Album Review: The Jill Stevenson Band

There are many artists on the map, trying to make names for themselves in one way or another. While some are best known for their solo work, others are inseparable from their bands. In the case of singer/songwriter Jill Stevenson, she can make magic either way.

In recent months, she and her cohorts have released a collaborative effort, a five-song EP entitled The Jill Stevenson Band. Stevenson's devoted fans will surely recognize some of the tracks from previous releases, but newcomers will likely appreciate them just as well.

"Six Weeks," for example, can be found on her live album L, albeit in stripped-down form (i.e. Stevenson and percussionist Ryan Vaughn are the sole performers). The version on Band is many times richer, layered with multiple sound textures and incredible engineering work by Peter Denenberg, who produced all five tracks. If you give the track a close listen, you might be able to discern some of Mike Visceglia's solid bass lines and Daniel A. Weiss' lush organ chords. This track can also be found on Stevenson's second studio album 1308 Ditmas, though that version, too, is missing many of the consistencies of the latest one.

The following track, "Sugar Sweet," can also be found on L; again, on Band, the track is an improvement in many ways. The song begins with Stevenson's powerful voice arising from the subtle combination of Weiss' organ, Billy Masters' lead guitar, and the solid backbone of Doug Yowell's drumming. Stevenson's voice, while it has always been a powerful instrument in and of itself, particularly shines here. Perhaps it is a tribute to the chemistry she has with her band mates as well as the production.

Regulars at any of Stevenson's shows in New York City or Colorado will likely know the first track, "Dreamer," as well, with its recognizable chorus:

Baby, I'm a dreamer
I got a dream
Maybe I believe
In something

In addition to the excellent collaboration with her fellow musicians on this track, Stevenson's vocals are skillfully overdubbed to great effect. So, too, is it possible to discern each of the instruments individually, just as a food connoisseur might taste distinct ingredients in a dish.

Now, if you're a newcomer to Stevenson's music, this EP is definitely a great starting point. These particular versions of the five songs could, at this point, be considered the definitive recordings. If you enjoy them, go back and check out Ditmas and L.

Even the EP's cover, somehow, seems to speak of Stevenson's increased maturity and growth of her talent over several years. The black-and-white photo, by Anja Hitzenberger, depicts Stevenson, seated at an outdoor cafe in New York City, with the Flatiron Building in the background. Directly behind her are band mates Masters, Weiss, Visceglia, and Yowell, in what you might say is a visual representation of the music.

The EP's final track, "Ain't Enough," is an excellent closer, starting off very subtly, and growing into a full display of the band and their skills. Tight rhythms, interwoven harmonies, delicate piano, fine string plucking, and gentle vocals all combine to create a great sendoff that just may leave you yearning for more.

If this sounds like your type of music, the album is available at the links below. Who knows? You just might become a fan.