Zeb Gould
All Of the Morningbirds
© 2006 Zeb Gould (751937292029)
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All of the Morningbirds embraces ideas of melody and dissonance rooted just as deeply in the songs of Elliot Smith and Neil Young as they are in those of John Fahey and Leo Kottke.
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All of the Morningbirds finds Zeb Gould at his creative best. While the record fits comfortably within the category of a "fingerstyle guitar record", Gould never limits himself to the the scope of this genre alone. Rather, he uses the medium as a departure point for his own explorations. The kind of songwriter who can infuse technical prowess with a wellspring of emotions is a member of a rare breed. Zeb Gould is just such a songwriter, and All of the Morningbirds gives us our first glimpse into his world.
While pursuing a degree in Bloomington, IN, Zeb immersed himself in the study of fingerstyle guitar music, learning and deconstructing the works of John Fahey, Leo Kottke, and Michael Hedges. He developed a repertoire of instrumental works for 12- and 6-string guitar. His work found devoted fans in a wide array of musical circles, and he played the opening act for an accordingly diverse group of performers, including Gillian Welch & David Rawlings, Kim Ritchie, Edith Frost, and Sue Garner. He also became involved in a number of side projects with the members of a then-developing Magnolia Electric Co. (most notably the Cinnamon Girls, a Neil Young cover band that played entire records as sets, and in which Zeb played lead electric
guitar with fingerpicks).
Following the completion of his education, Zeb moved East to New York City with Megan Weeder (an accomplished performer in her own right, whose violin graces "Two Sisters" on this recording). Always intent on expanding his musical vocabulary, Gould took up work as an archivist for classical composer Philip Glass. It was in Glass' studio that he began work on a new set of songs, which would become All of the Morningbirds.
Recorded in Looking Glass Studios over a period of three days, All of the Morningbirds embraces ideas of melody and dissonance rooted just as deeply in the songs of Elliot Smith and Neil Young as they are in those of Fahey and Kottke. From the frenzied cross-picking of "A Drunken Beggar on Horseback" to the rich piano-like tones of "Hedwig", Zeb allows us glances at an unfamiliar world through the abstracted eye of his 12 string guitar. Recording with a variety of ambient microphones in place, Gould was able to capture each song from a variety of perspectives. This shift through these perspectives in the final mix gives the record a nearly cinematic vantage point.
"Locomotive Blue Streak", the only vocal piece on this record, lends the most aptly poetic summation of the endeavor. Here, Zeb describes a locomotive cutting across a wilderness where:
All of the morningbirds were flying round the steam
As they sang a little song with their expressions.
Not one among the men was brushing them aside,
They just raised their caps and watch the great migration.
Despite the power and strength of the locomotive hurtling through the first light of the new day, the workers of Gould's world are enraptured with the majesty of the beauty that surrounds them.
Like those linemen of the "Locomotive Blue Streak", Zeb uses technique as a vehicle for his own discoveries and revelations. Drawing together a broad collection of inspirations and textures, he melds that technique and traditional style with a distinct songwriting voice. Zeb Gould represents the very best of a wide array of music in a style that is entirely his own.
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Gould's ace card...is a compositional intelligence departing from the mainstay o
author: Mark S. Tucker - Folk and Acoustic Music Exchange...Gould's ace card...is a compositional intelligence departing from the mainstay of the style's wont. Like Peter Lang, he incorporates elements not easily identified but which expand the parameters of the ouevre nicely. A bluegrassy base remains the heart, but there are ample change-ups and time shifts, including wistfully languid passages, tone mutations, liquid themes, and a myriad of colorative devices... ...Gould tries his hand at singing on one cut and reveals not just a marvelous set of pipes but a very good sense of multiple harmonies and where they ought to go, tracking himself as a quartet, bringing out a CSNY complexity and sonority...
Stands as a reminder to how much emotional weight can be created with just one i
author: Rick Allen, Columbus Ohio's - The Other Paper...If 'All of the Morningbirds' is any indication, Gould fits right in with [Leo Kottke and John Fahey]. The album opens with 'A Spider's Quest for the Sun," which deftly blends a rootsy melody line with Gould's frenteic fingerpicking. It's a good example of how enjoyable the genre can be as a flurry of notes intertwine the melody line, enhancing and enriching it far beyond its simple origins. As rich as "Spider's" sound is, "Hedwig" is equally spare. Gould utilizes silence as well as he does noise, structuring the delicate, moody melody with finesse. There's a somber yet hopeful quality to the song, which stands as a reminder to how much emotional weight can be created with just one instrument in the right hands. Equally impressive is "Consuela," which balances noise and silence with its tasteful fingerpicking and enough space for the composition to breathe. There's enough of a Mexican feel to justify the title while reminding us of our neighbor to the south's rich six-string heritage. Gould's day job is working for Philip Glass, who's likely the most renowned American avant-garde composer alive. It would be a stretch to say that working as Glass's archivist has influenced Gould's music, but Gould shows an insight and appreciation for composition that many of his fingerpicking peers lack...
The Tenacious D would say that he has the finger picks of destiny.
author: Theresa CulverI swear, anything that Sam Crawford (once a member of the stellar Decanters out of Bloomington, IN) touches is gold. Zeb Gould is another Bloomington stalwart, who like Crawford relocated to NYC. Gould was one of the early members of the beloved Early Day Miners. Since then, Gould has taken to slaying the 12 & 6-string guitars. Fans of Leo Kottke will love it. The Tenacious D would say that he has the finger picks of destiny. Look for the standout track, “Two Sisters.” If I were you, take this strong endorsement and head to cdbaby.com and pick this one up.
Having opened for folk heavyweights Gillian Welch and David Rawlings, Zeb Gould
author: Jake NuckollsHaving opened for folk heavyweights Gillian Welch and David Rawlings, Zeb Gould must be something special. His bio says that he studied the art of fingerstyle guitar and the music of Fahey, Kottke, and Hedges. All I can say is that it shows. All of the Morning Birds is an intense trip through the countryside and yet is not overladen with “quick” fingerpicking or reoccurring themes. Only one song is sung, but each song tells a distinct story. It paints a delicate picture and shows off the skills of an up and comer in instrumental guitar.
Gould practically channels Kottke with a driving, percussive style...
author: Kirk AlbrechtListeners who enjoyed the early recordings of John Fahey and Leo Kottke won't miss the obvious nod to those influences on Zeb Gould's "All of the Morningbirds, a collection of 12-string guitar songs. Gould practically channels Kottke with a driving, percussive style on "A Spider's Quest for the Sun," "Consuela," "End/Beginning," and "Young Icarus." According to the label's press release, Gould spent time in New York working as an archivist for composer Philip Glass, which might account for this eclectic potpourri. "Hedwig" has a sparse, almost piano-like color to it, while "Interlude" is bracketed by over 25 seconds of silence before and after the fading track. There is one vocal on the CD, "Locomotive Blue Streak," with harmonies reminiscent of Crosby, Still, Nash, and Young's early work. The album closes with the only ensemble piece, "Two Sisters," where Gould is joined by Megan Weeder on violin and Sam Crawford on piano. The eleven cuts on this record will satisfy those who like 12-string guitar playing, and will recall perhaps the heyday of that medium, without necessarily forging any new territory.