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Susannah McCorkle

Susannah McCorkle (January 1, 1946 – May 19, 2001) was an American singer, , and writer, best known for her clear, intimate interpretations of American standards from and her English translations of Brazilian songs by composers like . Born in , McCorkle earned a bachelor's degree in from the , and studied languages in , , , and . In 1970, while living in and preparing for a career as a translator, she was inspired by recordings of and began performing in local cafés, marking the start of her professional singing career. She relocated to in 1972, where she immersed herself in the scene and released her first solo albums, before settling in in the late 1970s. Throughout her career, McCorkle recorded 17 albums, primarily with the Jazz label, including notable works such as From Broken Hearts to Blue Skies (1999) and Hearts and Minds (2000), which featured her distinctive smoky, vulnerable voice and limited in favor of lyrical . She earned critical acclaim, including three awards from Stereo Review, and performed at prestigious venues like alongside . Beyond music, she contributed as a of , , and song lyrics, translating works from , , and Italian sources, and amassed a of approximately 3,000 songs. McCorkle struggled with lifelong and, after a diagnosis that went into remission, took her own life by jumping from her Manhattan apartment window on May 19, 2001, at the age of 55. Her legacy endures through her recordings and the profound emotional depth she brought to jazz vocals.

Early life and education

Childhood and family background

Susannah McCorkle was born on January 1, 1946, in , into an academic family of middle-class means. Her father, an , held teaching positions at various universities across the , which led to frequent relocations during her childhood and instilled a sense of transience in her early years. McCorkle's mother supported the family through these moves, and she had two sisters. The family's nomadic lifestyle exposed her to diverse environments from a young age, shaping her adaptability and intellectual curiosity. From an early age, McCorkle showed a keen interest in writing and languages, pursuits that reflected her family's scholarly background and foreshadowed her multilingual proficiency in , , , and . She enjoyed reading extensively, which nurtured her literary inclinations, though her formal engagement with music would come later in life.

University years and initial interests

Susannah McCorkle enrolled at the , in the mid-1960s, majoring in as an extension of the intellectual and artistic environment fostered by her family, where her father served as an professor. During her university years, she immersed herself in linguistic studies, achieving fluency in and developing proficiency in , , and , skills that later supported her work as a translator. These academic pursuits reflected her early fascination with languages and literature, honed through rigorous coursework and supplementary studies abroad, including . She graduated with a in 1968. Disillusioned with the constraints of and the turbulent political landscape of the era, McCorkle sought broader real-world experiences through . This decision marked a pivotal shift, as she immersed herself in diverse cultures beyond the classroom, driven by a desire for personal growth and creative exploration unburdened by institutional structures. Her departure underscored a tension between formal education and the authentic, she craved. Following her graduation, McCorkle traveled to , arriving in in 1970. It was during this period in the French capital that she first encountered recordings of , purchased from a local drugstore, an experience that sparked a profound appreciation for vocal expression and traditions. This serendipitous discovery in laid the groundwork for her evolving interests, bridging her literary background with emerging musical curiosities.

Career

Beginnings in Europe

Inspired by Billie Holiday's recordings encountered while working as a translator in in the late , Susannah McCorkle decided to pursue a career in , marking a pivotal shift from her linguistic studies. In 1972, McCorkle relocated to , drawn by the city's vibrant scene, where she began performing professionally. Her initial gigs took place in pubs, including regular Sunday lunch sessions with bandleader John Chilton's groups at venues like the New in King's Cross. These modest performances allowed her to hone her skills amid London's metropolitan clubs and build connections within the local community. McCorkle formed key collaborations during this period, notably with pianist Keith Ingham, with whom she developed a close musical partnership that shaped her early backing ensembles. She also worked alongside trumpeter Dick Sudhalter, integrating into small jazz groups that provided the foundation for her interpretive style. This culminated in her debut recording, The Music of Harry Warren, released in the UK in 1976 on World Records, featuring Ingham's quartet and altoist Bruce Turner; the album showcased her affinity for American songbook standards through intimate arrangements. As an American expatriate navigating the jazz landscape, McCorkle faced challenges in establishing her reputation, often balancing translation jobs and language studies with sporadic singing opportunities in small venues across the continent before focusing on . These early years demanded persistence, as she adapted to cultural differences and competed in a scene dominated by local talent, gradually earning recognition through consistent performances in intimate settings.

Establishment in the United States

In 1978, Susannah McCorkle made a permanent move to , drawn by the vibrant and scene that offered greater opportunities for her evolving career as a vocalist. Having honed her interpretive skills through earlier collaborations in , she quickly sought to establish herself in the American market. McCorkle's breakthrough in the U.S. came with a seven-month residency at the Cookery in , a renowned venue that exposed her to enthusiastic audiences and critics alike during the late 1970s. This extended engagement highlighted her nuanced phrasing and emotional depth in standards, marking her integration into New York's ecosystem. By the early 1980s, she expanded her presence with regular performances at the Oak Room of the , where she developed annual themed shows that showcased her versatility across pop and repertoires. In parallel, McCorkle advanced her recording career, releasing How Do You Keep the Music Playing? in 1985 on the Pausa label, an album that captured her sophisticated arrangements of contemporary and classic tunes with musicians like guitarist John Collins. This period also saw her signing with Concord Jazz in 1988, a pivotal step that broadened her distribution and solidified her reputation through a series of acclaimed releases. Her interpretive style—marked by clear diction, subtle dynamics, and a focus on lyrical storytelling—drew increasing media coverage in jazz outlets during the 1980s, with features praising her as one of the decade's standout vocalists. Publications highlighted how her performances at venues like the Cookery and Oak Room bridged traditions with broader pop appeal, fostering a dedicated following.

Peak years and later performances

McCorkle's peak career phase unfolded in the , marked by a series of critically acclaimed albums released under the Concord Jazz label, where she explored a diverse repertoire blending American standards with Brazilian influences. Her 1989 debut for Concord, No More Blues, showcased her in a fully realized band setting and earned high praise for its emotional depth and confident interpretations of songs by composers like Antonio Carlos Jobim and . Similarly, From to (1994) received acclaim for its versatile fusion of tunes and bebop elements, highlighting her innovative vocal style and maturity, with reviewers noting its hushed yet dramatic delivery on tracks like "." These releases solidified her reputation as a leading vocalist, and she had previously received three awards from Stereo Review earlier in her career. During this period, McCorkle expanded her live performances internationally, touring and while maintaining a strong presence in the United States through appearances at prestigious venues and festivals. She performed at alongside and developed interactive shows at the Algonquin Hotel's Oak Room, where she wove anecdotal histories of songwriters into her sets. Additional highlights included a 1994 engagement at Rainbow and Stars in and a 1997 concert at Jazz Alley in , building on her earlier New York residencies to achieve broader visibility. Her commercial success peaked with albums charting on lists and earning a Grammy nomination for her 1987 album At Home, reflecting her growing fanbase and critical standing as one of the top singers of the era. By the late 1990s, McCorkle's performing schedule gradually diminished due to ongoing health challenges, including a battle with from 1989 to 1990 and lifelong struggles with and manic episodes. Despite releasing Hearts and Minds in 2000, her final album, she reduced public appearances, entering a semi-retirement phase focused on writing and occasional workshops for children at . These issues culminated in her death by suicide in 2001 at age 55, after which her contributions were retrospectively honored on jazz critics' lists.

Musical style and repertoire

Influences and vocal approach

Susannah McCorkle's vocal style was profoundly shaped by , whom she first encountered in 1970 while living in as a linguistics student. A friend played her a recording of performing "I've Got a Right to Sing the Blues," an experience that prompted McCorkle to abandon her planned career in translation and dedicate herself to singing. This pivotal moment instilled in her 's signature emotional depth and vulnerability, influencing her delivery with a sense of intimate storytelling and raw expressiveness that became hallmarks of her performances. While Holiday remained her primary inspiration, McCorkle drew from a broader array of jazz vocalists to develop a distinctive personal approach. She admired Ella Fitzgerald's precise phrasing and lighter, more buoyant material, which contrasted with 's darker tones and helped McCorkle infuse her interpretations with clarity and swing. Similarly, the witty, incisive lyricism of informed her blend of sophistication and playfulness, allowing McCorkle to merge emotional intensity with intellectual nuance in her singing. These influences coalesced into a style that prioritized lyrical sensitivity over technical showmanship, evolving from her initial imitative efforts in the to a more original, narrative-focused expression by the . McCorkle's vocal technique emphasized clear diction and , enabling her to convey the arc of a song with subtle intimacy rather than overt virtuosity. Her light, unadorned tone avoided heavy , creating a direct, confessional quality that drew listeners into the lyrics' emotional core, much like Holiday's understated power. Though capable of when called for, she rarely employed it, favoring instead a focus on interpretive depth and phrasing to highlight the song's inherent drama and wit. This restrained approach, honed through years of and performances, distinguished her as a thoughtful interpreter who treated vocals as a vehicle for literary and emotional revelation.

Song selection and interpretations

Susannah McCorkle was renowned for her curation of the Great American Songbook, favoring lesser-known gems over frequently performed standards to bring fresh perspectives to audiences. She dedicated entire albums to composers like Harry Warren, whose works such as "Lullaby of Broadway" and "I Had the Craziest Dream" she interpreted with intimate warmth, highlighting their melodic sophistication often overlooked in mainstream jazz repertoires. Similarly, her selections from Alec Wilder's catalog, including "Blackberry Winter," showcased her affinity for his understated, introspective compositions that blended pop and jazz elements. McCorkle's embrace of Antonio Carlos Jobim's bossa nova tunes, like "The Waters of March," further demonstrated her preference for sophisticated, underappreciated material with global flair. Her song choices often centered on themes of melancholy, romance, and irony, selecting tunes rich in literary depth to evoke emotional nuance. Melancholy permeated her renditions of songs exploring unrequited love and loss, such as "Haunted Heart," where she conveyed quiet longing through poised delivery. Romantic narratives dominated albums like I'll Take Romance, featuring tracks that delved into heartfelt connections with subtle emotional layering. Irony surfaced in her witty takes on numbers like Dave Frishberg's "What Did I Forget?," where she infused clever wordplay with a light, knowing detachment. McCorkle's interpretive methods emphasized subtle arrangements and narrative storytelling, prioritizing emotional resonance over virtuosic display. She integrated Brazilian influences through rhythms in Jobim's pieces, creating languid, swaying backdrops that enhanced the songs' poetic introspection. Multilingual phrasing appeared in her translations and bilingual performances, such as her English adaptation of "The ," allowing her to capture the original's lyrical subtlety across languages. A signature example is her version of "I Don't Want to Set the World on Fire" from Hearts and Minds, where she focused on the lyric's intimate plea, delivering it with gentle sincerity to underscore personal desire rather than dramatic flair. Her vocal technique served these interpretations by maintaining clarity and subtlety, ensuring the story remained foremost.

Writing career

Journalism and fiction

Susannah McCorkle pursued a parallel career in writing, drawing on her undergraduate degree in from the , where she graduated in 1968. Her often explored themes related to music, personal reflection, and cultural history, appearing in prominent publications during the and . McCorkle's journalistic output included profiles and essays on American songwriters and performers, such as her 1997 piece "Back to Bessie" in American Heritage, which examined the life and influence of jazz singer . She also contributed to with articles like "I Swear I Won't Call No Copper If I'm Beat Up By My Poppa" (1994), a personal essay blending her experiences in London's scene with reflections on classic American songs, and "It's Not Easy Being a Politically Correct Chanteuse" (1994), which humorously addressed challenges faced by female performers. Additional works in American Heritage featured extended explorations of figures like in "Always: A Singer's Journey Through the Life of Irving Berlin" (1998) and in "The Mother of Us All" (1994), showcasing her analytical approach to the intersections of music and identity. These pieces highlighted her ability to weave biographical detail with broader cultural commentary, informed by her deep engagement with and popular standards. In fiction, McCorkle published several short stories in literary and women's magazines, often delving into themes of loss, relationships, and drawn from her own journals and experiences. Notable among these was "Ramona by the Sea," published in Mademoiselle in 1973 and awarded the 1975 O. Henry Prize for short fiction, which captured emotional introspection amid relational turmoil. Other stories included "Cornelia" (1969, Mademoiselle), "George, Mary and the Babysitter" (1973, New Idea), "Waiting" in (1983), exploring anticipation and emotional voids, and contributions to British magazine Woman's Own such as "Good Night" (1982) and "Harry's Wives" (1983), which examined domestic complexities and loss. McCorkle also drafted several unpublished novels, including the Caroline's Mother and an untitled work from 1989, reflecting her ongoing interest in narrative forms that mirrored the lyrical depth of her musical interpretations. Her writing career, encompassing both published and archival materials held at the , underscored a prolific output that complemented her vocal artistry without overshadowing it.

Translations and literary contributions

Susannah McCorkle exhibited exceptional linguistic proficiency, mastering six languages—English, , , , , and —which she applied to her translations of and song lyrics from and sources. Her , honed during studies in and extensive travels, enabled her to bridge cultural and literary traditions, particularly in adapting foreign works for English-speaking audiences. McCorkle's translations extended to her musical output, where she incorporated her own English versions of Portuguese lyrics into bossa nova interpretations, notably on her 1990 album Sabia, including the translation of Antônio Carlos Jobim's "." This fusion enriched her performances, allowing her to infuse phrasing with the poetic subtlety of translated texts, such as those by Antonio Carlos Jobim. Her linguistic skills further informed her vocal approach, lending authenticity to multilingual repertoire without overshadowing her interpretive artistry. Beyond translations, McCorkle made significant literary contributions through for her albums, where she provided insightful commentary on song origins, composers, and cultural contexts, often drawing on her translational expertise. These notes, featured in releases like Most Requested Songs (2000), blended scholarly analysis with personal reflection, enhancing listeners' understanding of the lyrical poetry embedded in American songbook standards and international influences.

Personal life and death

Multilingualism and health challenges

Susannah McCorkle developed fluency in multiple languages through a combination of formal study, self-directed learning, and extensive travel across and during her early adulthood. She attended the , dropping out multiple times to pursue linguistic immersion abroad, before earning a degree in from in 1968 while incorporating self-study of languages like , , , and into her routine. This multilingual aptitude enabled her to work as a freelance interpreter in , translating between , , , and English, and she integrated these skills into her daily interactions and professional endeavors, including performances where she sang in original languages to capture authentic nuances. Her language proficiency also enriched her writing career by facilitating translations of foreign and poetry, broadening the scope of her literary contributions. In the early 1990s, McCorkle was diagnosed with , undergoing , reconstruction, radiation, and as part of her treatment regimen. She successfully battled the disease and survived for over a decade, becoming an advocate for cancer survivors by offering sessions and performances for patients, drawing from her own experiences of amid treatment. Despite this victory, McCorkle maintained a private demeanor regarding her health, rarely disclosing details publicly to protect her professional image, though she confided selectively in close friends and family. McCorkle experienced throughout much of her life, with episodes intensifying in the mid-1990s amid mounting career pressures and personal losses, including the suicides of her father in 1994 and her aunt shortly thereafter. Diagnosed with , she sought treatment through therapy, medication, and alternative approaches, though she struggled with long-term adherence and often masked her condition offstage to avoid burdening others or jeopardizing bookings. These challenges were compounded by professional setbacks, such as label decisions and gig cancellations, which exacerbated her sense of isolation, yet she shared these struggles only within intimate circles, as later detailed in biographical accounts.

Circumstances of death

On May 19, 2001, Susannah McCorkle died at the age of 55 after jumping from the 16th-floor window of her apartment at 41 West 86th Street in Manhattan's . The body was discovered early that morning outside the building, reportedly awakening a resident with the sound of the impact, and police quickly ruled the death a with no suspicious circumstances. McCorkle's suicide followed a period of worsening depression exacerbated by professional setbacks and personal isolation, building on her lifelong struggles with mental health, including a family history of bipolar disorder and suicide. Three months earlier, her record label, Concord Jazz, had dropped her after the underwhelming sales of her final album, Hearts and Minds, and she received no invitation to return to her longtime venue, the Oak Room at the Algonquin Hotel. These losses compounded her sense of isolation following her recovery from breast cancer, which she was diagnosed with in 1990, leaving her living alone and feeling increasingly despondent. An unopened vial of newly prescribed antidepressants was found in her apartment, suggesting she had recently sought treatment but had not yet begun it. A suicide note was discovered in McCorkle's pocket, addressed to her friend, author Alison Lurie, in which she expressed exhaustion from her battle with depression and a belief that she had no other way out, while asking forgiveness from those unaware of her pain's depth; she also left instructions for the care of her cats and a will on her desk. Police withheld the full contents of the note at the request of her family and friends, who sought privacy amid the tragedy. Friends, including cabaret performer Thea Lurie, expressed shock, describing McCorkle as "luminous" and full of spirit, while her ex-husband, Dan DiNicola, noted the lack of mainstream recognition that had long frustrated her.

Legacy

Critical reception and awards

Susannah McCorkle's recordings and performances garnered significant praise from jazz critics throughout the 1980s and 1990s, establishing her as a leading interpreter of the . In 1988, critic described her as the outstanding female jazz singer of her generation, highlighting her direct, unadorned style and emotional depth. The New York Times frequently featured her work, with reviews commending her "sweet, smoky voice" and ability to blend scholarship with sensuality, as in her 1998 interpretation of "," which evoked influences from , , and . Similarly, Time Out New York in 1997 lauded her precision, articulation, and timing as rare qualities in jazz singing. Her career reached a high point during this period, with international performances and acclaim reinforcing her reputation for intimate, literate vocalism. McCorkle received several notable awards recognizing her contributions to and . She won three Album of the Year honors from Stereo Review, including for her 1986 release How Do You Keep the Music Playing?, which critic Leonard Feather also named Vocal Album of the Year. In 1989, she earned the Music Award for her contributions to . Additionally, the named her Singer of the Year, and in 1999, she received the Manhattan Cabaret Association's award for Best Jazz/Swing Recording for Someone to Watch Over Me. While much of the reception celebrated her vulnerability and fidelity to lyrics—trumpeter once called her "the best singer since " for her light, clear vulnerability—some critics offered mixed assessments of her avoidance of and extensive . Detractors argued she did not innovate enough melodically, though supporters countered that her strength lay in emotional intimacy rather than technical flair, akin to Holiday's own restrained approach. This debate underscored her distinctive place in , prioritizing textual nuance over virtuosic display.

Posthumous tributes and biography

Following her death in 2001, Susannah McCorkle's life and career were chronicled in the 2006 biography Haunted Heart: A Biography of Susannah McCorkle by Linda Dahl, published by the Press. Drawing on extensive archival research, personal correspondence, and interviews with McCorkle's family, friends, and collaborators, the book explores her artistic development, expatriate years in , and challenges in the and worlds. Posthumous releases of her work included compilations and reissues that highlighted her Jazz catalog. In 2001, Concord issued Most Requested Songs, a 14-track collection selected by McCorkle herself from audience favorites across her discography, serving as a capstone to her recording career. By the mid-2000s, expanded editions emerged, such as the 2003 SACD hybrid reissue of From Bessie to (originally 1993), which added multichannel audio enhancements to showcase her interpretive range from to . Tributes to McCorkle emphasized her enduring influence, particularly her time as an expatriate in during the 1970s, where she immersed herself in the local scene and recorded her early albums. A 2001 obituary in praised her light, vulnerable style—likened to Billie Holiday's—and her role in revitalizing pre-war standards for modern audiences, noting collaborations with British musicians like pianist Keith Ingham at venues such as Ronnie Scott's. Memorial events followed, including concerts in organized by the American Popular Song Society, such as a 2021 program at Don't Tell Mama featuring performers interpreting her repertoire to honor the 20th anniversary of her death. McCorkle's legacy persists in jazz education, where her recordings exemplify nuanced vocal phrasing and song interpretation for aspiring singers. As of 2025, her albums continue to feature in vocal jazz curricula and workshops, influencing contemporary performers.

Discography

Studio albums

Susannah McCorkle produced 17 studio albums over her 25-year recording career, from 1976 to 2001, showcasing her evolving interpretations of American songbook standards, Brazilian , and contemporary compositions. Her early work appeared on independent labels such as and Pausa Records, reflecting her beginnings in the UK scene, before she signed with the prominent imprint Concord Jazz in 1989, where she recorded the majority of her output. This label shift allowed for greater production resources and collaborations with established musicians, contributing to her growing recognition in the genre. Her debut album, The Music of (1976, Records), was recorded in and featured pianist Keith Ingham as musical director, alongside players like bassist Len Skeat and drummer Johnny Richardson. The collection highlighted McCorkle's affinity for composers, interpreting Warren's film scores and tunes with a fresh, intimate swing. This release marked her transition from pub performances to professional recording, establishing her as a thoughtful lyricist-singer. In her mid-career phase with Concord Jazz, No More Blues (1989) exemplified McCorkle's mature style, blending standards by , , and Antonio Carlos Jobim with original arrangements. Produced by Carl E. Jefferson, the album included notable collaborators such as guitarist , guitarist , clarinetist and music director Ken Peplowski, drummer Terry Clarke, pianist , and bassist John Goldsby, creating a warm, ensemble-driven sound that emphasized her clear diction and emotional depth. The recording received positive critical attention for its sophisticated production and McCorkle's ability to infuse melancholy tunes with optimism. McCorkle's thematic explorations often centered on specific songwriters or cultural influences, as seen in Sabia (1990, Jazz), which delved into Brazilian repertoire with translations of Jobim's works and other classics, accompanied by a evoking de Janeiro's ambiance. Later albums like From Bessie to (1993, Jazz) continued this motif, bridging blues influences from with Latin American rhythms, produced with a focus on acoustic intimacy. Her tenure saw steady releases, with no major commercial chart success typical of but solid sales within the , bolstered by the label's distribution. McCorkle's final studio album, Hearts and Minds (2000, Concord Jazz), captured her in peak form, featuring arrangements of lesser-known gems by composers like and Fran Landesman, with production emphasizing her nuanced phrasing and a small combo including . Released just months before her death, it underscored her commitment to underexplored material, earning praise for its emotional resonance and earning a for Best Jazz Vocal Album. Throughout her discography, McCorkle's consistency in output—averaging nearly one album every 18 months—highlighted her dedication to the art form, often prioritizing artistic depth over commercial trends.

Live recordings and compilations

Susannah McCorkle's discography features few dedicated live albums, reflecting a career emphasis on meticulously crafted studio interpretations of standards and . The primary live recording is the posthumous release Adeus - The Berlin Concert, captured during her performance at the Berlin Jazz Festival on April 28, 1996, and issued in 2015 by Sonorama Records. Accompanied by a trio consisting of guitarist John McDonough, bassist Kelly Sill and drummer Eduardo Sammartino, the album spans 12 tracks drawn from her broad repertoire, including classics like "Zing! Went the Strings of My Heart" and bossa nova-influenced pieces such as "." Additional live material from McCorkle's performances appears sparingly in compilations, underscoring the scarcity of such captures. For instance, her intimate rendition of "Spring Will Be a Little Late This Year," recorded live at Maybeck Recital Hall in , on March 29, 1992, with pianist , is included on the 2005 Concord Jazz anthology Jazz Moods: Sounds of Spring. This track exemplifies her poised, narrative-driven vocal approach in a recital hall setting. Posthumous compilations have played a key role in curating highlights from her catalog, often incorporating thematic selections to highlight specific facets of her style. Most Requested Songs (2001, Concord Jazz) assembles 14 tracks personally chosen by McCorkle from her earlier recordings, reflecting audience favorites from her engagements, such as "I Concentrate on You" and "." Similarly, Ballad Essentials (2002, Concord Jazz) focuses on 12 slow-tempo pieces, drawing from albums like Hearts and Minds and From Broken Hearts to Blue Skies to showcase her nuanced phrasing on songs including "" and "Ev'ry Time We Say Goodbye." The Beginning 1975 (2002, Chiaroscuro Records) compiles her earliest demo sessions from , offering a on her formative years with Keith Ingham. These releases, emerging after McCorkle's death in , incorporate select live and archival elements alongside studio cuts, preserving her legacy through curated overviews that emphasize her interpretive depth in .

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