Reviews

The Missing You Waltz

review by Cate Managhan, KAZY-FM

I was happily deceived by the title of Gary Gackstatter's new release, "The Missing you Waltz." The CD is not merely a compilation of love songs centered around sadness and loss, as was suggested to me by the title. Rather, it is a rich, deeply philosophical anthology of poetry and music in which romantic love stands not as an entity unto itself but as an inseparable thread in the overall weave of life. From the opening ballad "Pass and Fade, " to "Don't Turn Away", Gackstatter takes us on a circular journey. As in life, the destination is never in doubt; it is the getting there that surprises and engages.

"Pass and Fade" sets the past-present-future theme with a generational comparison that also establishes Gackstatter's philosophical stance. Just as the haunting strains of Julie Rosseter's viola are interwoven with Gackstatter's fine, mellow voice, so, Gackstatter suggests, are our lives comsically interwoven with those of the generations who preceded us, as well as the lives of our own sons and daughters. Our journies are the same: the Deep Blue pulls us all that way/ Pass and Fade away," he sings the viola becoming more assertive to underscore the fnal refrain.

The theme is even more evocative in "The Eyes of Memory Never Sleep,: a saga about the development of the Midwest so wonderful the term "song" seems an insufficient designation. It first gives voice to The Native, who expressed his oneness with the land and its inhabitants and philosophizes "nothing lasts except the Earth and the Sky/The Great Circle: to live to die"- then to The Pioneer, whose plantive words are inspired imagery honed to lyrical perfection- and finally to the songwriter: "I reach out to those gone before/They reach to us from the prairie floor."

Homage is also paid past generation in the light, affectionate "Old Ways and the song- essentially a poem- "Here in Kansas", written after the death of Gackstatter's 102-year-old grandmother. "Here in Kansas" has wind as its accompniment, howling the songwriter's loss. Listening, we are chilled. By contrast, "Don't Turn Away, " written for Gackstatter's son, Evan, is truimphant- an anthem of hope and inspriration.

While "Don't Turn Away" would have been a fine choce to close the album, the song which follows, "Spirit Lullaby", makes a still more fitting end. "Spirit Lullaby" is a lilting benediction, its words lifted up by the sweet spell cast by Rosseter's viola and the blalaika-like strains of Tim Durham's mandolin.

To say that a thread runs through the material that makes up "The Missing You Waltz" is not to suggest the work is uncomplicated or in any way redundant. Gackstatter's artistry and professionalism are evident not only in each individual effort, but in theoverall work itself. Song selection and placement are masterful, so that the listener glides through the material, experiencing the variations of subject matter, mood, treattment and tempo in completely natural way.

And variations there are! The frenentic rhythm and spewed-forth lyrics of "Politics as Usual" express disgust, on behalf of all of us, for a political system which seems to increasingly reject truth in favor of whatever expedient alternative it thinks it can sell an unsuspecting public. As Gackstatter makes clear, the public is neither unsuspecting nor tolerant: "Nothing's true anymore, " and "Please stop lying to me,: he rages.

The love songs are tender and complex. "in place of my heart" is a delightful, mythical condundrum. "Crazy Dance" takes us in cicles and "back and forth...in and out of bounds" musically, to mirror the subtleties of the relationship which is its subject.

The title song and "How Do You Escape the Sadness", which immediately follows it, both deal with lost love, but in an adult way. In true man-woman relationships (as opposed to boy-girl), love is, after all, something as ingrained as marrow: Sessation of togetherness does not always mean sessation of feeling. In "the Missing You Waltz", Gackstatter pines, "When all have gone, or drifted away/I'll still be here- missing you", yet it is his refrain that truly captivates: "I know where you are", he sings, comforted, it seems by that.

Then there is "Down In The Valley", a paean to the Walnut Valley Festival in Winfield, Kansas. "Down In the Valley" may well be my favorite of the 12 songs. The melody, suggestive of a medieveal festival, truly brings the scene to life and the joyful lyrics cause us to view that scene through Gakcstatter's eyes and love it with him." In a valley carved by the Walnut River/ We float on music, not on water.. And the current pulls us to new places... And the Music flows in us forever." It is not necessary to have been among the Walnut Valley Festival's pilgrims to apprecieate this song, with its sweet acoustic guitar and viola accompaniment, brightly punctuated by Durham's mandolin, and its seamless harmonies.

Gackstatter casts himself in several roles on "the Missing You Waltz" and fulfulls each one flawlessly. As a wordsmith, he in uncompromisingly eloquent. Always, he refuses to settle for the easy image, demanding of himself precision and the uncommon metaphor instead. His music and arrangements are equally eloquent and varied, his musianship superb. Rosseter and Durham are similarly expert.

From start to finish, "The Missing You Waltz" is a work of art- first moving the heart, then arousing the intellect. Like all works of art, it wears well; each airing of it only enhances my appreciation. Not merely a compilation of love song, "The Missing You Waltz" is a compilation of songs I have come to love. I'm confident the responses of all who value quality music will be in harmony with mine.