This is a selection of vocal tracks I made many moons ago when I had more time and inclination to sacrifice my life to the studio. Some are obviously in demo stage and I may never get around to finishing them, but it's good have them online as backups, like old photos with bad fashion, hair and zits.

"Sarah McDonald effortlessly segues from applying a dash of tropical swelter to thirties standards, tinkering with Thelonius Monk torch songs to a soul jazz rendition of an Amy Winehouse classic." 

Joel Shortman, Rathdowne Records.

"..deceptively laid back and self-assured, with an undercurrent of emotions waiting to sweep you by. When she sings “Rusted brandy in a diamond glass”, it’s the rust she focuses on, not the diamond. Tom Waits would approve...

..There’s a lot of nostalgic glamour associated with the ’20s and ’30’s era. Singers who choose to sing this material often end up as replicas of the sultry divas of the past, dressing up in satin gowns and pearls and stale femininity. Not Sarah McDonald. She approaches her material with a tomboyish attitude, phrasing the classic jazz and obscure torch songs that comprise her set list with a punk sensitivity and a kind of modern-day angst delivered by this beautiful, soulful chili-infused chocolate voice of hers. When she opens her mouth, she showers her audience with raw emotion. No pretense, no polished femininity, no nonsense. It helps that she’s sexy as hell when she does it; and that she’s surrounded by a killer band: Ron Romero on tenor sax, Kumar Shome on guitar, Ben Hanlon on the bass and Lewis Pierre-Humbert on the drums. As these musicians spew fire from their instruments, people get up and dance to her singing, even if she sings Monk’s “I mean you” (not the most danceable song out there)."

Nikos Fotakis, australianjazz.net

Sarah McDonald evokes cool smoky jazz club atmosphere with expressive melifluous phrasing contrasting with rhythmic dexterity.  She is a singer who has been as influenced by horn players and drummers as she has by the great vocalists. Having delved deeply into music, she draws from the greats of the history of jazz, blues and soul and selects choice standards, along with original, contemporary and more esoteric repertoire that she infuses with a soulful authenticity.

She has had a wealth of experience performing original music in various guises, playing in a range of contemporary original bands, world music ensembles and playing music for circus, theatre and film.

She also plays flute and sings in Tarab Ensemble, playing classical Arabic music:

https://www.facebook.com/thisistarab/


For bookings contact: iiiiilk.type.kind@gmail.com

Imagine a posse of Jamaican dancehall queens bubbling, wining and battling the baggy pants off a stylin' Latino hip hop crew in a sweaty Caribbean dancehall that’s throbbing with bass and you’ve got an idea of the vibe Mama Wonkita brings to the party.

With Afro-Caribbean sounds underpinned by beats and bass-lines that range from reggae and hip hop through breaks, glitch and house, Mama Wonkita creates the kind of dance floor where inhibitions are lost and hip joints are irreversibly loosened.

See https://3oclocbogey.bandcamp.com for current releases and sales.  Legacy CDs burned on request. direct message via SC or email.

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