{"id":1177,"date":"2007-12-23T01:05:00","date_gmt":"2007-12-23T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1177"},"modified":"2007-12-23T01:05:00","modified_gmt":"2007-12-23T09:05:00","slug":"kate_mcgarry","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/12\/kate_mcgarry\/","title":{"rendered":"Kate McGarry"},"content":{"rendered":"<p>Kate McGarry, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FTarget-Kate-McGarry%2Fdp%2FB000O590D4&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>The Target<\/em><\/a> (Palmetto). McGarry&#8217;s singing evaded me. I don&#8217;t mean that I didn&#8217;t get it. I mean that I had never heard it. Then, during <a href=\"http:\/\/www.artsjournal.com\/rifftides\/archives\/2007\/11\/luciana_souza_t_1.html\">a recent engagement<\/a> at Jazz Alley in Seattle, Luciana Souza mentioned that the guitarist appearing with her, Keith Ganz, was married to &#8220;the wonderful singer Kate McGarry.&#8221; I took that as a recommendation.<img loading=\"lazy\" decoding=\"async\" alt=\"McGarry.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/McGarry.jpg\" width=\"240\" height=\"240\" \/>Back at <em>Rifftides<\/em> world headquarters, I listened to <em>The Target<\/em>. I&#8217;m glad I did. McGarry incorporates intriguing approaches to vocal color, timbre and phrasing that seem to come from folk and pop sources as much as from jazz . In the 1920s hit &#8220;Do Something,&#8221; she swings as straight ahead as the young Anita O&#8217;Day. In Ganz&#8217;s delightful &#8220;New Love Song,&#8221; she evokes blithe sophistication worthy of Blossom Dearie. Steven Cardenas&#8217;s &#8220;She Always Will,&#8221; with McGarry&#8217;s lyrics, might be the meditation of an Irish troubador. I much prefer her sinuous take on Sting&#8217;s &#8220;Sister Moon&#8221; to the composer&#8217;s.<br \/>\nOn several standards, McGarry maintains balance between respect for the song and a search for new possibilities. The resulting creative tension produces memorable versions of &#8220;The Lamp Is Low&#8221; and &#8220;The Heather On The Hill,&#8221; in which she includes the seldom-heard verse of the Lerner and Loewe classic. In &#8220;It Might As Well Be Spring,&#8221; she nudges and teases the time and succeeds in every harmonic chance she takes. Throughout, the intonation of her light voice is down the middle, even in the vocalese on a difficult unison passage with Ganz&#8217;s guitar in Souza&#8217;s demanding &#8220;No Wonder.&#8221; McGarry&#8217;s  other accompanists are Gary Versace on piano, organ and accordian; bassist Reuben Rogers; drummer Greg Hutchison. On three pieces, there are solos by the daring tenor saxophonist Donny McCaslin.  Experts at illusive, suggestive improvising, Ganz and Verace solo on several tracks.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kate McGarry, The Target (Palmetto). McGarry&#8217;s singing evaded me. I don&#8217;t mean that I didn&#8217;t get it. I mean that I had never heard it. Then, during a recent engagement at Jazz Alley in Seattle, Luciana Souza mentioned that the guitarist appearing with her, Keith Ganz, was married to &#8220;the wonderful singer Kate McGarry.&#8221; I [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1177","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1177","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1177"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1177\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}