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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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