In stark contrast the reverse of the album consisted of six torch songs delivered with such remarkable pathos and depth of understanding that comparisons to Piaf were immediate and inevitable.  Understatement was her hallmark, and never once did Jill resort to needless histrionics to convey the songwriter's poignant lyrics. The album was released in March of 1958, shortly after Miss Corey scored yet another coup, as lead in Columbia Pictures Senior Prom and with it another hit song Big Daddy, which she subsequently reprised twice on the Ed Sullivan Show. As 1961 drew to a close, Jill was marking her eighth year in the limelight and now was increasingly in demand for public appearances, including more work in regional theater, where both her singing and acting talents were in demand.  It is not surprising then that Jill began thinking about a break from the frenetic pace she had lived since a teenager.  No doubt that thought had something to do with handsome Pittsburgh Pirates third baseman Don Hoak, whom she had met a year earlier, and who had launched a well orchestrated campaign to win Jill's affections.  His efforts ultimately proved successful.  On December 27, 1961, the two were united in marriage in Pittsburgh. While honoring existing contractual commitments, the following year Jill began a systematic withdrawal from the public stage, first to follow her husband's baseball career and then to begin her own family with the birth of daughter Clare in 1965. The Hoaks' union was an unusually strong and happy one, particularly for a couple both in the public eye.  It was, however, a tragically short marriage.  On October 9, 1969, after a particularly stressful day culminating in a an attempt to thwart the theft of a family vehicle, Don died of cardiac arrest.  He was 41.  Jill, just 34, was left alone to provide for daughter Clare, then four years old, ironically the same age Jill was when she lost her own mother. Ever perceptive and resourceful, Jill knew well that a singer in the classic traditions would find little opportunity in the 1970's world of the Beatles and the Rolling Stones.  Neither was it likely that she would ever again become the fixture on television that she was for most of the decade of the 1950's.  But there was still musical theater, and there was cabaret.  Those were the roads Jill would choose for her second career, and ultimately they would lead to her sold-out one-woman show at Carnegie Hall on October 20, 1989.  As for the milestones along the way during the twenty-year journey, the critics' reviews which follow speak eloquently of her many triumphs.