Gould Plays Gould

The music on this recording comes from two previously released LPs and features a collection of Australia's finest players of spontaneous, improvised music. Most of these players, not coincidentally, are also close friends and colleagues.

All the pieces are originals, and, for better or worse, show a fairly catholic approach to both composition and performance. It also shows the composer to be a highly impressionable character; one that is influenced by environments and cultures, but more obviously by the surrounding music (and the musicians who come and go) through one's very existence on the planet.

This recording displays the remarkable talents of some of my musical colleagues – both young and not so young. The music is a collection of original pieces which show in various ways many of the influences of music and musicians long admired. They include Charles Ives, Gustav Mahler, Igor Stravinsky, John Sangster, Bill Evans, of course, Keith Jarrett. You will also hear references to South American, Indian and Japanese music. It was a heart-warming time in the studio. I hope you can feel it through the speakers. Sincere thanks to all the wonderful musicians and a special thanks to Martin Wright who is one of the few souls in this country who continues to support Australian music and Australian performers.

The overriding influence of the music on this recording is the great friendship, artistry and mind of the late John Sangster. He was a man who always saw music making as a wondrous thing, and rarest among his many talents was his nonjudgemental attitude to all individuals who made music no matter what the style or standard. One of his favourite sayings sums up best the music on this CD. If anyone even hinted at criticising another human being's musical endeavours John would halt the conversation with a smile and say: “Look love, that's how they go”.

This is the start of a two day recording session at Studios 301 with full string orchestra. John Sangster conducting and composer Tony Gould at the piano. Engineer David Marett at the desk. Sangster, beady-eyed, crinkly at the corners of his eyes. Gnomish. “Rum in his coffee?” He replies “No. Going to be good all day!” Everyone tuning up. They're going to have a run through. Scratchy attack. Marett, getting his levels, chuckles at the first attempt.

The strings are first cab off the rank, which is most unusual.

(Even more uncommon is to have the chief performer's parts played only once. But this is just the case with Gould. His piano was over-dubbed later, and were all first takes.)

Someone in the strings is upset because he has to hold B flat against others holding B natural. At the producer's suggestion, Gould is going to play a bit on the piano to help the strings get the feel of the piece. Having played it through they're feeling happier. “That's sounding towards it now,” says Sangster, and continues, “Let's do it again and it will all heal up.”

Double bass player Ray Martin, a long, creased, patient man is given to memorable remarks while leaning against his acoustic bass. After a practice run he is heard to say, “I actually fucked it totally.” The next time round a slow grin grows as he gets it. “I actually gliss up to an F,” and continues, “no room for cardiac arrests, pretty naked up there, isn't it?”

All the strings have walked out of the studio leaving a day's recording behind them. Just Gould and Sangster are left now, to dive into their own world. Sangster has the laugh of a merry devil. He calls for lights out — only coloured lights. “This is artistic work, love,” he chortles. Now they're running through bits together to get the feel of things. “Here we go at our loudest” — Sangster to Marett, so he can get his levels. In the twinkling of the Mr. Ripple-Down-Dimple eye, they're away. Stepped over the threshold into the world of elves and glee. And it's the Themes (tracks 8, 9 and 10) — all first takes.