Heather McKay, Life Got In The Way Review

Heather McKay: Being Productive When Life Got In The Way

By Sylvannia Garutch

Heather McKay’s album arrives with an aura of being created patiently, carrying the weight of time without needing to say so out loud. Life Got In The Way firmly reflects that sentiment as it was shaped over more than two decades. McKay presents nine original Latin jazz compositions to create an album that feels like an invitation to move to the music and listen closely to the relationships of the players and sounds.

McKay approaches this project as a composer first, guitarist second. Her writing is rooted in groove and flow, allowing rhythm to feel conversational and melodic ideas to unfold naturally. Afro-Cuban and Brazilian influences form the rhythmic backbone, but they’re never treated as stylistic markers. Instead, they function as languages for storytelling, connection, and emotional clarity. Odd meters pass by almost unnoticed, absorbed into the music’s momentum rather than standing apart from it.

The album opens with “You Make Me Smile,” a piece that immediately establishes the record’s welcoming Latin jazz spirit. A happy Latin groove sets things in motion as the syncopated melody moves with joyful logic, buoyed by a montuno-based rhythmic setting that feels alive. McKay’s guitar tone for her solo is warm, lightly distorted, and Santana-esque. She adds a glowing edge to the sound, especially during her solo, where jazz phrasing and Latin color intertwine with ease. It’s an opener that invites the listener into a space defined by warmth, motion, and generosity.

That sense of shared space deepens on “The Playground (Sammy, Elle and G),” a hip, rhythmically active variation on a cha-cha feel. The tune plays like a gathering of distinct personalities, each voice clear yet responsive to the others. McKay and saxophonist Peter Fraize share a particularly strong chemistry here, soloing with elegance and an unshakeable sense of time. Beneath them, bassist Leonardo Lucini and drummer Leland Nakamura create a supple rhythmic pad that keeps the track buoyant and playful, reinforcing the feeling of community embedded in the composition.

“Kenyan Moon” creates a sound setting that feels like a relaxed walk through a beautiful landscape. There’s a gentle optimism at work as the music brings happiness, thankfulness, and a quiet sense of looking forward. Lucini’s Latin bass line provides a steady, engaging sway, while keyboardist Campbell Charshee’s solo mirrors that same ease and forward motion. The ensemble shines during the shout-chorus-style interlude, where McKay, Fraize, and Lucini state the melody together, revealing a unified sound shaped by deep listening. McKay’s solo follows with added energy and color, her warm distortion lifting the track without sustain and character.

The album closes with “Lucini in the Park,” an Afro-Cuban–inflected piece that feels like an open-ended conversation between friends about Latin jazz. Lucini and Nakamura once again anchor the groove, setting a relaxed but attentive foundation. Lucini’s bass solo unfolds with elegance, and the composition flows naturally from section to section, each exploring a shared idea from a slightly different angle. McKay’s guitar solo develops thoughtfully through the harmony, balancing strong motifs with intriguing intervallic motion, and brings the record to a close with reflection rather than finality.

Throughout Life Got In The Way, McKay’s priorities are clear. This is music rooted in people, places, and long-term relationships. Her music values feel over flash and connection over complexity. The ensemble operates with a shared sense of purpose, allowing groove to guide the narrative and melody to carry the emotional weight. Rather than presenting life’s interruptions as obstacles, McKay treats them as shaping forces, giving the album its depth, patience, and quiet confidence. In the end, Life Got In The Way is an album of meaningful music that is ready to move with you when you are.