Special Event Reviewed by Bay Area Audiophile Society!

From BAAS, Thank you!

Yet Another Stunning ‘Blue Coast Session’

Posted on July 29th, 2009 by Bob

Check out the recordings from this great session here. More on Jenna here, and Matt here.

text by Ori

pics by Bob Bergner

What’s always puzzling in a recording session is whether it will produce decent music or truly great music. Ordinary does not count.It takes two to tango and in this case what a great dance it was. Matt and Jenna have known each other in the past, but busy schedules and geographical barriers kept them away for five years or so.

There comes the third person to this party. Cookie Marenco needs no introduction in the BAAS circles and probably by now in the greater audiophile community as well. As it turned out, Cookie knows Matt and Jenna and convinced them to collaborate on this project. Cookie is to the artists what Matt is to Lyle and Ricky Lee-Jones. She plays the subtle role of an enabler, with her musical insight and magical artistry on the mixing console. These are not “filler words” to liven up the review and we will touch on her studio wizardry later.

I should note the assisting staff, working behind the scenes on documenting the studio session, keeping track of the analog tape machine and the web production (some tracks were uploaded to the Blue Cast website).

Frankly, this all came out of the blue. I received an email through BAAS that Cookie invites up to 6 members to a studio session/party. What in the world does that mean?I considered it an adventure. Whatever comes out of it ought to be unique. I mean, how many of you have been invited to a recording session like that?!

This actually takes guts on the part of the studio and performers. Recording good music relies on bringing artists to the point where they “click” and produce art rather than bang notes. Recording sessions in front of a live audience take a mighty effort to put together and not all come out great. How on Earth this one will go?

I know the Blue Coast studio from a previous visit and tried to imagine a small audience sitting around tiny tables with the performers up front. Nah, ain’t gonna happen…

Like I said, not knowing what to expect almost guarantees a “great” adventure. The question in my mind was not if I should attend. The question was if I can afford to miss all that fun!I don’t have a clue what other BAAS members were thinking. I expected this list to close in minutes, yet it took a whole day to fill the few slots. Unbelievable!

Next time when you get such a generous invitation - jump on it. That’s my free advice and you will thank me for it, I guarantee it.I arrived at the session a little early. Matt and Jenna were in the middle of a take and I just tried to get out of the way. Cookie went up the stairs from the control room and stood at the door of the acoustic room, trying not to break the concentration of the performers before the next take. Cookie plays the role of a producer in her subtle way. She knows what she can ask from the two and she does it in the most constructive way. A little advice here, a good word there. There are no bad sessions, just good and better ones… I like her philosophy!

At that point in time, this was still a studio operating as a studio “should”. Then came the mob…BAAS members started trickling in right around 6PM and within an hour it turned into a big party. Matt and Jenna took a break every two or three takes and mingled with the few of us that were there. Cookie produced some munchies and a few visitors brought several bottles of wine. It’s a real party!

During the evening, a few friends showed up, some from the music industry. This was a lively studio session for sure. Now, one might think, how in the world do you make music under the circumstances?

I had my own doubts as well, but heck. It’s a great locale with fine people. Let us enjoy the moment, whatever happens is fine with me!

My hat is off to Matt and Jenna. I don’t know if they were prepared for this or it was dropped on them out of nowhere. Here you are in a recording session. You come out and there is a bunch of strangers wanting to chat with you… I’m sure it felt odd in the beginning.

People started asking Matt about his work with Lyle Lovett and recently with Mark Knopler. Jenna tried to disappear, but we didn’t let her… She is a great vocalist and it was her music we were celebrating. The dynamics of this afternoon was definitely a factor in the outcome, both for the audience and the performers. Of course, having the usually friendly BAAS crowd helps as well…It seemed like everybody was genuinely enjoying the atmosphere and the company. Here and there Cookie drags the duo back into the recording room and they go for another piece while we, the audience, listen in the control room. Usually they’ll have two takes of the piece and we got to “vote” which is better. Not that we know much…

The theme was moody songs (I could not find the tissue Cookie promised!) yet the atmosphere was quite cheerful and full of energy. If singing moody songs requires that the singer and audience will shed tears then this was a complete failure…One thing I noticed is how professional Matt and Jenna are. They switch modes from party time to “work” time in an instant and it’s quite amazing to see this and hear it in person.

Blue Coast recordings are all about musical expression. This session was done without headphones. The placement of the vocal microphone was chosen so that the Matt could see and hear Jenna and they can “work it out” together in the studio. I don’t want to elaborate on the technical aspects but I can tell there was some serious thought about preserving the “feel” of the music and acoustic space in the final recording. Luck has nothing to do with it.

You also come to realize how difficult it is to record this way. Any mistake and the whole track is a waste. “Standard” production would record one instrument at a time. It’s easier to salvage things, but where is the interaction between performers? Clean - sure. Artistic? Rarely.

Reading to this point, now you might think “that sounds really great”, but wait. There is more!Remember my early hallucinations… Audience in the studio, live take, ice cubes hitting champagne glass, smokey dark club… No, that did not happen. I mean, no champagne, smoke and all that. But it was such a great atmosphere that for some reason we found ourselves all crammed into that little recording room and Matt and Jenna hit it with two fresh tracks. What a treat!

There was no second take on these nor was there a need for one!I was standing in there in awe, afraid to produce a squeak. All of us were. It was like a moment of magic. The performers were in their zone. We were just those long-time friends that always are there to support you… And you never know what comes out of such an “experiment”.I heard two artists come together in full support of each other. Jenna is very much into her singing and lyrics. Matt was giving her just enough space to maneuver, musically speaking. The piano did not jump to the front of the stage, the spot light was on the singer, but it was dim. You could see and feel the piano notes caress the singing, flow together in an amazing dance. This duo was not about Tango. It was a ballet at its highest level. Strong in its message, fragile in its delivery. Great pianists find that moment of musical illumination at times. This was one of these moments and I’m glad to have been there to witness the magic.Jenna has a special voice and needs no praise, but in these last two pieces she truly let loose. Maybe it was the wine, maybe the long tiring day, maybe (I’d like to think) it was the place and time and the great atmosphere. She stretched her voice, not being afraid to break or falter. In these two tracks she was soaring effortlessly at the edge of her vocal abilities.It’s not the technique that gets me, but what it does to the overall presentation of the song. I will take an imperfect artistry over polished musicianship anytime!

The geeks that we are… We went down to the control room to hear these takes on the tape. You might wonder “why?!”Well, it happened and I’m glad it did. When you are in the studio, you realize how loud the piano is relative to the vocalist, especially Jenna. I’m sure Janis Joplin or Louis Armstrong would have equalized the levels but that’s not Jenna’s style. She is singing from the heart, to herself actually. Sometimes it’s just a delicate whisper into the mike.When you hear the tape, it’s a whole different song. Levels are much more like you’d want them to be. Tonal balance is great. Music and harmony emerge and they are nothing like what you’ve heard in the recording session!

And that’s my Epilogue to this great musical journey. It started with a colorful pianist, touched on the lyrics and soul of the vocalist and closed the loop at the mixing room, with a great artist in her own right. Without Cookie, this music would not be what it is.If I had to pick one thing that made this evening special, I’d go mad. There was so much to take from it for each and every music lover that I cannot even start. Like I said, don’t miss the next one. I hope there is a next one!

The World Has Lost a Remarkable Innovator and Musician: Les Paul Passes Away at 94

For Immediate Release:

The World Has Lost a Remarkable Innovator and Musician: Les Paul Passes Away at 94
1915-2009

New York, NY…August 13, 2009…Les Paul, acclaimed guitar player, entertainer and inventor, passed away today from complications of severe pneumonia at White Plains Hospital in White Plain, New York, surrounded by family and loved ones. He had been receiving the best available treatment through this final battle and in keeping with his persona, he showed incredible strength, tenacity and courage. The family would like to express their heartfelt thanks for the thoughts and prayers from his dear friends and fans. Les Paul was 94.

One of the foremost influences on 20th century sound and responsible for the world’s most famous guitar, the Les Paul model, Les Paul’s prestigious career in music and invention spans from the 1930s to the present. Though he’s indisputably one of America’s most popular, influential, and accomplished electric guitarists, Les Paul is best known as an early innovator in the development of the solid body guitar. His groundbreaking design would become the template for Gibson’s best-selling electric, the Les Paul model, introduced in 1952. Today, countless musical legends still consider Paul’s iconic guitar unmatched in sound and prowess. Among Paul’s most enduring contributions are those in the technological realm, including ingenious developments in multi-track recording, guitar effects, and the mechanics of sound in general.

Born Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton’s Radio Band in St. Louis. As Paul’s mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red,” a moniker that would follow him to Chicago in 1934. There, Paul became a bonafide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he’d moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring’s Pennsylvanians.

Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late ’30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure. “I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log.”
Les Paul’s tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood. During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts.

By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth.

As small combos eclipsed big bands toward the end of World War II, Les Paul Trio’s popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby’s hit radio show. The highlight of the session was Paul’s first No. 1 hit and million-seller, the gorgeous “It’s Been a Long, Long Time.”

Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You’re Near Me),” his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together. In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon.” This historic track was performed during a duo with future wife Mary Ford. The couple’s prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford’s close mic-ed voice and Paul’s guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream.

All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn’t quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he’d seen only in his dreams. In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man,” seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford.
“Les played it, and his eyes lighted up,” then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson’s first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958. With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market.

“The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone’s face. His musical charm was extraordinary and his techniques unmatched anywhere in the world,” said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les’ legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better.”

“I don’t think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar”, he was not only one of the world’s greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world,” said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all,”

With the rise of the rock ’n’ roll revolution of 1955, Les Paul and Mary Ford’s popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off.
In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who’d already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery.

Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Even releasing the 2005 double-Grammy winner Les Paul & Friends: American Made World Played, featuring collaborations with a veritable who’s who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry. In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, at The Iridium Jazz Club in New York City, for over twelve years where a literal who’s who of the entertainment world has paid homage. It has been an honor to have Les Paul perform at The Iridium Jazz Club for the past twelve years hosting such luminaries as Paul McCartney, Keith Richards and others and is a tragic loss to owner Ron Sturm both personally and professionally. Iridium intends to celebrate Les Paul's music and legacy every Monday night.

Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren. A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date. The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.

CONTACTS:
Caroline Galloway GIBSON GUITAR 615-423-4904 o 440-318-1202 caroline.galloway@gibson.com

Jim Eigo IRIDIUM 845-986-1677 jazzpromo@earthlink.net

Michael K. Braunstein Braunstein & Co. 212-687-3939 mkb@braunsteinandco.com

Blue Coast Records Joins Forces with China Based HiFiTrack.com in 96 kHz Digital Music Downloads

San Francisco, CA

Blue Coast Records announces they have signed a distribution deal with Hong Kong based online music company, HiFiTrack.com. The two companies have been releasing 96 kHz audio files to fans around the world who prefer this new format to mp3s. The marks the first digital distribution deal the Blue Coast Records has inked having only sold the downloads from their home based site www.bluecoastrecords.com.

Founder of Blue Coast Records, Cookie Marenco states, "We are thrilled to be able to reach fans in China with this new relationship. The Asian community has been very receptive to our high performance acoustic music and seems to truly respect the work we are doing. Alan Choy and Dominque Tu from HiFiTrack.com have been a pleasure to work with."

For their debut, Blue Coast Records chose to release the Blue Coast Collection with HiFiTrack at the Hong Kong High End Audio Visual Show this weekend, August 7th, 8th and 9th. Two tracks, Looking for a Home (Keith Greeninger and Dayan Kai) and Slow Day (Jane Selkye and Chris Kee), will be featured singles to demonstrate the E.S.E. proprietary recording technique that Blue Coast Records uses. Among the vendors demonstrating the 96 kHz downloads are Bladelius, Chapter, Linn, NuForce, PS Audio and Wavelength.

The Hong Kong High End Audio Visual Show, organized by Audiotechnique magazine, is an annual event for hi-end audio, music and home theater lovers in Hong Kong and South East Asia. The 7th edition of the Hong Kong High End Audio Visual Show will be held at the Hong Kong Convention and Exhibition Centre. The 2009 Show will definitely be one of the most important events in the audio and visual industry in Hong Kong.

Blue Coast Records has already met with success and the Blue Coast Collection with their highly acclaimed SACD that has been distributed by CNA Music since 2007. For audiophiles, manufacturers and people who enjoy acoustic music, the Collection has been praised as some of the most realistic sounding recordings available combined with top musicianship skills. Founded by Cookie Marenco (formerly of Windham Hill Records and Liquid Audio), and Jean Claude Reynaud (son of French speaker manufacturer, Jean Marie Reynaud) the label has achieved incredible success worldwide through word of mouth and 5 star reviews. In April 2009, Blue Coast Records began releasing 96 kHz downloads that were recorded live in the studio, uploaded within 3 hours of performance and distributed worldwide.

HiFiTrack is an offshoot of Music Powerhouse, a company started in 2007 that aims to apply the latest digital music technologies to help transform the music industry. Music Powerhouse won the Ubiquitous City - Hong Kong Government WiFi application award and continues to develop products for independent artists and music labels.

For more information or interviews, please contact:

AcousticArtsInternational / Patrick O'Connor / 650 759 1357

patrick@acousticartsinternational.com