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| People Behave Like Ballads |
| Rebecca Martin |
| első megjelenés éve: 2004 |
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| (2004)
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CD |
| 5.180 Ft
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| 1. | Lead Us
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| 2. | Here the Same But Different
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| 3. | These Bones Are Yours Alone
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| 4. | If Only
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| 5. | I'd Like to Think It's Coming
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| 6. | It's Only Love
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| 7. | When the Rain Comes
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| 8. | It Won't Be Long
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| 9. | Learning
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| 10. | East Andover
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| 11. | Old Familiar Song
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| 12. | Lonesome Town
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| 13. | I'm Not Afraid
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| 14. | Gone Like the Season Does
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| 15. | I'm the One
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| 16. | Play for Me
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Jazz / Vocal, Folk-Pop, Singer/Songwriter, Adult Contemporary, Jazz-Pop, Folk Jazz, Vocal Jazz
Andrew Solin Assistant Engineer
Ben Monder Guitar (Electric)
Bill McHenry Sax (Tenor)
Brian Bacchus Producer, Audio Production
Brian Bloom Photography
Darren Beckett Drums
Dena Katz Photography
Jane Choi Make-Up
Jay Newland Audio Engineer, Engineer
Jimmy Katz Photography
Matt Penman Double Bass, Bass (Acoustic)
Peter Rende Engineer, Mandolin, Fender Rhodes, Pedal Steel, Hammond B3, Vocals (Background), Organ, Organ (Pump), Piano, Wurlitzer, Organ (Hammond)
Pressley Jacobs Design, Art Direction
Rebecca Martin Vocals (Background), Audio Production, Mandolin, Vocals, Producer, Guitar (Acoustic), Guitar (Electric)
Steve Addabbo Engineer
Steve Cardenas Guitar (Electric)
Steve Fallone Mastering
Martin shapes her unique world vision with her debut on MAXJAZZ, People Behave Like Ballads (August 31, 2004), named for a collection of poems by Robert P. Tristram Coffin, a fellow native of Maine. Written entirely by Martin, the sixteen songs are memorable, honest and moving. She sings of love, loss, hope, wisdom, loneliness and searches - along with her listeners - for understanding of the human condition through her music.
Throughout the recording, her clear and strong voice appears to have no range limits. Much like Joni Mitchell in her early career, to whom Martin has been compared by the NEW YORK TIMES, Martin shadows her voice or allows it to soar or to gracefully settle inside the notes. Listening to her sing is like watching the tides roll in and out or a bird fly above. There is continual motion, seamless sound and an unbroken line of thought.
The emotion she evokes is also wide-ranging. When she sings, "Music is for anyone who's open to hear. There's nothing between us, but notes in the air," she means to involve the listener intimately. From her poetic, heartfelt lyrics, it is also evident that Martin is fearless in examining her own life challenges openly in this very personal recording. "The truth is what matters, but it's twisted and mired. These bones are yours alone," she confesses.
Her close collaboration with the musicians on People Behave Like Ballads undoubtedly allowed Martin to open up fully in word, on guitar and on vocals. Steve Cardenas, her longtime musical partner, and Ben Monder perform on electric guitar. Peter Rende is on piano, Fender Rhodes and Wurlitzer. Frequent collaborators, Bill McHenry and Matt Penman, are on tenor saxophone and bass respectively. Darren Beckett performs on drums. Another likely factor contributing to her natural ease on this MAXJAZZ debut may be her return to country living. Originally from Maine, Martin lived in New York City for ten years before deciding she needed to return to more organic surroundings. She moved to upstate New York, where she lives now with her husband, bassist Larry Grenadier.
For Rebecca Martin, the comparisons to Norah Jones will be inevitable when critical ears listen to "Here the Same but Different" from Martin's People Behave Like Ballads. The song has the same breezy folk-pop appeal of Jones' hit "Don't Know Why" and Martin's delivery of the song is just as relaxed and carefree. But the comparison is somewhat unfair as Martin debuted her jazzy blend of folk-pop in 1999 on Thoroughfare, three years before Jones's breakthrough. She also worked with Jesse Harris (writer of "Don't Know Why") in the group Once Blue prior to his Grammy-winning work with Jones. In reality, people should be comparing Jones to Martin, but all in music is not fair. However, the folks who have already discovered Martin will be eager to spread the news that her third solo disc successfully refines her style and showcases her talent as a songwriter. People Behave Like Ballads is the appropriate title for Martin's collection as she fills the disc with unhurried songs about people dealing with relationships and their own place in the world. In the beautiful "Lead Us," relationship roles are reversed as the stronger of the two recognizes they have "got a handicap" and calls to their partner to "take the reigns," while ghosts from doomed romances begin to haunt a prospective relationship in "I'd Like to Think It's Coming." These personal explorations are often complex but the lightness in which the music is presented makes them seem simpler than they are. Martin's music leans toward folk but is shaded by jazz influences and a '70s singer/songwriter style, much like the mid-career recordings of Joni Mitchell. In fact, the influence of Mitchell can be heard within "East Andover" and "Lonesome Town" as the tracks sound like quality leftovers from Mitchell's Hejira. These two songs along with the barely up-tempo tracks "Old Familiar Song" and "I'm Not Afraid" provide the best block of music on the disc. But with all of the songs kept at a laid-back pace, at 16 tracks the disc is a little lengthy and the final songs lose identity and begin to blend into each other. Nonetheless, People Behave Like Ballads is an excellent step forward and perhaps the people who lifted Norah Jones to success will discover Rebecca Martin and give her the proper exposure she deserves. ~ Aaron Latham, All Music Guide
Rebecca Martin
Active Decades: '90s and '00s
Genre: Vocal
Styles: Adult Contemporary, Folk Jazz, Contemporary Folk, Vocal Jazz, Contemporary Singer/Songwriter
Rebecca Martin has been involved in the music industry in one way or another since she was a child. At eight years old, she began to perform some. Just about the time she hit her teens, she started recording at a local studio. In college, she studied jazz vocal performance. She also took voice lessons for years. Her first paying gig was in New York City, at a Japanese restaurant. The payment for her entertainment was free sushi. Even her day jobs kept her close to the music business. For a while she worked at the MTV Networks. She also served as transportation and security coordinator for the wedding of the well-known singer Mariah Carey and Tommy Mottola.
Around 1992, Martin became a member of a group called Once Blue, who was signed by EMI Records. Some of the other members were sax player Mark Turner, drummer Jeff Ballard, bassist Ben Street, keyboardist Scott Kinsey, and guitarist Kurt Rosenwinkel. The group released a couple of albums before calling it quits in February of 1997; maybe the split was brought on by the death of EMI. Instead of joining another band, Martin decided to try a solo career. One of the things she soon put together was something she named the Independence Project, an undertaking geared toward helping other developing independent artists.
As a solo singer, songwriter, and guitarist, Martin recorded her debut album on November 8, 1998. Thoroughfare is an impressive ten-track offering that was amazingly completed in one single day. She had some gifted help on the recording, including her husband, bassist Larry Grenadier, guitarist Steve Cardenas, and producer and engineer Joe Ferla. Grenadier and Cardenas are also members of her band, along with drummer Jorge Rossy and tenor sax player Bill McHenry. A few of the tunes on this first solo offering are "Goodbye My Love," "The Red Wall," "Arthur," and "Empty Hands." Martin's music is an interesting mix of rock, flavored with folk and jazz style.
---Charlotte Dillon, All Music Guide |
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