Nora McCarthy

"If the listener has not heard Nora McCarthy before then blesSINGS is a great introduction to this mature singer who bestows passion and heartfelt humanity in large doses. Her tribute to Butch Morris is a cornerstone of all that is possible when one freely enters the magical world of music. From the get-go, Nora's voice and lyrics are captivating. "Love Poem for the People" is a great kick-off. Fantastic arrangements. Her connection to life in all its manifestations and positive energies really sing through you on the entire album. Her "Restless Mind" has such a beautiful dreamy quality that encourages minds to wander inside their beauty, is lovely. "The Blessing" is a really pure revelation. Terrific! A beautiful encouragement to look for and practice love in its many variations. Sylvester's sax is a gorgeous, uplifting alternative voice. All the musicians make significant contributions to McCarthy's lush vocal deliveries. "Passion Dance" really conveys her joyously letting go. "Nowhere Ever After" is a purely, magical testament to Butch Morris. I can easily visualize being held in his sway as he elicits soulful expressions. Amazing how he could hold us all in hand; shaping us to pour forth our very best. Nora really rose to the occasion on this one. Thank you Nora McCarthy and The People of Peace Quintet for transporting me to that listening space and for your magic." R.I. Sutherland-Cohen /www.jazzexpressions.org

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"If the listener has not heard Nora McCarthy before then blesSINGS is a great introduction to this mature singer who bestows passion and heartfelt humanity in large doses. Her tribute to Butch Morris is a cornerstone of all that is possible when one freely enters the magical world of music. From the get-go, Nora's voice and lyrics are captivating. "Love Poem for the People" is a great kick-off. Fantastic arrangements. Her connection to life in all its manifestations and positive energies really sing through you on the entire album. Her "Restless Mind" has such a beautiful dreamy quality that encourages minds to wander inside their beauty, is lovely. "The Blessing" is a really pure revelation. Terrific! A beautiful encouragement to look for and practice love in its many variations. Sylvester's sax is a gorgeous, uplifting alternative voice. All the musicians make significant contributions to McCarthy's lush vocal deliveries. "Passion Dance" really conveys her joyously letting go. "Nowhere Ever After" is a purely, magical testament to Butch Morris. I can easily visualize being held in his sway as he elicits soulful expressions. Amazing how he could hold us all in hand; shaping us to pour forth our very best. Nora really rose to the occasion on this one. Thank you Nora McCarthy and The People of Peace Quintet for transporting me to that listening space and for your magic." R.I. Sutherland-Cohen /www.jazzexpressions.org

Nora McCarthy and The People of Peace Quintet blesSINGS RedZen Records 2015 Personnel: Nora McCarthy-voice/compositions/lyrics, Jorge Sylvester-alto saxophone/compositions, Pablo Vergara-piano, Donald Nicks-electric bass, Kenny Grohowski-drums

Tracks: Love Poem For The People; Akara Moi Moi; Nimbus; Into The Middle Of Something; Restless Mind; The Blessing; Passion Dance; Listen Close To What The Trees Are Saying; Night On Earth; Nowhere Everafter

Produced by Nora McCarthy Recorded: Tedesco Studio in Paramus, New Jersey Engineer: Tom Tedesco Masteredat: Miracle Mastering studios, NJ Mastered by Ivan Joseph Goldberg Photo: Angela Bruno Menawi

By: Alex Henderson // 5 out of 5 stars

Nora McCarthy’s versatility has been one of her strong points. The New York City- based jazz vocalist, originally from Cleveland, took a very straight-ahead approach on her promising debut album of 1996, red&blue. But subsequently, McCarthy explored jazz’ avant-garde because she was always a “free bird” at heart. In her collaborations with Jorge Sylvester that began in 2000, McCarthy has demonstrated that she is comfortable with both the inside and the outside. And whether she was getting into free-form outside improvisations or performing standards, McCarthy has been as expressive as she is unpredictable. McCarthy has a long history of giving 100%, which is what she continues to do on blesSINGS.

This self-produced CD is not an album of popular standards, although it doesn’t delve deeply into the avant-garde either. One of the album’s highlights is a memorable performance of Ornette Coleman’s “The Blessing.” But for the most part, blesSINGS is not an album of abstract avant-garde jazz, but rather, a highly melodic and accessible post-bop effort with a highly spiritual outlook. And McCarthy leads a cohesive unit called the People of Peace Quintet, which also includes Sylvester on alto saxophone, Pablo Vergara on acoustic piano, Donald Nicks on electric bass and Kenny Grohowski on drums.

Post-bop, of course, has a long history of spirituality. Heavily influenced by John Coltrane, great instrumentalists like Pharoah Sanders, McCoy Tyner, Rahsaan Roland Kirk, Jackie McLean and Yusef Lateef thrived on spirituality during the 1960s and 1970s. So did singer Abbey Lincoln, one of the influences on blesSINGS. And with this album, McCarthy draws on both the spirituality of post- bop instrumentalists and the spirituality of post-bop vocal jazz.

That spirituality prevails on four songs by McCarthy (“Into the Middle of Something,” “Restless Mind,” “Listen Close to What the Trees Are Saying” and “Love Poem for the People”) and two songs by Sylvester (“Nimbus” and “Akara Moi Moi”) as well as Lucian Ban’s “Night on Earth,” Lawrence “Butch” Morris’ “Nowhere Everafter” and Tyner’s “Passion Dance.” The rapport that McCarthy enjoys with Sylvester, Vergara, Nicks and Grohowski on blesSINGS is consistently strong: instead of sounding like a mere backdrop for McCarthy’s vocals, they enjoy a genuine, honest-to-God dialogue with her. And thankfully, Sylvester and Vergara have plenty of solo space and room to stretch out. The spirit of improvisation prevails whether McCarthy is singing or other members of the People of Peace Quintet are taking a solo.

“Passion Dance” is a highly appropriate choice for blesSINGS given its rich history. Tyner (one of the greatest pianists of the last 55 years) unveiled that modal gem in 1967 on his classic album The Real McCoy, which was recorded for Blue Note Records and boasted Joe Henderson on tenor saxophone, Ron Carter on upright bass and Elvin Jones on drums. Tyner and Jones had played together in Coltrane’s quartet in the early to mid-1960s, and the deep spirituality that Coltrane was known for carried over after they left his employ and pursued their own projects. “Passion Dance” came to be recognized as a definitive example of spiritual post- bop, and it works undeniably well for McCarthy in a vocal context. Her lyrics fit Tyner’s melody perfectly, and as a lyricist, McCarthy fares equally well on Coleman’s “The Blessing” (which the trailblazing alto saxophonist recorded in 1958 on his Contemporary date Something Else: The Music of Ornette Coleman, an album that pre-dated his association with Atlantic Records and his work with bassist Charlie Haden).

McCarthy, in fact, wrote most of the lyrics on blesSINGS. The only lyrics she didn’t write on this album are the ones heard on the 11-minute opener “Love Poem for the People,” although she did write the composition for that selection (the poetic words are from James Akinwale Daniels). McCarthy also handles most of the arrangements on blesSINGS, although Sylvester is the arranger on McCarthy’s “Into the Middle of Something” and his own “Akara Moi Moi.”

The fact that McCarthy wrote so many lyrics for blesSINGS does not mean that she neglects scat-singing. McCarthy gets in plenty of memorable scatting on blesSINGS, and emotionally, she expresses herself in different ways on this album: as a performer and writer of lyrics, as a composer, as an arranger, and as a scat singer. McCarthy wears a variety of hats on blesSINGS and wears all of them well.

Some listeners might wonder what McCarthy’s preference is: standards, avant- garde free jazz, bop, or post-bop and modal jazz? And the best answer to that question is, “All of the above.” McCarthy is multi-faceted, and her ability to handle different styles of jazz equally well speaks highly of her. This time, spiritual post-bop is the main course, and blesSINGS is a fine addition to her catalogue.

NEW REVIEW: http://www.allaboutjazz.com/php/article.php? id=45943#.UqOMfOJnaRM

“…Most of all, McCarthy and Sylvester are dedicated to using art as a means to elevate and celebrate the human spirit; their music is about joy and creativity, and cultivating the finer aspects of the human soul.” Florence Wetzel, All About Jazz, 5/2012

“….McCarthy and Sylvester are really in their element on Coleman’s “The Blessing” and “The Sphynx”, stretching out into abstract territory and channeling their spiritual perception of the alto saxophonist’s forward-thinking messages while also maintaining their own confidently probing voices.” Sam Spokony, All About jazz, 10, 2013

“….The Light of Truth’s High Noon Is Not For Tender Leaves.” a McCarthy original from the Spirit Driven double CD has a spirituality that recalls the late Abbey Lincoln, and McCarthy really soars with that Lincoln-ish mood. Alex Henderson, Jazz Inside Magazine, 10/13

"....A striking woman of unusually elastic voice, McCarthy infuses her music with poetry and theatricality that’s both stark and sensual." Carlo Wolff, Cleveland Scene, April, 2010 “…McCarthy is a fearless singer who deftly refuses to be categorized as she explores personalized means for expressing ideas; she travels infrequently heard avenues for exploring thought and adapts vocal technique to fit the circumstances of her message." Bill Donaldson for Jazz Improv NY, 2008

"...McCarthy's vocals often recalled the soft, strained desperation of another Cleveland vocalist, the great Jimmy Scott. The album is, in fact, something of an homage to Scott, ending with the McCarthy original, "Faith in Time (Jimmy's Song). …The singer closed with a barn-burning version of Willie Dixon's "Little Red Rooster" that left the crowd crowing for more and nicely "upset, in every way."4-18-2010, All About Jazz/ 31st Tri-C Jazz Festival, Matt Marshall

“...Her shaping of pitch often foregoes the fluid note- bending of the jazz singer in favor of the full press of a sculptor’s touch against viscous clay." Ramsey Ameen/The Gathering Of The Tribes Magazine, 2005 "…The ballad "Too Late Now" (Lerner/Lane) from her CD, Circle Completing, is a charmer. Reminding me very much of the late lamented Irene Kral, Nora provocatively sings this melancholy ballad in full throttle." Dan Singer, In-Tune International Magazine-UK, 3/2009 "…McCarthy’s vocals are rich and subtle and laced with varying degrees of earthy blues and soulful phrasings." Sounds of Timeless Jazz.com, 2/2009

“…Circle Completing is a moody suite that deals with the evolution of life, coming to a place of forgiveness, letting go, and ultimately moving on to the next level. "Nora's adventurous singing, the spontaneous interplay with John diMartino, and the unpredictability of the music result in the innovative duets being full of subtle surprises." Scott Yanow, Jazz Critic & Author, 2008 “…McCarthy, who works in every setting from a bass and vocal duo to a twenty-piece orchestra, demonstrates that she is not one to simply serenade with the usual mix of standards.” Dan Bilawsky/Jazz Improv Magazine’s New York Jazz Guide, 2008

“...Nora McCarthy shines on “Do Something” – a groove piece whose melody and arrangement is reminiscent of a Horace Silver kind of energy; and on the hip lyrics to “In My Own Way” – an ‘electric’ medium groover. McCarthy’s contributions add a shimmering magnetism to the vocal pieces by Brandon. Other highlights include the soft Bossa “Friend In Need.” The album wraps up with the title song “Toward the Hill of Joy” – voice and piano, out of tempo, deep, contemplative and brilliant.” Clark Griffin, Jazz Inside, 2012

"…A good poet can tell a story with a minimum of text. So when Nora McCarthy tells the story of lies that have been "swept under the carpet / all scramble like roaches in the early morning light," she extends the idea in a couple of directions at once – with a kind of vocalese, aided by skittery piano bits. The presentation says far more than a couple of paragraphs could, that's for sure." Mark Saleski/Jazz.com “…Nora is a wonderfully focused musician, singer composer. Her original compositions are splendid examples of modern and traditional jazz song. I highly recommend her as a fellow artist.” Dom DuVal, musician / composer / bassist.“ April 9, 2009 "…You can hear this woman's life in her voice…" Walter Kolosky, Jazz.com/2009 “…Nora McCarthy has a deep voice, with the timbre and range of Sarah Vaughan….she uses ever-so-subtle pitch- bending and straight tones and just a lovely touch of vibrato.” Julianne Carney/International Society For Improvised Music, 2007 "…Nora is a musical flurry of passion, soul, emotion, soothsaying, truth telling and jazz poetry that takes you on flights of improvisational abandon with grace and wit. She is a force to be experienced!" Sarah James, Musician, Poet, Vocalist, 2009

"…Nora McCarthy, the diva, one of the top singers who shaped the jazz vocal, a superb artist!" João Da Penha ("Jazz & Bossa Nova", Brazil, 2009 ) “...It’s delightful to hear music that plays so freely with the known and the unknown elements of jazz." Florence Wetzel/All About Jazz Magazine, NY, 2006 “...A non-generic and exciting vocalist to be aware of." Alex Henderson/All About Jazz And L.A. Jazz Scene “…A voice that is alternately liquid, breezy, and lustrous. Sophistication in the same vein as Chet Baker." Mark Keating, Editor, Sound Views Magazine “…She plays her tender voice like a musician trying to get the best out of some favored, old horn.” Edward Hill/The Cleveland Plain Dealer “...Yet another voice in the retro-cool school—almost at times, as cool as Julie London, but with a serpentine edge". Gary Giddins/The Village Voice “...Continental and sophisticated, McCarthy is as much chanteuse as jazz singer.” Carlo Wolff/The Cleveland Plain Dealer “…Nora McCarthy delivers with the improvisational intuition of Betty Carter and the compassion of Billie Holiday. McCarthy tackles harmonically complex material of Thelonius Monk with relative ease then easily slips into a relaxed Latin style that owes much to Brazilian samba queen Astrud Gilberto.” Edward Hill/The Cleveland Plain Dealer "...The first set featured Jorge Sylvester's Conceptual Motion Orchestra and they were grand. Great writing and superb singing from Nora McCarthy." The Vision X Festival, June 14th - June 19th, 2005 - Review By Bruce Lee Gallanter

PROFESSIONAL ENDORSEMENTS

Ramsey Ameen, former violinist with Cecil Taylor’s Unit and 3 Phasis, mathematician and scholar. A Gathering of the Tribes Magazine, 2005.

"...Nora's vocal identity, aside from a basic jazz orientation, defies classification, and makes spare use of reflexive stylistic mannerisms. In the placement of her voice, Nora can evoke the power of a Malian Diva's fearless candor, or perhaps a Corsican Voceratrice's call to invisible worlds in the language of dreams, or the earthiness of an early blues singer's unvarnished autobiographical witness. She has been attentive to the fluid articulation, phrasing and timbre of the jazz trumpet, the instrument that most clearly has influenced her vocal development. Her shaping of pitch often foregoes the fluid note-bending of the jazz singer in favor of the full press of a sculptor's touch against viscous clay."

Dom DuVal, musician / composer / bassist.“ April 9, 2009

"Nora is a wonderfully focused musician, singer composer . Her original compositions are splendid examples of modern and traditional jazz song . I highly recommend her as a fellow artist .”

Paul Weston, Singer/Songwriter - United Kingdom

"Love your voice which has such texture and class and your timing/feel for songs is magnificent. Peace love and happiness."

João da Penha - January 25, 2009, Jazz & Bossa Nova Radio Show Host in Brazil "Nora McCarthy, the diva, one of the top singers who shaped the jazz vocal, a superb artist, all the best for you in 2011! love, peace and music, music, music."

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Primary Instrument

Vocals

Location

New York City

Willing to teach

Advanced only

Credentials/Background

Through her vast experience in the jazz and creative music field, McCarthy also conducts various workshops and master classes that deal with, among other things, vocal empowerment.

Nora has developed a unique approach to teaching voice and improvisation and is founder of "The Zen Of Singing...The Spiritual Path To Finding Your Voice.”™

In April, 2007, Ms. McCarthy conducted a series of workshops and master classes in Podgorica, Montenegro for Jazz Appreciation Month entitled “From Dixieland to the Avant Garde and Free Music Art Forms..The Voices and Horns”

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Primary Instrument

Vocals

Location

New York City

Willing to teach

Advanced only

Credentials/Background

Through her vast experience in the jazz and creative music field, McCarthy also conducts various workshops and master classes that deal with, among other things, vocal empowerment.

Nora has developed a unique approach to teaching voice and improvisation and is founder of "The Zen Of Singing...The Spiritual Path To Finding Your Voice.”™

In April, 2007, Ms. McCarthy conducted a series of workshops and master classes in Podgorica, Montenegro for Jazz Appreciation Month entitled “From Dixieland to the Avant Garde and Free Music Art Forms..The Voices and Horns”.

Ms. McCarthy studied voice and piano at Cleveland State University, Cleveland Music Settlement and briefly at Cleveland Institute of Music. In 2002, Nora received a scholarship from New School University for Jazz Vocal Performance. Ms. McCarthy is available for private instruction and also conducts workshops in the art of improvisation.

"An insight into the art of singing, the Zen of Singing is a conceptual approach that combines personal facility, in depth harmonic study, innovatively designed improvisational exercises with self awareness, spirituality, creative philosophy, visualization, affirmations and musicology (the psychology of music). Tailored to the individual's specific needs and areas of interest, it's primary focus is to free the spirit to experience total creativity through mindful singing. Instructed by an experienced performing and recording vocal artist, composer and poet in the field of creative music."

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