Perfect for reminiscing on a solitary, rainy night in the city, the jazz combo backs Eliza Lumley in “Black Star” as she ascends up the scale, giving special attention to the top note, just as Radiohead’s lead singer, Thom Yorke did in his own unique way. This from singer Lumley’s brave effort, She Talks in Maths – Interpretations of Radiohead. Lumley strips down 11 songs from one of the biggest bands in the business, giving a fresh look on classics from The Bends, OK Computer, and Kid A. She Talks in Maths, however, may prove worthwhile to even those outside of the giant cult following Radiohead has earned.

The tall and slender Lumley burst into America after being part of the Grammy Nominated Cast for Mamma Mia! and has since been no stranger to Broadway and international equivalents. Currently touting her new album and playing the role of Mrs. Banks in the West End Disney hit Mary Poppins, the singer has a refined voice and great musical intuition, likely stemming from her training at Cambridge University and the Royal College of Music in London.

Released digitally last summer, Lumley’s new album was immediately number one on the iTunes jazz chart. The album takes familiar rock classics down to a simple jazz inspired duo of voice and piano. Augmented by her airy, pure tone, Lumley conjures some of the jazz vocal giants—with a pop twist. Exemplified in “Let Down,” her voice sounds slightly “electronic” (in a good way)…likely a combination of her vocal quality and the mix itself.

Longtime Radiohead fans may wish to experience the new, ultra-cool version of “Karma Police.” The unique approach features a muted trumpet, cello, talking drum, and subtle echoes of Lumley’s voice; all combining in a hip tune that waits to explode but never does. The sparse piano of “Street Spirit” leans toward a minimalist inspired, film music method, but wins the award for “best ending” on the album. “Lucky” is quite poppy, in all its glory. While perhaps not the most unique track, it gives the vocalist opportunity to show off her huge range and depth that works in this context.

A few selections could leave the listener torn. “No Surprises” has a direct approach that, while great musically, could do a better job portraying the bring-down-the-government persona found in the original. “Let Down” is anything but, however, it features less textures and layers than the Radiohead counterpart. This version could leave the die-hard Radiohead fan feeling a little naked.

The album’s predominately sparse approach, with building, fervent ballads, may prove negative for those listeners who play from the first track to the last in one sitting. The opening track, “High and Dry,” however, exercises a positive restraint, cutting the tune to a quarter of its original length. “How to Completely Disappear” stands out as the refreshing, powerful cut on the album, furthest removed from Radiohead’s version. The admittedly Japanese influenced piano opens the song in similar fashion to previous tracks.

“Black Star” takes an entirely new atmosphere while retaining the despair and searching within a couples’ life found within the lyrics. “I get home from work and you’re still standing in your dressing gown, well what am I to do? … Blame it on the black star.” Throughout the album Lumley uncovers the angular outlook on life fans have grown to expect from Yorke. It is commendable that, for the most part, the lyrics retain their original intent in an entirely different musical setting.

For the semi-fans, the ever familiar “Creep” does make its way onto the album in a nice lounge jazz version, complete with delicate and ironic piano arpeggios. This tune truly allows Lumley to belt out the huge climax all anticipate, offering many color changes in her voice and nearing a speech-like sound.

The idea of the “remix” is common in our culture and Radiohead covers are certainly a growing trend. Eliza Lumley is without doubt a voice to be reckoned with and this album offers an extremely interesting, tame, but thoughtful remix that most fans will love. For those who enjoy jazz or are simply curious, She Talks in Maths is still a worthwhile purchase, even without prior Radiohead exposure. Visit myspace.com/elizalumley for more information and audio samples. Listen to the entire album, all the way to “Bullet Proof … I Wish I Was,” for Lumley’s soaring and satisfying voice.

C.R. Kasprzyk is a classically trained composer and saxophonist. He may spend his holiday listening to “Auld Lang Syne” by Kenny G. We’re afraid to ask