Press

Highlights

“McNulty has put all she has learned over half a lifetime of jazz singing and songwriting into this exquisite chamber jazz CD. On this CD, McNulty bares her soul, and one doesn’t dare look away.” ★★★★½
— Allen Morrison, Downbeat, June 2015

“Such a beautifully crafted and heartfelt performance throughout. From the very first minute we hear McNulty’s eloquent, exquisite vocals, we know this is an album we are going to be listening to time and time again; to catch those rare moments of beauty a release such as this delivers.”
– Mike Gates, UKVibe, February 2015

“The best singers make us believe the songs they are singing.” ★★★★
– Cormac Larkin, Irish Times, March 2015

“The resultant blend is beautiful and seamless, as sensitivity reigns supreme.” ★★★★½
– Dan Bilawsky, All About Jazz  March 2015

“McNulty has never sounded more at ease with her mastery.”
— Jazz Wise, March 2013

“A consummate vocalist with great pitch and control, capable of injecting emotion, pathos, irony & meaning into her work, a gift that few singers can lay claim to.”
— George Carroll, The Musicians Ombudsman, August 2006

“An immense talent whose vocalizing is fearless and composing peerless.”
— Jazz Times, January 2007



Album Reviews


Live Performance Reviews

“Chris McNulty gave an engrossing demonstration of the art of jazz singing, Australian-born but based in New York since the 1980s, she’s a much more impressive performer than the more celebrated Diana Krall and Jane Monheit, and considerably more the real thing, where jazz is concerned, than Norah Jones. How she isn’t better known is a mystery.

…while concentrating on the Great American Song Book, even such timeworn songs such as East Of The Sun emerged fresh and rewarding from her and the group’s treatment of them – and some were outstanding experiences.

Stylistically, the influence of Sarah Vaughan on her singing is evident – a risky model, given the Divine Sarah’s tendency to sacrifice the lyrics to vocal acrobatics and descend into mannerism. McNulty avoided such traps; even when she took frequent liberties with the lines of each song they had musical purpose, and she never lost her sense of engagement with the words.

They produced a brilliant, languorous The Meaning Of The Blues, an easy, loping Easy To Love and Star Eyes, a beautifully phrased It Might As Well Be Spring and My Romance, and a gorgeous, slow It Never Entered My Mind that came close to equaling The Meaning Of The Blues as the best of the night.

McNulty’s willingness to open songs a cappella, or with the minimal support of guitar. And, time and again, the drawn-out codas offered compelling examples of group interaction. Hopefully, this is not the last time she and this group will be heard together here.”
— Ray Comiskey, Irish Times, January 18, 2005.

“Chris McNulty enthralled the Shirehall audience with a programmed of unhackneyed songs. A singer of great subtlety, Chris interpreted each lyric in an extremely individual way and with exceptional sensitivity. Ably backing her, pianist Robin Aspland offered sympathetic accompaniment along with Dave Lynnane on bass and Dave Hassell, drums. A wonderful way to start the jazz season.”
— Mike Pinfold, co-author of On Jazz Singing – Singers & Their Styles, UK March 2005.

“She is one of the few really convincing jazz singers Australia has produced. She tackles songs more as a horn player would, substituting notes, varying her placement of notes like an instrumentalist, but somehow keeps faith with the song’s original intent.”
— Adrian Jackson, The Age, Melbourne, Australia, 1991. Concert review.

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