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Jill illustrates a love felt "in every way imaginable," from her hair follicle to her toenails.

She starts in a coo, transitions into spoken word, and ends in what sounds like a full-on tribal cry. At no time do I ever get the sense that one state of being is better than another.

I resent that, but maybe her pain was more raw than her love, and the art that resonated sprang from that place.

Jill, by comparison, has always struck me as complete in her personhood. "It's just me / one is the magic number," she sang back in 2000.

“The movie made us all think about what we’re doing. For the married girls, it made them question and decide for certain that they made the right decision on who they married.

They thought about it — not to say they hadn’t before — but we talked about that: why they chose to marry these guys,” she says.

At times when performing it live she renders it like an opera, in Spanish or both. Marriage was never presented by her as a destination or a prize.

In this regard, Scott is different from female artists who commodify their lives, even down to their marriages.

as, “classic Philly soul meets country rhythm served with captivating storytelling.” Over the past few months, Scott has slowly been releasing new music which’ll be on the new album, including “You Don’t Know” and “Fools Gold.” You can catch Miss.

Jill Scott on tour this summer when she stops at the Greek Theatre on August 19th.

There are no writing camps crafting her songs by committee, as in the case of a Beyoncé or a Rihanna.

When she wants to release an album, she does not lead it with a stint on a reality show like K. Jill has no gimmicks; she simply articulates the complexities of the heart.

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