Page 3 - MM100816
P. 3

The Range, Hornsby was im- mediately in demand as a cele- brated sideman, appearing on albums for an extensive list of performers, including Bob Dy- lan, Bonnie Raitt, Charlie Haden, Squeeze, Warren Zevon, Jack DeJohnette and Bela Fleck. But it was part of the mainstream success story of a creative art-
ist whose own musical designs turned out to be anything but mainstream. By the 1990s, and following a close association with the Grateful Dead, his ini- tial soft-rock sound took a turn for jazz fusion with the “Harbor
Lights” album, adding roots and bluegrass to the mix with “Hot House” and “Spirit Trail.”
The present century, in turn, has found Hornsby leaning hard into bluegrass with the “Ricky Scaggs & Bruce Hornsby,” fol- lowed by the straight-up jazz signatures of “Camp Meeting.” More recently, his “Solo Con- certs” recording explored decid- edly modernist directions, fea- turing interpretations of piano scores by Schoenberg and Ligeti, among others.
With all of that in mind, it would likewise be safe to say
Continued on next page

   1   2   3   4   5