her children, Emily Goeke and Sean Phillips. It's clear where Emily gets her chops and Sean's deep voice provides a depth and richness to this classic song. It is quite fitting that Jill's children join her on this, the first song Jill ever wrote, and one that perfectly evokes the “love-in” philosophy of the era. What's next for these musical partners? Stay tuned because something tells me we'll be hearing much more from this inspired pair.

“Jill jazz"

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Thank you, Jill Detroit, for putting together this amazing collection of original songs so those of your fans who especially love your jazzier side have a one-stop-shop CD on which to find them. This stellar album opens with "What You're Going Through," a song Jill co-wrote with her creative producer, Bill Bentley, and which features Tony Malfatti on the saxophone. Originally the song was on Jill's "No Man's Land" album. Not sure why but I feel a real Steve Wonder vibe on this tune. Next up is one of my favorites, "A Pirate of Sorts," from Jill's "Play Me Like A Saxophone" album. The captivating rhythm combined with a melody that perfectly supports the intriguing lyrics and a superb vocal performance make for an absolutely enthralling listen. "A Man After My Own Heart," from Jill's "Heartfelt" album is a departure for this singer who demonstrates her amazing range with a sultry alto lead vocal. Outstanding! "Reclaiming My Life" was originally on Jill's "Tall Oaks and Tanglewood" CD. The hopeful message (about taking back the reins of one's life following a break-up) resonate with the listener, who is in for a unexpected delight as Jill ends the song with a scat that demonstrates her chops as well as her natural propensity for this musical form. "Real Love" from the album of the same name, is a throwback to the big band era. Bill Bentley, who co-wrote the song as well as arranged and performed all the instruments on it, outdoes himself with this production. Shades of Frank Sinatra and Rosemary Clooney (now that's a name you don't hear often anymore)! "Play Me Like A Saxophone," also by the album of the same name, was included in the musical Jill co-wrote with playwright Scott Phillips, entitled "Old Folks At Home." The song has a double entendre message to die for and the saxophone solo by Tony Malfatti is exquisite. "Time Passes By" from Jill's "Real Love" album is one of those seductive songs that transports the listener to a place where one can imagine oneself lounging on a beach, with a cocktail in hand, getting lost in the smooth music, insightful lyrics, and exceptional performances. The mood continues with "You Should Have Waited," from Jill's album, "Play Me Like A Saxophone." The song perfectly articulates the "What if" sentiment that comes from realizing what an important piece timing plays in life's decisions. Jill picks up the pace with another song from her "Tall Oaks and Tanglewood" CD that was included in "Devil May Care," one of the musicals Jill has co-written with Scott Phillips. The intricate harmonies and light-hearted message are engaging and demonstrate Jill's flair for be-bop. "You," a song first introduced on Jill's "Back to Square One" album, features a superb instrumental performance by Bill Bentley and a perfectly understated vocal performance by Jill. What follows is another of my favorite songs by Jill entitled "Living a Lie." Originally released as part of Jill's "No Man's Land" CD, the song blends a samba-inspired instrumental track with a melody and vocal performance that cradle inventive, honest lyrics that leave the listener in awe of this artist as a writer and a singer. Next we are treated to another of Jill's truly original compositions with the song "Speak to Me," from her "Real Love" album. Once again, Bill Bentley's arrangement and performances perfectly nestle this classic number. Bill and Jill co-wrote the next number, "Inside and Out," from Jill's album entitled "I'm Outta Here." The message of unconditional love is nestled in a captivating melody. The album closes with the song "I Can't See You Again," from Jill's "Little Feet" album. This tale of forbidden love is encased in a classic Bill Bentley production that accentuates Jill's vocal abilities, from lead to background vocals. Listening to this album reinforces my belief in the extraordinary talent of this artist (and her producer/band, Bill Bentley) who effortlessly traverses the world of light jazz as just one of many styles in which she encases her vast library of original songs. I'm looking forward to the next collection - how about one with all the children-inspired songs?

“Back to square one"

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Well, she's done it again - Jill Detroit's latest release, "BACK TO SQUARE ONE," is a collection of ten musical masterpieces that elevates this outstanding singer-songwriter into a rare echelon of composers who span genres effortlessly and singers who just as fluently deliver a song in a way that transports the listener to the songwriter's intended destination. This is the tenth album from this extraordinarily prolific and gifted artist in just over three years and, in keeping with her previous releases, includes pop classics, light jazz, Americana, and folk in a seamless flow of truly inspired and original offerings. Together, Jill and her multi-talented producer, arranger, engineer, and musician Bill Bentley, have crafted yet another album that perfectly showcases this artist's diversity and mastery of the art of songwriting. The album opens with "Some Sign of You," a song that gives Jill a chance to show off her chops on the 4 string dulcimer (another nod to Joni Mitchell, one of Jill's greatest musical influences) and allows the "Jill-ettes" to add their support on this intriguing, original track. This catchy tune is followed by the dreamy, Renaissance feel of "In My Own Way," a song that continues the themes of independence and unconventionality that underscore so many of Jill's songs as she proclaims that her "heart has a mind of it's own." The delightful pop song "I Loved You First" demonstrates Jill's flair for double entendres and quirky sense of humor as she turns a loving relationship into a competitive sport, declaring "Before you even knew what love was, I loved you." The background vocals alone are worth a listen as the Jill-ettes spar with the Bill-ettes throughout this light-hearted tune, culminating in an incredibly fun, creative tag section. Next up is "Only You," a quintessential Jill Detroit composition that also features Bill Bentley on supporting vocals. The simplicity of the musical track fits perfectly with the simplicity of the song's message: that each relationship is unique, defined only by the participants. "The Line" showcases Jill's delightful twist on a flirtatious encounter and reveals her folk roots, with impressive finger-picking by Bill on the acoustic guitar. Bill gets a chance to flaunt his production and orchestration expertise on the light jazz treasure "You," with Jill joining in on superbly understated vocals. "Being A Friend" evokes a "Bruce Hornsby meets Tom Petty meets Jackson Brown" feel as Jill pays homage to BFFs everywhere with an unforgettable melody, simple, true lyrics, and a groove that demands attention, not to mention five-star performances. Never one to step back from life's harsh realities, Jill articulates the torment of confronting the potential loss of a loved one with an anguished request to "Take Me Instead." One must admire the courage of an artist who takes on such a stark theme and the artistry of a producer who provides the perfect setting for this work of art. This extraordinary ballad gives way to the title song "Back to Square One," with an intriguing rhyme scheme and message that reinforces one of Jill's favorite themes: that of individuality. The closing song on this album is "You're My Angel," dedicated to Jill's late daughter, Rosie. Jill's achingly poignant performance is a testament to her strength and honesty as she reveals personal heartache encased in a loving and respectful homage to those who depart from us far too soon. Can't imagine what a Jill Detroit "greatest hits" album would include because I haven't heard a song from this artist yet that didn't strike a chord (pardon the pun) with her audience. According to Jill, she is planning on taking a break from recording while continuing to grow her catalogue of songs before gracing us with more of her musical memoirs. Please don't stay away too long - your unique voice, both literally and figuratively, has become an oasis of choice for this aficionado.

“Real love"

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What do you call an artist who releases 11 albums in just over three years, filled with imaginatively creative works of art that never cease to surprise and delight listeners? Well, I call her “Jill Detroit” (the magnificent). Once again, Jill and her musical partner, producer/musician/engineer/arranger Bill Bentley, have managed to assemble ten songs that defy categorization and further enhance this artist's reputation as a songwriter whose abilities seem limitless and a singer whose emotional performances are as good as it gets. There are common threads that run through all Jill Detroit albums: her very personal songs span genres from folk to pop to light jazz; from acoustic to fully orchestrated arrangements; and, fortunately for listeners, this album does not stray from that pattern. If there is a theme to this album, it is “love.” From “Ready to Love Again” to “Better or Worse” from “Real Love” to “Thank You From the Bottom of My Heart,” Jill's heart is on display. The album opens with “No Time Like The Present,” a song Jill co-wrote with composer Mark Shaltz, a partnership that brought us “Everyday Choices” from Jill's “Little Feet” album. The unique rhyme scheme and musical arrangement reminds Jill's audience that the one thing they can expect with this artist is the unexpected. The intriguing sense of urgency in the song and performances sets the mood for the entire album. What comes next is nothing short of a trip on a time machine as Jill and her musical partner and song co-writer, Bill Bentley, surprise us once again with their ingenuity and endless talents on “Real Love.” This swinging number sounds like it could have been on Sammy Davis Jr. or Ella Fitzgerald's song list and it is clear that Jill and Bill are completely in their element with this musical style. From the intriguing and surprising to the sublime, “Ready to Love Again” is a true masterpiece (apologies if you have seen that word used to describe so many Jill Detroit ballads, but no other word seems descriptive enough). The song starts out low-key but quickly takes the listener on an emotionally charged journey that somehow manages to navigate the thin line between acceptance and questioning that epitomizes so many romantic couplings. The musical score creates the perfect gentle setting for Jill's expressive vocal interpretation of superb lyrics and an unforgettable melody that, quite frankly, not many vocalists could successfully pull off. “Speak to Me”, is three minutes of exquisite bliss, from it's light jazz musical track, to the luscious background vocals, to the simple, descriptive lyrics, and, finally, to Jill's stunning vocal performance that perfectly captures the essence of this extraordinary number. What follows is a bit of a departure for this artist, who typically regales us with her own original songs. Jill's decision to include, “My Father,” a classic Judy Collins number, as part of her musical memoirs says a lot about this artist's musical DNA. The song features Jill on the piano and a vocal performance that is one of the most honest and pure she has ever delivered. Clearly there is a thread of jazz in the Detroit-Bentley DNA as “Time Passes By” lovingly demonstrates. Jill's effortless vocal combined with Bill's respectful instrumentation produces a smooth, light jazz classic. 

“In the presence of grace"

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"In The Presence of Grace" is Jill Detroit's fourteenth album in nearly five years. That, in itself, is an amazing feat. What is even more amazing is this collection of sixteen inspiring songs that range from traditional spirituals and hymns to original Jill Detroit numbers, which, along with the guest performers, many of whom are members of Jill's family, combine to extol the virtues of faith and grace. The opening number, "A Woman of Faith," from Jill's "Tall Oaks and Tanglewood' album, perfectly sets the stage for this glorious album. The climax of the song is nothing short of phenomenal, both in content and in delivery. What follows is the album's title song, "In the Presence of Grace," with the kind of superb orchestration and vocals we've come to expect from Jill and her producer, Bill Bentley. Next up is the exquisite "He Restoreth My Soul," a traditional number that features delectable vocals from Jill, who, together with Bill Bentley, serve as a choir providing heavenly support to her emotive testimony. The pace picks up with another traditional number, "Standing in the Need of Prayer," which is the first of several songs on this album in which Jill is joined by one of her four brothers. This time it's her brother, Russ Phillips, who rocks the lead vocal and provides gospel choir backup vocals, with help from Jill. "Forgive" from Jill's "I'm Outta Here" album, is one of this artist's finest ballads. It's message of absolution, along with sublime performances, makes this song a worthy addition to this collection. "I Just Met a Man," from "The Sea," is one of my favorite Jill Detroit numbers, with it's hypnotic melody and the kind of double entendre lyrics we've come to expect from this songwriter. Next is "Love Medley," with three songs that feature Scott Phillips, Jill's playwright brother, with whom she has created three musicals. Two of the songs are traditional numbers and another, "If That Isn't Love," was written by one of the most prolific Christian music songwriters, Dottie Rambo. Jill's children, Sean Phillips and Emily Simpson Cimino, join her on "Do We Need Love?" from Jill's "No Man's Land" album. Clearly, the vocal chops have been inherited by these talented singers (look for Sean's own original songs to be released soon). Another of Jill's brothers, David Phillips, takes the lead on the traditional "All My Trials," with Jill providing angelic background vocals. Next, Jill's former bandmates, Pat Schrein and Bill McKinney, join her on "I Rest My Case," from "Paris on the Brain," the first musical Jill and her brother, Scott, co-wrote. Jill's fans will recognize "Come to the Water," from her "Little Feet" album. With it's haunting melody and rich background harmonies, this song could easily become a spiritual classic. Next, Jill joins with her brother, Mark Phillips, as they sing in unison on the traditional hymn "In the Garden." The song has been a favorite of the Phillips siblings, who, by the way, were raised by an extraordinary minister and his mathematics teacher wife. This rendition prompts those listening to offer up their own harmonies (on the side, of course). "Thank You from the Bottom of My Heart" is from Jill's "Real Love" album. The catchy chorus will have you singing along and the lyrics are open to various interpretations (which is one of the things I love about this songwriter). "Surrender," another song from Jill's "Little Feet" album epitomizes the kind of poignant expression and lush musicality we've come to expect from this incredibly talented singer-songwriter. What follows is another classic Jill Detroit song and a favorite of her fans, "Angels Must Spread Their Wings," from "Paris on the Brain." The last song in this stunning collection, "Glory Hallelujah," is one that Jill wrote when she was first learning to play the guitar as a young girl growing up in Logansport, Indiana. Once again Jill, along with Bill Bentley, evokes a gospel choir feel to this song that has it's roots in Jill's pre-teen impression of the nativity. I continue to be amazed and inspired myself by the artistry of this singer-songwriter who delivers exceptional songs that perfectly marry memorable, original melodies with heartfelt, intriguing lyrics wrapped up in tailor-made instrumentation and delivered with one of the most beautiful voices around. Thank you, Jill, for "gracing" us with your incredible talents and honoring the higher power who has designated you as the channel for these inspiring messages.

“Life of my own choosing" 

Amazon Canada

This is the second album from a prolific composer/performer whose work can best be described as 'fusion' because it has elements of pop, country, folk, rock, and light jazz. Each song is it's own microcosm, inviting listeners to look into their own hearts and tap into their own experiences of love, heartache, pride, and acceptance. The title song, 'Life of My Own Choosing,' a Joni Mitchell-esque tribute, describes a journey of self-discovery that culminates in a credo of independence. 'Mother and Daughter' is the quintessential parent-child love song and features Jill's own daughter, Emily Goeke, who turns in an unforgettable soulful performance. The other duet on the album, 'It Doesn't Matter,' featuring Bill Bentley, Jill's multi-faceted producer/arranger/engineer/band, proffers a philosophical acceptance of a partner's individuality. The upbeat jug band groove of 'Alice' evolves into the vintage Patsy Cline feel of 'I've Loved You All My Life.' The album opens with the dark synthesized tones of 'Nothing For Me Here' followed by the 12 string Byrds-like solo in the classic pop-rock song, 'Got to Write This Letter,' which features performances by Pat Schrein and Bill McKinney, two Detroit-based musicians with whom Jill has performed and recorded during her tenure in the Detroit clubs. 'A Lesson Learned, ' is classic Eagles rock and reminds listeners that, while some wounds may never fully heal, the real test is how we cope with renewable disappointment. Warning: 'Close Your Eyes (and go to sleep)' is a tear-jerker, and Jill's emotional performance underscores the unimaginable agony of experiencing the loss of a child. But don't fear: Jill's optimism surfaces to end the album with the hopeful anthem, 'In the End,' where she is joined, once again, by Bill McKinney and Pat Schrein. This album follows the release of Jill's first solo CD, 'Paris on the Brain,' which included songs from a musical Jill co-wrote with her brother, Scott Phillips, a Michigan-based playwright. Look for more releases as JIll embarks on a journey to memorialize the dozens of songs she has written over a career that has known her as Jill Phillips (real name), Ruby Lipps, and Larrice, as a jingle singer, background singer, solo artist, duo, trio, band member -- you name it. Listen to the album and get to know the real Jill.

“Heart felt"

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With the release of her latest album, "Heart Felt," Jill Detroit hits new songwriting and performing heights. Together, Jill and Bill Bentley, who produced, arranged, performed on, recorded, mixed and mastered the ten diverse songs on this album, transport listeners through a rich musical landscape of folk, country, light jazz, and pop that is, quite simply, delicious. Jill's voice is pure grace; as smooth as silk and as soulful as warm molasses, it bathes her audience in beauty and envelops them in comfort. "Heart Felt" is a fitting title for this album. Three of the tracks in this rich collection include the word "heart" in their song titles, while others tug at the listeners' hearts with their poignant lyrics, classic arrangements, and "heartfelt" performances. The album opens with "A Man After My Own Heart," an hypnotic love song that showcases Jill's deep vocal range and exquisite understated vocal delivery. Next is the stunning ode, "Speak for Those," in which Jill, supported by the "Jill-ettes," champions a call to recognize and protect those less fortunate. "Big Heart" is an unapologetically upbeat pop song inspired by and dedicated to Jill's son, Sean, whose enlarged heart necessitated emergency surgery and eventual heart transplant (thanks to a "big-hearted" organ donor). That experience is chronicled in the deeply personal, "I'm Not That Strong." The song is perfectly crafted, from it's musical score to the touching authentic lyrics and unforgettable melody, capped off by Jill's rich voice and achingly emotional performance. Never one to belabor heartache, Jill delivers a one-woman, live, unplugged version of the quirky "Bozos on this Bus," a song that reminds listeners of Jill's acoustic, folk roots and endearing wit. (This song was included in the musical "Devil May Care," that Jill co-wrote with her playwright brother, Scott Phillips.) The stony feel of "End of the Rainbow" transitions into the upbeat and rhythmic "Forget Me Not," in which Jill and the Jill-ettes perform a delightful scat ending. "Rosie" pays tribute to Jill's late daughter, Margaret Rose ("Rosie"), and speaks of a mother's love for a daughter who is both her child and her mentor. Of course, no Jill Detroit album would be complete without an autobiographical tune and "Stella" delivers. The song takes it's title from the brand of 12 string guitar Jill played as a girl, growing up in Midwestern USA. The final heartfelt cut on this album is "Take Back Your Heart." Once again, listeners are invited to experience pure Jill, as she transfixes the audience with a solo performance that reminds us what a treasure we have in this singer-songwriter-musician. Kudos go to Bill Bentley for understanding and respecting this singer and song enough to bravely step back and let them speak for themselves. Look for more from this magical musical pair as Jill continues her journey to chronicle the many songs she has composed (and is still composing) from the time she picked up her first Stella guitar.