photo Joe Parker / stylist Cyndie Boehm		:: reviews :: RELIX "Nothing adequately prepares for the way in which her deeply personal album instantaneously envelops and never loses its grip.... The title song and others bring to mind no less than early solo McCartney and Brian Wilson's SMiLE.... One of those near-perfect hidden gems..." TAPE OP "This one falls firmly into the "wow, this is really well (self) produced and (self) recorded at home category.' ... I suspect that the old adage that good sounding music is easy to record is also part of why this sounds so good. Zapen not only writes great songs and sings them well, but she also has real arrangement talents and plays a variety of instruments. " PERFORMING SONGWRITER (DIY Top 12 Picks) "Rebecca Zapen could easily be the long-lost love child of Astrud Gilberto and that side of Pink Floyd we glimpsed in “San Tropez.” On her latest release, Zapen will lure you with sleepy, laid-back vocals and creative instrumentation. ...Overall, Japanese Bathhouse sails delightfully along between the waters of pop and jazz, with gentle breezes and soft ocean sighs to soothe you on the way.. " TASTY "...The whole album exudes a nod to the past, deploying sea shanties, nursery rhyme xylophone and country fair accordion. Then just when you think you have finally got inside Zapen's head she throws out a sophisticated lounge bar number in the form of 'Dolores'." GIGWISE "...Zapen sings with a slow beauty reminiscent of the legendary Chet Baker, making a drowsy folk tune telling the standard tale of a doomed love affair a stand out song. Filling simple lyrics with pure emotion." NeuFutur "...timeless, genreless songs that will impress everyone, regardless of musical leaning. " eJazzNews "This is a debut that is already assured without swaggering, full of thoughtful and subtly emotive music which is the product of a discriminating set of players led by a singer who is clearly one to watch for." NOBLESVILLE DAILY TIMES { May 2008 } BLUESTONE DRAWS NATIONAL ARTIST Rebecca Zapen is on the go. A singer, songwriter and multi-instrumentalist, the Florida native was traveling Chicago by road Monday evening on her way to a show leading up to her first performance ever in Indiana Wednesday night at Noble Coffee and Tea Co., 933 Logan Street in Noblesville. Following a successful showing over the weekend at the Florida Folk Festival, Zapen talked about her music, connecting with an audience and her upcoming Noblesville show. [read more] PERFORMING SONGWRITER { Dec 2006 } DIY Top 12 Picks Rebecca Zapen Japanese Bathhouse Featured Download: "Smile." MP3 Rebecca Zapen could easily be the long-lost love child of Astrud Gilberto and that side of Pink Floyd we glimpsed in "San Tropez". On her latest release, Zapen will lure you with sleepy, laid-back vocals and creative instrumentation. "We Didn't Bother" finds Zapen combining melodica and trombone with 3/4 time while reminiscing that "Our days on the island were the best of our lives". Seagulls and ocean sounds close the track. "Smile" features ukulele, trumpet and percussion provided by a tap dancer. Vocals are shared by Christopher Estes, and they banter back and forth delightfully. The title track is deliciously understated -- a '30s-style swing tune featuring trumpet, clarinet and cute lyrics about having bigger boobs and being hairier than the other bathhouse attendants. Overall, Japanese Bathhouse sails delightfully along between the waters of pop and jazz, with gentle breezes and soft ocean sighs to soothe you on the way. ~ Mare Wakefield RELIX { Feb/Mar 2006 } Rebecca Zapen's classical/jazz resumé gives little indication of what the continually seductive Japanese Bathhouse ultimately reveals: Nothing adequately prepares for the way in which her deeply personal album, the Floridian Zapen's second, instantaneously envelops and never loses its grip. The comfy melodicism of the opening track, "We Didn't Bother," the title song and others brings to mind no less than early solo McCartney and Brian Wilson's SMiLE, while the ukulele/glockenspiel-sparked quietude of "I've Been Dreaming" and the folksy "I Am Fine" are imbued with a welcoming warmth. The word nostalgia is often applied to Zapen's work, but Japanese Bathhouse doesn't so much reminisce as remind. It's one of those near-perfect hidden gems that all too few will hear, but so many would love if they did. ~ Jeff Tamarkin TAPE OP MAGAZINE { Nov/Dec 2005 } This one falls firmly into the 'wow, this is really well (self) produced and (self) recorded at home category.' Listening to this, I would never have guessed this was a home recording, as it sounds super pro, thanks in part to musical and engineering [partner] Christopher Estes. But, I suspect that the old adage that good sounding music is easy to record is also part of why this sounds so good. Zapen not only writes great songs and sings them well, but she also has real arrrangement talents and plays a variety of instruments. The CD has nice packaging to boot. When asked about the recording, Rebecca responds, "As far as the way Chris and I worked together, I must say he has much more engineering experience than I do. We met in 2002 when he recorded my first album, Hummingbird, which is more jazz-oriented." Chris adds, "We recorded it in the house, with vocals done in a carpeted bedroom. We used a lot of dynamic mics for the instruments, with a few condensers (like my big MXL, and Rebecca's AKG). Everything was recorded and mixed using Sony Vegas Video, with Waves plug-ins. We recorded most of the songs as basic tracks with bass, drums, and guitar. Then we added everything else by sections with overdubs. Rebecca doubled and tripled some parts such as violin on a few numbers. The main room we recorded in is a large rectangle with hardwood floors. We used an ART tube preamp and Rebecca's Soundcraft E6 Spirit board for tracking. I used just a few mics at any given time to keep things uncluttered and the phase in line. Not much EQ was used in tracking. I tried to make this album sound as natural as possible. Not much was used as far as compression, EQ and effects. I also tried to be as light on the reverb as possible. Rebecca picks up the thread, "Later, for an EP I recorded, he showed me how to do some mic placement and basic use of Vegas Video. As far as my role in recording this album, I recorded 3 of the songs myself, and also did some additional overdubbing on my own, sometimes layering as many as nine violin tracks -- violin is my first instrument, but I played guitar, ukulele, Magnus chord organ, glockenspiel, melodica, kazoo, and of course sang, on the album. For the song Smile, we had never recorded a tap dancer before but the floor was hardwood so that was convenient. I squatted in front of her with two Shure 57s held at 90 degrees, holding the mic cords and her headset cord in my hands and teeth so nothing would rattle against the floor as she tapped. Also, double bassist Chelsea Chason twisting her endpin against the floor created the creaking sound at the end of We Didn't Bother. We thought it sounded like the rocking of a pirate ship, and added ocean and seagull sounds to enhance the effect. I completed my part of the process with the tracks' volumes and panning set to some extent, but I preferred to leave the real mixing to Chris. In addition to recording, mixing and mastering, Chris played on several of the songs, on trombone, guitar, glockenspiel, and he sang as well. The environments varied. Three of the tracks were recorded in my old house, in a boxy living room with hardwood floors. One song, "Shower #2", was recorded in a professional studio we used to record the soundtrack for a short film for which I wrote the music. The rest of the tracks were recorded in Chris' living room (which was a boxy room with a carpeted floor which later became hardwood) and a carpeted bedroom for vocals. I had instrumentation ranging from quite sparse to quite lush, and also ended up using four different drummers. So, in the end, Chris had to take tracks that had been recorded in essentially four different environments, with a varying roster of musicians and create consistency." Finally, Mr. Estes also mastered the disc at home using SoundForge. ~ John Baccigaluppi CELEBRITY CAFE / CD INSIGHT { Nov 2005 } The past always affects the future. This is especially true with Rebecca’s CD "Japanese Bathhouse," which turned out to be a collection of the old and new. Rebecca performed with groups whose style included everything from jazz to classical to swing to rock. Her eclectic background is present in her creative CD which includes every style possible. A little taste of the past, mixed with that elevator music that you find yourself humming along with, is the best way to describe this CD. I caught notes of my grandfather’s music and even a tap number or two mixed into the background of “Smile.” Mellow, creative, happy, and smart; this CD reaches out to every demographic and is pure genius. ~ Margo Strupeck SUBBA-CULTCHA { Oct 2005 } This album is an absolute dream, from the very first note to the very last second; every idiosyncrasy and personal quirk flourishes within the most sublime melodies and infectiously charming lyrics. The opening track is a bitter-sweet ode to a fleeting, and ultimately doomed, romance with a Lego pirate. Dreamy, ethereal, (think early Lush) Zapen’s vocals swoon and sweep, instantly hypnotic and effortlessly charming, it sets the mood for the rest of the album. The second track, ‘Smile’ is one of the many highlights of the album, a gorgeous folk pop duet with Christopher Estes. An unusual ukulele love song that name checks Jacques Cousteau and Florence Nightingale, and also features tap dancing interludes. It is its simplicity and happy-go-lucky feel that makes it instantly accessible and really demonstrates the ease of Zapen’s talent and originality. The style and arrangement of ‘Dolores’, has a sound not dissimilar to The Cardigans’ ‘Life’. That laid back European lazy summer afternoon atmosphere, but with a hint of melancholy waiting beneath the surface. The title track ‘Japanese Bathhouse’ has that Woody Allen vibe; musically it’s mix of clarinet and swing, and lyrically, it’s been a while since ‘thee’ and ‘ha-cha-cha’ were used in a contemporary pop song. The track itself is an affectionate and comical take on being naked with a bunch of strangers, light and breezy, always seeing the funny side. Its not all fun and joy though, ‘Miss You’ and ‘I Am Fine’ are twinged with sadness and sorrow, and although there is an air of sadness in the lyrics, the songs are never depressing as the musical accompaniments and vocals arrangements are so transcendent. The album also features three instrumental tracks; they are the kind of songs that would instantly feel at home on the soundtrack to a Wes Anderson film. They make curious little interludes and exemplify the extent Zapen’s musical talent. Of course this album won’t be to everyone’s taste, but for those of you (like me) enjoy intricate little folk pop songs about unconventional situations, and the soundtracks to Wes Anderson, I warmly recommend this gem of an album. ~ Helen Sadler TASTY { Aug 2005 } Oooh, we like this. Title track 'We Didn't Bother' exudes indifference in a soporific folky haze. And even better, it's about a love affair gone wrong with a Lego pirate! Zapen may sound a few bolts short of a meccano set but from this individual outlook on life a string of unique songs has arisen. 'Smile' sounds like some 1930's picture house soundtrack and I swear it is the only example of a tap dancing break in the middle of a song that I have ever heard. The whole album exudes a nod to the past, deploying sea shanties, nursery rhyme xylophone and country fair accordion. Then just when you think you have finally got inside Zapen's head she throws out a sophisticated lounge bar number in the form of 'Dolores'. Exquisite mandolin and other finger-picked strings are the mainstay accompaniment to Zapen's dreamy voice. Both beguiling and arresting at will, the vocals lubricate the more challenging changes in key and left field style. A real find. ~ SB GIGWISE { Sept 2005 } Thanks god that Rebecca Zapen's style and songs are fresh. She provides a welcome change from all the wannabe Norah Jones' out there and easy listening faux jazz currently in fashion by instead creating an album infused with real emotion. On 'We Didn't Bother', the opening track on 'Japanese Bathhouse', Zapen sings with a slow beauty reminiscent of the legendary Chet Baker, making a drowsy folk tune telling the standard tale of a doomed love affair a stand out song. Filling simple lyrics with pure emotion, something that Chet Baker did so well, Zapen achieves sincerity , the fact that the song is about a lego pirate is testament to Zapen's quirky humour. Zapen uses this sort of humour to break up the more serious tunes, playing with traditional styles of music and adding a modern twist with her light hearted lyrics. Most notably on, 'Smile', a swing style duet with [Chris Estes] that possesses a feel good kitsch and title track, 'Japanese Bathhouse', on which Zapen recounts being surrounded by naked Japanese women. Zapen plays with traditional styles of music and adds a modern twist with her light hearted lyrics. A trickling guitar accompanies her beautiful voice on 'Some Things Take Time', to create another resounding success. Several instrumentals introduce a variety of styles and also serve to break up the more serious tracks. And, it is in the lyrics and emotion of tracks like, 'I Am Fine', where Zapen sings of "planning one's own funeral" and, 'Woe Is We', where she laments,"I was only born with one heart," that Zapen's voice really stands out, shining light onto these darker lyrics. A consistent trickle of sound holds the differing tracks on this album together; lulling you into a happy state of mind so you can lie back and listen to Zapen's memorable voice. ~ Gareth Rees JUMPER { Sept 2005 } -- interview excerpt: Can you tell us about your life in a few lines? What are the most important steps in your growth as a musician? I was born into a musical family whose instruments/skills include: accordion, violin, viola, contrabass, conductor, guitar, piano. I am the third generation making a living as a musician. Growing up, I studied violin and dance, and academics were very important to me. I went to college on a music scholarship, but my musical family wanted to save me the inevitable pain and suffering of being a musician, and encouraged me to go into a more practical field. I was pre-med and actually got as far as making the waiting list for a med school in Florida. After finishing school, I was kind of lost for a while, doing various jobs as a secretary, book clerk, then web developer. I gradually started doing more music gigs on the nights and weekends to the point that I stopped working for "the man". I am so glad I made the brave leap to the life of a musician. There are many struggles and sacrifices in choosing this path, but also great love and reward.   [full article] ~ Francesca Baldassarri EJAZZNEWS { Oct 2004 } Sometimes a cd arrives without a blaze of publicity material and extracted review quotations to support its existence. Such is the case with this one and, lacking any glowing opinions about its excellence, it has simply inveigled its way quietly into my consciousness. After one listen I simply put it back on and listened once more. I’m doing it again at this moment. New to me, Zapen is a singer and violinist whose appeal lies in her understatement, avoiding the temptation to force herself and her music on the listener. I was briefly reminded of Nick Drake’s vocal delivery, accents aside, in that she seems to whisper rather than bellow and therefore allows the words to reach the audience without forcing emotion out of them. Her voice isn’t fragile but there is delicacy about her phrasing that sets her aside. The repertoire she’s chosen mixes the well worn with her own compositions and all are touched by the control and restraint exhibited by herself and a band of extremely sympathetic musicians. Among the standards she revives the tender sentiments displayed in ‘Someone To Watch Over Me’, a tune which I’ll always associate with Ella Fitzgerald. She doesn’t try to emulate that definitive reading but with the gentlest of backings from Gary Starling on guitar and Darren Ronan’s sensitive percussion she projects the yearning lyric flawlessly. Her brief violin solo is also succinct and lyrical. Similarly, the take on ‘I Fall In Love Too Easily’ is an exemplary vehicle for her voice and violin, both exploring the bitter-sweetness of the melody and words. To this add the lightness of touch brought to bear by tenor sax man John Ricci, who seems to blend some of the best qualities of Webster and Young in his voicings. Standards aside, her own compositions show a well developed ear for a memorable tune, sometimes redolent of other classic songs without any hint of ‘borrowing’. She seems to have a natural flair for the uncomplicated line that stays in the mind. Try ‘Andrea’ with its cool Latin atmosphere, making the most of guitar, her own warmly expressive violin and some more of Ricci’s exquisite lyricism. This is a debut that is already assured without swaggering, full of thoughtful and subtly emotive music which is the product of a discriminating set of players led by a singer who is clearly one to watch for.  (on debut solo album, Hummingbird) ~ Paul Donnelly FOLIO WEEKLY { Sept 2003 } Zapen's voice and violin intertwine and compliment one another gracefully. The songs are somewhat reminiscent of Astrud Gilberto, with tone and melody that at times imply a breezy tropic isle, and at others suggest a New York City rooftop strung with paper lanterns. When the musicians hit their mark, they are capable of transporting listeners beyond sound.  (on debut solo album, Hummingbird)  [full article] ~ Flora Fair ENTERTAINING U { Sept 2004 } On the title cut, Hummingbird, Rebecca’s voice wraps around the listener’s heart -- its moody tone sends one’s spirit aloft, separated from the body and floating into another realm... The combination of [her] violin’s plaintive voice and her subtle vocals take one on a spiritual journey... ~ Rick Grant FIRST COAST COMMUNITY { April 2002 } Her soulful violin playing moves in and out of ... songs, interacting with the other instruments giving the music a haunting, spiritual feel that is at times, hypnotic and most certainly takes the listener to another place. Her vocal style is mesmerizing, ranging from coquettish innocence on 'Undecided' to downright seductiveness on 'Whatever Lola Wants'.  [full article] ~ Ron Johnson [submit a review]