Rebecca Martin and James Farber. c 2010 Todd Chalfant (all rights reserved)
“It was determined before the session that all three musicians (voice, bass, and saxophone) would play in the Clubhouse’s main room, and that I would mix live to 2-track, with a multi-track backup. I also knew that I would record Rebecca’s voice with the RCA KU-3A ribbon microphone. This is the same mic used, with excellent results, to record Rebecca on her previous album, “The Growing Season”, which was also recorded at the Clubhouse in Rhinebeck, NY. The KU-3A, also sometimes referred to, because of it’s shape, as the “Shoe Mic”, is a rare and special ribbon microphone. Originally designed for film sound, the microphone, unlike other ribbon mics, employs a cardiod (unidirectional) pickup pattern and has an extended high frequency response, with a “silky” sound which produces none of the sibilance associated with condenser mics. At the risk of getting too geeky here in the first paragraph, if you’re interested, you can read more about (and look at) the KU-3A, HERE.
Since, amazingly, the Clubhouse actually has 2 [!] Shoe mics, I decided to use the other one for Bill’s saxophone. In keeping with the desired vintage sound, which seemed appropriate given the material, for Larry’s bass, I chose yet another ribbon mic: an AEA model designed along the lines of the classic RCA 44, but with much higher gain and, therefore, much quieter. I also set up 2 pairs of ambient room mics – one close and one far. However, since the Clubhouse room was quite live, only a minimal amount of these mics was used in the mix.
Prior to the actual session, I actually wondered if it might be possible to record the group with just these stereo pairs of room microphones. But, upon hearing the natural balance of the musicians in the room, it instantly became apparent that the voice was so much softer than the bass or saxophone, and that close miking would be necessary to achieve a musical balance.
The musicians set up in a semi-circle, as if on a stage, not too far apart from each other, with no baffles between them. When facing the band, from L>R were the voice, bass, saxophone. It was this stage image which is reflected in the mix. Mixing the voice to the Left, is highly unusual (if not daring), but seemed to work well in this context and (at least to us) did not seem strange, gimmicky, or distracting. Read more
About the Songs…
When I first began to think about making a record of standards, it was clear that searching for the original vocal read would be an important aspect of my effort. As a songwriter and a singer I have found that many of the beloved old classics have been changed a great deal whether intentional or not. Verses, lyrics and arrangements have been deleted or changed and in some cases quite dramatically. Going back to the earliest vocal read to hear what might have been the author’s original intention was a real education. I encourage all musicians to do it.
I thought of these songs as “elders” instead of “standards” to remove the heroic connotation and to allow there to be space for the song to simply be. Read more
“When I Was Long Ago” to be Released In France on September 28th, 2010
“When I Was Long Ago” will be released on Naive records in France on September 28th.
NPR: Your Favorite ‘Great Unknowns’ in Jazz
Rebecca Martin Record Release Concert on Tuesday, August 31st in New York City
Come celebrate the release of Rebecca Martin’s latest recording ‘When I Was Long Ago’ at the Rockwood Music Hall (Stage 2) on Tuesday, August 31st 2010. She will be accompanied by Larry Grenadier (Bass) and Bill McHenry (Tenor Saxophone).
This special event will be ‘donation only’ at the door to accommodate and to thank fans during these hard economic times.
Records will be available that night for sale, or pre-order yours now by visiting this LINK. Read more
“When I Was Long Ago” Ready To Pre-Order
It’s here!
You can pre-order your copy by following this LINK
The official release date is August 31st. Rebecca and the trio will perform at the Rockwood Music Hall (Stage 2) that evening (Tuesday, 8/31) at 8:00pm. In these challenging economic times, the group has decided to make their record release a donation only which will allow everyone to attend. CD’s will be available that evening with an opportunity for autographed copies.
Rebecca On Video Arts in Japan
In addition to the states, the new album by Rebecca Martin “When I Was Long Ago” will be released in Japan on Video Arts Music on October 20th, 2010. A confirmation of plans and scheduled tour dates to follow.
In the US, the album will be available in stores nationwide (and at your favorite online distributor) Tuesday, August 31st on Sunnyside Records.
Audio/Video Teaser Trailer For Rebecca Martin’s “When I Was Long Ago”
Film maker James Dean Conklin made this video/audio teaser of the new recording ‘When I Was Long Ago’ out in stores nationwide on Tuesday, August 31st, 2010.
The West Coast and Record Release
“When I Was Long Ago” by Rebecca Martin. Photo Credit Todd Chalfant, c2010
It will be a busy couple of months as we prepare to launch the release of my new recording “When I Was Long Ago” (Sunnyside Records) on August 31st, 2010. It’s a simple and elegant recording of standards that feature Larry Grenadier (Bass) and Bill McHenry (Saxophone). We made it live to two track with James Farber and Paul Antonell at the helm at the Clubhouse Recording Studio in Rhinebeck, NY.
I approached these songs as a songwriter, searching for the first vocal performances of each to assure that the melodies, lyrics and harmony were intact – and as close as possible to the author’s original intent. It’s an honor to sing a song that spans 75-plus years. Kind of an ancestral project in a sense. Setting out with this intention certainly brought new meaning to these old songs.
A concert to launch the album is being planned for 8/31 at the Rockwood Music Hall’s 2nd stage. It’s their concert ‘hall’. Our performance will begin at 8:00pm. I have decided to make the door charge a donation only, making it affordable for everyone who wishes to come. I’m happy to be able to offer this to my fans on this very special occasion.
Prior to the release, I’m traveling to the West Coast where I’ll be performing several concerts before launching the first songwriting program called ‘The Songwriter Track’ at the Stanford Jazz Workshop in Palo Alto, CA. Follow the links below for tickets or information to register for any of my classes. Read more
Rebecca Launches New Songwriting Program at the Stanford Jazz Workshop
“Singer-songwriter Rebecca Martin guides students through the often-personal process of writing your own songs in this two hour class, which will be offered twice daily for three days during Jazz Residency week. It is scheduled such that anybody can attend, and is open to all singers and instrumentalists, at all levels. Students will have a chance to workshop their original songs with Rebecca and other students, and will explore the inextricable link between lyrics, melody, and storytelling in an inviting, hands-on workshop environment. Participants are encouraged to bring original songs and lyrics, but even those who are new to the process of songwriting will find plenty of inspiration and direction. So whether you’re a beginning songwriter, or have specific material you’d like to develop, the Songwriter track will give you a better handle on songwriting structure and process.
Follow this LINK to learn more and to register.
James Farber on the Making of the New Rebecca Martin Album
Rebecca Martin and James Farber. c 2010 Todd Chalfant (all rights reserved)
“It was determined before the session that all three musicians (voice, bass, and saxophone) would play in the Clubhouse’s main room, and that I would mix live to 2-track, with a multi-track backup. I also knew that I would record Rebecca’s voice with the RCA KU-3A ribbon microphone. This is the same mic used, with excellent results, to record Rebecca on her previous album, “The Growing Season”, which was also recorded at the Clubhouse in Rhinebeck, NY. The KU-3A, also sometimes referred to, because of it’s shape, as the “Shoe Mic”, is a rare and special ribbon microphone. Originally designed for film sound, the microphone, unlike other ribbon mics, employs a cardiod (unidirectional) pickup pattern and has an extended high frequency response, with a “silky” sound which produces none of the sibilance associated with condenser mics. At the risk of getting too geeky here in the first paragraph, if you’re interested, you can read more about (and look at) the KU-3A, HERE.
Since, amazingly, the Clubhouse actually has 2 [!] Shoe mics, I decided to use the other one for Bill’s saxophone. In keeping with the desired vintage sound, which seemed appropriate given the material, for Larry’s bass, I chose yet another ribbon mic: an AEA model designed along the lines of the classic RCA 44, but with much higher gain and, therefore, much quieter. I also set up 2 pairs of ambient room mics – one close and one far. However, since the Clubhouse room was quite live, only a minimal amount of these mics was used in the mix.
Prior to the actual session, I actually wondered if it might be possible to record the group with just these stereo pairs of room microphones. But, upon hearing the natural balance of the musicians in the room, it instantly became apparent that the voice was so much softer than the bass or saxophone, and that close miking would be necessary to achieve a musical balance.
The musicians set up in a semi-circle, as if on a stage, not too far apart from each other, with no baffles between them. When facing the band, from L>R were the voice, bass, saxophone. It was this stage image which is reflected in the mix. Mixing the voice to the Left, is highly unusual (if not daring), but seemed to work well in this context and (at least to us) did not seem strange, gimmicky, or distracting. Read more