Recent Reviews

by Noelle Ellis
KATHARINE TIMONEY  – MAN OF MINE – DEBUT ALBUM
Posted on November 23, 2016 – GiggingNI.com – Promoting the local music scene

I was wowed the first time I heard Katharine Timoney. Her impressive vocal range and utter confidence in the jazz and R&B milieu knocks it out of the park every time.  Man of Mine transports the listener to smoky jazz clubs and moonlit nights with originals paired like fine wine with a handful of reimagined classic jazz standards.

Katharine’s exceptional vocal range runs the gamut from BlossomDearie to Amy Winehouse. In particular, on the classic Body and Soul. Opening track, Being in Love, a tender lament; whereas I Wish I Could Say That I’m Fine features more spritely stylings. Shame draws from soul, R&B, and jazz palettes equally.  Can’t Help Lovin’ Dat Man is a sweet and soulful rendition and In The Wee Small Hours of the Morning a bittersweet, starlit lullaby. Paris, my personal favorite, a romantic, gypsy tinged love letter to the beloved City of Lights.

Katharine Timoney’s remarkable vocal range and variety of styling and arrangement keep me coming back for more. This is an artist to watch as she assures her place amongst the great jazz vocalists.


by Stephen Graham
SInger Katharine Timoney sparkles
Posted on November 17, 2016 – Marlbank.net

Katharine Timoney has more than paid her dues jamming on the lively Belfast scene and developing her craft as a singer and performer in a relatively short space of time. Her debut jazz album Man of Mine is released on 12 December. 

‘Paris’ is the ear-catching pick, a kind of a rumba with space for trumpet solo and oodles of dreamy nostalgia.

The contemporary highly popular spirit of Caro Emerald hovers over the album, as much as in the “guy songs” Billie Holiday inevitably yet the register of Timoney’s voice is considerably higher than Lady Day’s, closer to Emerald’s in this respect, the refreshingly non-maudlin mood as optimistic and likeable as any Emerald number.


eps

by Noelle Ellis
KATHARINE TIMONEY  – GUILTY SIN
Posted on May 4, 2014 – GiggingNI.com – Promoting the local music scene

Katharine Timoney could sing the back of a breakfast cereal box and knock your socks off. Similarities span the spectrum from Alabama Shakes to Sharon Jones, with a splash of Janis Seigel [of Manhattan Transfer]. Guilty Sin is a strong belt of top-shelf whiskey served in elegant Bacarat crystal; smooth, potent, sophisticated.

You’re to Blame wows you from the get go with that smokey, hipster, multi-range powerhouse voice. It’s jazz meets tango and a wee bit of bossonova. This is the money song. I mean, just wow! Think You Know plumbs the depths of the R&B palate with deep, rich vocals, and features a skilled piano solo at the bridge.

Why Can’t We is cabaret club jazz, vocally confident with the goods to back it up. The title track Guilty Sin is an R&B, blues club anthem and a germane follow up to the take no shit blues of You’re to Blame. This chick is the real deal; that rare gem firmly ensconced and very comfortable in the jazz and R&B milieu. She is at home here and it shows.


by Lance, Bebop Spoken Here
Thursday, July 03, 2014
EP Review: Katharine Timoney – Guilty Sin.
Katharine Timoney (vcl); John McCullough (keys); Dan McGeown (bs); Marty McCloskey (dms).

Katharine Timoney is an accomplished jazz and soul singer songwriter from Belfast. On this showing she deserves to be heard further afield than her native city where she is rapidly becoming well established at various clubs and festivals and on local radio.

A raunchy, no nonsense voice – is it my imagination or is there a touch of early Amy in there?- whatever, Ms Timoney hits you from bar one! Apart from the voice (a little bit Bonnie Raitt in there too) McCullough’s bluesy piano work adds to the ambience, McCloskey’s drums suggest what River Dance might have been like if it had been created in Memphis or Detroit and, although McGeown’s bass isn’t immediately noticeable it would have been if it wasn’t there! The songs are powerful, and yet quirky, recounting tales of tumultuous relationships, betrayal and desire. Experiences we all can relate to at some point in our lives. Timoney nails them!


by Jazz NI
29th May 2014

Talented jazz soul vocalist and songwriter Katharine Timoney has just released her brilliant new EP ‘Guilty Sin’. The EP which is available to download on iTunes and other outlets, feature four original songs that make the most of her deep, smoky, rich vocals. It has already climbed to No 19 in the iTunes Top 100 Jazz Albums Chart. 


by Noelle Ellis
KATHARINE TIMONEY  – MAN OF MINE – DEBUT ALBUM
Posted on November 23, 2016 – GiggingNI.com – Promoting the local music scene

I was wowed the first time I heard Katharine Timoney. Her impressive vocal range and utter confidence in the jazz and R&B milieu knocks it out of the park every time.

Man of Mine transports the listener to smoky jazz clubs and moonlit nights with originals paired like fine wine with a handful of reimagined classic jazz standards.

Katharine’s exceptional vocal range runs the gamut from BlossomDearie to Amy Winehouse. In particular, on the classic Body and Soul. Opening track, Being in Love, a tender lament; whereas I Wish I Could Say That I’m Fine features more spritely stylings. Shame draws from soul, R&B, and jazz palettes equally.

Can’t Help Lovin’ Dat Man is a sweet and soulful rendition and In The Wee Small Hours of the Morning a bittersweet, starlit lullaby. Paris, my personal favorite, a romantic, gypsy tinged love letter to the beloved City of Lights.

Katharine Timoney’s remarkable vocal range and variety of styling and arrangement keep me coming back for more. This is an artist to watch as she assures her place amongst the great jazz vocalists.


by Stephen Graham
SInger Katharine Timoney sparkles
Posted on November 17, 2016 – Marlbank.net 

Katharine Timoney has more than paid her dues jamming on the lively Belfast scene and developing her craft as a singer and performer in a relatively short space of time. Her debut jazz album Man of Mine is released on 12 December. 

‘Paris’ is the ear-catching pick, a kind of a rumba with space for trumpet solo and oodles of dreamy nostalgia.

The contemporary highly popular spirit of Caro Emerald hovers over the album, as much as in the “guy songs” Billie Holiday inevitably yet the register of Timoney’s voice is considerably higher than Lady Day’s, closer to Emerald’s in this respect, the refreshingly non-maudlin mood as optimistic and likeable as any Emerald number.