This album is a masterpiece that belongs in every music lover's collection. I've listened to it countless numbers of times, and always discover something new and satisfying in it. Have you ever been at a performance which wholly satisfied you, damn the supposed "mistakes"? I will admit, for one, that I think "Misty" should not be the first track. People will put it on and expect some kind of mechanical cover version of their favorite performance. Not to be had, here. JaRon Eames is a song stylist--a one-of-a-kind, like a Miles Davis, a Sarah Vaughan, a Dinah Washington. Just when you expect Jazz, out comes Blues, or Torch Singer, or a great Balladeer--just black and pearls, as it were. Nat King Cole, Jazz master that he was, did the same. The songs on this album were created in one piece, recorded after extensive performance here and in such diverse places as Germany and Japan, and they have a rightness and a fit between singer and pianist that your usual studio-job just can't aspire to. The performances have an elegant and powerful sense of the organic, growing from Note One to the very end. It's hard to describe what's going on, but it's unmistakable, whatever it is. That brings me to pianist Emme Kemp, whose tapestry of tone is jaw-dropping. In addition to a truly symphonic vocabulary within her playing, her mid-song showcases are ripe with the most beautiful and rewarding kind of what composers call "development", that is, the use of the essence of the tune to comment upon itself. A Divine sound, most certainly Divinely inspired. Listen to "Don't Go To Strangers" (Track 2) for an object-lesson in all of the above. It may remind you--as it does me--of records I've heard before, except that it is all re-presented in fully mature form. JaRon Eames really proves himself here. And by all means, don't miss the central tone-poem constructed by Emme Kemp. Two masters at work, making it seem like play. But we expect masters to make it look easy, don't we?