Mark Winkler: Hold On

Throughout his extensive career, Mark Winkler has been a steadfast presence on the Los Angeles jazz scene, earning a reputation as one of the most versatile and captivating vocalists in contemporary jazz. With Hold On, his 22nd album, Winkler continues to demonstrate that artistic growth and creative curiosity remain central to his work. While many artists with such a prolific discography might be tempted to rest on their laurels, Winkler continues to push forward, creating new material and thoughtfully reimagining select standards.

The album's strength lies not only in Winkler's supple phrasing and storytelling craft but also in the collaborative framework he has built. Six pianists—John Beasley, Rich Eames, Tamir Hendelman, Eric Reed, Jamieson Trotter—each bring distinct tonal palettes to the session. The supporting cast reads like a who's who of L.A.'s jazz fraternity, including but not limited to the following: bassist Gabe Davis, drummer Christian Euman, saxophonist Bob Sheppard, trumpeter Brian Swartz and guitarists George Doering and Grant Geissmann—each contributing to the shifting landscapes over which Winkler weaves his narratives.

The title track, "Hold On," radiates optimism and resilience, opening the album on a note of determination. Beasley's piano underscores Winkler's message with refined sophistication. The irreverent pianist/composer Dave Frishberg wrote "A Little Taste," which swings brightly with Winkler showing his affection for the lyrics. Reed and Geissmann's accompaniment adds understated verve to the interpretation. Frank Loesser's gem "If I Were A Bell" is delivered by Winkler with playful intimacy, balancing humour and tenderness as Hendelman's piano keeps the number buoyant.

In 1965, Frank Sinatra released the Reprise album September of My Years, on which "It Was A Very Good Year" was a key track and became one of his signature songs. Not to be deterred by "The Voice," Winkler dives in to embrace the song's nostalgic depth with a soft bossa beat supported by Trotter's harmonic creativity and Swartz's colouristic flourishes on flugelhorn. Stripping back Billy Joel's pop classic "Vienna," Winkler uncovers a haunting, universal ballad that feels wholly his own, enriched by Beasley's lyrical piano.

What sets the album apart from earlier Winkler releases is the sense of discovery that pervades each track, not least so for the closer "I Dream of You Each Night," a tender and lyrical original that lingers long after the final notes. Sparse accompaniment from Reed and Swartz on open and muted trumpet frames Winkler's voice at its most vulnerable and sincere.

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