Piano: Steinway Model D, Serial # 512714
Microphones: One pair of Bruel & Kjaer (now DPA) 4012s
On Night Moth: One pair of Neumann TLM 170Rs
Millennia Media Preamplification and Twin Topology components were used in the signal path of the recording. The A/D converters were by Apogee.
Digital audio data was stored on Alesis ADAT XT20 and Masterlink machines.
Z-Systems and Sony products were used in the mixdown of the two-track recordings. Monitoring was done on Dynaudio BM-15A speakers.
No console was used in the signal path of the recording or mixdown.

The album was mixed at 24 bit resolution.
(p)©2003, 3919 Records, PO Box 7837, Philadelphia, PA 19101

Cover Photograph: White Sands National Park, ©2002 Elton Lim & Mae Gan
Liner Photographs: ©2003 Zia Gajary and Bob Gold
CD Package Design: Bob Gold and C. Herrmann

This recording is dedicated to my parents, who have maintained their artistic vision over fifty years together.

Thanks:
To the musicians who have inspired me to better understand the magic of improvising
To the writers, engineers, and dealers who provided me with the skills and tools to record such a challenging instrument
To the late Nathan Gold, whose generous spirit made this recording possible
To my family and close friends, who gave me the space and balance for this music to exist

Publisher Information:
Time Remembered by Bill Evans, published by Folkways Music Publishing INC./BMI
Easter Parade by Paul Buchanan and Robert Bell,
published by Paul Buchanan/Flag 22 Music (PRS)/WBMusic Corp. (ASCAP)
Musica Callada by Federico Mompou, published by Editions Salabert, Paris

Contact: rgoldandsons@hotmail.com
www.bobgoldmusic.com

This album began as a collection of my own written compositions along with those of several composers I’ve been inspired by. As the recording evolved, though, I began to realize that I was missing a level of intimacy that I had developed with my Steinway Model D. There’s a musical connection that can happen while the rest of the world is asleep and the tuning and hearing and even the humidity seem to come together. I then adjusted my sights on capturing those very late night moments, free of sheet music and performance notes. Most of these performance/compositions were of the moment, recorded in two weekend sessions in August of 2001. Down Eastern Hymn was a second or third improvised attempt at capturing the mood of a painting done by my father, and White Sands, New Mexico was one of several passes at capturing the open feeling I had traveling in the Southwest. 

Easter Parade is from the evocative first album A Walk Across the Rooftops, by the group The Blue Nile, from Scotland. Time Remembered is one of Bill Evans' compositions, now a jazz standard, in which I improvise over his harmonic outline before stating the melody. Musica Callada is a set of four books of “silent music” by the Spaniard Federico Mompou. His piano works have a freshness and brevity that give me the feeling of an improvisation somehow preserved in writing. This first piece of the Musica Callada, with its performance marking “Angelico,” has a vanishing open door quality, which I can never leave without improvising on. This work was also chosen as a vehicle of improvisation on several occasions by pianist Richie Beirach.

My approach to improvising on this album had some relationship to the film soundtrack. I wanted the music to relate to image and feelings without concern for musical categories, even though I can hear elements of jazz and classical styles, and even folk in the result. On some of the improvisations I had put photographs and old movie stills on the music stand, which helped to distance me from an awareness of notes and keys and microphones. A hopeful goal was to capture that elusive moment when a musical idea comes alive in the playing, which I think is also something close to a self-portrait.

Part One and Part Two are my nostalgic reference to the LP, where the listener was forced to take at least a short break between gulps.