Susannah McCorkle
Susannah McCorkle (4 January 1946 – 19 May 2001) was an American jazz singer much admired for her direct, unadorned singing style and quiet intensity.
McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. Read Full BioSusannah McCorkle (4 January 1946 – 19 May 2001) was an American jazz singer much admired for her direct, unadorned singing style and quiet intensity.
McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. While in the UK, she made two albums which, although well received, enjoyed only limited circulation.
In the late 1970s, McCorkle returned to the United States and settled in New York City, where a five-month engagement at the Cookery in Greenwich Village brought her to wider public attention and elicited rave reviews from critics.
During the 1980s, McCorkle continued to record; her maturing style and the darkening timbre of her voice greatly enhanced her performances. In the early 1990s, two of the albums McCorkle made for Concord Records, No More Blues and Sábia, were enormously successful and made her name known to the wider world. She was recorded by the Smithsonian Institution which at the time made her the youngest singer ever to have been included in its popular music series. McCorkle played Lincoln Center's Avery Fisher and Alice Tully Halls five times and Carnegie Hall three times, and was featured soloist with Skitch Henderson and the 80-piece New York Pops in a concert of Brazilian music.
Thanks to her linguistic skills, McCorkle translated lyrics of Brazilian, French, and Italian songs, notably those for her Brazilian album Sabia. McCorkle also had several short stories published and, in 1991, began work on her first novel. She published fiction in Mademoiselle, Cosmopolitan Magazine, and non-fiction in the New York Times Magazine and in American Heritage, including lengthy articles on Ethel Waters, Bessie Smith, Irving Berlin and Mae West.
McCorkle suffered for many years from depression and cancer, and took her own life at age 55 by leaping off the balcony of her highrise Manhattan apartment. She was alone in her home at the time. The police immediately entered her home after identifying her body and found no foul play. Suicide was ruled the cause of death.
McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. Read Full BioSusannah McCorkle (4 January 1946 – 19 May 2001) was an American jazz singer much admired for her direct, unadorned singing style and quiet intensity.
McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. While in the UK, she made two albums which, although well received, enjoyed only limited circulation.
In the late 1970s, McCorkle returned to the United States and settled in New York City, where a five-month engagement at the Cookery in Greenwich Village brought her to wider public attention and elicited rave reviews from critics.
During the 1980s, McCorkle continued to record; her maturing style and the darkening timbre of her voice greatly enhanced her performances. In the early 1990s, two of the albums McCorkle made for Concord Records, No More Blues and Sábia, were enormously successful and made her name known to the wider world. She was recorded by the Smithsonian Institution which at the time made her the youngest singer ever to have been included in its popular music series. McCorkle played Lincoln Center's Avery Fisher and Alice Tully Halls five times and Carnegie Hall three times, and was featured soloist with Skitch Henderson and the 80-piece New York Pops in a concert of Brazilian music.
Thanks to her linguistic skills, McCorkle translated lyrics of Brazilian, French, and Italian songs, notably those for her Brazilian album Sabia. McCorkle also had several short stories published and, in 1991, began work on her first novel. She published fiction in Mademoiselle, Cosmopolitan Magazine, and non-fiction in the New York Times Magazine and in American Heritage, including lengthy articles on Ethel Waters, Bessie Smith, Irving Berlin and Mae West.
McCorkle suffered for many years from depression and cancer, and took her own life at age 55 by leaping off the balcony of her highrise Manhattan apartment. She was alone in her home at the time. The police immediately entered her home after identifying her body and found no foul play. Suicide was ruled the cause of death.
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The Waters Of March
Susannah McCorkle Lyrics
É pau, é pedra,
É o fim do caminho
É um resto de toco,
É um pouco sozinho
A stick, a stone,
It's the end of the road,
It's feeling alone
It's the weight of your load
It's a sliver of glass
It's light, it's the sun
It's night, it's death
It's a knife, it's a gun
A flower that blooms
A fox in the brush
A knot in the wood
The song of a thrush
The mystery of life
The steps down the hall
The sound of the wind
And the waterfall
It's the moon floating free
The curve of the slope
It's an ant, it's a bee
It's a reason for hope
And the riverbank sings
Of the waters of March
It's the promise of Spring
It's the joy in your heart
É o pé, é o chão,
É a marcha estradeira
Passarinho na mão,
Pedra de atiradeira
É uma ave no céu,
É uma ave no chão
É um regato, é uma fonte,
É um pedaço de pão
É o fundo do poço,
É o fim do caminho
No rosto o desgosto,
É um pouco sozinho
A spear, a spike,
A stake, a nail
It's a drip, it's a drop
It's the end of the tale
The dew on a leaf
In the morning light
The shot of a gun
In the dead of night
A mile, a must
A thrust, a bump
It's the will to survive
It's a jolt, it's a jump
The prim of a house
A body in bed
A car stuck in the mud
It's the mud, it's the mud
A fish, a flash
A wish, a wing
It's a hawk, it's a dove
It's the promise of Spring
And the riverbank sings
Of the waters of March
It's the end of despair
It's the joy in your heart
É uma cobra, é um pau,
É João, é José
É um espinho na mão,
É um corte no pé
São as águas de março
Fechando o verão
É a promessa de vida
No teu coração
A stick, a stone
It's the end of the road
The stump of a tree
It's a frog, it's a toad
A sigh, a breath
A walkaround
A life or death
A ray in the sun
And the riverbank sings
Of the waters of March
It's the promise of life
It's the joy in your heart
Contributed by Lucy F. Suggest a correction in the comments below.
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