Maggie’s Music
Maggie’s Music
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More Than You Know

Maggie Galloway: vocals
Jeff Auger: piano
Bob Nieske: bass
Rick Considine: drums
Jim Cameron: saxophone
Recorded and mixed at PBS Studios, Westwood, MA, USA
Peter Kontrimas: engineer
Published by Brownstone Records
Her musical partners come to her band and into the studio with strong credentials. Pianist Jeff Auger worked for several years with the Boston-based jazz vocal ensemble The Ritz and now leads his own trio. Bassist Bob Nieske, a veteran of the Jimmy Giuffre quartet, leads his own progressive jazz band, Wolf Soup, whose members include big-toned saxophonist Jim Cameron. Rick Considine, one of Boston’s tasty and empathetic time-keepers, is on drums. It is clear from the opening measures that this is a band whose members truly enjoy drawing new elements out of a song—and each other.
“I really believe in the conversation of the music, in letting everyone have their say,” Maggie says. It’s like a dinner party. Sometimes, you’re all chatting at once; other times one person has something to say. Each of us on the bandstand, or in this case, in the studio, is telling the story in a way in which we are seeing and hearing and feeling something and connecting at that time.”
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Azure

Maggie Galloway: vocals
Antony Weller: guitar
Bob Nieske: bass
Recorded and mixed at PBS Studios, Westwood, MA, USA
Peter Kontrimas: engineer
Published by Little Muse Records
From start to finish, AZURE is suffused with a profound mood of reflection—the sense of someone exploring a new phase in her musical and personal life. Composers such as Gershwin and Porter (I Loves You Porgy and Every Time We Say Goodbye) are balanced by Ellington’s prayer Come Sunday, his more familiar Sophisticated Lady (given new life as a duet with bass), and the obscure, haunting Azure (a classical guitar duet, like Luiz Bonfá’s The Gentle Rain).
Alec Wilder’s rarely-recorded ballad Blackberry Winter glows especially bright, with its cathartic yet strengthening lyrics. Here, too, are the neglected Autumn Nocturne, and the American folk song Wayfaring Stranger, heard in a treatment of unusual power and majesty. The trio’s special ability to dream as a detailed ensemble soars in Steve Kuhn’s Tomorrow’s Son (recorded by the pianist with singer Sheila Jordan in the 1970s).
“Her repertory takes us through the realms of thoughtful jazz and into pure inventiveness, but always with a musicality and richness of feeling that carries deep respect for the nature of the text and its meaning. To hear her is an expedition into lyricism,” writes poet Peter Davison.
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