CD/DVD liner note from James - One Man Band (2007):
“It’s a strange reality of the modern popular song that the first time it’s played is when it’s recorded. Sometimes a song will be finished for deadline in the studio the day the thing is cast in stone forever. I know that songs and arrangements evolve and develop over time; that somewhere around the twentieth time it’s played for a live audience, a song finally completes itself. That, among other things, is what makes a good live recording unique. I’ve often thought that live performance means being well prepared and then waiting for the inevitable, unexpected thing to happen. We come onstage, well rehearsed and in good shape, and repeat what we have done before as best we can. But the real goal is to be in the present moment and on the surface of ourselves; open and trusting. Nobody wants to be perfect: that’s frozen, dead…It’s “be here now”, I guess…
Of course, ‪@larrygoldings‬ does more than just accompany me. His growing presence in the world of jazz is well acknowledged, both for his own recordings and live performances and as a member of a good number of team efforts. I tend to form musical (and personal) relationships with other players and then stick with them for years. @Arnold McCuller and David Lasley have worked with me since the mid-‘70s and others nearly as long (Jimmy Johnson, Steve Gadd, Mike Landau, Kate Markowitz, Valerie Carter…)
After my great friend, producer and pianist Don Grolnick died in ’96, I performed with a number of excellent keyboard players. It was during the recording of my October Road album in ’02 that I worked with Larry. Russ Titelman had booked him to play on “Mean Old Man” along with Steve Gadd on drums, Jimmy Johnson on bass, Clifford Carter on synth, and the fine seven-string jazz guitarist, @John Pizzarelli . This was an incredible band, and after hearing Larry Goldings’ solo on that song, first time through, he pinned it. That was our introduction and he’s been my first call ever since.
Then there’s the bus factor. You see, someone’s playing may be great, but what’s it going to be like spending 10 hours a day riding to the next gig with them for a couple of months? Larry’s Bus Factor is not a factor for he is a bus riding fool, for a fact.
Part of his talent is his ability to “split his hands.” Though not as painful as it sounds, it does require great focus and skill to play a melody/accompaniment with his right hand and, with his left hand, (often on another keyboard) play a distinct bass pattern. This Larry can do with effortless grace, and he has made this One Man Band show possible. He is a committed father, brother, and son, and I am in his debt. Larry Goldings is my One Man Band.” - James Taylor
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LYRICS
Sweet Baby James by James Taylor
There is a young cowboy lives on the range
His horse and his cattle they’re his only companions
He works in the saddle and he sleeps in the canyons
Just waiting for summer his pastures to change
Yes, and as the moon rises he sits by his fire
Just thinking about women and glasses of beer
And closing his eyes as the dogies retire
He sings out a song which is soft but it’s clear
Just as if maybe someone could hear
He says good night all you moonlight ladies
Rockabye sweet baby James
Deep greens and blues for the colors I choose
Won’t you let me go down in my dreams
Oh, and rockabye sweet baby James
Now the first of December it was covered with snow
Yes, and so was the Turnpike from Stockbridge to Boston
Oh, the Berkshires seemed dreamlike
On account of that frosting
With 10 miles behind me and 10,000 more to go, you know
There’s a song that they sing when they take to the highway
A song that they sing when they take to the sea
A song that they sing of their home in the sky
Maybe you can believe it if it helps you to sleep
Just that singing seemed to work fine for me
So, good night all you moonlight ladies
Rockabye my sweet baby James
Deep greens and blues for the colors I choose
Won’t you let me go down in my dreams
Oh, and rockabye my sweet baby James "
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