Acclaimed singer/songwriter Rebecca Martin joins Portugal’s Orquestra Jazz de Matosinhos for a stunning collection of original songs and beloved standards

 

After Midnight, due out January 28 2022 (and on January 12, 2022 in Japan), also features bass great and Martin’s longtime collaborator Larry Grenadier, with lush arrangements by the OJM and pianist Guillermo Klein

Singer/songwriter Rebecca Martin has a particular gift for creating intimate, introspective moods, as if her songs are secrets whispered into the listener’s ear, or treasured memories drifting up from the subconscious. 

In the Orquestra Jazz de Matosinhos (OJM), Martin, accompanied by her husband and frequent collaborator, bassist Larry Grenadier, has found a perfect match. On their first collaboration with Martin and Grenadier, After Midnight, the Portugal-based ensemble, conducted by Pedro Guedes, proves itself vividly sensitive to the hushed nuances and delicate impressionism of her finely crafted songs. The album, due out January 28, 2022 (in Japan on January 12, 2022) comprises pieces from Martin’s 30-year career alongside aptly chosen standards that spotlight her multi-hued interpretations. The release date is auspicious, landing on OJM’s 25-year anniversary

“It’s rare as a singer to have the opportunity to work and record with an orchestra today,” Martin says. “It was a hefty challenge, with limited time together, and one that I eagerly embraced.”

Nate Chinen wrote in the New York Times that Martin “exudes the plainest sort of poise, almost radical in its utter lack of flash,” saying that her performances “seem less like songs than like articulations of her state of mind.” She began her career in the early 90s as part of the groundbreaking duo Once Blue, with Grammy-winning songwriter Jesse Harris (Norah Jones). Along with a half-dozen acclaimed solo albums, she’s recorded in collaboration with pianist Guillermo Klein and legendary drummer Paul Motian, and as part of the vocal trio Tillery with Becca Stevens and Gretchen Parlato.

It was through listening to Tillery that OJM co-musical director Pedro Guedes was inspired to invite Martin to collaborate. “Those three voices really got my attention,” Guedes recalls. “I knew Rebecca was not only a great singer but a great songwriter as well, and she also has a very special approach to the American Songbook. This combination of factors led me to make the call to ask her to work with us.”

Through the orchestra’s previous collaborations with a wide range of stellar jazz artists – an impressive list that includes Maria Schneider, Kurt Rosenwinkel, Carla Bley, Lee Konitz, Fred Hersch, Joshua Redman and Dee Dee Bridgewater, among many others – Martin recognized a large ensemble nimble enough to maneuver like a small group.

“Their work had the feeling of a small band to me,” Martin says. “It wasn’t grandiose, as if I had to put on a gown and walk out in front of an orchestra. It reminded me of my formative experiences in New York City, where there was deep listening and collaboration.”

“Rebecca’s original music is very intimate,” Guedes says. “It could seem like a challenge to bring out that intimacy within a big band context. But it ended up being really natural.”

A key component of that dynamic is Martin’s long personal and professional history with Larry Grenadier (Brad Mehldau, John Scofield). Over the course of 25 years together, the two have developed a stunningly attuned musical relationship, telepathic and intricate. “It’s a unique music connection,” Grenadier describes. “Because of the time spent on and off the bandstand with Rebecca over the years, we have the ultimate level of communication.”

Though the album After Midnight was recorded in the early weeks of 2020, long before anyone realized what that year had in store, the song reflects the cautious optimism that greets its release. It’s also a suggestion of the tone of the music, which seems to dwell in the twilit, liminal spaces late at night or just before dawn. Originally recorded in 2008 for Martin’s album The Growing Season, the title track After Midnight poetically depicts her brother’s wartime experience in Iraq.

“That song put me in mind of a [soldier] who comes home from a far away country, feeling at odds with being both war torn and thrust back into the comfort of their daily routine before they left and after they return,” says Guedes, who provided the song’s arrangement. 

The OJM’s empathic touch can be heard from the album’s outset, as soft, shimmering colors usher in Martin’s “The Space in a Song to Think” – a title that could also serve as a guiding mantra for the album’s lush atmospheres. The Orquestra seems to weave through a path carved by Grenadier’s bass on “In the Nick of Time (State of the Union),” a tune the couple co-wrote for their 2013 collaboration Twain

Working with the Argentine pianist/composer Guillermo Klein on 2017’s The Upstate Project was “a bucket list collaboration,” according to Martin, and Klein continues the partnership by contributing a pair of arrangements to After Midnight. Beginning simply with Martin singing over gently strummed guitar, Martin’s rueful “Don’t Mean a Thing At All” soon becomes swathed in kaleidoscopic colors; Guedes calls Klein’s bustling, metropolitan approach to Billy Strayhorn’s classic “Lush Life” a masterpiece – the arrangement reflects not the usual last-call bitterness but the heady rush of ceaseless urban living.

Sadly still relevant, the Depression-era “Brother Can You Spare a Dime” is given an achingly slow tempo, as if the narrator is muttering to herself with little hope of receiving the asked for assistance. It’s followed by the tender, swaying “Kentucky Babe,” a vintage lullaby that Martin discovered through singer Maxine Sullivan’s version. Charles Mingus’ “Portrait” feels woozy, as if overwhelmed to the point of dizziness by the subject’s elusive beauty. Accompanied by moaning baritone sax, Martin sings the rarely included opening verse of “Willow Weep for Me” before settling into a lovely rendition of the familiar classic.

 “All Day Long She Wrote” is a poetic new Martin song about the creative urge, provided compassionate accompaniment via an arrangement by OJM pianist and co-director Carlos Azevedo. The album closes with a dream-like “Joey,” an early and oft-revisited song co-written by Martin’s Once Blue collaborator Jesse Harris.

The album was recorded and mixed by Mário Barreiros, whose masterful work in the studio Martin praises.  “When we started the session, we had some trouble finding the right microphone for my voice with such a large group. During an early break, Mario set out into the city and returned with a ribbon mic borrowed from a friend. It made a world of difference. That effort and care made it clear to me that he was going to be a special engineer who would capture the performances perfectly – and he did!”

After Midnight is a gorgeous example of deep listening and sympathetic collaboration, illuminating profoundly emotional songs in vibrant shades. It’s a lovely reflection of the varied personalities that crafted it as well as the beautiful locale where it was recorded. “I find the city of Matosinhos, Portugal, to have a similar feeling to the orchestra,” Martin muses. “It’s familiar, earthy and approachable. I loved being able to meander from my hotel room to the studio and sit on the corner along the way with elders drinking their cappuccino and discussing their daily routines. It’s a magical place, a city that has maintained its culture and a slowless that is hard to find these days. It’s in part why I always feel so welcome there.” 

For more information, contact:   Patrice Fehlen, patrice@septembergurl.com 

 

New Recording of Originals and Standards by Rebecca Martin with Orquestra Jazz de Matosinhos (Portugal)

A new recording of Rebecca Martin’s original music and standards (and featuring Larry Grenadier on bass) was recorded with the Orquestra Jazz de Matosinhos in Porto, Portugal in January 2020.  It is currently being mixed.

More information shortly.

 

Once Blue (Rebecca Martin and Jesse Harris) Live at the Handlebar from 1996 Available on iTunes.

 

                           Click on image to purchase on iTunes

 

Once Blue is a bit of a long ago dream. Some 25 years ago I came to New York City from the state of Maine, landing in the Lower Eastside of Manhattan with the songwriter Jesse Harris and a young Ben Street, Kurt Rosenwinkelkel and Jim Black. Later, Kenny Wolleson, Steve Cardenas and Bill Dobrow would join us. It was a vibrant time for songwriting, and a fortunate start for us in the city.

What you are about to hear is a 22 year old recording of a live board mix at the height of our music making. We were a very young band on the road, spending much of our time touring the country to open for popular acts that included Lisa Loeb, Shawn Colvin, Squeeze, Emmylou Harris and others. Rolling into the Handlebar in South Carolina on January 19th, 1996 for our own concert was a refreshing and creative respite.

I was happy to find this performance of our group tucked away in a box for decades. Long before social media, music relied on miles and miles of performances in order to be heard. Although Once Blue was an influential band in New York City in the early 90’s, there isn’t anything available that has captured who we were as a live band which was one of our strengths. I’m pleased to be able to share this with you. It is my wish that you will enjoy our collaboration from long ago.

Rebecca Martin
May, 2018
Kingston, NY

NOW ON VINYL! “Thoroughfare” by Rebecca Martin

“On her album, I painted a picture in my mind of how I hear these great songs, a picture so vivid and sharp in color and detail. Voice as instrument, it must be a harp. Song as tree, it must be an oak. Band as players, gardeners of sound and texture.  Thoroughfare…plays in my car every time I head home from London in the night.” – Chris Difford of Squeeze

“…Martin’s sound is literally impossible to categorize. Through her voice, she makes every song a tapestry of word and sound that captures the subtlest of emotions and reveals observations of life that many of us miss in our daily trek….Rebecca Martin is indeed an artist that stands alone, both as a singer and as a compassionate human being.”   John Schoenberger, AAA Track.  From “The Independence of Rebecca Martin”   READ

###

Rebecca Martin’s first solo recording “Thoroughfare” (1998) is now available on vinyl!   To celebrate the upcoming Japanese release 0n Disk Union (February 21st),  there are a limited number of signed copies available to purchase ($40 + shipping/handling costs).

Featuring:

Rebecca Martin – Vocals, Acoustic Guitar
Steve Cardenas – Electric and Acoustic Guitar
Larry Grenadier – Acoustic and Electric Bass
Kenny Wolleson – Drums, Percussion, Harmonium, Marimba, Vibraphone




Side – A

  1. Goodbye My Love  (Harris)    LISTEN
  2. Your Arms Around Me Now (Martin/Harris)
  3. Thoroughfare (Martin/Harris)
  4. Arthur (Martin)    LISTEN
  5. Empty Hands (Martin)

Side – B

  1. All Day Long I’ve Been Crying  (Harris)
  2. 4th and Cornelia (Martin/Moore)
  3. Joey (Martin/Harris)
  4. At Different Times (Sexsmith)
  5. The Red Wall (Martin/Harris)

Questions? Please contact rebecca@larreccamusic.com

Rebecca Martin and Guillermo Klein’s THE UPSTATE PROJECT available to pre-order.


PREORDER

The Upstate Project (Release date: April 14, 2017)

VISIT
The Upstate Project’s website for more information

 

The Upstate Project is a landmark collaboration that unites a group of world-class musicians who’ve already distinguished themselves in their individual creative pursuits.

Rebecca Martin is widely recognized as one of her generation’s most talented and versatile vocalists and songwriters, effortlessly bridging the world’s of jazz and songwriting while working alongside some of the music’s most esteemed players.  Argentine-born pianist-vocalist-composer-arranger Guillermo Klein is renowned throughout the jazz world for his inventive, eclectic compositional approach and his distinctive harmonic sensibility.  Their rhythm section is composed of bassist Larry Grenadier and drummer Jeff Ballard, two of jazz’s most in-demand players.

The four participants’ distinctive talents interact in unexpected and inspiring ways on The Upstate Project, which offers exquisite, gently intoxicating melodies, vivid, haunting lyrics, and effortless instrumental interactions.

Martin’s compositions “On A Sunday Morning,” “To Up and Go” and “Later On They’ll Know” (the latter co-written by Ron Sexsmith) embody the lyrical insight and melodic craft for which she’s become known, while Klein’s “Llorando Fuerte (Like Every Other Day),” “Ahi Viene El Tren (Just As In Spring),” “Outside It Rains for Them” and “Hora Libre” (Thrones and Believers)” demonstrate his knack for melodic resonance while merging his Spanish lyrics with Martin’s English ones.

Martin also adds evocative new lyrics for to some notable instrumentals, reinventing and expanding Bill Frisell’s “Throughout [Hold On],” Brad Mehldau’s “Ode [To Make The Most Of Today]” and Kurt Rosenwinkel’s “Cycle 5 [Freedom Run],”), as well as Grenadier’s “State of the Union [In The Nick Of Time].”

The Upstate Project—so named due to the partnership’s origins in northern New York state—began to come together when Martin contacted Klein to explore the possibility of making music together.

“Guillermo is someone that I hold in high esteem,” Martin states. “Working with him was something I had hoped to do at some point in my career. I am always seeking a real challenge in music, and I knew that his point of view would provide that.  When I reached out to him, I learned that he had just returned to the States from Argentina and was living in upstate New York, only about 40 minutes away from where I was.  Like the old days.

“What the project would be wasn’t clear initially,” says Martin.  “But shortly after coming together, Guillermo suggested that it be collaborative, and I loved that idea.  It gave me the opportunity to think about lyrics for his songs, which opened up a lot of possibilities as we brought material to the table.”

“We exchanged tunes and then got together to play at my house,” Klein recalls.  “The repertoire grew, as I suggested a Kurt Rosenwinkel tune and she suggested the other ones.  I spent time transcribing and arranging them for a group, and she found guitar parts and wrote the lyrics and harmonized voices.”

It was only natural that Martin’s husband Grenadier and frequent collaborator Ballard would come on board to complete the quartet.

“Rebecca and I have played music together for 20 years, as long as we’ve known each other,” Grenadier notes.  “For me, there is nothing like making music with your partner; the level of empathy and intimacy is unmatched.  I’ve known Guillermo for many years and have always been a fan of his arranging and composing, and thought that he and Rebecca shared some of the same musical imperatives in the realm of color and texture.  So the idea of blending this all together seemed very intriguing and also very natural.”

“I have known all of these folks for more than two decades, and I love them and their music,” Ballard adds.  “This project was simply a continuation of these fruitful relationships.”

The musicians allowed the material to develop in its own time.

“Rebecca, Guillermo and I started getting together and playing the songs,” Grenadier says.  “It was like an archeological dig, finding the core of each one and bringing that to the surface.  It was a slow process but very organic as they both so beautifully are.   We performed a string of dates in New York City as a trio, to continue to flesh out the material and to tighten up the sound.”

“Larry, Guillermo and I had played this music for a year before Jeff arrived,” Martin explains.  “Since he lives in Europe now, Jeff could only get to New York in time to record, and after one rehearsal, we went into the studio with Pete Rende, who recorded, helped to produce and steer the ship.”

The Upstate Project’s songs are a genuine collaboration, allowing Martin and Klein to explore different aspects of their talents.

“Guillermo’s music stirs up emotions that are very different from what my own melodies and harmony ever could, and that alone made it possible to explore other worlds,” Martin says.  “I built stories from some very unusual perspectives.  The lyrics in my own songs tend to be bittersweet.  In Guillermo’s music, I found myself exploring darker points of view.  It was a liberating experience for that reason, as it’s important to venture outside of your comfort zone whenever you can.”

“For me, all these songs show the idea of melody reigning supreme.” Grenadier asserts.  “All the arrangements, sound and solos support the melodies, lifting them up so they shine brighter. The melodies of these songs are so strong, and as a musician, I didn’t want to get in the way of that.  I wanted the music to lift up these melodies.”

Having allowed The Upstate Project’s birth cycle to unfold in its own time, Martin and Klein are keeping an open mind about the possibility of future group activity.

“I am just glad this music is recorded.” says Klein, “It feels like a complete cycle.”

“I like to think about music and life in general like swimming in a lake,” she concludes.  “You know when walking into the deep, there are suddenly warm spots that appear to come out of nowhere.  There is never anything predictable in my creative endeavors or their outcome.  I just keep pressing forward knowing that at some point, that mysterious warm spot will appear again where I can hang out for a while—until it gets cold and it’s time to move along again.”

PREORDER
The Upstate Project (Release date: April 14, 2017)

VISIT
The Upstate Project’s website for more information

TILLERY (Rebecca Martin, Gretchen Parlato, Becca Stevens) Available on Bandcamp Exclusively.

tillery_cover_final

 

Now you can purchase the Tillery recording, a collaborative project by Rebecca Martin, Gretchen Parlato and Becca Stevens on Band Camp.

PURCHASE ON BAND CAMP

4 1/2 Stars in Downbeat Magazine (October, 2016)

14322438_586701371512532_6061449107841485067_n

 

TWAIN Catapults to #1 in Jazz in France. Martin Featured on Art of the Song Nationwide on Public Radio. West Coast Performance in August.

1

Rebecca Martin’s latest recording TWAIN, a collaboration with longtime partner bassist Larry Grenadier and produced by Pete Rende was catapulted to the #1 spot in Jazz in France on iTunes and Amazon.  Revered music critic MICHEL CONTAT who writes for Telerama France, one of the largest publications in the country, gives the album four stars:

“TWAIN: The miraculous alchemy between a singer and bass player”
Rebecca Martin and Larry Grenadier are a couple who play together and separately, as he is also known for his key role as bassist in the famous Brad Mehldau Trio. We were introduced to them together through their enchanting disc When I Was Long Ago” (2010 Sunnyside), where the famous singer totally reinterpreted standards with a spell singing verses rarely included in the reference versions. This time, the deputy is a pianist and a drummer, and the very discreet duo assert a familiar song (“Sophisticated Lady”) with others that are all original that sound old and with a unique intimate beauty. We cannot overstate the importance of sincerity, as with Rebecca Martin, it is built entirely in art. Her voice is that of the love and confidence of maternal comfort. How the bass lines support is love itself. Such a disk is something miraculous in the avalanche of vocal jazz. – Michel Contat

Earlier this year, NATE CHINEN of the New York Times featured Martin in a full page Arts & Leisure piece titled “A Voice That Leaps Between Genres” proclaiming her work as an inspiration to a generation of jazz singers.

1-Itunes

“Ms. Martin is a vocalist with an earnest and unaffected style and a songwriter of unforced insight…the new album also highlights a shift toward original material and folky ambience by a generation of singers, some of whom see Ms. Martin as a touchstone.”  – Nate Chinen

Her sensitivity through singing, songs and a long standing commitment to community organizing landed her a spot as featured artist on Art of the Song, the public radio program heard nationwide over 150 stations. This hour long program celebrates the creativity of musicians who they believe are a ‘profound agent for community and for change.’  Listen here.

Fans on the West Coast in August will have the opportunity to hear Martin and Grenadier who will both be teaching in SAN FRANCISCO, CA at the Stanford Jazz Workshop and performing in LOS ANGELES, CA at THE BLUE WHALE located at 123 Astronaut E S Onizuka Street  Suite 301 LA, CA on Saturday, August 10th. Doors at 8:00pm with a showtime at 9:00pm. Tickets are $15. Visit www.bluewhalemusic.com for more information.

 For further information or to request an interview or music, please contact Patrice Fehlen at September Gurl Music, 718.768.3859 or patrice@septembergurl.com.

Rebecca Martin and TWAIN Featured in New York Times. Martin a ‘touchstone’ to a generation of jazz singers for singing and songwriting.

Unknown-1

KINGSTON, N.Y. —  A New York Times Sunday Arts & Leisure piece written by Nate Chinen was published this weekend on Rebecca Martin and her upcoming release TWAIN on Sunnyside Records (available nationwide on Tuesday, March 26th).  “Ms. Martin is a vocalist with an earnest and unaffected style and a songwriter of unforced insight; Mr. Grenadier, her husband, is in the top tier of jazz bassists. Together they made Ms. Martin’s new album, “Twain,” due out on Sunnyside on Tuesday, in cloistered intimacy, recording a dozen of her songs with no initial accompaniment other than upright bass (his) and fingerpicked acoustic guitar (hers).”

“… the new album also highlights a shift toward original material and folky ambiance by a generation of jazz singers, some of whom see Ms. Martin as a touchstone. Among them are Gretchen Parlato and Becca Stevens, with whom Ms. Martin formed a collective called Tillery two years ago, after they struck an instant chemistry late one evening around her dinner table. “She’s been a great guide and mentor and sister in my songwriting,” said Ms. Parlato, who won the Thelonious Monk International Jazz Vocals Competition in 2004 but hadn’t written her own songs before befriending Ms. Martin.”

“…And, perhaps most of all, Ms. Martin’s songs, which have long dwelled in implication, creating a vivid emotional climate without divulging many details. One reason younger songwriters admire Ms. Martin may be that she writes from a place of genuine interiority; another is that her melodies and her lyrics feel so naturally enmeshed.”

 READ THE ENTIRE ARTICLE

 

Click on image to purchase on Amazon.

Click on image to purchase on Amazon.

Click on image to purchase on iTunes.

Click on image to purchase on iTunes.

 

Singer and Songwriter Rebecca Martin Discusses the Lyrics on TWAIN, Community and Collaborations.

From "Twain". Photo credit: Pat Kepic

Singer and Songwriter Rebecca Martin Discusses the Lyrics on TWAIN, Community and Collaborations. 

Along with release of TWAIN on March 26, Martin looks ahead to performing with her trio TILLERY that features GRETCHEN PARLATO and BECCA STEVENS at the Kennedy Center for the Mary Lou Williams Jazz Festival In May

Kingston, NY – “I get all of my material for and emotional connection to the songs I write or interpret these days from hands on experiences,” says the singer and songwriter Rebecca Martin reflecting on the songs from TWAIN (Sunnyside Records). “I’ve become so active in our community that my life as an avid reader has transformed itself into one of an avid doer.”

A state of Maine native, Martin moved to New York City to pursue her musical endeavors. Throughout the 90’s, Martin co-led the influential duo Once Blue (EMI Records) with Jesse Harris. After a handful of critically acclaimed solo recordings Martin migrated North to the Hudson Valley with husband and collaborator Larry Grenadier and had a son. From that point on, in tandem with making music, she found a new way of using her organizational skills in community work. There, she tirelessly advocated for transparency and better communication between the people and government. This work eventually landed her a position as Executive Director of an Urban Land Trust in the area, where under her leadership the organization was sited as a national model for urban land trusts by the Land Trust Alliance.   Known for her “dizzying array of local initiatives“, Martin and many volunteers created programs and committees for rail trails, urban agriculture, African-American cemetery preservation projects and more. “Having a child and being so far from family motivated me to get as involved as I have.” says Rebecca. “It has been an eye opening experience to say the least, and has certainly informed my music.”

Yesterday I saw it coming on. 

There was little that the peasant could do. 

Into their hearts fully open and aligned 

for the daggers and arrows that flew.

Just beyond the hillside 

back where the curtain calls to us

There the music reminds me 

that the whole world is waiting to find us”

From “Beyond the Hillside” by Rebecca Martin

“There are two distinct story lines running through this particular piece, the ‘bearing witness’ to the many unpleasantries out in the field and the hopefulness in the music. It’s a very bittersweet song.”

Tillery. Photo credit:  Mark Niskanen

Martin credits her friendship with GRETCHEN PARLATO and BECCA STEVENS as being her ‘touchstone to the music’ during the recent phase in her life of work, family and community. The inspiration she drew from their communion resulted in the formation of the super group TILLERY, a trio that they share. The three kindred spirits’ seamless rapport has been wowing audiences since they joined forces in 2010. These days, the threesome work together when schedules permit, including a prestigious performance at the KENNEDY CENTER in Washington, D.C. as part of the Mary Lou Williams Jazz Festival on May 17th, 2013.

To help Martin celebrate her new release TWAIN, Parlato and Stevens will join her on stage for a song at the Rockwood Music Hall, stage 2 located at 196 Allen Street, NY on Thursday, March 28th in New York City. Tickets for the event are $15 and can be purchased online by visiting ROCKWOOD MUSIC HALL.

For further information or to request a copy of Twain, please contact Patrice Fehlen at September Gurl Music: patrice@septembergurl.com or 718.768.3859

 

NPR Chooses Jazz Singer and Songwriter Rebecca Martin’s Upcoming Release TWAIN as “One to Look Out For” in 2013.

Photo Credit: Pat Kepic

NPR Chooses Jazz Singer and Songwriter Rebecca Martin’s Upcoming Release TWAIN as “One to Look Out For in 2013”.   Record Release and a live recording scheduled at the Rockwood Music Hall in New York City in March. 

In anticipation of the jazz singer and songwriter Rebecca Martin’s upcoming release on Sunnyside Records, NPR’s Patrick Jarenwattananon includes TWAIN as one of 15 buzzed about jazz/ish albums to look out for in 2013.

“The vocalist Rebecca Martin’s last album was a collection of standards, recorded only with a saxophonist (Bill McHenry) and a bass player, Larry Grenadier. Think of TWAIN as a sequel of sorts: It’s a program of mostly originals, backed only by Grenadier, who is also her husband. As a singer, she has a sense of nuance that fits a spare setting well; as a songwriter, she’s already put out several albums of her own tunes.”

Rebecca Martin will be accompanied by bassist Larry Grenadier at New York City’s Rockwood Music Hall room 2 on Thursday, March 28th, two days after the records release.  They will perform one set of original compositions and standards. The performance will also be recorded by Pete Rende in preparation for a live recording.  Tickets are $15.00.  The Rockwood Music Hall (stage 2)  is located at 196 Allen Street, NYC 10002. Tickets can be purchased online at the ROCKWOOD MUSIC HALL.  For more information, call 212/477-4155.

A highly accomplished husband and wife team, Grenadier and Martin earn continual accolades for their live performances. Renowned critic Alain Burnet of Montreal’s La Presse wrote “In the circles of Jazz in New York…[Martin’s] approval rating has risen steadily over recent years, and for good reason. In Montreal, she still remains a secret….I will not keep it to myself: count me in!”

WATCH Rebecca Martin and Larry Grenadier perform “Born to be Blue” written by Mel Torme and Robert Wells live at Atlas Performing Arts Center in Washington Center in Washington, DC. Filmed by Christian Amonson.

For more information about Rebecca Martin, contact Patrice Fehlen at September Gurl, PR at 718/768-3859 or email patrice@septembergurl.com