Sharon Marie Cline has built a reputation as a jazz vocalist who understands the weight of tradition yet refuses to be confined by it. With her latest release, “Summertime,” she revisits one of the most recorded standards in jazz history and reshapes it with intention, warmth, and a distinctly modern sense of joy. Rather than leaning into the song’s often brooding or languid interpretations, Cline approaches “Summertime” as a living piece of music, one that can still surprise, uplift, and reflect the present moment.
This version of “Summertime” feels less like a slow exhale and more like an open invitation. Arranged and produced by Todd Hunter, the track carries a breezy confidence that immediately sets it apart. The rhythm is light but grounded, the harmonies bright without becoming glossy, and the overall feel suggests sunshine, movement, and shared celebration. It is jazz that smiles without losing its sophistication.
At the center is Sharon Marie Cline’s voice, rich, controlled, and expressive. Her phrasing is playful yet precise, allowing the melody to breathe while giving it renewed shape. She does not overpower the song; instead, she converses with it, honoring its legacy while gently steering it into new emotional territory. The addition of James Love on background vocals adds another layer of warmth, creating a sense of dialogue and community that reinforces the song’s celebratory spirit.
The musicianship throughout is intentional and cohesive. Todd Hunter’s keyboards and arrangement provide a polished yet relaxed foundation, while Edwin Livingston’s bass and Aaron Serfaty’s drums keep the groove buoyant and fluid. Michael O’Neill’s electric guitar adds subtle color and texture, enhancing the track’s contemporary edge without distracting from its jazz roots. Together, the ensemble creates an atmosphere that feels effortless, an illusion achieved only through deep musical understanding.
Cline’s artistic background helps explain why this reinterpretation works so well. Known internationally for her elegant approach to both jazz standards and contemporary material, she has long demonstrated an ability to balance reverence with reinvention. Her performances across major jazz venues and festivals have shaped a voice that feels timeless but never dated, grounded in emotional clarity rather than technical excess.
“Summertime,” in this context, becomes less about nostalgia and more about presence. Cline has spoken about wanting the song to feel like “now,” and that intention is audible in every choice. This is not background music for passive listening; it is music that invites connection between musicians, listeners, and the moment they share.
As an enduring piece of her catalog, “Summertime” reflects Sharon Marie Cline’s broader philosophy as an artist: jazz is not a museum piece, but a living language. By choosing joy, brightness, and communal energy, she offers a reminder that tradition does not have to be heavy to be meaningful. Sometimes, honoring the past means letting it dance in the sunlight. In doing so, Sharon Marie Cline delivers a version of “Summertime” that feels alive, generous, and human music that doesn’t just mark a season, but elevates it.