"I can wear your voice like a favorite cotton T-shirt at this point, your words as welcome as the rain". ~ Dennis Cicak, Musician

Martha Reich Brave Bird Self Released This 7-track release opens with a simple banjo, cello & fiddle accompaniment to the sweetly sensitive vocal of Martha Reich on If You Only Knew, and you are instantly hooked. Drawn into a space where time stands still and the plantive, sparse sound of this folk artist takes hold of the moment. Self produced and written by Reich, with exception of a cover, Over The Rainbow, you are touched by the sense of being in the presence of, perhaps, Joni Mitchell’s older and wiser, sister. Ethereal, gentle soundscapes that drip with restrained atmosphere and tracks like So Brave, The River, Fade Away and I’d Rather Be Surprised, over 30 minutes plus, leave you transformed. Yes, it’s that good!Review by Paul McGee” - Paul McGee

Lonesome Highway Review

New Mexico folk singer-songwriter Martha Reich has a beautiful tone to her vocals, clear and crisp and, the production is sympathetic, gentle and warm. It touches one's soul. She spins her poetic songs akin to a spider weaving its web.   Apart from her own banjo, steel string guitar, Dulcimer, piano, ukelele and nylon string guitar Reich calls on cello, viola (Michael Kott) and producer Larry Mitchell on electric guitar (“Fade Away” and “So Brave”) there’s other subtle well chosen additions as you have percussion, 5-string fiddle and upright bass.  One of the things to strike me, apart from the beauty of her music and singing was the fact here is an artist caught live will be a magical experience. So subtle and poetic, the record is awash with vignettes as she speaks of how precious on “Fade Away“, the stillness on “So Brave” and with spare use of piano, “The River” effortlessly winds its way to the heart and soul of the listener.  Best of the seven-track album could well be the cello, banjo and fiddle warmed quiet but at the same time powerful “I’d Rather Be Surprised”; it has songs near its equal in “The River” (instrumental) and the delightful “If I Only Knew”. As for her version of “Over the Rainbow” it is as you would expect, as delicate as a flower in bloom. Reich’s guitar work, coupled with cello and JQ Whitcomb’s trumpet set it off in style.  Maurice Hope  ” - Maurice Hope

Flyingshoes Review

To know that what we do matters, that is both the challenge and the challenge's calling. With a sound almost woven out of the earth, Martha Reich sings from the brittle openings of the heart. To hear one must listen, beyond receiving; absorbing. Some music is better suited than others to work on such deep fronts, Reich's songs are certainly up to that task. "When I listen and follow my heart," Martha says, "I never go wrong or get lost." To take in the art that comes from such a place opens up our lives in ways that are impossible to measure but so important to hold onto. As Reich says; "Don't give up what's in your heart to do." "Sow more seeds," instead." - Adam Diaz, Anti-Heroin Chic Magazine” - James Diaz


Martha Reich, Gig Review. Liverpool Acoustic Gardens, Kazimier, Liverpool. Martha Reich at the Kazimier. August 2015.  Liverpool Sound and Vision Rating * * * * There are people around the world that will make their way to Liverpool on the basis of what the city has brought them and made them feel. They will spend time, effort and money getting to know the place and hopefully leave with more than the impression that the area is solely about the four lads who adorn many a shop window and their rightful place in British pop history. Then there are those who come to the city, from far and wide, from the other side of great and vast oceans or who cross many thousands of trackless sky to perform, even if for just half an hour, and to go home as though the world will never be the same again. It is a performer’s urban paradise arguably unequalled anywhere in England and only Edinburgh during Fringe season can give it a run for its money. For the tremendously talented Martha Reich, the urge to come across the Atlantic Ocean and take part in a few performances was one that benefitted the Liverpool Acoustic Garden at the Kazimier and its audience completely. This musical thread that co-existed between wide eyed and appreciative crowd and the backdrop of Santa Fe, New Mexico guitar and ukulele was one that both parties would take home and relish every moment caught in the mind’s eye and be played over and over again until to those whom music booking find a way to bring Ms. Reich back to a city that she so obviously adores. The rain may have started the threaten to wash other areas of music going on within the city’s boundaries but for those in relative comfort and hearing the wind pick up a pace as it raced through the narrow streets, time stood still and even when the rain did start to drizzle during her set, nobody dared move till each and every song had been played out in full. Songs such as Elements, Wait For Me, Fadeaway, Gravity and the wonderful Never Be Surprised were played with a sense of serenity and unbridled emotion mixed with a flavour of the deep southern/Latin American search for honesty and memorable groove. In all these aspects Ms. Reich did not disappoint. A touch of the exotic on an inclement day in Liverpool, there really is no finer feeling. Ms. Reich added a rich texture to the Bank Holiday weekend with her appearance at the Liverpool Acoustic Garden at the Kazimier. Ian D. Hall ” - Ian D. Hall

Liverpool Sound and Vision

A lone guitar and cello atmospherically open up the new offering from singer songwriter Martha Reich out of Santa Fe, New Mexico. Then Reich unfolds images wrapped in care to a wonderful instrumentation perfectly placed to allow her lyrics to take shape and give meaning.  Reich co-produced with Larry Mitchell as well as climbing behind the console to engineer several tracks in this ambitious project born at two studios.  She writes, sings, produces, engineers, plays guitars-acoustic & electric, also plays keyboards and tends to violin textures.  She is well supported by Gregg Braden on acoustic guitar who also adds a Native Red Cedar flute and is also accompanied by Michael Kott on viola and cello.  Josh Martin holds some of the tunes down on bass, but also adds a sweet mandolin to the work as producer Mitchell assists on acoustic and electric guitars.   Reich’s appeal comes through her vocals and lyrics, she seems to be a writer talking to us all about this life we are in, but I have the feeling she is also talking to herself in soft reassuring question that welcomes thought and rest.  Rest from the weariness of life, of the fears that living life and accepting chance and choices always brings.  As a writer I have fallen for the images and the quiet musical landscape that supports Martha’s vocal, which invite one in to explore with her feelings. It would be diminishing to listen and reminisce, searching memory banks of other female artists that certainly have influenced this artist, but that seems like way too much work behind her melodic and textured tapestry of lyrics and music.  What I find myself drifting off to, more than her well-crafted words and images, is the feel Reich employs in the music to support the story. Arrangements are rafted in flowing lush ideas that illuminate her realities, her dreams, her life. The sparse musical accompaniment is devised to assist her art/vision and become the form Reich employs, defines someone who knows where they want to take their audience. “Buddha Blue” as, “To The Moon”, effortlessly unfolds in warmth, melody and heart.  Ms. Reich truly hits her stride on the standard, “Moon River”.  The treatments of this tune are a once in a lifetime ability to interrupt another’s classically crafted song and make it your own.  Many singer/songwriters in my opinion miss the obvious mark with this skill in being an entertainer or communicator.  Reich has made the tune her own, never beckoning to the declared; she re-thinks the feeling, and the lyric, certainly the arrangement that most will attempt to compare the tune to.  But, they will fall short, it’s no longer a Mercer/Mancini composition, Reich has made it her own, allowing us to find the pathos with her that she’s found.  Reich is perfect on this work, but that will have to do.  She had a vision, followed it through and left us with the gift.  If you’re into a good read, have a listen, drink the chapters in and tell someone that you know would love it.  A really good read has to be shared. [Christopher Anderson]” - Christopher Anderson

— Victory Music Review for " In to Trees "

Martha Reich has a great voice and the lyrics to her songs are personal and intimate. At the end of the CD I was pretty sure I understood her relationship to people, her losses and her cats because she is flat out open and honest.  ‘Flesh and Blood’ says “cause I feel the bumps and the divisions, I try to steer clear but I never miss them.”  Her vocal style is reminiscent of early Joni Mitchell (going from low to high notes) but I think Martha has made much of the delivery her own. Some lyrics are whispered, which caught my attention and she also will pause between the main part of line so that the significant ending has a note and moment all it’s own.  The guitar work is interesting.  She makes very tasteful use of her accompanying musicians. “Where do I send this love now that you have gone…” and other sentiments such as ‘Song For Tessa’ –“I won’t give up on miracles” certainly recall those all-too-real, painful but meaningful moments and gaps in our lives. This is a nice CD and just a bit mesmerizing. ” - J.W. McClure

— Victory Music Review for " Evidence of Life "