Claire Martin and Mark Winkler Have Figured It Out

Mark Winkler once told me he likes to open his shows with a familiar swinger, something he can be comfortable with, to get him relaxed and “in the zone.”  It is a smart tactic that comes from a lifetime of performing, and Mark used it to good effect Sunday night at Catalina Jazz Club as he kicked off his “Evening of Song for Animal Rescue” with a sure-footed romp through “Old Devil Moon.”  The night was off to a good start.  Winkler didn’t falter as the veteran songwriter, entertainer and prolific recording artist delivered mostly his originals. He performed the title cut from his 2026 album “Love Comes First” by effectively using “The Shadow of Your Smile” as a rubato verse.  His beautiful “I Chose the Moon” was sung with heartfelt sincerity.  “Train in the Desert,” an homage to film noir, had an appropriately moody and kinetic underpinning.  Winkler uses his voice to good effect, knowing when to go big, and knowing when to draw the audience in using hushed tones. He understands contrast and always crafts a well-paced show.

I’d not had the pleasure of hearing his special guest Claire Martin sing live.  Last night she lived up to her stellar reputation.  Hers is a big, clear voice, and she knows how to use it. With a natural tone and accurate pitch, she can swing hard, but she never forces.   I was impressed by her ability to improvise using the lyrics, eschewing scat syllables that can sound contrived.  As well as singing Winkler’s originals “Another Night,” and “Just Around The Corner,” she delivered exceptional phrasing and rhythmic acuity on the standards “Lover Come Back To Me,” and “It Could Happen To You.”  Showing her versatility, she expertly navigated the rangy and beautiful “Lucky To Be Me” by Bernstein, Comden and Green from “On The Town.”  She was completely at home onstage, thinking on her feet, often turning to the musicians to encourage them to lean into the groove, and calling solos with good natured, unforced ease.  She roamed the stage, connecting with band members as well as the audience.  She owned the real estate.   As for her patter, only someone with supreme confidence in her talent can charm an audience with honest self-deprecation.  She shared a humorous account of being the opening act for Tony Bennett.  She was so star struck that upon meeting him all she could do was stammer that he smelled good.  I grabbed a quick moment with her after the show to express my admiration for her musicality and stagecraft. She said, “It took me a long time to figure it out.”  I assured her she has most definitely figured it out.

She and Winkler closed the show with a satisfying duet on “Allright, OK, You Win.”  Their mutual admiration, affection and respect was obvious all through the well-paced, enjoyable evening. 

In addition to her guest performance at last night’s event, which raised money for the Richard Del Belso Animal Rescue Fund and the SPCA, Martin will be in the studio this week recording an album of Mark Winkler originals.  Based on our preview Sunday night,  I’m looking forward to hearing the record.

Great support onstage from pianist Rich Eames, Grant Geissman on guitar (who delivered an incendiary solo on “It Could Happen To You,”) Gabe Davis on bass, Aaron Serfaty on percussion, and a wonderful special guest, trumpet player James McMillan.

A few incidental thoughts about the production at Catalina Jazz.  It seems they have evolved in their approach to lighting.  In the past so often the stage has been awash in lurid, unyielding purple, with no contrast.  It has been so pronounced that I was thinking of reminding Manny that The Purple Room is in Palm Springs, not LA.  But I believe they have discovered amber.  Clearly there was thought given to the lighting Sunday night, to good effect.  Also, I must give credit to the sound man and apologize for not getting his name.  The last time I performed there, the vocals from the stage were crystal clear.  They sounded great from the house last night.  The sound man was not afraid of reverb but also knew how to use it sparingly. 

Also, is it just me, or has the food at Catalina improved?

It was fun to see the photographer Craig Allyn Cochran scampering around the room, crouching at the edge of the stage, always on the move for the best angle.  He has proven to be a superb photographer of live music.  When I see him next, I’m going to ask him about his use of a wine glass near the lens.  I find this intriguing.  Did he drink the wine first?  Does he bring in his own glass with special refracting properties?