Mark Winkler: Late Bloomin’ Jazzman

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Mark Winkler

Late Bloomin’ Jazzzman

(Café Pacific Records)

May 29, 2022

Reviewed by Mary Bogue

On Late Bloomin’ Jazzman, the most recent of his 20 CDs over a 40-year span, Mark Winkler has assembled a team of superlative musicians to support this spectacular achievement of jazz, bossa, film noir, and movie-track-worthy ballads. Winkler has written eight of the 12 tracks.
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His voice is better than ever; it’s refined, pleading, cool, inviting, and full, and he pays 100% attention paid to the lyrics. Ah, the truth of it all.

Winkler never pushes the lyrics; he exudes them, and those that he wrote are astounding. He takes this opportunity to pair life’s exquisite lessons that can be revealed only by living long enough to develop reflections on life with melodies that keep us tuned in.

Offering 12 songs, the last of which is “If Gershwin Had Lived,” (David Lucky/Mark Winkler), I can’t help but believe that if Mr. Gershwin had lived long enough to hear the sweetness of these lyrics, those of “Old Enough” (Jamieson Trotter/Winkler), and the most tender piece, “In Another Way” (Michele Bourman/Winkler)—he would have been deeply moved. It seems these gentlemen share a rarified energy.

Superbly shaped by Winkler’s longtime producer Barbara Brighton, this CD offers everything— swinging, sentimental, romantic—that one would expect to be celebrated on Broadway, or at the very least as a recurring TV soundtrack. It’s that good.

Go ahead, explore Winkler at www.markwinklermusic.com for videos and more on the creation of this outstanding recording the features the finest musicians in Los Angeles. Marvel at the mastery of guitarist Grant Geissman and pianists Jamieson Trotter, David Benoit, Bill Cantos, Rich Eames, and Jon Mayer. The incredible bass stylings of John Clayton and Gabe Davis keep things lush, while Christian Euman and Clayton Cameron set the beat on drums. Bob Sheppard on sax and flute inspires. Nolan Shaheed on flugelhorn is perfect, and percussionist Kevin Winard fills in with a gentle power. This is a master class in jazz

Late Bloomin’ Jazzman continues to climb the charts, garnering radio time for some of the unexpected tunes, and it will delight you. If you happen to direct, produce, or sing, you’re encouraged to give a listen to the masterful lyrics here; Mr. Gershwin would approve.

Mary Bogue

Mary Bogue’s journey into the world of jazz began in 1981 when she was accepted by the Monterey Jazz Festival to cover the event as a writer. It was there that jazz tenor saxophonist Buddy Tate introduced her to the legendary vocalist Helen Humes. Their interview, later published in Jazz Dispatch and distributed at the Playboy Jazz Festival, marked the beginning of Bogue’s deep connection to jazz and storytelling. One unforgettable moment came when Humes introduced her to Count Basie, saying, “Bill, this is my friend Mary. Mary, this is Bill.” That simple introduction sparked a lifelong love for jazz and a passion for writing. Among her early interviews was a conversation with the legendary Les McCann, a connection that would come full circle years later when McCann joined Bogue on her debut album, Don’t Go to Strangers, released in 2012. The album, celebrated with a launch party hosted by KJZZ, gained national airplay and recognition. Her follow-up albums, Blue Smoke and One Night of Sin, further solidified her place in the jazz world. In 2015, Bogue was honored as a Living Legend of Jazz and recognized by the Duke Ellington Society, the United States Congress, the State of California, and the City of Los Angeles. Her cabaret career took off at the iconic Gardenia in Hollywood and continued in New York at the Metropolitan Room. That same year, she joined Cabaret Scenes Magazine as a reviewer of both cabaret shows and CDs, continuing to champion jazz and cabaret through both performance and the written word. In addition to her accomplishments in music and journalism, Mary is also an accomplished visual artist. She has designed album covers and created a wide range of artwork, including oil paintings of blues singers and expressive watercolors. Her visual work, much like her music, reflects her deep passion for the soul and spirit of jazz and blues.