Views from the ladies eyes and voices
Vocalist June Garber is one of those vocalists that proves that women look best when under-dressed. She’s backed by a team of Lou Pomanti/key, Steve Heathcote/dr, Marc Rogers/b, Jake Langley/g, Drew Jurecka/str, William Sperandei/tp and Robyn Black/voc in a mix and match sense. The strings create a lush atmosphere for a world-wise Garber on “He Never Mentioned Love” and the delicate “Windmills of Your Mind” with poppish sounds on “Come to Me High”. However, to my ears, Garber really shines in the more spartan atmosphere, going into subtones with guitarist Langley on an intimate “When October Goes” and vulnerable with Pomanti for a late night “Rules Of The Road”. Less is more with this lady at the mic.
Vocalist Kate McGarry stretches out with husband/guitarist/bassist Keith Ganz and a flexible mix and match team including Ron Miles/ct, Obed Calvaire-Clarence Penn-Christian Euman/dr, Gary Versace/p-org, Sean Smith/b and other cameo guests. The songs were recorded over a time of three years, probably due to the COVID lockdown affecting recording schedules. Because of that factor, the songs are almost in three different moods and atmospheres, with McGarry in an experimental mind throughout. She gives an almost Tom Waits/carnival read to “Dancing In The Dark” as well as a stream-of-consciousness delivery of Paul Simon’s “The 59th Street Bridge Song (Feelin’ Groovy)”, while Steely Dan’s “Barrytown” has a sinister eeriness to it. Miles’ trumpet adds to the bohemian template of Leonard Cohen’s “Anthem” while The Beatles’ “Here Comes The Sun” has an organic attitude. Not so standard standards and beyond.
One of the most creative and intellectual of today’s songsmiths, Lorraine Feather, is always guaranteed to deliver a unique and thought provoking album. She doesn’t disappoint here, cutting and pasting with Russell Ferrante-Shelly Berg/p, Michael Valerio-Chuck Bergeron/b, Dafnis Prieto-Michael Shapiro/dr, Grant Geissman-Eddie Arkin/g and various strings for her ten originals co-composed with either Berg, Arkin or Ferrante. The moods and delivery include stark and harrowing moments on “Music From The Ceiling” and the haunting “Everything Else Is Waiting” to poetic recitations over jungle pulses during “Are You Up?”. Feather narrates alongside Ferrante on “A Grand Invention” and wisps out a drama with Berg on “Life Story”. Observations somewhere between early Tom Waits and Dave Frishberg, with lyrics waiting for the novella to be added.