Meet the Musicians: Claire Martin OBE and Martin Sjöstedt on the modern jazz scene

Claire Martin has established herself as a tour de force on the UK jazz scene, gaining many awards, including winning the British Jazz Awards as Best Vocalist eight times during her career, which spans almost four decades. She became a professional singer aged 19 and, two years later, realised her dream of singing at Ronnie Scott’s legendary jazz club in London Soho. 

Claire's 2024 release, Almost in Your Arms (Stunt Records), saw a return to her collaboration with the Swedish trio led by the formidable Martin Sjöstedt on piano and produced by the five-time Grammy-nominated producer James McMillan. It was placed amongst the Albums of the Year critics' poll at Jazzwise Magazine and also in their Editor’s Choice section. 

We sat down with Claire and Martin ahead of their concert at the Menuhin Hall to find out more:

YMS: Claire, what makes performing with Martin Sjöstedt and his trio such a special musical partnership for you?   

CM: I've been working with Martin as much as I can over the last 15 years.  First as my bass player and then onto being my pianist and MD.  We have a great synergy on stage and he truly understands my strengths as a vocalist and is an exceptional arranger.  With this trio I am looking for full tilt swing to delicate sensitivity.  They deliver in spades! 

YMS: You move between classic jazz standards and contemporary songs. What do you look for in a modern song that makes you want to interpret it as a jazz vocalist?   

CM: I choose songs that I have always loved and see if I can make them into something more jazzy by sitting with Martin at the piano and trying things out.  I need to really love the lyrics first and then of course the melody and structure, but the chords and harmony can be tweaked in the hands of jazz musicians, so they can instantly be given a reharm and therefore a different flavour.  

YMS: Martin, how do you approach arranging a song that audiences may already know very well? What can you bring to it that makes it feel new?   

MS: It’s always a challenge to approach songs that people already know well, regardless of genre. But I actually see that familiarity as an advantage. If the audience already knows the melody and the lyrics, and has a relationship with the song, it gives me much more freedom as an arranger. 
 
With completely new music, you sometimes have to be a little more careful to make sure the melody, intention and emotional character of the composition come through clearly. With a song that has already been recorded many times, you can afford to take it somewhere else — perhaps give it a completely different emotional energy — without losing the essence of the song. 
 
When arranging for a singer, though, one thing is particularly important to me: the voice and the melody must always feel free. I try to create arrangements that allow Claire to interpret the song in her own way rather than forcing her into the arrangement. 
 
Quite often I’ll actually call Claire and simply ask her to sing a little of the song to me over the phone. I love hearing that first, spontaneous interpretation. It may be completely unpolished, but that’s often exactly what I’m looking for. It gives me a glimpse of where the song naturally wants to go for her — and that can become the starting point for the whole arrangement. 

YMS: Claire, after so many years of performing, has your relationship with the songs you sing changed? Do you hear or interpret familiar material differently now?   

CM: Sometimes I feel like I really know the song instantly,  but other songs have taken literally decades to truly make my own.  I have been singing standards for 40 years now (!!) and of course have so much more life experience under my belt.  I can bring some true grit and also share heartache with authenticity that I didn't have when I started out at 19.  These jazz standards are masterclasses in songwriting and the truly great lyricists of the day never cease to enthrall me.  Every time I approach these songs I look for something else I've not found before.  That's the beauty of improvisation.  

YMS: There’s a real balance between arrangement and spontaneity in jazz. How much is planned before you walk on stage, and how much is created in the moment?   

CM: The set list is planned and the songs of course have structure within them,  but after I have sung the first chorus,  I really don't know what I'm going to do next!!  I have a framework of course,  but I will feed off the band and they will push and pull me as we go along.  I am also listening out for what they are doing,  maybe Martin will play some chords that make me choose different notes, or Matt on drums will play something rhythmically that I can latch on to.  It's definitely a conversation as we let the song unfold.  That's the magic of jazz,  we will never be able to recreate what we do in that moment!!  Every night is a surprise! 

YMS: What do you think happens between musicians on stage when the chemistry is really working?   

CM: I think the music can shine.  We can relax and try things out,  we can stretch out solos,  we can have a sense of trust and freedom.  When it clicks it just feels good and we all know it. 

YMS: For someone coming to hear you for the first time, what would you hope they take away from the evening?   

CM: I like it when people say 'I didn't think I liked jazz' or 'this is my first jazz concert and I loved it' as that means I am not only reaching new audiences but also I'm connecting with people and that's the name of my game!  I want to bring this amazing genre of music to as many people as possible and take the 'fear' out of some people's perception of jazz and improvised music.   

YMS: If you could meet one jazz vocalist from history, who would it be?   

CM: I'd love to meet Carmen McRae.  I am pretty sure I'd be scared to death as she was quite a formidable character, but I've got so much I'd love to ask her and of course I could tell her how she has inspired my whole career. 

YMS: Finally, what can audiences expect from this particular programme at the Menuhin Hall? 

CM: A mix of Great American Songbook standards - stylishly reworked and arranged by Martin.  Some great jazz treatments of more modern songs from the 70's and 80's and of course a fabulous swinging trio who are world class and a joy to sing with.  I'm very much looking forward to singing in this amazing concert hall with this line up. 

Claire Martin OBE and Martin Sjöstedt are appearing at the Menuhin Hall as part of our jazz programme. 

Book tickets and explore the full jazz series at the Menuhin Hall here.