I guess you can chalk it up to pure energy that this album’s first cut, “The Night Has a Thousand Eyes,” sounds as if there are more musicians aboard than simply a trio and a vocalist.

That illusion often prevails as Shirley interprets a disc full of jazz classics. Joining her in the spirited venture is Chuck Chaplin on piano and either Bob Sonda or Richard Moten on bass and Wayne Mearu on drums. The key word here is interpret as Shirley, a mature and heady vocalist seeped in the ways of jazz, doesn’t just sing standards like “Our Love Is Here to Stay” and “Detour Ahead;” she investigates them.

She heats up tunes such as “Gone with the Wind” with her imaginative scatting and demands the most of every note in the song’s final measures. Chaplin more than backs up the vocalist, he persuades and pushes to insure the verve. He demonstrates his own when stepping out on many fine solos.

Appreciated is a vocalist who is unafraid of power behind her and for Shirley that is amply provided by Mearu. His unanticipated pops keep the mood lively on “Star Eyes” that is set off by Moten’s strong solo. Few would think to give the familiar opening of “Love for Sale” a Middle Eastern tinge as Shirley does here. Shirley is a sincere jazz vocalist—she is true to herself.

She’ll growl when she feels the need to have a little fun. The easy road isn’t for her; for the sake of jazz she’s willing to take the risks of spunky phrasings and far-reaching notes.

Shirley says it all in the album’s final cut, “Jazz Ain’t Nothing But Soul.