Drummer. Percussionist. Songwriter.
Martin Ditcham has been involved in world class recordings and perfomances for over three decades. Collaborations have included
The Rolling Stones, Sade, Elton John, Talk Talk, Tina Turner, Everything But The Girl, U2, Mary Black, Diana Ross, Brian May,
and Chris Rea. The song The Sweetest Taboo was written by
Sade Adu and Martin Ditcham and was first released by Sade in 1985.
LATEST NEWS: 2023
UK: Atlantic 7 Music Library, Steve Jeffries, David Knopfler, Various Stuart Epps Productions,The Ambience Factory,
& Andy Halsey.
Ireland: Moon Looks On, Dan McCabe, The Finns, Sina Theil,
Bill Shanley, James Blennerhassett, & Johnny McEvoy.
US: Myron Edwins, Steve Coulter, Tommy Crane.
Canada: Unessential Oils, Warren C Spicer.
Australia: Christopher Banks
Recent completed albums include...
-David Joseph "Held By Trees" project featuring Eric Bibb
and Robbie McIntosh (Paul McCartney, John Meyer etc),
-French Progressive Rock band "X11 Afonso" 8th album.
-UK band "Latin Quarter" 10th album.
-The Legendary Kiki Dee with Carmello Luggeri
Many thanks Assis Figueiredo and his excellent Estúdio Apce. These first few months working from here have been a pleasure. One of the great engineers!
Album for Legendary German Singer/Songwriter Inga Rumpf featuring Larry Campbell (Bob Dylan, Levon Helm etc) amongst other projects.
Martin is currently recording in Belem, Brazil at Estudio Apce with master producer/engineer Assis Figueiredo!
Activities last year (2019) include...Touring and recording with Chris Rea, Mary Black, David Knopfler and German Superstar Marius Westernhagen amongst others.
Recording The Sweetest Taboo with SADE-
"Martin [Ditcham] and Dave [Early] were in the studio, both sitting at cafe-type tables, and Dave was blowing across the top of a bottle [referred to as 'porky pipes' on the song's track sheet] while Martin was tapping on a couple of glasses with a fork, all miked with a pair of 87s facing away from one another. The two of them were hyperventilating, falling about laughing, and we had to gate out a lot of their laughter. This went down live, without any sampling, and it worked really well on the track, as did some rain on the intro and outro that came from a sound-effects record, and the thunder that we created by turning up the reverb on a Roland amp and dropping it gently from a couple of inches off the ground. The coils were all twanging, so it was definitely an impressionistic type of thunder, whereas when the band toured they used actual thunder sound effects."