The highlights for me–by far–are “Blue Bayou,” “Long Long Time” and “Desperado” (for which she takes over on piano). “Blue Bayou” brings welcome fresh phrasing, adding depth and drama to the yearning to be “going back someday.” There’s sadder-but-wiser melancholy in both “Long Long Time” and “Desperado.” In both of these the singer most effectively channels the distinctive cry in the voice of her model without sounding forced. It all goes down easy (like a good martini).