Jill Detroit

“No man’s land" 

Wamart.com

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.

“Little feet"

 tower records 

If Jill Detroit's last release, "No Man's Land," was an ode to existentialism, her latest release "Little Feet" takes a distinctly spiritual and sentimental turn; maybe the result of all the solitude and soul-searching? Jill and producer/arranger/recording engineer/musician Bill Bentley deliver ten musical delicacies enfolded in the unique, exquisite gift wrapping we've come to expect from this inspired pair. This album, the ninth release in just over 3 years from this prolific artist, opens with "Everyday Choices," a song Jill co-wrote with composer Mark Shaltz, and one that captivates the listener with a lyrical simplicity that belies it's underlying morale that every decision we make, whether major or seemingly insignificant, defines us. This musical treasure is followed by the upbeat, delightful "Riverside Park," a song that fills the autobiographical slot we've come to expect on each Jill Detroit album as she takes us back to her childhood, growing up in a small town in Indiana where days (and some nights) were filled with adventures at the park down by the river. "Stay Around," is a one-of-a-kind song, written by Jill's former band-mate, Bill Simpson, whose performance leaves the audience wanting more from this talented, soulful singer. Jill and Bill are joined on the choruses by their daughter, Emily (Simpson) Cimino, one of Jill's favorite back-up singers, who has been featured prominently on previous Jill Detroit releases: most notably on the duet "Mother and Daughter" from Jill's "Life of My Choosing" album and the classic "Do We Need Love," from "No Man's Land," that also featured Jill's son, Sean Phillips. Quite the musical family here. The adorable "Little Feet," is pure toe-tapping Americana, with harmonies by the Jill-ettes and instrumentation that are simply charming. The sentimental mood takes a spiritual turn in "Come to the Water," a haunting new-age hymn, with a musical track that epitomizes the supportive, respectful arrangements and performances we've come to expect from Bill Bentley and the kind of lyrical and vocal excellence that make this a paradigmatic Jill Detroit composition. Next up is the touching ballad "Daddy," a true work of art, from it's rich orchestration to a soaring emotional vocal performance that firmly establishes this artist as one of today's truly outstanding singer-songwriters. This timeless song gives way to the catchy "I Can't See You Again," with a Stevie-Wonder-Burt Bacharach-inspired flavor that demonstrates the musical versatility of the Detroit-Bentley partnership. "Silent Partner" is a classic Jill Detroit spin on relationships as she takes an honest look at her role as one half of a couple. The stripped-down music track perfectly complements the soul-searching lyrics as well as Jill's pristine vocal performance. This song evolves seamlessly into "You Already Know," with a slightly Renaissance feel that epitomizes the originality of the instrumental tracks we've come to crave from Mr. Bentley and perfectly supports Jill's effortless vocal. The final song on this album is "Surrender," in which we find Jill confessing to a crisis of faith that culminates in a complete acceptance of her own powerlessness as she turns her life over to a greater power. This masterpiece is a fitting addition to the soul-searching theme of this latest release from a singer-songwriter whose unparalleled output of original music is inspiring. At the risk of sounding like a "broken record," credit goes to Bill Bentley, whose creativity and expertise at both performing and engineering lovingly support the artist and the authenticity of the song above all. Mr. Bentley is a rare producer who reveres the essence of each song and provides the perfect frame for one of the outstanding singer-songwriters of the era. Thank you to the planets that aligned to bring this pair together so they can gift the world with their talents

“Back to square one"

Ebay.com

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"

Walmart.com

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. 

“I’m Outta Here"

Amazon uk review 

Jill's thirteenth album further demonstrates this artist's seemingly limitless versatility and artistry. Once again, Jill delivers her unique brand of genre-defying offerings as she takes us musically from rock to classic pop, from country to Americana, from light jazz to easy listening, with a nod to folk icons, and lyrically from anger to forgiveness, from parental advice to pure love, from sadness to self-actualization. This album opens with "You Know What You Did" which is yet another departure for Jill and her musical partner/producer/arranger, Bill Bentley, who channel a rock-opera feel to deliver a song quite unlike any we've ever heard from this artist. From accusations to forgiveness, Jill eloquently sums up the consequences of holding on to pain and anger in the ballad, "Forgive," with the simple line that it "only makes the hurt hurt more." Bill Bentley's production and performances provide an outstanding showcase for this beautiful and eloquent musical gem which was also one of the songs included in "Old Folks At Home," the third musical Jill created with playwright Scott Phillips. Next up is "Inside and Out," which Jill co-wrote with Bill Bentley. This light jazz number draws in the listener as it conjures an image of unconditional love. "Country Living," is an upbeat, catchy song you'll find yourself singing along to, followed by "Precious Child," a song that is classic in it's simplicity, emotional in it's message, and utterly transfixing in the performances delivered by Bill, who arranged and created the orchestration that perfectly cradles Jill's touching lead and background vocals. This emotive ode is followed by "For Free," the classic Joni Mitchell song that Jill includes as part of her efforts to memorialize not only her only compositions but works of other artists whose songs have deeply affected her musical DNA. In this unplugged version Jill accompanies herself on the piano in a solo performance that reminds listeners of this artist's raw, deep talent. Jill joins forces with composer Mark Shaltz, with whom she co-wrote "Everyday Choices" on her "Little Feet" album and "No Time Like the Present" from "Real Love," to craft "Follow Your Muse." Again, we hear this musical team create something quite unlike anything they've done so far, with a calypso feel and free-form tempo underlying a simple message: stay true to your passion in life. What follows is the Americana-folk-tinged "Eddie and Me," with a sweetness in the lyrics and melody that perfectly describes the many facets of an adult-child relationship. At the risk of wearing out the phrase "it's a masterpiece," there is simply no other word to describe "Weary Soul." Once again, I am struck by the simplicity of the lyrics, which, together with a haunting melody, loving orchestration, and superb vocal performances by Jill, set the perfect tone for this moody, reflective ballad. The closing number on this album is "I'm Outta Here," a country-rock break-up song whose background vocals are impossible not to sing along with. Hopefully, the song title is not Jill's way of telling us she is planning to rest on her laurels (although she could deservedly do so). This musical team continues to surprise and delight listeners with a catalogue of songs that defy categorization but have one thing in common: honesty.