This time last year, I hopped the train northward to Seattle with my uke, my backpack, and four original songs I was ready to record. Why all the way to Seattle? If you know these folks, you know why!
Many of you remember when I recorded my last record, The One Who Remembers. It was an almost two-year-long effort in the studio with full production, crowdfunding and publicity. I am so pleased how it all turned out, I absolutely loved working with my team, and I’ve loved sharing those songs with audiences around the Pacific Northwest and beyond!
However, I knew that my next creative project would be distinctly different in two specific ways:
- It would feature songs I wrote exclusively on ‘ukulele (specifically, the beautifully crafted ‘ukulele handmade by Aaron Keim of Beansprout)
- It would be recorded *live* in studio
I didn’t exclude uke tunes from The One Who Remembers on purpose, it just happened that the songs grouped thematically for that album were all songs I’d written primarily on the guitar. However, most of my work in music these days is in ‘ukulele classes and at retreats, camps and festivals for ‘ukulele students. How did I not have a recording of my uke tunes to share with them?! It was definitely time, even if I didn’t have a full album’s worth (more on that below)…
What does “live in studio” mean? Traditionally, studio albums are made with tracking: after recording what’s called a “scratch track”, each instrument plays along and is recorded separately from the rest. The engineer then takes all the tracks and edits and mixes them together, so it sounds like they’re playing all together. It is truly the work of magic. However, everyone knows the equally magical feeling of experience music live and in the moment. Musicians communicate with each other, play with each other, exist in the same sonic space together … all without a word. This was the magic I wanted to capture for my next creative project.
Back to Seattle! When I thought through which musicians I’d most like to work with on this kind of project, I knew immediately who that would be:
- Matt Weiner (bass) and Nova Devonie (accordion) have been mainstays at the two ‘ukulele camps I’ve taught at here in the PNW – I had played most of my tunes with them already, and they are absolute masters at playing on the fly. They are 110% present to everything they play and extremely responsive, making for a unique experience each time we play together.
- Alicia Healey owns and operates the Winterblue Room, where I had done some recording before. Her ears are very different from mine, and that was exactly what I wanted – someone who could hear what I didn’t, and would be as excited about this challenge as I was.
- But really, it’s kind of Neal Chin‘s fault that this thing happened at all. Neal and I share a love of the early 20th century American songbook and when I was supposed to take the stage at the Reno Uke Festival in 2024, I knew for sure I wanted him to join me on one of our favorites: Billie Holiday’s “God Bless the Child.” We recruited Conrad Cayman on bass and even got Daniel Ho to sit down as his new drum set and played it all together for the very first time on that stage. As the last note faded, we all looked at each other, absolutely speechless. When the stars aligned for Neal to join us in studio at a separate session in May, it was a no brainer to include this cover to complement my original songs.
And so, here we are!
After editing and mixing and mastering and replicating, my new album Face to Face is here!
This 5-song EP features four original tunes and the aforementioned cover song. Pop this CD in your player, or download the tracks and open them up to hear:
- Mourning Dove
- Face to Face
- End of the Sky
- God Bless the Child
- The Sun Keeps Shining
For those unfamiliar with record terminology, an EP often stands for “eponymous album” or the first album an artist releases, with a title that is the same as their name. More recently, though, with the convenience of streaming and the desire to stay in touch with audiences more often, many of us artists and started releasing shorter albums more often. And that is my intention with this short but hopefully very sweet record: to celebrate this delightful instrument, this incredible music community, and the creativity that elicits something new each time we engage it.
Album Release Party ~ Sunday, March 22
For those in the Portland region, I would love to invite you to celebrate this new project and enjoy all-‘ukulele tunes in a cozy house concert! Acoustic superfans Guy and Lavinia Marx are hosting this special release party, and I am so lucky that Matt and Nova will be able to join me!