London Jazz News affirmed her as “the archetype of a modern singer who can style-hop at will (…)'” while Jazz In Europe said that is ‘impossible not to fall in love with her voice … a magnificent example of strength and talent”. And rightly so.
Multi-award-winning jazz vocalist, lyricist and producer, Georgia Mancio has been on the scene for 25 years now and has collaborated with some stellar names, including Dave Ohm, Liane Carroll, Ian Shaw, Nigel Price, Gareth Lockrane.
Georgia also co-directs Eltham and Crystal Palace Jazz Clubs with drummer Dave Ohm, and her own independent label, Roomspin Records (2001-).
She is an honest and sincere storyteller, someone devoted to be authentic and real and through her creativity, a deep connection with the audience and clever collaborations has also committed to social and humanitarian issues.
In short: she is an Artist that has consolidated her reputation both through her artistic skills but also simply giving a lot to the community.
To celebrate a lifetime of hard work, Georgia is releasing her 9th album: ‘A Story Left Untold’ on Roomspin Records, co-written with Grammy-winning pianist/ composer, Alan Broadbent. The first single will be out on the 14th of March and the album launch is on the 30th of April at PizzaExpress Jazz Club, London.
‘A Story Left Untold’ has already been crowned as “pure perfection” (Jazz Wax) and “outstanding beauty and power (…)” (Jazzwise). And in a world that really needs more beauty and love, I couldn’t agree more that this album is a precious and joyful gift for your ears.
GSLS: Who inspired you the most at the beginning of your career and why?
There were some key musicians that I met before turning professional who really encouraged and nurtured me. They gave me the tools, and enough confidence to get started and I will always be grateful to Mike Eaves, Bruce White, Paul Englishby and Andy Cleyndert in particular. Liane Carroll took up the baton by inviting me to sing at Ronnie Scott’s when I still waitressed there: an honour not lost on me, green as I was! If I ever have the opportunity to pass on my knowledge or experience, I try to step up because I know the difference it can make.
GSLS: Who are your biggest female role models and why?
All of the artists I am most drawn to are pioneering, uncompromising and unmistakeable.
- Betty Carter, not only created her own improvisatory language and sound world, she ran her own label and mentoring facility for young players.
- Sheila Jordan an unrelenting jazz messenger and educator, still performing at 96!
- Abbey Lincoln, defying the expectations of a decorative “canary” with politically engaged music and a “late” start as a writer in her 40s.
- Nina Simone whose searing originals and unbridled performances will forever be embedded in jazz history.
- Cécile Mclorin Salvant, whose seemingly boundless creativity and all embracing artistry have awarded her a unique place on the current scene.
GSLS: Is there anything or anyone that had a particular impact on your career or music?
Meeting my partner, Dave Ohm. We became a couple about 18 months after I turned professional so he has really witnessed my journey in music and life. He has been in the business about 10 years longer than me and has always stressed the importance of keeping a love of the art as untainted as possible from the whims of the industry. I tend to run everything by him and even when we have differing opinions, he has never wavered in his support and belief in me.
Then undoubtedly meeting and working with pianist and composer, Alan Broadbent. His trust in me with so many of his beautiful compositions, organically turned me into a lyricist and songwriter: a trajectory I had not envisaged.
GSLS: What do you consider your biggest achievements in life and what are you most proud of in your career as a woman in the music business?
In life, to have put the people I love above all else. I have been a longstanding advocate for the rights of displaced people and am very proud of ‘Finding Home’ – my collaboration with pianist and composer, Kate Williams – that gave a platform to the stories of child refugees and work of NGO, Safe Passage.
I am proud to have covered a lot of ground without traditional industry representation. Producing and directing an international festival (‘Revoice!’, 2010-2014) practically single-handedly is something I look back on now with amazement! It is also important to me to enhance our community and I’m currently co-running Eltham and Crystal Palace Jazz Clubs with Dave Ohm: learning more about the meeting points between artists and promoters. At Eltham, we are consciously programming a gender balance with headline artists and while I see improvements on the scene, there is still a way to go.
GSLS: Are there any gigs or recording sessions that you cherish the most and why?
As I book my own tours and produce my own records, I try to savour the satisfaction of having created something tangible that didn’t previously exist.
GSLS: Are there any tracks on your album(s) that are particularly dear to you and why?
Quite a few actually as I often use writing as a way to process difficult situations or to pay tribute to an important person or issue. On this release, ‘The Love I Left Behind’ (‘L’Amore Che Lasciai’) marks my first time writing a lyric in my second language Italian –with much appreciated guidance from WIJM member, Diana Torti. It brings me close to my mum who was a formidable language and literature teacher and I hope she would have approved both my grammatical and poetical choices!
When I first heard the music to the title track, ‘A Story Left Untold’, I had an overwhelmingly emotional reaction. I knew from the sweep and scope of the orchestral arrangement, it needed a broader historical context as well as a personal one. Alarmed at the direction the world was heading in, I imagined a shameful narrative in which a nation once again falls under the spell of Authoritarianism. I wrote it at the beginning of 2024 and it’s hard to believe where we are now.
To counter this – and because I don’t want to give a one-sided impression of the album or my writing – there is much beauty, com- passion, joy and hope in songs like ‘Heart Of Hearts’, ‘When The Time Has Come to Part’, ‘A Lark’s Lament’ and ‘From Me To You’.
GSLS: What do you think are the main issues for musicians at the moment, and in particular for women in the business? How do you cope with these and what can be actually done – on a practical level – to sort these issues?
The never-ending multi-faceted workload, the lack of time and sustainable support, and low pay. Most of us are trying to be our own agent, accountant, copywriter, designer, photographer, videographer, record label, P.R, manager, legal advisor, personal assistant, grant writer and so on: all jobs that need to be mastered and eat into creative time with our art and instrument.
This is compounded by the fact that so much of our work is open ended: you can always practice more, write more, research more, promote more, hustle more etc etc. I think my coping mechanisms are erratic and I have certainly struggled with balance on this project (tour, album and PR).
Delegating can be hard but I have some very talented people that I love to work with that help enormously: web designer Howard Lester, graphic designers Rachel O’Reilly and Alban Low, and artist Simon Manfield.
So, yes I try to get out in the sunshine, walk, exercise, cuddle my cat, remember I am a social creature and see other people … but there are days when I would welcome more structure and cohesion, less pressure and individualism. We could be sharing our knowledge and contacts more, elevating each other’s projects and nurturing collaborative touring circuits for starters.
There are still far fewer women (both current and heritage figures) on the covers of magazines, and many club and festival programmes lack a decent gender balance. And I still see disproportionately women judged on their appearance: both criticised for “using” their sexuality and yet hyper focusing on young artists.
GSLS: In a music industry that is constantly changing, what advice would you give to the new generation of musicians and performers and which lessons would you share with someone who wants to undertake a musical path as a professional?
I would say that while you will learn and grow from everyone else’s story, you can only truly tell your own. If you are too preoccupied with expectation, categorisation and fashions, you will probably disappoint everyone but mostly yourself. Your artistry will grow as life’s experiences touch you, so it is not possible to wrap everything up neatly in say, a year or two.
Take your time and be open to the unexpected directions your music may take you: if it is authentic, it will resonant and last.
GSLS: Is there a specific matter that you think we should talk more about? What would you suggest to sort it/ improve the situation?
The most impactful change to my life has been bereavement, having lost both my parents, parents-in-law, several close friends and family members in the last 10 years. I was not prepared for any of these losses but it’s been compounded by society’s clumsy, inappropriate, often offensive and upsetting way of “handling” grief. And added to that is the damaging, guilt-ridden notion that “the show must go on”.
It is of course easier to celebrate the successes than confront the challenges, but I think we could all be more caring, empathetic and respectful on a matter that will touch us all, sooner or later.
GSLS: What’s on your ‘bucket list’, what are your dreams at this very moment and what are your next steps?
Number one is perhaps the most underrated – by myself included!– and that is to keep going. To maintain a career as a performing artist; to not lose sight of the magic of the music amongst the many demands of the business; to stay healthy and present.
It has taken these 25 years to really understand what I need from my work: to be personally fulfilling but also to reach and move other people. As such I don’t think I have ever been more committed to my art, so I hope to keep growing and sharing. Next year I will be focussing on new territories, particularly Europe, as it is a good time to make the world smaller and more connected.
