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Editorial Reviews
Review
Rebecca Martin has a warm unguarded voice, an instrument of modesty and forbearance. Her interior style can feel almost too spare for standards, though she has recorded good albums full of them, most recently with tthe jazz drummer Paul Motian. With her own songs, she manifests a deeper more easeful authority. She can make the same phrase seem philosophical and coversational, and about as natural as sighing.
"The Growing Season," Ms. Martin's first solo effort since 2004, consists entirely of her songs. The album was partly inspired by motherhood, with all that it entails: physical changes, heightened responsibilities, state-of-the-world ruminations. She croons about home on the aptly titled "Lullaby." But on another song she sings: "What feels like home/Is a hole to sink down into." This is meant to feel reassuring, as are several other lyrics that urge resignation on the subject of death.
Ms. Martin accompanies herself capably on acoustic guitar, but she also enlists top-flight musicians here, including her husband, the bassist Larry Grenadier; the guitarist Kurt Rosenwinkel, who doubles on keyboards; and the drummer Brian Blade, whose playing is unfailingly subtle. (The same ensemble will appear with her Tuesday through Sunday at the Village Vanguard.)
As the album's producer, Mr. Rosenwinkel merits special recognition: the sound he has created, all softness and luminosity, complements the songs beautifully. But it's Ms. Martin who opens herself up here, and who deserves the credit. She makes this album feel momentous, in the quietest possible way.
- Nate Chinen --NY Times - Aug. 11, 2008
"The Growing Season," Ms. Martin's first solo effort since 2004, consists entirely of her songs. The album was partly inspired by motherhood, with all that it entails: physical changes, heightened responsibilities, state-of-the-world ruminations. She croons about home on the aptly titled "Lullaby." But on another song she sings: "What feels like home/Is a hole to sink down into." This is meant to feel reassuring, as are several other lyrics that urge resignation on the subject of death.
Ms. Martin accompanies herself capably on acoustic guitar, but she also enlists top-flight musicians here, including her husband, the bassist Larry Grenadier; the guitarist Kurt Rosenwinkel, who doubles on keyboards; and the drummer Brian Blade, whose playing is unfailingly subtle. (The same ensemble will appear with her Tuesday through Sunday at the Village Vanguard.)
As the album's producer, Mr. Rosenwinkel merits special recognition: the sound he has created, all softness and luminosity, complements the songs beautifully. But it's Ms. Martin who opens herself up here, and who deserves the credit. She makes this album feel momentous, in the quietest possible way.
- Nate Chinen --NY Times - Aug. 11, 2008
Product Description
I met Rebecca Martin about ten years ago, sitting upstairs at a club with guitarist John Scofield and bass player Larry Grenadier. She and Larry were just married, or about to be...they couldn t stop looking at each other. No one mentioned that Rebecca was a singer. They didn t have to. It wasn t just the soft lilt of her voice, but the way she held onto words for an extra beat and then let them tumble out in a rush of soft exclamations. Even when she was in the background, it was hard not to see her as being centerstage.
I found out more later on. She had come down to New York from rural Maine and had a band called Once Blue with singer guitarist Jesse Harris. Their album on EMI still sounds playful and timeless, as if Blossom Dearie had recorded with Steely Dan. But the confines of a band, even a casual one, was out of character for Rebecca, just as it would be out of character for Georgia O Keefe, Amelia Earheart or Joni Mitchell. She moved out of the band the way you d move out of an apartment that was too small or too noisy and moved into a new space.
Rebecca s first solo album Thoroughfare was filled with gorgeous melodies and songs that were mysterious and chilling, evocative of lost childhoods, lost loves, lost moments. Her voice had a new strength coupled with a new vulnerability, a letting go that takes the songs beyond language into a place of half-remembered dreams coupled with the mineral fact of being alive in this life right now.
A series of projects followed: an album of standards, Middlehope, which the NY Times named one of the ten best jazz albums of 2002; a lovely album of her own songs, People Behave Like Ballads; a collaboration with legendary drummer Paul Motian, that led to a fine CD, On Broadway Vol. 4, or The Paradox Of Continuity.
At the same time, Rebecca began hosting songwriter evenings at her home, encouraging writers (solitary and cranky, at the best of times) to get together in a safe and nurturing environment to try out new material. Her living room was filled with people like Larry John McNally, Timothy Hill and Frank Tedesso, and the air was filled with songs that were still taking shape. Rebecca s songs usually stole the show -- they had a quiet grace that made them stand out, not to mention a strength and power that belied their casual presentation. At first a melody would seem amorphous and random, until you d realize that Rebecca was following an impulse, the way you d follow a fish, twisting and turning through the waters, until she d arrive at the very heart of a song.
And now Rebecca has brought all of her strengths together for The Growing Season, an album I ll be listening to for a long time. It s an album of songs about motherhood, about living in the world and living in your body. There is an effortlessness about it, buoyed by the lighter-than-air rhythms of drummer Brian Blade, the supple rightness of Larry Grenadier s beautiful, emphatic bass, the otherworldly chordings of guitarist Kurt Rosenwinkel, all anchored by Rebecca s elegant songs, lovely, picked guitar and smokey, generous voice. It's a voice that seems to leave nothing out: sex and death and breakfast and wind in the trees and tax forms and laughter and night. All at once.
Listen...
- Brian Cullman, 2008
I found out more later on. She had come down to New York from rural Maine and had a band called Once Blue with singer guitarist Jesse Harris. Their album on EMI still sounds playful and timeless, as if Blossom Dearie had recorded with Steely Dan. But the confines of a band, even a casual one, was out of character for Rebecca, just as it would be out of character for Georgia O Keefe, Amelia Earheart or Joni Mitchell. She moved out of the band the way you d move out of an apartment that was too small or too noisy and moved into a new space.
Rebecca s first solo album Thoroughfare was filled with gorgeous melodies and songs that were mysterious and chilling, evocative of lost childhoods, lost loves, lost moments. Her voice had a new strength coupled with a new vulnerability, a letting go that takes the songs beyond language into a place of half-remembered dreams coupled with the mineral fact of being alive in this life right now.
A series of projects followed: an album of standards, Middlehope, which the NY Times named one of the ten best jazz albums of 2002; a lovely album of her own songs, People Behave Like Ballads; a collaboration with legendary drummer Paul Motian, that led to a fine CD, On Broadway Vol. 4, or The Paradox Of Continuity.
At the same time, Rebecca began hosting songwriter evenings at her home, encouraging writers (solitary and cranky, at the best of times) to get together in a safe and nurturing environment to try out new material. Her living room was filled with people like Larry John McNally, Timothy Hill and Frank Tedesso, and the air was filled with songs that were still taking shape. Rebecca s songs usually stole the show -- they had a quiet grace that made them stand out, not to mention a strength and power that belied their casual presentation. At first a melody would seem amorphous and random, until you d realize that Rebecca was following an impulse, the way you d follow a fish, twisting and turning through the waters, until she d arrive at the very heart of a song.
And now Rebecca has brought all of her strengths together for The Growing Season, an album I ll be listening to for a long time. It s an album of songs about motherhood, about living in the world and living in your body. There is an effortlessness about it, buoyed by the lighter-than-air rhythms of drummer Brian Blade, the supple rightness of Larry Grenadier s beautiful, emphatic bass, the otherworldly chordings of guitarist Kurt Rosenwinkel, all anchored by Rebecca s elegant songs, lovely, picked guitar and smokey, generous voice. It's a voice that seems to leave nothing out: sex and death and breakfast and wind in the trees and tax forms and laughter and night. All at once.
Listen...
- Brian Cullman, 2008
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SoundUnwound Says...
The Growing Season 
is one of Rebecca Martin's 3 releases. Browse Rebecca Martin's Discography and watch Rebecca Martin videos on SoundUnwound.
is one of Rebecca Martin's 3 releases. Browse Rebecca Martin's Discography and watch Rebecca Martin videos on SoundUnwound.View your Amazon music library , recommendations and new releases on SoundUnwound - the personal music encyclopedia.
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