“How is your work related to Tori’s, and do you still work with Tori now?”
MARTA: My music is not related to Tori in any way that I can hear… Except that John Philip Shenale produced my first record around the same [era] of Under the Pink and Boys for Pele; and he did his string magic for me as well.
Will McGregor, the bass player on Little Earthquakes was my wonderful bass player. I also rehearsed with Steve Caton for a little minute. He was possibly going to be in my band, between tours. He didn’t, however, because the band broke up largely because everyone except myself and Will were in different bands, and there was a lot of scheduling conflicts. That was hard for me to overcome, after we rehearsed and recorded my record we actually didn’t get to tour on it. So I plan to tour with it next year as a 20 year re-release.
I work for Tori when I work for John Philip Shenale: Since 2002 I have been Phil’s main proof reader, starting with Scarlet’s Walk. You see, Phil writes his Master Score, which is a combination of computer printed notation, and hand written articulations, dynamics, etc. on tabloid size (11" x17") paper, and then this goes to his amazing copyist, Lon Price. Lon then re-enters and combines everything on Phil’s score and prints the Final Master (Conductor’s) Score. I have to proof read every note, dynamic marking, bowing, articulation, and so forth on the Final Master, making sure that it is exactly what was in Phil’s original. Then Lon makes the parts for individual instruments and I proof read that also. During those months Phil and I are like glued at the hip. It’s a huge job, but it’s really fun to reside inside a John Philip Shenale arrangement, part by part, and note by note. By the time I am done I have memorized every note he has written on every single instrument. I did the Night Of Hunters album octet parts [as well]–which were an absolute dream to listen to, as Phil opened and developed the parts one song at a time like a bouquet of English roses. Yes, I think now I had the smell of English roses and salty sea in my nose the whole time working on [Night of Hunters]. I also proofed the scores for the Live Metropole Orchestra shows, and then I also proofed the new scores and reworked arrangements for the Gold Dust album and tour. I didn’t work on The Light Princess, though that would have been such good fun. The National Theatre has their own staff for that.
I suppose that whatever is coming up next, if Phil is doing strings, I will be doing the proofing.