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Talkin' on Myself

by Steve Gould

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1.
On the Road 05:38
It’s late And the city has gone to bed Can’t sleep So I listen to Miles instead “Kinda Blue” Feelin’ lonely and all uptight Missing you And I wish you were here with me tonight Daybreak And the moon and the stars are gone The sun Lifts the nightshade on early dawn On the road And this lifestyle is wearing thin Just can’t wait ‘Til I’m holding you in my arms again It’s late And the city has gone to bed Can’t sleep So I listen to Miles instead “Kinda Blue” Feelin’ lonely and all uptight Missing you And I wish you were here with me tonight Here tonight Here tonight Here tonight Missing you And I wish you were here with me tonight Missing you And I wish you were here with me tonight On the road I wish that you were here
2.
Comin' Home 05:12
On my way Comin’ home Comin’ home On my way Comin’ home Comin’ home Been long time Comin’ home Comin’ home Comin’ home Been long time Comin’ home Comin’ home I’ll be there By your side Comin’ home I’ll be there By your side By your side I’ll be there By your side Comin’ home Comin’ home I’ll be there By your side Comin’ home And we’ll catch up And we’ll talk and talk And we’ll make up For lost time And we’ll eat good And make love all night And I’m on my way, And I’m comin’ home And we’ll catch up And we’ll talk and talk And we’ll make up For lost time And we’ll eat good And make love all night And I’m on my way, And I’m comin’ home
3.
The City 04:55
The City Non-stop Bebop The City Crazy about it The City What’s hot What’s not The City Can’t live without it I love the beat of the street New York Will always be home Gotta’ get home Someday The City Uptown, downtown The City Crazy about it The City Concrete, abstract The City Can’t live without it I love the skyline at night New York Will always be home Gotta’ get home I love the beat of the street New York Will always be home I love the skyline at night New York Will always be home I love the beat of the street New York Is calling me Home
4.
Since that day You walked into my life I knew then I’d love you all my life When I’m near you And look into your eyes And you touch me I feel alive inside Oh fantasy And suddenly it’s true Ecstasy When making love to you Deep inside you You know I love you so Hold me closer And feel how love can grow Thoughts of you Whenever we’re apart Can’t you see That this is just the start Take my hand now And let me lead the way To an island Where we can hide away Since that day You walked into my life I knew then I’d love you all my life When I’m near you And look into your eyes And you touch me I feel alive inside Oh thoughts of you Whenever we’re apart Can’t you see That this is just the start Deep inside you You know I love you so Hold me closer And feel how love can grow Since that day You came into my life I knew then I’d love you all my life Take my hand now And let me lead the way To an island Where we can hide away On an island So in love and “You and I” land Where we are free Where we are we Where we are free
5.
Bebop is back I love the sound I feel alive Bebop is back The harmonies The rhythmic drive Bebop is back It tells the truth And that’s no jive Bebop is back Bebop is back Bebop is back And Bird has got His loyal flock Bebop is back And ev’ryone Can talk the talk Bebop is back But very few Can walk the walk Bebop is back Bebop is back Took a long vacation To travel around the world All across this nation It’s back to the top now Listen and hear how Bebop is back A soaring riff A bluesy song Bebop is back It makes me smile It turns me on Bebop is back From late at night To early dawn Bebop is back Bebop is back Bebop is back I love the sound I feel alive Bebop is back The harmonies The rhythmic drive Bebop is back It tells the truth And that’s no jive Bebop is back Bebop is back Bebop is back A soaring riff A bluesy song Bebop is back It makes me smile It turns me on Bebop is back From late at night To early dawn Bebop is back Bebop is back Here comes the coda This tune is over But Bebop will never End
6.
Too Soon 09:28
I sing this song for my father I miss him and wish he were here He had such a kind and warm, gentle way I think about him almost everyday I sing this song for my father To share thoughts that he left unsaid Like, “I had a plan, when my dreams came true I’d find the time to makeup what we missed” I always thought that he could make the world a much better place Giving voice to those without He could make a diff’rence stating his case Always serving in the name of justice I sing this song for my father I miss him and wish he were here He had such a kind and warm, gentle way I think about him almost everyday I sing this song for my father I miss him and wish he were here He had such a kind and warm, gentle way I think about him almost everyday I sing this song for my father A thinker, a dreamer, a friend And just when his dream Was within his grasp The die was cast His time ran out The end Boxing and Worcestershire Newsboys and parliament I wish my father were here La-la lala-la, la-la lala-la La-la lala-la, la-la lala-la Too Soon Too Soon
7.
Fabola 05:58
You are something to shout about You I really can’t do without You are magic and mystery You were meant to come home with me You’re fabola Can’t live without ya’ You are something to shout about You are something to shout about You I really can’t do without You are magic and mystery You were meant to come home with me You’re fabola Can’t live without ya’ You are something to shout about You’re fabola Can’t live without ya’ You are something to shout about
8.
Picture the sun breaking through a cloudy sky Picture a rainbow with songbirds flying by And freedom is a bird in flight A poet on a starry night So find the love within Just begin Starting Now Picture a place where the sky’s always blue Picture a dreamland where wishes all come true And children’s laughter fills the air There’s love and kindness everywhere So find the love within Just begin Starting Now Never give up giving All the love that’s in you Never give up searching For that star Oh never give up sharing Never give up caring Find the love within Starting Now Picture a world where there’s peace and harmony Picture a world filled with hope and charity And I am sure that you can see How great the world could really be So find the love within Let’s begin Starting Now Oh, oh, oh, oh We can make the world a better place to live in If we all begin by Starting Now Oh, we can make the world a better place to live in If we all begin by Starting Now Oh, we can make the world a better place to live in If we all begin by Starting Now Oh, we can make the world a better place to live in If we all begin by Starting Now Oh, we can make the world a better place to live in If we all begin by Starting Now Oh, we can make the world a better place to live in If we all begin Starting Now
9.
It’s late And the city has gone to bed Can’t sleep So I listen to Miles instead “Kinda Blue” Feelin’ lonely and all uptight Missing you And I wish you were here with me tonight Daybreak And the moon and the stars are gone The sun Lifts the nightshade on early dawn On the road And this lifestyle is wearing thin Just can’t wait ‘Til I’m holding you in my arms again It’s late And the city has gone to bed Can’t sleep So I listen to Miles instead “Kinda Blue” Feelin’ lonely and all uptight Missing you And I wish you were here with me tonight Here tonight Here tonight Here tonight Missing you And I wish you were here with me tonight Missing you And I wish you were here with me tonight On the road I wish that you were here
10.
You are something to shout about You I really can’t do without You are magic and mystery You were meant to come home with me You’re fabola Can’t live without ya’ You are something to shout about You are something to shout about You I really can’t do without You are magic and mystery You were meant to come home with me You’re fabola Can’t live without ya’ You are something to shout about You’re fabola Can’t live without ya’ You are something to shout about

about

TALKIN’ ON MYSELF

For my money the best jazz evokes a rollercoaster ride of emotions. The very best is raw, passionate, uncomplicated, sophisticated, concrete, abstract and often all at the same time. It makes you move. It makes you laugh. It makes you cry. It speaks the truth and that’s no lie. There is no jive talking. The music in this collection of songs represents almost 55 years of song writing, composing and arranging covering a variety of genres from bebop to pop. So much of my music has never reached the marketplace. Six of the eight selections have never been performed. But the conversations with myself about the music, lyrics and arrangements have been continuously playing in my head. For all these years, I have been basically Talkin’ on Myself.

This recording is an attempt to leave a footprint of a life well lived. The songs, lyrics and arrangements presented provide insight into my passions, where I’ve been, who I am and what lives in my heart. My music is inspired by the music and playing of Monk, Mingus, Miles, Horace Silver, Art Blakey, Abdullah Ibrahim and Duke, and is an attempt to capture the jazz quintet sound of the bebop era with a nod to the cool sound of bossa nova, gospel and ballads with orchestral accompaniments.

During the bebop era, it was common for jazz groups to go into the recording studio after the band finished a tour. Very often the first take of a selection was the track of choice. On this recording, in lieu of the band being on the road there was a 3-hour rehearsal at Jerry’s house the day before the recording session. Replicating the recording practices of another time there were no more than 2 takes of each song. In fact, on 2 songs both takes were equally great and so the master track and the alternative track for each are included. The first 7 songs took a little less than four and a half hours to record, and the last song, recorded over a previously recorded orchestral track and presented here as a bonus track, took less than an hour to record.

When all the songs (except the last) were originally composed, each one was written down on a lead sheet indicating the melody, lyrics, chord changes, rhythmic accompaniment figures and counter lines. The arrangements were in sketch form and not fully realized. I wanted to complete the arrangements and then record them but I first wanted to get a better sense of whether my music might appeal and connect to younger, knowledgeable, jazz musicians and audiences. I first met Josh Gilbert when he was just 15. Over the past 2 years, during intentionally planned meetings and even when our families would get together socially Josh and I talked about the arrangements of the songs I had selected for a possible recording session in the future. I listened to his perspective and considered his suggestions. It was the opportunity I had been looking for. We went back and forth regarding the accompanying harmonies and voicing of chords, where interludes could be added, which instruments should play the melody and accompany the lyrics, who should solo and what the solo order should be. He would suggest a chord change or add a counter line. I would agree, amend or add to it. I would suggest a chord change or add a counter line. He would agree, amend or add to it. I am grateful for his insights and contributions to the arrangements. I am also thankful for his mastery of the electronic tools to copy the scores and parts because this among other things meant that unlike the old days I would not have to copy all the instrumental parts by hand. Collaborating with Josh took my music and the production of this CD to a level that I could not have reached on my own. Working with Josh made the resurrection of my music a truly joyful experience.

The Songs

On the Road, written about 25 years ago, recollects both the Jack Kerouac lifestyle and that of the musician with too many evenings spent alone wishing to be with the one they were missing. Jerry leads off with a blistering solo counterbalanced by Josh’s cool, laid back solo. Nedelka, covers the highs and lows of the tongue- twister words and with a Miles like quality scats 2 choruses. Austin’s tasty fills on the interlude serves as commentary on the melody. How is it that Plamen, a guy from Bulgaria, has mastered this American jazz idiom so well?

Comin’ Home has a soulful gospel feel. It was written about 3 years ago and is the newest song in the collection. The introduction is stated in the horns, with only the bass as accompaniment. The lyrics describe the details of an anticipated reunion after a long absence. Nedelka is at home (and brings us home) singing about eating good and making love all night. This is a genre that Jerry doesn’t often play in but he too sounds right at home. Austin using brushes accentuates the relaxed urgency of the anticipated return.

The City is an ode to New York City, where it’s always happening 24/7. To New Yorkers there is only one city and there is no need to refer to it as anything other than the City. The song was written around the same time as On the Road and BeBop is Back—about 25 years ago. There is a double-meaning word play on “concrete.” While the city has lots of concrete it is also abstract as well as concrete. It’s been a long time since I’ve lived in the City and yet the beat of the street is still in my system. It’s a place that continues to call me back. In some ways it will always be home. Greg plays a beautifully lyrical bass solo.

Since That Day, is all about love at first sight. It was written over 30 years ago. The melody is Jobim-like. The lyrics make a case for escaping from it all and suggestively describes the pleasures of making love and feeling alive inside on a tropical island with the love of your life. The trumpet, tenor, voice and piano solos capture the cool, relaxed, laid back feel of this genre. Listen how Nedelka both floats on top of the changes and at the same time outlines them in her scat singing. The song concludes by communicating a feeling of love, freedom and togetherness never ending.

Bebop is Back because it has the staying power of classical music. It is America’s classical music. BeBop comes and goes but it will never disappear as long as musicians such as these speak in the vernacular and remain true to its parlance. The reassuring message of the song is that there will always be an audience for bebop. The sax, piano, trumpet and vocal capture the playing style of the time. Reminiscent of the bebop era is a free-wheeling horn interlude that captures the angular nature of so many bebop melodies and showcases the tightness of Jerry and Josh’s ensemble playing. The song concludes with an insider’s wink to musicians as it announces that the coda (a term used to signal musicians to go to the final section) is coming and that even though the song is ending, bebop itself will never end.

Too Soon is a melodic fragment excerpted from the stage production of Sweeney Agonistes. It is an elegy, a tribute, a reflection, a memoire written for my father who passed the day of the evening the production premiered. The melody is the oldest of the collection. I wrote it as a Berklee student and recently turned it into a suite specifically for this recording. The suite starts with a haunting introduction and is then followed by Jerry stating the wistful melody. He is joined by Josh on the bridge. The introduction returns as an interlude bridging to Neldelka describing my father—who he was, what he stood for and what he continues to mean to me. An up-beat interlude in 3/4, sets the tempo for a restatement of the song by the horns in unison followed by a beautifully constructed piano solo by Plamen. The ¾ section concludes with a repeat of the interlude played by all, which leads to the introductory theme in 4/4. The suite concludes with a restatement of the story by Nedelka followed by a coda with mention of some of my father’s favorite things and a restatement of the recurring reflective introductory theme reminding the listener of a life that ended Too Soon.

The word Fabola was created by my longtime friend Don McBride, bebop drummer, philosopher and second-hand furniture store owner. I wrote the song about 15 years ago. Fabola, the name of his store, contained all things fabulous, funky, and off beat. This song is dedicated to Sharon who is fabulous, funky, and off beat. She is somethin’ to shout about. In short, she is Fabola. In true Bebop fashion the head is up- tempo and begins with trumpet and tenor in unison. It’s a straight-ahead blues. Jerry’s solo adds hot sauce to the changes while Josh, cool as a cucumber, adds a nice balance. Greg’s walking bass is solid. Listen for the counter line behind Plamen’s lightning piano solo.

Starting Now is the closing song from the musical play, The Kindness Factor. I wrote the play, music and arrangements in the late ‘80s for elementary school actors and musicians. In 1994, I wrote and recorded the orchestral arrangements so that they could be used as rehearsal and performance accompaniment tracks. The voices of children singing on the original recording are replaced by Nedelka singing and Jerry soloing over the orchestra accompaniment track written 25 years ago.

The CD concludes with alternate takes for On the Road and Fabola. It’s a toss- up as to which are the master tracks and which should be the alternates. Both are great and so both are included. Take a moment to compare and contrast the alternative track solos, and particularly Jerry’s saxophone solos, with the master track solos.

The Musicians

The band is intergenerational with about 50 years separating the youngest and oldest musicians involved in this project. I feel so privileged to be able to have my music actualized by this band of truth- talkers. I also want to thank Josh for suggesting the vocalist, and my old friend Jerry for wanting to part of this project and for suggesting the members of the band. And what a band it is!

Jerry Bergonzi is an internationally recognized tenor saxophonist, composer, author, and educator. Bergonzi has performed throughout the world at all the major jazz festivals and jazz venues, with his own ensembles as well as with numerous jazz greats. His music is renowned for its innovation, mastery, and integrity. His discography includes more than 60 recordings on Blue Note, Red, Not Fat, Concord, Atlantic, Label Bleu, Enja, Columbia, Deux Z, Denon, Canyon, Cadence, Musidisc, Ram, Ninety One, Freelance. Bergonzi is three-time National Education Association grant recipient and on the faculty of the New England Conservatory.

Josh Gilbert, trumpet, received his Bachelor of Music degree at New England Conservatory and completed his Master of Education degree at the Harvard Graduate School of Education. Josh works extensively various musical settings in and around Boston, including performances with Lyric Stage Company, New Repertory Theatre, Speakeasy Stage Company, and Reagle Music Theatre, among others. Josh maintains a busy private studio of trumpet, piano, and improvisation students. Josh is currently on the faculty at New England Conservatory (NEC) in the Music-in-Education department, works as a Senior Researcher at Harvard’s READS Lab, and is working on a music integration curriculum for MindChamps schools in Singapore.

Nedelka Prescod is a vocalist, arranger, songwriter, teacher and a mother. She has performed or recorded with Kenny Garrett, Danilo Perez, Fred Hersch, Jason Moran, Marcello Pelliterri Jowee Omicil, the Omar Thomas Large Ensemble. She can also be heard on her independently released solo recording project, Manifest and her recently released single, "The Light" on Bandcamp. Currently, Nedelka is working on, "The UnSilenced Voice Project", a project that seeks to “empower the feminist voice affected by trauma, violation and/or abuse”. Nedelka is on the faculty of Berklee College of Music, Boston Trinity Academy and the New England Conservatory of Music.

Plamen Karadonev is a jazz pianist and accordionist with experience playing a variety of genres including jazz, classical, fusion, world music, R&B, and gospel. For more than 20 years, Plamen has been performing in many different ensemble settings including big band, small and large jazz and contemporary ensembles, string orchestras, vocal ensembles, duos, and solo. He has performed and/or recorded with Randy Brecker, Jerry Bergonzi, George Garzone, Hal Crook, and Gene Perla. Recordings as a leader include Beyond Hope, and Crossing Lines, Major publications include pieces in Wire Magazine (UK), All About Jazz, the Boston Globe, and on Radio Bulgaria. He holds a BA from Berklee College of Music, an MA from Quincy College and a certificate from the State Academy of Music (Sofia, Bulgaria).

Greg Loughman, bassist, composer, and bandleader, has performed with Jerry Bergonzi, George Garzone, Hal Galper, Stephane Wrembel, Gonzalo Bergara, John Jorgenson and Mark Murphy. He has toured with the gypsy jazz group, The Rhythm Future Quartet, co-leads Roving Soul and Man On Land, plays in the John Funkhouser trio, Klezwoods, and the Sonic Explorers. He is also an in-demand studio musician in the Boston area and frequently conducts workshops and clinics and teaches private lessons at his home and online.

Austin McMahon, drums, performs regularly with Jerry Bergonzi’s Quartet and has performed and/or recorded with Sean Jones, George Garzone, Joe Lovano, Lionel Loueke, Ben Monder, Lage Lund, Kate McGarry, Noah Preminger, Jason Palmer and Grace Kelly. He has appeared as an opening act for Dianne Reeves and Esperanza Spalding. McMahon is the winner of the 9th annual Independent Music Awards for Jazz Song Category and was recently featured on NPR JazzSet. He taught as a guest lecturer at UMass Amherst and was a teaching assistant for jazz improvisation at Harvard University, for six consecutive years. Austin currently teaches in the Jazz Department at New England Conservatory Preparatory and Continuing Education Division, Boston, MA.

The Sound Engineer

Peter Kontrimas, sound engineer, is owner of PBS Studios in Westwood, Mass. which is often the choice of Esperanza Spalding, Jerry Bergonzi, Dick Oatts, Hal Crook, Ruby Braff, Laszlo Gardony, Tiger Okoshi, Greg Abate, Jonathan McPhee, Emmy winner Brad Hatfield and numerous international artists from Japan, Korea, Poland, and Italy. Other musicians of note who have recorded at PBS or on site include Benny Carter, Eddie Gomez, Dave Liebman, Phil Woods, John Tchcai, Roswell Rudd, and Grace Kelly. Peter has been recipient of the Boston Music Award for Indie Jazz Album of The Year and has produced recordings for Bose, Disney, FX TV, Hal Leonard, Sony, Warner Brothers, Berklee Press, and the University of Connecticut. He has also co-produced and engineered four releases for the Boston Ballet Orchestra including “The Nutcracker Live” which has sold over 80,000 CDs, and is staff recording engineer for the Lexington Symphony and Longwood Symphony Orchestras. Peter is also a bass player. He has played with Shirley Horn, Clark Terry, Rosemary Clooney, Mark Murphy, Sheila Jordan, Rebecca Parris, Herb Pomeroy, Gray Sargent, and Dick Johnson and has recorded with Gary Burton, Jerry Bergonzi, Alvin Queen, and Paul Broadnax. Peter is a graduate of the Boston Conservatory of Music.

The Composer

Stephen Gould, is a song writer, composer, arranger, filmmaker, playwright, music teacher, Afro-American folk music aficionado, university professor and djembe player. He began the study of music theory with Gordon Delamont in Toronto. He received a bachelor of music degree in composition from Berklee College of Music and is a member of the first class to graduate after Berklee transitioned from a music school to a degree-granting college. While at Berklee he had a number of pieces performed by students and Berklee faculty, adapted the T.S. Eliot poem, Sweeney Agonistes, for the stage with accompanying music for voices and a jazz quintet, was commissioned to write a jazz mass by a local church entitled, A Dialogue of Self and Soul and did a short stint on the road as a trombonist with the Glenn Miller Band under the direction of Bobby Hackett. It was as a Berklee student that he first met, at a session in his basement apartment, Jerry Bergonizi, a very talented 15-year- old high- school tenor player eager to learn as much as he could about composing, arranging and improvising. After graduating Steve received a Canada Council Scholarship to study film music, composition and orchestration in New York City with Tibor Serly, composer, violist and colleague of Kodaly and Bartok. In New York he wrote film scores for the International Film Foundation, whose mission was to promote cultural understanding and classroom discussion. As co-founder of Cinemusic Productions, he collaboratively directed, photographed and produced, The Licorice Train, a short film using a song he wrote of the same name. The fairy tale lyrics and music provided a sharp contrast and biting commentary to the stark images of a young black boy riding the elevated subway train and playing in the city streets. He co-wrote the book, music and lyrics for a politically oriented, never produced, Broadway musical, called, Give Them What They Want. During this time he commuted from New York City to Boston to teach film scoring and arranging two days a week at Berklee. He then moved to his summer house outside of Boston, undertook the study of the pedagogical approaches of Orff and Kodaly, accepted a public school music teaching job in rural Massachusetts and put his pedagogical and composing skills into practice. While working in the classroom with children he arranged Afro-American folk songs for voice and Orff instrument accompaniments, translated the pedagogical approaches of Orff, Kodaly and Suzuki into developing an instructional method for teaching vocal and instrumental music in groups, composed over 50 original songs for use in the classroom, and numerous arrangements for stage band and various eclectic instrumental groups. While teaching, he also wrote the book, music and lyrics for three musical plays with plots that captured student life and the thoughts and feelings of young people. The Writing on the Wall, Looking Back at Christmas and The Kindness Factor were performed often in the schools in which he taught general music, band, chorus and instrumental lessons. His musical plays were performed by his students delivering their characters’ lines, singing his songs and playing the accompanying score on flutes, clarinets, saxophones, trumpets, trombones, drums, piano, guitar, bass and Orff instruments – the very instruments he had taught them to play. The full orchestra soundtrack for The Kindness Factor with voices (and without voices for rehearsal) is available by download. The bonus track on this CD contains the closing song. For the New England Theater Guild for Children he wrote the score for the musical, The Great Grimm Brothers, which toured schools for 2 years throughout New England. While continuing to teach full time in Massachusetts he wrote the liner notes for As It Were, a CD featuring drummer Don McBride, pianist Hal Galper and tenor saxophonist, Jerry Bergonzi, and arranged music for the original Saturday Night Live on NBC. After being promoted from music teacher to principal he attended UMASS/Amherst where Ralph Tyler served as a reader on his doctoral committee. Moving closer to the city with his doctoral degree in hand as principal in Watertown MA, he continued to use music as a way of building community with students, teachers and parents and continued to write music for young people in schools. The Kindness Factor received numerous performances by the Watertown Children’s Theater. After five years he was promoted to assistant superintendent for curriculum, assessment and instruction in the Watertown Public Schools. He also served as professional development chair and president of the Massachusetts Elementary Principals’ Association. He has been a professional developer and educational consultant for the National Institute for School Leaders (NISL) and also travelled to Kuwait to help principals learn how to lead educational reform. He has written articles on leadership for national and regional educational publications, served as a consultant to the Ikeda Center for Peace, Learning and Dialogue in Cambridge MA and has written many articles for them including, The Music of Leadership. Currently, he is the program director for both the Educational Leadership PhD program and the Human Development and Learning PhD. program at Lesley University. In recent years, he has studied traditional African music; drumming weekly with Mohamed Kalifa Camara. He has taken classes with Mamady Kieta and recently spent a month in the remote village of Sangbarala, Guinea, Africa to study with the world famous djembefola, Famoudou Konate. Currently, he plays traditional African music every week with a group of African and Afro-American musicians for an African dance class. Steve can be reached at: stephengould1@gmail.com.

A special thanks to my brother-in-law Tim Wilson for the CD cover photograph, and “my daughter-in-law” Rikki Gotthelf and her business partner, Christian Arichabala for the CD cover design.

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released August 8, 2019

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