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A few years ago, while performing shows at the Metropolitan Room in New York, I started to feel limited by existing jazz material. Many songs felt ‘guy-girl’, and there was very little material (read: none) that would be particularly related to the LGBTQ community. There are certainly gender-neutral songs, but even there the subject matter rarely relates directly to topics and challenges and hopes and goals for my community. And, being gay is not just a sexual orientation – it’s a community with which I am an active member. And unapologetically so. I’m human, imperfect, with pluses and minuses, strengths and weaknesses. Human. Of the original songs for this album, I wanted material where I could understand and deliver every line, every word, every aspect and every nuance. We began this path on the last album, Right Around the Corner, and here we’re continuing the journey. As an artist and vocalist, it makes a difference – a big difference – to have lyrics that come from a real and directly associated life, and for me that means LGBTQ topics issues and experiences. Years ago, I was in a band called ‘Feed the Meter’ in Boston, and I used to change “My Girl” to “My Significant Other” (a joke, of course). More recently I’ve considered ideas like changing the classic song to “Steven by Starlight”. And when you’re at this point in your thinking, you might as well start writing. And quite frankly, there’s a lot of LGBTQ-specific subject matter to be addressed. I had a few discussions about the lyrics with Dave Liebman. Actually, the songs are not necessarily exclusively for the LGBTQ community, just drawn from there. My hope is there’s some generality to the extent that others can find meaning. Oh, and a note about working with Mr. Liebman. How do I work with a jazz icon, when my background is from a different area (first classical music, then cabaret)? Well, there are great musicians in both the jazz and cabaret worlds, and in fact everywhere. And, Dave is not only brilliant as a musician, but he is an educator - he teaches and pushes and listens. He’s very interested in learning the points we’re making in this music (I explained every song in detail). And, on one song (not saying which) he got me singing a way I don’t normally do (first time for me). And frankly we have fun - he has a great sense of humor. We joke just enough to help make this a wonderful experience.
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John Minnock and Dave Liebman outside Feinstein’s/54 Below
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‘Herring Cove’
This album developed itself. It grew and developed and was born from ideas (rather than ‘what should I do next’). Around May or June 2019, my friend and co-lyricist Erick Holmberg began suggesting song ideas, just in general. The first few were good, acceptable….but then…. Erick sent his idea for the song ‘Herring Cove’, and it was brilliant. This was the cornerstone that began the album. Herring Cove is the diverse (often mostly gay) beach in Provincetown, Massachusetts, and part of the Cape Cod National Seashore. Erick had a partner named Bruce Beckles, who died from complications from AIDS. They spent summers in “P-Town” and Herring Cove was their favorite spot. The song is about that relationship. And I knew then and there that this would be the title of the album. Erick lives in Boston, and when we got this all going, we went to Club Café (appropriate location) on a Sunday afternoon to review his idea. I also explained some basics about song structure. And we drank margaritas.
Erick Holmberg (left) and John Minnock at Sear Sound Recording Studio, New York City
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Song List Original Songs - music and lyrics by Enrique Haneine, Erick Homberg and John Minnock, except “Now There’s You”, music and lyrics by Enrique Haneine and Erick Holmberg “Herring Cove” This song is about the loss of a partner to AIDs. In it, the beach called Herring Cove in Provincetown Massachusetts becomes a reminder of both beauty and sadness. And, this has happened to so many. Provincetown is a diverse summer retreat and vacation destination. Ending notes on this song here, in respect and reverence of absent friends. “A Melody” – Erick sent me an email that said ‘would it kill you to sing a love song’? So, we left our comfort zone and wrote this song. We worked on the lyrics collaboratively, and I added my vision of something with a mysterious aura, a dream-state, like the song ‘Laura’. Erick also thought that this could be my personal “Stardust”, so right out of the gate I wanted the melody to have a distinct structure (the verse utilizes melodic sequences, and the chorus is melismatic – both not present in the beautiful, lyrical “Stardust”). And, the lyrics took many hours to get the rhyming scheme, meter, balance (no lyric stronger/weaker than another) and to establish evolution and momentum to the mainly poetic words. This was like playing chessby-mail: make a move, review the board for a long time, move again. “Unconditional” – I suggested this idea to Erick. It’s about a boy who is virtually disowned by his parents when they realize he is gay. I suggested to model after Stevie Wonder’s brilliant “Living for the City”. Erick’s lyrics are performed completely as written ‘first round’ – and he wrote it in a single day. Enrique Haneine wrote some chord ideas, but in our first round he brilliantly suggested I just deliver it as I felt it – like a monologue – and the music would build from that. All proceeds from this song will be donated to The Ali Forney Center, based in New York City. It is the largest LGBT community center helping LGBT homeless youth in the United States. I am a proud supporter and I hope and encourage others to do the same! “Tell Him I’m Fine” – Erick had an idea about this situation: 3 people in the same social circle – two are introduced by another, they have a fling, and it ends. One of them is upset at the break-up. There are two sides to the song, as there are often multiple emotions in people (we utilized this approach on our prior album Right Around the Corner in the song “Everything Changes”). And we used a melodic approach similar to the title song from Right Around the Corner jagged elements, and melodic zigzags (but here, complimented with a separate swing section). “Kansas City” – there are many blues tunes about traveling to a city or to many cities. But in the LGBTQ community it’s not uncommon to move away from a city to go somewhere more diverse and more accepting. In blues, the narrator is often going somewhere else and never seems to have a home. In a way this was updated with Stevie Wonder’s “Living for the City” (mentioned above, which is Page 5 of 9
not blues of course) where the subject matter involves firmly staying-put rather than moving. Also, Jamison Ross does a song that has blues references called “Deep Down in Florida”, the update this time is they’re traveling not to move, but simply because they’re going on vacation. Whether these are intended to be part of a sub-genre or not, I felt like adding an LGBTQ aspect to this subject area. Finally – my jazz and blues career began after first seeing the wonderful Ruth Brown in a small-room setting. Performing blues is part-and-parcel of how I started, and I’m happy to pay homage to Ms. Brown. “Now There’s You” duet with Deborah Lippmann – Deb and I met a couple years ago, and became instant friends. She is a terrific vocalist with two albums and has performed at many of New York’s top music clubs. Deb is also the preeminent Celebrity Manicurist, with clients amongst the top stars in fashion and Hollywood. She runs the famous and highly regarded line of nail polish under her name, sold at only the most exclusive stores. Deb and I share an interesting characteristic: while working our ways through life, we never lost our interest in the arts and music. Rehearsing this song was a complete joy, as we tweaked the lyrics to make them true and honest. This song directly represents our relationship. It’s different than the usual Gay-Guy/FemaleFriend model, in that we met long after college or early adulthood (so, different from the ‘Will and Grace’ model – by the way, a show we both adore). When we met, we were both already reasonably successful at our careers (her much more than myself, frankly). And, the song is written by Erick Holmberg and Enrique Haneine without me – it’s their observations of our friendship. And a footnote – a lyric mentions The Saint, possibly New York’s most famous gay nightclub of the past. For the jazz community – The Saint is the former Fillmore East.
John Minnock and Deborah Lippmann at Feinstein’s/54 Below, New York City Page 6 of 9
Original Song contributed by David Shire: “After All These Years” (music and lyrics by David Shire) – I don’t know that I can describe the thrill of an association with music industry legend, David Shire. I am a super-fan, as is frankly just about everyone I know. Mr. Shire has written for Broadway, Off-Broadway, Movies, and is a Grammy and Academy Award winner. I’ve been known to sing “I Don’t’ Remember Christmas” from Starting Here/Starting Now at piano bars around Boston. A couple years ago, Enrique Haneine introduced me to a great saxophonist Catherine Sekora, who is by chance close friends with both David and his wonderful wife, Didi Conn. I was set up with the question “John, have you heard of a composer named Shire” (without me knowing Catherine’s close friendship with him). I prattled on for 20 minutes on the career of David Shire, Didi Conn, and I even included about 2 minutes on lyricist Norman Gimbel. After my dissertation, Catherine revealed why she asked. Regarding this song: there are many stories we hear about LGBTQ couples being together for decades, and finally marrying now that they are able to. Mr. Shire has written an absolutely beautiful song, with lyrics that elegantly convey this situation, maintaining a spirit and generality that applies to all. As a vocal artist it was wonderful to work through this song, exploring its musical and lyrical offerings, without another version that may set initial expectations. I am honored and humbled to debut
David Shire’s song on this album.
David Shire and John Minnock at Don’t Tell Mama, New York City
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Standards: “If I Could Turn Back Time” (Diane Warren) – I’m a huge Cher fan. In Boston piano bars, I’m known for my version of “Dark Lady”. We reviewed the Cher catalogue and decided on a reimagining of this song (without the video’s battleship and cannon). My friends Andrew Leahy and Josmar Silva once recommended, while drinking at Trophy Room in Boston, that I start pursuing jazz versions of gay community iconic club songs. This is an initial foray into that vision. “Stardust” (Hoagy Carmichael, Mitchell Parish) – Dave Liebman provided a wonderful arrangement for this iconic song, which references the brilliant Elvin Jones. “On Green Dolphin Street” (Bronisław Kaper, Ned Washington) – another great standard I’ve loved for a long time, and a second great arrangement provided by Dave Liebman. The approach was originally established by Miles Davis himself. “It Goes Like It Goes” (David Shire, Norman Gimbel) – the Academy Award winning song from “Norma Rae”. I mentioned above I’m a David Shire super-fan, and have always loved this song. And, the beautiful lyrics are by one of the best in the business, Norman Gimbel – who penned “Bluesette”, all the English lyrics to Antonio Carlos Jobim songs (e.g. ‘”he Girl from Impanema”), and the iconic “Killing Me Softly with His Song”. It’s worth mentioning, one of Norma Gimbel’s songs that is still heard in gay clubs today is “Wonder Woman” (music by Charles Fox), from the 70s television show. And these lyrics are almost prophetic, as relevant today than when written: “Make a hawk a Dove, Stop a War with Love, Make a liar tell the truth; Stop a bullet cold, Make the Axis fold, Change your mind – and change the world”. I considered this song for this album. But then I thought – I need something for future albums, now don’t I?
Thanks: Dexter Sealy, David Anderson, Dr. Candida Fink, Brent Covington, Josmar Silva, Andrew Leahy, Aaron Brandon, Talyor Nederlander, Deborah Lippmann, Bernie Furshpan, Sydney Meyer, Bill Duffy, Diana Thompson, David Shire, Didi Conn, Catherine Sekora, Lydia Liebman, Will Rodriguez, Caris Liebman, and of course my friend Dave Liebman. This album is dedicated to my aunt, Joan Minnock, who helped and supported our family immeasurably for all our years, and has hitherto been mostly ‘unsung’. Our family has had the challenges, bumps and turns of all families, and if I may reference the song by David Shire, “We are a family after all, After All These Years”.
Credits: Photos: Leslie Farinacci Fashion Consultant: David Murray Public Relations: Lydia Liebman Promotions Page 8 of 9
Mixing: Thom Beemer Mastering: Kevorkian Mastering Recorded at Sear Sound, New York City
Producer: John Minnock Executive Producer: Dave Liebman Musical Director: Enrique Haneine Piano, Fender Rhodes: Henrique Haneine Saxophone, Wood Flute: Dave Liebman Bass: Carlos Mena Drums: Pablo Eluchans
Cover art Special thanks to Childs Gallery https://childsgallery.com/ for their cooperation in the use of the image of the Henry Botkin painting “Bridge at Provincetown from the collection of Erick Holmberg. Henry Botkin was a cousin, close friend, and painting teacher to George Gershwin.
Proud Partner with The Ali Forney Center: "The Ali Forney Center is the largest and most comprehensive agency dedicated to LGBTQ homeless youths—assisting nearly 1,800 young people per year through a 24-hour Drop-In Center which provides over 70,000 meals annually, medical and mental health services through an on-site clinic, and a scattered-site housing program. AFC’s goal is to provide LGBTQ homeless youths with the support and services they need to escape the streets and begin to live healthy and independent lives. For more information on The Ali Forney Center, visit www.aliforneycenter.org."
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