Thanks for all your input.  I was remixing it again this morning and I was concentrating on the instrumentation instead of the vocals when something miraculous happened.  I started liking how the vocal track sounded after I blended it back into the mix!  I no longer heard the "elements" that made it displeasing to me and now I can say I actually like how it sounds.  So it's Psych, I guess.  BTW-I went and did the unthinkable on the new mix.  I panned the piano left and the bass right (about 10:00 & 2:00 respectively).  That generally elicits a heart attack from some of the listeners on the Songs forum, but I like it because you can hear all of the fancy piano and bass licks that hide behind the vocal.  Hard panning the bass is frequently done on Jazz mixes, especially the "classic" ones.  Anyway, I'll spare everyone the horror and keep the first mix up.
Thanks again!
 
John B.
 
 

In my opinion, I think its partly psychological.  I think what is happening here is that your vocal is actually very present and up on top of the mix.  Its very clear and despite the verb thats on it, it still has a dry quality that isnt entirely flattering.  Thats not a criticism of you personally.  Its just a normal reaction with some people when they hear themselves so clean and clear and present where its almost like eek...  ease up on that a little.  Even when playing live....  I dont like much of myself in the monitor.  It makes me feel like I have to work harder to hear myself when I am low in the monitor, and I tend to get a better performance.  When I really get a lot of "me" in the monitor it tricks my brain and makes me feel like I have to pull back so that I dont hear myself so presently.
 
Part of it is getting comfortable with hearing yourself so well with good gear.  The gear you have now is why you are getting every nuance, as opposed to a representation of a vocal thats otherwise lacking detail.  Part of it is the mix and master and getting the vocal to sit in there with everything instead of on everything.
 
Read about parallel compression and watch as many youtube videos as you can on the subject.  Its a quick and easy way(once you understand the concept) to really add impact to vocals and thicken them while still retaining dynamics.  Essentially youd duplicate the vocal track(not by singing twice but by copy/paste duplicate).  Apply your normal compression to the main track.  Something subtle like youd normally do.  For the duplicated track(the parallel compression track), you apply a very different approach.  You EQ heavier than you think you need to in order to add an exaggerated boost to any frequencies that have impact or you want to have impact(something in the lows and something in the highs).  Then....you squash the heck out of it with compression ...an unnatural amount to really bring up all the other frequencies/tone in your voice to levels that are pretty well even with the impact portion.  then you slowly blend the two together to taste.  you keep all that dynamic and clarity from the main track....but that parallel compressed track that you blend in fills things out and adds some punch and depth 
 
Beyond that, there are dozens of tricks you can employ to add thickness without killing the dynamics of the vocal.  EQ alone wont do it, because what I think you are expecting to hear actually has more to do with proper compression as a whole and getting the whole mix glued together.
 
Id also read and scour youtube for approaches to compression and limiting for the master bus.  thats what is ultimately going to glue it all together and sit your vocal in the mix instead of making it seem like it sticks out too much for your ears

@Greg-Sounds like something I'd like to check out (parallel compression).  Checked out YouTube, but I need to see a video on it where it explains it as if they were talking to somebody who's never done anything like it before (set up, etc).  Can you give links?
 
@Jeff Evans-Thanks for your tip.  Adorable puppy on your avatar!  Might that be a Greyhound?

My other piece of advice would be to cut some of the low end out of the vocal reverb? Are you applying a high pass filter to the vocal before it hits the reverb send? If not then try applying a high pass at 500Hz and a low pass at 10kHz. And then maybe cut out some mud from the reverb around 300-400Hz? 
 

James-Thanks so much for your suggestions.  Right now I'm trying to wrap my head around parallel compression.
My reverb is a freebie called Glaceverb.  I have many reverb plugins.  That, to my ears, is the best.  The annoyance I was hearing could be noticed whether reverb was applied or not.  Hoping the parallel compression will help (once I learn how to apply it).
 
John B.