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"It's
About the Rose" is the very impressive follow-up to
Allure of Sanctuary, and sees Karen Marie Garrett at
her creative and original best. A year in the making,
"It's About the Rose" features all-original recordings,
and reunites Karen with the legendary Grammy-Award
winner Will Ackerman as her producer.
There
must be something about the opening tracks of Karen's
CDs. Just as "Tip-Toe Dancer" was my favourite cut of
"Allure of Sanctuary", so the first track hits the mark
on her latest offering. The curiously titled "It's About
the Rose in the Vase on the Table" gets the CD off to a
wonderful start. This piece just flows along so
effortlessly; it could last all day and I would not tire
of it. Karen tells how originally she struggled with
this track, but was inspired by a story about childhood
she heard. Karen says, "I heard an interview with
Matthew McConaughey, who spoke of his childhood and a
lesson his mother would impart to a boy caught up in
life's little dramas. She'd remind him it's really
"about the rose in the vase on the table". I loved both
the thought and the image- and returned to the song,
which suddenly fell into place for me." The track has a
delightful melody, and rolls along without a hint of the
troubles the composer initially encountered.
Another favourite is the second cut of the CD-
"Tally's Lullaby". Jointly composed with cellist
Eugene Frisen (Grammy-Award winner), this is a
mournful yet beautiful piece lamenting the
passing of a fan's pet dog. This was in response
to a letter Karen had received, explaining how
"Simple Things" from "Allure of Sanctuary" had
helped with the grieving process. Such is the
power of Karen's music. Overwhelmed by the
letter, the composer was inspired to write
"Tally's Lullaby". The cello and piano are a
partnership made in heaven in this piece, and I
am sure Tally will be both relaxed and honoured
in her final resting place.
"The Piano Called" is a piece which
warrants repeated listening, initially
reminding me of "Toll of War" from
"Allure of Sanctuary". It quickly takes
its own direction, however. A simple,
pretty melody on solo-piano is the
end-result of an improvisation late one
evening when Karen felt her creative
voice calling.
Another piece I really like is the
album's fifth track, "Moon Night".
Upbeat in comparison to other tracks,
this is a spicy little number featuring
Derrik Jordan on the djembe drum and
violin. It conjures up visions of exotic
settings. Perhaps that rose in the vase
on the table has worked its magic, and
romance is in the air. This is
inspirational music, and has a Latin
flavour. "Moon Night" is music to which
to dance.
"Waiting" is a piece born out of
frustration, whilst awaiting the results
of medical tests. The left hand is used
to represent the passing of time
(ticking of a clock). The right hand
captures the anxiety of the moment. Yet
still Karen delivers a memorable melody-
its positiveness generated, one would
expect, by the welcome relief of the
eventual results. As Karen explains to
me, "I used the dynamics of both hands
to express the intense conflict in being
caught in such confinement."
Karen pays homage to both Beethoven and Chopin
in Track 7, with "Beethoven, Chopin and the
Rose". In the sleeve notes, Karen explains that
she greatly admires both masters' works- "I
wondered what it would feel like to combine an
essence of both and yet retain a simple,
touching melody". She certainly succeeds in
doing this, and the end product is a lovely
piece. Karen demonstrates once again that she is
happy to draw upon her classical roots for
inspiration.
"Tip-Toe Dancer" was arguably the most-loved
composition of "Allure of Sanctuary", and the
title returns here in a different form as Track
9, "Tip-Toe Dancer and the Sea Pearl". This time
we move away from the ballerina, to a young boy
on the beach one Sunday afternoon, dancing and
twirling in delight of his newly-found treasure.
The music has a playful quality, and Steve
Schuch's violin is a welcome addition to the
piece.
In Track 11, "Daydreams", the tempo is slowed
right down. This is a reflective piece- music in
which to immerse oneself in deep thought. Very
beautiful, and with definite meditative
qualities, Karen describes it as "a Summer
idyll". A very simple track, and soporific in
nature.
The album fittingly closes with "Finale of the
Rose", a resurrection of the first track, which
is explored further by Karen, with additional
instrumental accompaniments. Will Ackerman plays
the hopi drum and chime bars, Jeff Oster plays
the flugal horn, Steve Schuch returns on violin,
and Derrik Jordan provides additional
percussion. The end-result showcases the beauty
of the original melody in its finest form, and
is a fitting way to close the CD.
"It's About the Rose" was recorded at Will
Ackerman's Imaginary Road Studios in Vermont
during 2006. A Steinway Concert Grand was used
for the recording. The sound quality and
production values are, as ever, impeccable.
With "It's About the Rose", Karen Marie Garrett
shows continued artistic growth, revealing her
creative qualities to the full, without losing
that special gift for melody which makes her
compositions so endearing to her ever-increasing
legions of fans. A true gem of a CD- pure Piano
Heaven.
S.C.
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