Martin handled the altered rhythm, melody and chord changes of \u00e2\u20ac\u0153Everything I\u00e2\u20ac\u2122ve Got Belongs to You\u00e2\u20ac\u009d with easy command of the difficulties the arrangement presented. She applied the same performance concentration to pieces by Esbj\u00c3\u00b6rn Svensson, Michael Franks and The Doors as to classics by Cole Porter, Johnny Mandel and Jimmy Van Heusen. Notably in control of her deep register to color the meaning of lyrics, Martin interpreted Johnny Mercer\u00e2\u20ac\u2122s words to \u00e2\u20ac\u0153I Thought About You\u00e2\u20ac\u009d as poetic expression. Cottle, an electric bassist who brings acoustic qualities to the instrument, followed in solo with intriguing lines on the chords of the piece. <\/p>\n When it is their sidemens\u00e2\u20ac\u2122 turn to create, musician-singers pay attention, which encourages the audience to do the same. In Joshua Redman\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Lower Case,\u00e2\u20ac\u009d Martin concluded her initial chorus and turned to Williams One aspect of Martin\u00e2\u20ac\u2122s performance that is not directly musical enhances her music; she uses her eyes in ways that underline the messages of her songs. Employed to excess, the effects of facial expression would be annoying, but they seem to be attributes of a natural actress and add subtle meaning to her art. <\/p>\n![\"\"](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/08\/Claire-Martin.jpg\" "\\"Claire")
<\/a>Ystad artistic director Jan Lundgren introduced the group as The Claire Martin Band. Whether or not that is their official name, it makes sense. Martin is the leader, but it is apparent that pianist Gareth Williams, bassist Laurence Cottle and drummer Kristian Leith regard her as more than—you should pardon the non-PC expression—a chick singer with a rhythm section. From the \u00e2\u20ac\u0153Killer Joe\u00e2\u20ac\u009d intro of \u00e2\u20ac\u0153Be Sure You Can Get Back Out\u00e2\u20ac\u009d to the fast \u00e2\u20ac\u0153But Not For Me\u00e2\u20ac\u009d encore with its \u00e2\u20ac\u0153Sonnymoon For Two\u00e2\u20ac\u009d riff, Martin functioned as if she were an instrumental performer. Not that she scatted more than incidentally, but the rhythmic and tonal qualities of her performance had spirit and band interconnectivity more common to horn players than to singers. <\/p>\n<\/a> (pictured), listening intently during his improvisation. The Welsh pianist is a soloist of considerable accomplishment, but on this afternoon, the rhythmic and chordal inventiveness of his comping for Martin was his greater attribute. Leth, a Danish drummer, had an intriguing skin-on-skins hand drumming solo on the rumba rhythm of \u00e2\u20ac\u0153Too Much in Love to Care.\u00e2\u20ac\u009d In a tribute to Shirley Horn, whom she credited as an early inspiration, Martin sang \u00e2\u20ac\u0153He Never Mentioned Love\u00e2\u20ac\u009d with the air of wistful regret that Horn also gave the Curtis Lewis song. <\/p>\n