Mike Winters
A Pre-Existing Condition
(LML Music)
November 5, 2019
Reviewed by Alix Cohen for Cabaret Scenes
Mike Winters came to cabaret late in life, after having a full career elsewhere. The Retreat at Heron’s Landing offered intensive workshops that propelled him to record this CD with the help of high school classmate/old friend, vocalist Stacy Sullivan. Winters has an appealing, low-key baritone.
“The Devil Wears a Suit and Tie” (Colter Wall) is cooool and dark. There’s attractive grit in Winters’ insinuating, roadhouse vocal. A few more like this one would be welcome. Aaron Weinstein’s violin is visceral, specific, unique.
The iconic “What’ll I Do?” (Irving Berlin) arrives with lilting, flannel tones and just the faintest vibrato. Winters takes the song from Newport to a campfire. Will Galison’s terrific harmonica creates an evocative thru-line. “And So It Goes” (Billy Joel) sounds traditional—no rock, no roll, no glitz. “Leavin’s Not the Only Way to Go” (Roger Miller) is a roots tune. When Winters goes up an octave, the listener feels longing. A lovely, musing violin adds considerable atmosphere.
“To Make You Feel My Love” (Bob Dylan) emerges as a tremulous declaration. A familiar “Wichita Lineman” finds us gazing across endless flatlands with a deep sigh—no whistle, no yodel. “In Passing Years” (Rick Jensen) is soulful and poignant and there’s that engaging violin again. “For All We Know” might be the last dance at a country social, a one-two sway on fallen crepe paper streamers at the end of an otherwise lively evening. Ahh the harmonica… touching.
A tandem “Do I Love You Becsue You’re Beautiful”/“You Are So Beautiful” is borne on Tedd Firth’s caressing piano. “The sweet invention of a father’s dream (not ‘lover’s’ as was written)” Winters sings; the deft weaving of the two melodies seems organic. This is as tender as it gets. (Richard Rodgers & Oscar Hammerstein/Billy Preston & Bruce Fisher.)
Remaining songs have identity issues. While Winters excels at ballads and honky-tonk/ western, 1960s pop feels ersatz here, especially when mixed with country rhythm. It’s as if the performer has one foot in comfortable territory, and one on alien turf.
