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Liner
Notes:
All
compositions written and performed by
Preston Reed and published by Suite
Hoodeet Music Publishing (ASCAP), except
All The Things You Are, written by
Jerome Kern, published by Chappell
/ Universal Publishing, arrangement by
Preston Reed.
Recorded December 8 -18, 2006 at The
Cauldron Recording Studios, Dublin,
Ireland
Engineered by Bill Shanley and
Michael Manning. Mastered by
Ciarán Byrne
Photography by Eugene Donohoe
Design and layout by Simon Johns /
Clear Sound & Vision
Thanks to Catherine Maguire, Eugene
Donohoe, Malcolm Cooper and Claire
Kenwood, Bill Shanley, Ciaran Byrne and
Michael Manning at The Cauldron, Jonathan
Dickson and Olga Gallagher, Danny Sperling
at Clear Sound & Vision, Ray Blackwell
of DeBarra's Pub, Clonakilty, Alison and
Brian McCarroll, John Kavanaugh
Gravediggers Pub, Dublin and all of my
fans around the world for your support
that always keeps me going
Special thanks to my father, Preston Reed
Senior.
This record is for Catherine, my great
love, for all the things you are.
This record was made over the course of
eleven days at a studio on the north side
of Dublin. I have never made a record like
it before.
This project was recorded with one guitar,
a classic, floating bridge, large-box
Yamaha jazz guitar from the seventies
(Gibson L-5 type). It's the type of
instrument that radiates history and
authority, and was played by countless
jazz legends.
My friend Malcolm Cooper gave me the
guitar after I asked to borrow it one day.
His proviso for this magnanimous gift was
that I "do something with it".
That was easy. Ideas seemed to pour out of
it every time I played it. I couldn't put
it down. After a short while I knew I
wanted to do a record with it.
I love a challenge, but it would not be an
understatement to say that this was the
most challenging project I have ever
attempted. It is certainly the most
spontaneous, improvised one.
I arrived at the studio with little more
than outlines for most of the tunes. As a
musician who is used to carefully planning
every note of every tune I record, this
was a new way to work.
When we started tracking the first day I
was, in a word, terrified. Not only was I
performing on a new kind of instrument,
but all of the tunes were either new
compositions or new arrangements of
existing ones. Most had to be arranged on
the spot between takes.
Bill Shanley's encouragement was
invaluable in the first few sessions when
I would start to panic. I thank him not
only for his excellent ears and
musicality, but for some helpful
arrangement and production suggestions
that have made this a better record.
The recording was made using vintage
amplifiers that were on hand at Cauldron,
including Noel Redding's Orange bass amp
from the sixties. The warm sound of this
recording owes much to that amp, as well
as to the natural wood-and-stone sound of
a basement studio in a wonderful old
Dublin building.
I was also fortunate on this project to
have Eugene Donohoe's prodigious
photographic talent for the CD
artwork.
I am thrilled with the results of this
project, both for the evolution it
represents in my music as well as for the
opportunity it afforded me to make a
record that I have long wanted to
make.
I hope you enjoy the spirit in these
tracks. Thanks for listening.
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