Peter Eldridge

Individually, they are five phenomenal and distinctive vocalists: Theo Bleckmann, the effusive German-American meistersinger and ECM recording artist known for his brilliant collaborations with Meredith Monk, Steve Coleman, and Laurie Anderson; Peter Eldridge, A  melodic poet who’s songwriting wanders freely and deeply from genre to genre, also a member of New York Voices; Lauren Kinhan, an idiosyncratic composer, known for her charismatic voice, genre bending originals, also a member of the New York Voices; Kate McGarry, a Grammy nominated vocal polymath at home with the folk tradition and the Big Apple bandstand; Jo Lawry, a singer-songwriter rooted in jazz who has become well-known for her work with Sting, Paul Simon and Peter Gabriel. 

Together, they are MOSS, A vocal supergroup that intertwines jazz, classical, pop, folk, electronica, world music, and poetry into an arresting and unique sonic species of art. In this rare reunion expect their unique point of view on sharing vocal spaces, often utilizing Bleckmann’s expressive looping and sound explorations to lift and expand the listener’s palette.  Singing standards, covers, originals - their voices and writing will be on high display. Don’t bring any preconceived notions, just an ear for fun, charismatic smarts and whimsy.                              ______

Their debut album on Sunnyside was considered one of the best albums of the last decade by Downbeat who called it  a hushed masterpiece. 

All-star collaborations can be tricky, and often disastrous, endeavors, plagued by ego clashes and cross-purposes. Not this one. What emerges is a series of soft-hewed hymns, drawing on the poetry of Joni Mitchell, Tom Waits, Neil Young, e.e. cummings and all five of the participants, that are at once soulstirring , majestic, comforting, inquisitive, hypnotic and wise. Indeed, as Souza suggests, their beauty is ultimately intangible.    READ MORE
 - Christopher Loudon, JazzTimes 

Innovative vocal ensembles are a rare breed, and Moss is sui generis. The brainchild of New York Voices singers Peter Eldridge and Lauren Kinhan, wistful Brazilian Luciana Souza, delectably upbeat Kate McGarry and "mad" genius Theo Bleckmann, Moss grew slowly and quietly far from New York's mainstream limelight. 

Moss draws wide covers from folk-rock (Neil Young, Joni Mitchell, Tom Waits), lyrics from poets (McGarry's exquisite contrapuntal setting of an e.e. cummings love ode) and great inspiration from within the sympathetic singers' circle. Their superbly attuned voices weave vocal tapestries plush as velvet, mysterious as photosynthesis, nuanced as clouds, yet simple as greens. Moss digs into and blends medieval plainsong with gospel (easy-listening but hard-parsing "Object Devotion"), folk with jazz (a deeply empathetic "Old Man") and avant-garde harmony with electrified Eastern ululations ("Orchard," Bleckmann's hair-raising setting of mystical Sufi poet Rumi). It's as uncategorizable as it is enchanting. 

The stately pace of this debut is as daring as the venture itself. Seldom rising above poised whispers and medium tempo, Moss magically informs each song with sweet, dreamy texture that speak with astounding self-assurance. (Without Souza, an April date at Scullers in Boston rang more extroverted). Moods evoked are fascinatingly complex: exhausted yet exuberant ("There Alone Go I"); bemused yet belligerent ("Busy Being Blue"). All's coolly planned and paced, if little improvised: Ben Monder and Keith Ganz's guitar solos are welcome brief understatements. Drummer Ben Wittman produces edgy sensitivity and wide-eyed ardor. Beautiful moments grow when you listen twice: the five-part resolution on "Home," sublimely serene backup on "Take It With Me," the open-road wordless brushed samba. 
                                                                       - Fred Bouchard, DownBeat