Divine Ratio of Love by Renée Wilson & Jeff Oster

The greatest danger in reimagining songs so deeply rooted in the popular consciousness is the risk of either slavish imitation or radical misinterpretation. “Divine Ratio of Love” sidesteps both pitfalls, choosing instead to inhabit a liminal space where respect for the original rubs shoulders with playful innovation. What emerges is not mere novelty, but a sense of musical conversation—a dialogue between past and present, between the source material and the creative impulses of the performers.

The opening track, the Rolling Stones’ “Miss You,” is a masterclass in subversion. Where Mick Jagger’s original is all restless energy and urban swagger, Wilson and Oster slow the tempo, letting the melody slink through the haze. Renée Wilson’s vocal performance is sultry and restrained, every syllable weighted with longing. There is a sense of surprise—almost disbelief—as the listener recognizes the lyrics, now delivered with the intimacy of a confessional. Oster’s muted trumpet, warm and rounded, becomes the perfect foil: sometimes echoing Wilson, sometimes answering her with gentle improvisations. The transformation is so complete that “Miss You” sheds its stadium-rock carapace and becomes something altogether more vulnerable, almost as if it has always belonged in this late-night world.

This approach—removing a song from its “natural habitat,” only to discover new facets in unfamiliar light—is the throughline connecting all five tracks. The musicians do not simply transpose melodies; they rebuild them, brick by brick, until the architecture is both recognizable and thrillingly new.

Central to the success of “Divine Ratio of Love” is the remarkable interplay between Renée Wilson and Jeff Oster. Wilson’s voice is an instrument of remarkable versatility, capable of both smoky depth and crystalline clarity. There’s an emotional openness to her phrasing—a willingness to dwell in silence, to let the lyrics breathe, to linger on the cusp of heartbreak or joy. Oster, for his part, approaches the flugelhorn not as a mere accompanist, but as a co-narrator. His playing is at once supportive and adventurous, tracing lines of melody that wrap around Wilson’s voice like warm arms pulling you closer to the stage.

This partnership is especially evident on “Harvest Moon.” Neil Young’s original is a gentle, wistful celebration, its simplicity part of its charm. In Wilson and Oster’s hands, it becomes an invitation to listen anew: the tempo is languid, the harmonies unexpectedly lush, and the arrangement allows for moments of silence that are as expressive as any note. Frank Martin’s keyboard work, Todd Boston’s guitar, and the subtlety of Michael Manring’s bass and Celso Alberti’s drums provide a foundation that feels both solid and unintrusive, accentuating the song’s romance without ever overwhelming it.

As the EP progresses, this creative synergy deepens. “Ready For Love” remains close to the spirit of India Arie’s original—gentle, affirming, and quietly powerful—but again, the addition of Oster’s warm horn and Wilson’s nuanced delivery lends the track a new resonance. The arrangement is spacious, every instrument given room to bloom, resulting in a version that honors the source while making it unmistakably their own.

Perhaps the boldest inclusion is “All Is Full of Love,” a song by Björk known for its shimmering layers and electronic textures. Stripped of its icy modernism, the song is revealed to be an aching ballad—its message of hope and vulnerability brought into sharp relief by Wilson’s plaintive singing and Oster’s gentle horn. The arrangement is minimalist, almost reverent, allowing the song’s emotional core to shine through.

Similarly, “Slow Like Honey,” originally by Fiona Apple, is transformed into a languorous meditation. The tempo unspools, the harmonies become more ambiguous, and the result is a sense of floating—of time suspended and emotion distilled. Joshua McClain’s cello adds a layer of melancholic beauty, deepening the mood without tipping into melodrama.

What unites these disparate songs is the deliberate choice to explore love—not merely as a romantic ideal, but as a force that is multifaceted, sometimes painful, always transformative. This thematic cohesion is one of the EP’s great strengths, allowing each track to stand alone while contributing to a larger narrative arc.

While Wilson and Oster are the focal points, the EP’s success is equally indebted to the supporting musicians and the meticulous production. Frank Martin’s keyboards, Todd Boston’s guitar, Michael Manring’s bass, Celso Alberti’s drums, and Joshua McClain’s cello each add color and texture, creating a soundscape that is both lush and intimate. The ensemble moves with the fluidity of a seasoned jazz quintet—never rushing, always listening, and always serving the song.

(left to right) Todd Boston, Michael Manring, Renée Wilson, Jeff Oster, Celso Alberti and Frank Martin

The recording process itself, split between 25th Street Recording in Oakland, Spatial Sound Studios in Portland, and Big Red Studios in Troutdale, OR, has yielded a sonic environment that is inviting, rich, and immersive. Engineering by Todd Boston, Gabriel Shepard, and Billy Oskay ensures that every nuance is captured, while Boston’s mixing and mastering at Spatial Sound Studios elevates the EP’s tactile warmth. Additional mixing by Alberti further refines the blend, resulting in a final product that is as polished as it is heartfelt.

The production eschews the glossy sheen of some modern jazz-pop records in favor of a more organic sound—voices and horns up front, rhythm section understated but essential, every element in its proper place. The result is an EP that feels alive, capable of surprising not just with its song choices but with its subtle, deeply felt artistry.

In sum, “Divine Ratio of Love” is more than just a collection of jazz covers—it is a meditation on the nature of interpretation itself. Wilson and Oster approach each song with equal parts reverence and daring, finding new emotional truths in familiar material. There is an audacity in their choices—a willingness to risk reimagining classics, knowing that not every listener will be ready to let go of the originals. Yet, the reward is immense: a set of performances that offer the rare thrill of hearing a beloved song as if for the first time.

There is also a generosity here—a willingness to give each song, each musician, and each moment its due. The arrangements never feel crowded; each track is a small world, alive with possibility and discovery. The overall impression is one of effortless sophistication, born not of calculation but of genuine love for music’s ability to surprise and move.

“Divine Ratio of Love” is an EP for those who believe in the transformative power of music—for those who are ready to leave behind their expectations and step into a new sonic landscape. Whether you are a veteran jazz lover or a curious newcomer, whether these songs are old favorites or new discoveries, there is something here to delight, to provoke, and to cherish. With elegance, style, and a touch of daring, Renée Wilson and Jeff Oster have managed to bottle the alchemy of musical reinvention. The result is not just a triumph of interpretation, but a celebration of love itself—messy, luminous, and always full of surprises.

Reviewed by Michael Foster for Ambient Visions

Tracklist:

1. Miss You (6:33)

2. Slow Like Honey  (6:16)

3. Harvest Moon  (5:30)

4. Ready For Love  (5:15)

5. All Is Full of Love  (4:33)