It is hard to imagine an album from this prolific artist that could match “Heart Felt,” Jill’s most recent release. Yet, “Play Me Like a Saxophone,” the latest album from this tremendously gifted singer-songwriter, accomplishes just that. Together with producer/recording engineer/musician/arranger Bill Bentley, Jill has fashioned a collection of musical masterpieces that, once again, demonstrate the amazing breadth and depth of this musical partnership. Each delectable song on this album is exquisite in its own right; together, these ten songs provide a listening experience that defies description or genre. You will find yourself asking, “Is this jazz, folk, Americana, pop?” Let me know when you decide – if you can. The album opens with “Vitamin J,” a version of which was adapted as the title song of “Devil May Care,” one of two musicals Jill co-wrote with her playwright brother, Scott Phillips. This whimsical tune allows Jill and the Jill-ettes (plus a Bill-ette or two) to strut their vocal stuff. Does “J” stand for Jill? If so, make sure to get your daily dosage. Next up is the album’s title cut, “Play Me Like a Saxophone,” with rich orchestration, a virtuoso saxophone performance by Tony Malfatti, and a superb vocal interpretation of seductive, imaginative lyrics that will leave you breathless (or breathing heavily). The jazz feel continues in “Pirate of Sorts,” which features an uplifting chorus from the Jill-ettes inviting the listener to celebrate love on life’s high seas. The “Jill-ettes” are front-and-center again on “Why Can’t Anyone Be True?” a song that asks an age-old rhetorical question with intriguing lyrical and musical twists and turns. In “Brother From Another Mother,” Jill displays her wry sense of humor, using an unconventional spin on a well-known phrase to define relationship boundaries. Again, the “Jill-ettes” offer support – both vocally and emotionally. “Righteous True Believer” is Jill’s signature autobiographical piece, which her fans have come to expect on each Jill Detroit album. Acknowledging the challenges that life can pose for a creative spirit, the chorus is a reminder that each day brings new possibilities. “Promise You – Promise Me” is a classic Jill Detroit composition (with a nod to Stephen Foster) that asks honest, fresh questions about the direction a new relationship is taking. Bill Bentley’s arrangement and performances combine with Jill’s effortless vocal delivery to create a quintessential Detroit-Bentley collaboration. “The Last Time” evokes a Fleetwood Mac feel on the chorus as Jill sings about infidelity, with a tongue-in-cheek twist. “Say What You Mean” is about as perfect a ballad and performances as one is ever likely to hear. The song’s haunting melody, lush instrumentation, and unforgettable lyrics underscore Jill’s emotive, sublime voice. The final song on this album is the light jazz-tinged “You Should Have Waited,” a lovely lament that recognizes the seemingly random nature of relationship timing and asks “What if?” Jill’s flawless vocal performance, combined with Bill’s stellar production, makes this song a perfect ending to another perfect album. What’s next for this diverse pair? Jill is busy in the studio, recording more original compositions spanning a lifetime of songwriting and, with the support of her musical partner and producer Bill, she plans on releasing another album of original compositions in the near future.