You can keep the romance lingering long after Valentine's Day by picking up Tony Bennett’s latest release, Isn’t It Romantic? A compilation of his most heartfelt ballads, recorded on Fantasy and his own label, Improv, it contains classic tracks recorded with Ruby Braff and the highly acclaimed duets with pianist Bill Evans.

Younger fans may not be aware that Bennett was a card-carrying heartthrob in his younger years. In 1952, when he married for the first time, 2000 female fans staged a mock funeral, standing outside the church dressed in black.

Bennett has sublimated the physical power of his youth into something deeper. The man whose most notable quality after his browned butter tone was the direct connection between his heart and his voice, summons even more emotional sensitivity in his later years. A little wry, a lot wiser, the heart he wears on his sleeve may be slightly frayed but still holds enough youthful optimism to allow him, and us, to remain open to the promise of new love.

Speaking of romance, no other instrumentalist matches Bennett’s emotional lyricism like Bill Evans. The two albums they recorded together are one of the most successful collaborations in jazz, with Evans’ passionate slow burn both supporting Bennett’s vocals and lifting them to new heights. His intros, solos and occasional reharmonization of “We’ll Be Together Again,” “Young And Foolish” and “But Beautiful” create an atmospheric dream world, transforming these chestnuts into flights of nearly heartbreaking poignancy.

The four tracks featuring cornetist Ruby Braff and guitarist George Barnes are from Bennett’s 1973 release, The Rogers And Hart Songbook. Although the playing is first rate and their subdued approach perfectly matches the spirit of this compilation, the tracks are palate cleansers between courses of the real magic made by Bennett and Evans.

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Just in time for Valentine's Day, Steve Tyrell, America's most famous wedding crooner, is releasing I'll Take Romance, his first album on Concord Records. A collection of starry-eyed love songs, it's the perfect soundtrack for your romantic rendezvous.

The Houston native had been working behind the scenes in the recording industry as a songwriter and producer when he was tapped to sing "The Way You Look Tonight" for the soundtrack of the 1991 hit, Father Of The Bride. The producers had him perform it on camera in the climatic reception scene and an iconic wedding standard was born -- even Chelsea Clinton chose it for her first dance. The song is included as one of the 12 tracks, which are arranged with a jazz combo supplemented by horns and strings.

Tyrell's singing style is steeped in blues and soul and he supplements the American Songbook classics with some R&B covers. "At Last" opens the set and though it's similar in feel to Etta James' famous recording, hearing it sung by a man gives it a fresh outlook. Sam Cook's "(I Love You) For Sentimental Reasons" is included, as is a seldom-heard gem originally recorded by Bill Medley of the Righteous Brothers, "You Turn Me Around."

This release is a follow-up to Tyrell's previous recording celebrating Sinatra's love songs. Add that to his annual stints at New York's Café Carlyle, one of the most romantic nightspots in the world, and you have a man who's an unofficial expert in flirtation, courtship and passion. Slipping this disc in with the chocolates and flowers for your Valentine may very well get you a little passion this year, too.

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Nearly 32 years after his passing, Bill Evans remains an influential force for several generations of jazz pianists-including Chick Corea, who teams with Evans alumni Eddie Gomez (bass) and Paul Motian (drums) to create the fascinating double CD live recording Further Explorations. The multifaceted 19-song set was culled from a series of performances the trio did May 4-17, 2010 at the Blue Note in NYC.

Calling the project that emerged from these sets Further Explorations is a tip of the cap to Evans' original Explorations album, featuring Motian and bassist Scott LaFaro as his first trio, released in 1961. Though Corea is the leader of the current group, Gomez and Motian -- who passed away in November, 2011 -- have more direct connections to the legend. Both performed and recorded with Evans during some of his peak periods. Motian, who first appeared with Evans on New Jazz Conceptions in 1956, left the group in the early-'60s, nearly four years before Gomez would commence an eleven year run with the pianist.

Corea's connection is more spiritual/emotional, like a student studying from a mentor. Over the years, he adapted many of Evans' harmonic concepts and playing techniques. Besides the creative arrangements and expectedly powerful playing, the most remarkable aspect of Further Explorations is the way the trio approaches their muse.

Rather than create a mere tribute, the Evans catalog is a mere starting point, and open door pointing towards new and surprising ventures. Refashioned versions of classic Evans pieces (including songs penned by Irving Berlin and Thelonious Monk) are complemented by thematically relevant original tunes by Corea, Gomez and Motian.

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The Concert Sinatra, newly remastered and released this month, is a collection of classic Broadway tunes, sung with the rarely-heard verses and backed by an orchestra arranged and conducted by the great Nelson Riddle. Recorded in 1963 during Frank Sinatra's heady Reprise period, the original eight tunes are augmented with two bonus tracks.

Not a live concert album, the title refers to a larger than usual orchestra gathered by Riddle -- a musically ambitious undertaking for the era. You could almost think of this as a duo album, for Riddle was arguably as big a superstar in the behind-the-scenes world of arrangers, conductors and orchestrators as Sinatra was on center stage. His strings shimmering down a chromatic scale at the end of the opening verse of "Bewitched" will send chills up your spine.

Recording technology was still in its infancy in '63. Multi-track wasn't yet available so the original engineers created a simulacrum by placing multiple synchronized recorders around the soundstage using film stock instead of the usual two-inch tape. The results are rich and full, 'surround sound' that is only enhanced by state-of-the-art remastering done by a team of engineers led by Frank Sinatra, Jr.

Sinatra, Jr.'s attention to detail and love for his father's music shine in this digitized version. He's also penned new liner notes, adding a personal and professional perspective gleaned from not only family connection but also his years as Sinatra's conductor and musical director.

Sinatra, Sr. is in great voice, more than matching the wow factor of the arrangements and large-scale orchestra. There's a fermata toward the end of "Ole Man River" where he slides down the scale into the depths of his range and into the next phrase with breath control that seems superhuman. Truly a unique project and more than deserving of this technically updated reissue.

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