In The Ballroom

Saint Bernadette (Artist)

Product Details

• Audio CD (October 2, 2007)
• Number of Discs: 1
• Label: Exotic Recordings
• ASIN: B000VC0FBG
• In-Print Editions: MP3 Download
• Average Customer Review: No customer reviews yet. Be the first.
• Amazon.com Sales Rank: #306,315 in Music (See Bestsellers in Music)

Editorial Reviews

Review

Review by Hal Horowitz Recorded in the titular space (the ballroom of the Bijou Theater in Bridgeport, CT) in only three days, with no overdubs, Saint Bernadette's debut is a shimmering set of torchy, if not necessarily romantic jazz blues that reveals additional layers the more it's played. Although horns and guitar add to the atmosphere, it's Meredith DiMenna's supple, velvety voice -- somewhat like a combination of Norah Jones, Toni Price, Peggy Lee, and Billie Holiday -- that drives the project. Led by DiMenna, whose vocals are heard in an entirely different setting as MTV's trashy Chunky Pam, along with fellow songwriter Keith Saunders, these 11 originals hint at retro '60s styled mood with contemporary touches. But it's the subtle dynamics that elevate the material; lap steel guitar brings a somewhat ghostly approach to the songs as DiMenna's husky, sexy singing weaves through the spaces in the sound. A few tracks like "Such Ease" benefit from a harder edge yet the album typically stays in a mid-tempo, not quite ballad mode that lets the songs breathe and allows DiMenna the leeway to smother her smoky voice over the proceedings. The project exudes a sensuous sheen over its 40-minute playing time, and the album works due to a greater-than-the-sum-of-its-parts dynamic. Imagine a set influenced by Santo & Johnny's nocturnal instrumental "Sleepwalk" and you're close to the hazy vibe evoked here. DiMenna occasionally radiates Grace Slick-styled phrasing, especially on the dramatic "Lay Me Down." Although the material is strong, it isn't particularly hooky. That's not a detriment, though, because it adds to the mystery and sense of ambiguity that the songs simmer in. When the guitars do crank up on "No Dreams," it's a sonic shock to the system. Turn the lights down low, burn some incense, and lose yourself in Saint Bernadette's intense yet lithe charms. --All Music Guide

Product Description

Saint Bernadette's debut album 'In The Ballroom'is the result of a 3-day marathon session in an abandoned ballroom in their hometown of Bridgeport, CT.

Though SAINT BERNADETTE's music seems born of '40s girl singers and epic '70s rock, Meredith DiMenna and Keith Saunders, the songwriting team behind the group, met through a hip hop band. One of their first shows together was an opening slot for rap legends, Run-DMC. While Keith played the bass, Meredith was pushed off the stage by one of the group's rappers when her cameo singing performance seemed to be upstaging his own.

Soon, they began writing songs together and their partnership evolved into their own recording studio. While performing regularly under the name The Saucers, the pair started an independent label, Exotic Recordings, and released albums for a variety of groups including NERVOUS SYSTEM, JASCHA EPHRAIM, PLANESIDE, DOGS OF WINTER and Meredith's brother, J. DIMENNA

In the spring of 2006, they decided it was time to record their debut full-length album. The pair had a collection of songs but still needed the right musicians to bring them to life. They reached into their own talent pool - the artists and touring musicians on their label's roster. First, they enlisted solo artist and multi-instrumentalist, Jar-e, to play bass, Rhodes and trombone. They borrowed Joe Novelli from J DiMenna's touring band for lap steel and trumpet, and finally, they took drummer Craig Sala from Planeside. They called the new line-up Saint Bernadette.

The new line-up went north to a small cabin in Vermont to learn and arrange the songs. Inspired and invigorated by the results, they began the search for the perfect recording location.

'We knew we wanted to record it live. Because of the instrumentation, the dynamics depend on a real-time push and pull between the different elements and we felt we couldn't achieve that in an overdubbing situation'says Keith. 'We really wanted the record to reflect the energy of a live show.'

Recent transplants to Bridgeport, CT, Keith and Meredith found that a local redevelopment project, the historic Bijou Theatre, was hiding a large and beautiful ballroom circa 1908 on the second floor. The developers gave the band permission to use the space for five days - one each to load in/load out and three to record.

To prepare for the recording, the band played a series of live shows in New York and Connecticut with the express purpose of refining the arrangements and establishing the dynamics. At this point, they enlisted Chris Sanchez, founding member of NYC's The Fever to produce the album, and Matt Lane, mobile recording engineer to record it.

The album was recorded completely live - with everyone in the same room at the same time. It was nearly non-stop recording, except on breaks to go to the bar next door and keep tabs on the World Cup. 'It was exhausting because we had to be totally focused the whole time. We all knew that this was it, we either get it in these sessions or we don't' says Jar-e.

When recording was finished, the next step was mixing. Keith and Meredith felt strongly that they wanted to work with Peter Katis of Bridgeport-based Tarquin Studio (Interpol, The National, Rainer Maria).

'We had to wait a few months for him because he was busy working on The National, which was so hard since we were so excited about the recording, but it was well worth the wait.'

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