|Kate McGarry & Keith Ganz — Genevieve & Ferdinand (2014)|
Kate McGarry & Keith Ganz — Genevieve & Ferdinand
Born: 1970 in Hyannis, MA
Location: Durham, North Carolina
Album release: February 4, 2014
Record Label: Sunnyside Records
T O T A L T I M E : 49:27
01 American Tune 3:24
02 Ten Little Indians 5:15
03 Aquelas Coisa Todas — Third Wind — Aqui O 6:12
04 Can't Help Loving That Man 4:33
05 Plea For A Good Night's Rest 4:48
06 Line 'Em Up 5:24
07 Mr. Long Gones 2:35
08 Let's Face The Music And Dance 5:30
09 Pretending To Care 5:00
10 Smile 2:07
11 Beneath A Crozet Trestle Bridge 4:35
℗ 2014 Sunnyside
• Kate McGarry — voice
• Keith Ganz — guitar
• Theo Bleckmann — voice (9)
• Gian Slater — voice (9)
K A T E M C G A R R Y V O I C E / K E I T H G A N Z G U I T A R
S P E C I A L G U E S T S :
T H E O B L E C K M A N N & G I A N S L A T E R , V O C A L S O N P R E T E N D I N G T O C A R E
01 / A M E R I C A N T U N E (P . SIMON) 3:24
02 / T E N L I T T L E I N D I A N S (K . MCGARRY) 5:15
03 / A Q U E L A S C O I S A S T O D A S / T H I R D W I N D / A Q U I O (HORTA / METHENY) 6:12
04 / C A N ' T H E L P L O V I N G T H A T M A N (KERN / HAMMERSTEIN) 4:33
05 / P L E A F O R A G O O D N I G H T ' S R E S T (D . SPROULE) 4:48
06 / L I N E ' E M U P (J . TAYLOR) 5:24
07 / M R . L O N G G O N E S (K . GANZ) 2:35
08 / L E T ' S F A C E T H E M U S I C A N D D A N C E (I . BERLIN) 5:30
09 / P R E T E N D I N G T O C A R E (T . RUNDGREN) 5:00
10 / S M I L E (CHAPLIN / TURNER / PARSONS) 2:07
11 / B E N E A T H A C R O Z E T T R E S T L E B R I D G E (P . CURRERI) 4:35
* RECORDED LIVE IN CONCERT AT SOUNDPURE STUDIOS
IN DURHAM, NORTH CAROLINA JULY 21st & 22nd 2012
RECORDED AND MIXED BY JASON RICHMOND AT SOUNDPURE STUDIOS
MASTERED BY GENE PAUL AT G & J AUDIO
PRODUCED BY KEITH GANZ AND KATE MCGARRY
© 2014 SUNNYSIDE COMMUNICATIONS, INC. — SSC 1374 — MADE IN USA
• Being one of ten kids, Kate McGarry had to learn early on how to make her voice be heard. Hailing from the Boston area, McGarry attended the University of Massachusetts at Amherst and studied Afro-American music and jazz under such notables as Dr. Horace Boyer and avant-garde saxman Archie Shepp. Free from the confines of education, McGarry hopped into One O'clock Jump, a vocal group based in Boston. Thanks to their steady gigs in Monterey, McGarry got the opportunity to be a guest vocalist with Clark Terry and Hank Jones at the Monterey Jazz Festival. A taste for the sun on her lips, McGarry headed for southern California and became a well-loved staple on the Los Angeles jazz scene with regular appearances at hot spots such as Catalina's, the Jazz Bakery, and Café. Critics and fans couldn't get enough of her, so McGarry finally ventured into the recording world with Easy to Love, which was released by Vital Music in 1992. Also, as she was in Hollywood, McGarry began to dabble in music for film and commercials, including tracks for Caught and Boiling Point. In 1996, McGarry needed a change and headed back east. This time she landed in a meditation ashram in the Catskills of upstate New York, where she lived and studied for three years. Returning to her career in 1999 with a move to New York City, McGarry once again hit the club circuit and recorded her second album, entitled Show Me. It was released independently in early 2001 and showcases a great jazz talent with an impeccable voice. McGarry joined Palmetto Records, which reissued Show Me in 2003. Mercy Streets, which featured her versions of songs by Peter Gabriel, Björk, and Joni Mitchell alongside standards like "How Deep Is the Ocean?" and "But Not for Me," came out in 2005. The critically acclaimed The Target followed in 2007, and McGarry's fifth album, If Less Is More...Nothing Is Everything, was issued in 2008.
By DAN BILAWSKY, Published: January 10, 2014
• There is no greater beacon of sincerity, honesty and emotional purity than Kate McGarry. She's proven it time and again, whether singing standards, modern day favorites, originals or obscurities, and she does so once more on Genevieve & Ferdinand.
• In some ways this album marks a new beginning for McGarry; it's her first live album, first duo recording, and first release on the Sunnyside imprint. All of that might lead people to believe that McGarry's starting with a blank slate here, but nothing could be further from the truth. She actually capitalizes on her own history and an affinity for intimacy during this beautiful and bewitching album. She weaves her way through eleven songs that reference her previous recordings ("Aquelas Coisas Todas," "Aqui O" and "Let's Face The Music And Dance"), her back story ("Ten Little Indians") and the spirit of the American singer-songwriter breed.
• As the album unfolds, McGarry's voice is the obvious focal point. Her heartfelt delivery on Paul Simon's "American Tune" and her own "Ten Little Indians" reinforce her reputation as one who sings from the heart. In that respect, nothing changes as the album continues, but the ear's perspective is altered after those first two songs. The chemistry that exists between McGarry and her most trusted ally — guitarist/husband Keith Ganz — becomes readily apparent during "Aquelas Coisas Todas/Third Wind/Aqui O," and it's hard not to notice it after that point. Ganz brings an understated sophistication to every track on the album and he proves to be a master tailor of moods, making the perfect outfits to drape around McGarry.
• Together, McGarry and Ganz — a.k.a Genevieve and Ferdinand — wind their way through an eclectic playlist that's charming as can be. They shine a light on underexposed songwriters like Paul Curreri ("Beneath A Crozet Trestle Bridge") and Devon Sproule ("Plea For A Good Night's Rest"), reimagine the work of James Taylor ("Line 'Em Up"), and deliver a haunting and powerful rendition of an Irving Berlin classic ("Let's Face The Music And Dance"). Two other singular vocal talents — Gian Slater and Theo Bleckmann — join up for a slow and enchanted take on Todd Rundgren's "Pretending To Care," but everything else remains a tale of two artists.
• Genevieve & Ferdinand doesn't contain bold proclamations or daring musical acts, but it's filled with some of the most genuine music that anybody is likely to ever hear. • That's the gift that McGarry and Ganz give, and it's a gift that keeps giving more with each listen. Fortaken: http://www.allaboutjazz.com/
by Brian Howe
• When listeners refer to singers as "elemental," nature's flashier forces, like lightning or fire, often spring to mind. But the jazz vocalist Kate McGarry taps into the humbler elements of earth and wind, with a voice like a slow breeze swirling up dust on a vast plain. Eschewing the immaculate pitch and intonation often associated with "jazz singers," McGarry grounds her vocals in a sort of global folk context. She focuses on honest expression and the complex feelings each note can evoke, not the technical skills that the notes demand.
• McGarry — who lives in Durham with her husband and frequent collaborator, the guitarist Keith Ganz — doesn't lack jazz bona fides. She was nominated for a "Best Jazz Vocal CD" Grammy for 2008's If Less is More, Nothing is Everything. She studied at Amherst under musical giants Horace Boyer and Archie Shepp. But those jazz chops come tempered by her devotion to Celtic and Brazilian music. Within this far-flung range of studies and influences, McGarry can easily accommodate both pop and experimental idioms.
• That range is a central feature of the new Genevieve & Ferdinand, a stripped-down live set that McGarry recorded at Sound Pure Studios in Durham with acoustic backing by Ganz. Indeed, it might not even occur to you that you're listening to a jazz album until you get past a lovely, straightforward cover of Paul Simon's "American Tune" and the poetic McGarry original "Ten Little Indians," a musical tribute to her parents, who raised her alongside nine other children. Finally, you'll encounter the lively Portuguese-language scatting of the third track, a medley of music by jazz guitarists Toninho Horta and Pat Metheny. This fine, unpretentious album can accommodate a tune as traditional as James Taylor's "Line 'Em Up" — albeit embroidered with spiky jazz chords — and as far-out as experimental vocalist Theo Bleckmann's arrangement of Todd Rundgren's "Pretending to Care." During that album highlight, Bleckmann lends the alien beauty of his voice to the mix, alongside Australian vocalist Gian Slater.
• Still, it's the emotional rapport between McGarry and Ganz, honed by a decade-long marriage, that serves as fuel for a quiet flame here. The relationship is most apparent on a smoldering cover of Kern and Hammerstein's "Can't Help Lovin' Dat Man," a signature song from the stage musical Show Boat. McGarry breathes fresh life into the familiar words of helpless endearment over Ganz's spry yet precise acoustic blues. As always, her deceptively homespun style makes the covers feel acutely personal, as though the borrowed words were written for her alone.
• The down-to-earth quality of McGarry's singing is flatteringly accentuated by Ganz's subtle, dusky fingerpicking, which can be heard on recordings by vocalists as diverse as Harry Connick Jr. and Kurt Elling. He gets his moment in the spotlight with the guitar composition "Mr. Long Gones," a skein of arpeggios that McGarry colors with wordless harmonies. The piece was inspired by the singer and songwriter Paul Curreri, whose heartfelt "Beneath a Crozet Trestle Bridge" closes the record. Curreri's own wife, Devon Sproule, contributes a composition in the lyrically ambitious "Plea for a Good Night's Rest." These layers of matrimonial collaboration suggest sitting in on personal conversations, being privy to private devotions.
• Live, McGarry and Ganz often bill themselves as Genevieve and Ferdinand, a handle that carries a whiff of doomed lovers from literature and myth — Romeo and Juliet, Tristan and Iseult. But the easy intimacy and fruitfulness of this couple's bond promises a much happier future than those pairs, as McGarry and Ganz operate comfortably in their element. (http://www.indyweek.com/)
V I S I T: www.katemcgarry.com & www.keithganz.com
|Kate McGarry & Keith Ganz — Genevieve & Ferdinand (2014)|
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