Sunday, June 09, 2002 10:04:34 PM
Rock 'n' Roll Artists A-Z...Bruce Hornsby
http://www.brucehornsby.com/
BRUCE HORNSBY
Big Swing Face
``This is so out, but I like it
So outside but I'm in
This is so out but it's all right
Way out there in the spheres''
-- ``So Out''
Bruce Hornsby notes that when he's been playing his eighth album, ``Big Swing Face,'' for people, the general reaction is ``Who the hell is this?''
Simply put, it's an album that doesn't sound quite like anything Hornsby has done before. Then again, it's hardly news to say that Hornsby is experimenting and pursuing different directions again. Since he emerged in 1986 with his triple-platinum debut album ``The Way it Is'' -- which earned him a Grammy Award for Best New Artist -- Hornsby had delighted in stretching his own creative boundaries and challenging the parameters of the mainstream music world. During the course of his career the Williamsburg, Va., native has turned jagged, Keith Jarrett-style piano solos into Top 10 hits and has pursued everything from polished, swinging pop to rootsy Southern paeans and gritty juke joint soul. In an industry that often values the safe, Hornsby has made it safe to be a little dangerous.
``Big Swing Face'' is a whole different matter, however, and is Hornsby's farthest step afield. There's less piano -- far less piano - this time out, and more guitar. There are loops, samples and other technological ``chicanery'' (in Bruce's words) to create an assortment of moods and textures. And there's a spirited lightness of tone and irreverence with the language that forms a nice complement to the detailed narratives and character studies that have been the stock in trade of Hornsby's previous efforts.
What it does retain, however, is the rich melodicism that's always inherent in Hornsby's music -- even his most avant-garde pieces. ``My whole approach is I just want to like it,'' Hornsby explains. ``This is generally a very different, sort of quirkier record. Songwriting-wise, I did have more fun. I didn't drive myself crazy; I just wanted to write some funny shit. So it was liberating. It just took me to a different place musically, which led me to a different lyrical space as well.''
``Big Swing Face'' was actually not the album Hornsby set out to make. He planned to follow the 2001 live album ``Bring on the Noisemakers'' with a song cycle about his twin sons, now age 10, and was working on it in earnest when his A&R rep, David Bendeth, came to Williamsburg to hear the new music and to produce an ``oddball little song'' that Hornsby had also cooked up. ``So he listens to the stuff and he goes `Great songs. Big fuckin' deal,' '' Hornsby recalls with a laugh. ``I go `What do you mean?' He says `Well, it's sorta like the same thing. The songs are really great. I think you've written some great things here. But it's not, like, anything particularly new.'
``So he unloads this sort of vibe on me. Then we work on this other tune, and I loved what he did with it. I loved the way he made this other song sound.''
That song was ``So Out,'' which became the lynch pin for ``Big Swing Face.''
Hornsby and David Bendeth decided to put the other album on hold -- Hornsby plans to finish it in the near future -- and follow this new path that Hornsby acknowledges was both exciting and daunting.
``It's a standard artistic ploy to say `Screw the A&R guy' and `It's my way and I have the artistic vision -- this is what I'm gonna do, and I hope you like it,' sort of thing,'' Hornsby notes. ``But (`So Out') made me curious about going down this sort of left-field road and doing these things I'd always wanted to do sonically on my records, but I didn't know how to do it before and never really worked with anybody who could do it me. So we started down the long road towards this record.''
Recorded in fits and spurts between November 2000 and November 2001, ``Big Swing Face's'' 11 songs wind themselves through a variety of sonic paths that range from the wiggling electric groovery of ``So Out'' and ``Sticks & Stones'' to the moody soulfulness of ``The Chill'' and ``This Too Shall Pass,'' the jazzy, polyrhythmic swirl of the title track and the funky drive of ``Cartoons & Candy'' and ``Try Anything Once.''
The tracks are fortified by members of Hornsby's touring band and by guest guitarist Steve Kimock, who worked with Hornsby in the ad hoc Grateful Dead group The Other Ones. Also popping up on ``Big Swing Face'' is Floyd Hill, Jr., a 70-year-old Hornsby family friend in Williamsburg who co-wrote and raps on the song ``No Home Training.''
Hill's contribution is indicative of the lyrical course Hornsby took with much of ``Big Swing Face,'' a down-home approach informed by the vernacular he was exposed to as a teenager. ``I was the only white guy on the basketball team,'' says Hornsby, who moved from private school into a public high school. ``I was thrust totally headlong into this rural black culture of my town, and it's been such an influence on me all my life. I still talk shit just like I learned from those guys, and a lot of this record has to do with that. All that stuff, like `Crack ya upside the head,' `Oh God'm kill me daid' (dead) is coming straight out of that.''
Since this album was going in such a different direction, I thought it was a good area to delve into.'' Hornsby has been cutting a wide creative swath since he graduated from the famed University of Miami music school and moved to Los Angeles, where he played in Sheena Easton's touring band but never lost sight of wanting to create his own music. In 1986, as Huey Lewis & the News were taking his ``Jacob's Ladder'' to No. 1 on the Billboard Hot 100, Hornsby reached the top himself with ``The Way it Is,'' a crisp and cinematic narrative about civil rights that was marked by lengthy, jazz-inflected piano passages that sounded completely unlike anything else on the radio at the time. It the first of a string of ambitious compositions that scaled the charts and saturated the airwaves, including tracks such as ``Mandolin Rain,'' ``Every Little Kiss'' and ``The Valley Road.''
``I'm really proud that songs like that could be big hits,'' he says.
Hornsby's boundary-stretching pursuit has continued unabated. While his list of guest appearances is enormous -- including co-writing and performing on Don Henley's Grammy-winning smash ``The End of the Innocence,'' a stint with the Grateful Dead and sessions for Bonnie Raitt, Bob Dylan and others -- Hornsby's own releases have been consistently eclectic and captivating, revealing the head of a pop craftsman and the heart of a virtuosic jazz improvisationalist. ``Scenes from the Southside'' (1988) was another platinum, Top 5 smash. ``A Night on the Town''(1990 - Gold) bristled with live energy. ``Harbor Lights'' (1993 - Gold) painted textured musical pastiches, while ``Hot House'' (1995) had the heart of a juke joint. And the two-CD ``Spirit Trail'' (1998) was a sweeping tour de force of adventurous musicality and pointed lyrical commentary.
Along the way, Hornsby has continued to push himself and add new facets to his craft. Intensive piano studies during the mid-`90s yielded a two-handed playing style that brought additional dynamics and nuances to his playing, while shifts in his band personnel have taken his performances to even greater heights. ``Big Swing Face'' is the latest destination on an already broad creative highway, and while it's admittedly winsome -- ``Any time you start off a record with `scabby head knobby kneed old nappy head,' you know you're not going to too serious a place,'' he notes -- it doesn't abandon the qualities or sensibilities that have made Hornsby a vital and essential noisemaker.
Discography
Official Album Releases
2002 - Big Swing Face
1986 - The Way It Is
1988- Scenes From The Southside
1990 - A Night On The Town
1993 - Harbor Lights
1995 - Hot House
1998 - Spirit Trail (Double Album)
2000 - Here Come The Noisemakers (Live Double LP)
Additional Recording Credits
Bruce Hornsby has appeared on many recordings other than his own albums. Here is a comprehensive listing:
1983 - Mirage A Trois (Yellowjackets Album)
1986 - Shades (Yellowjackets Album)
1986 - Transit (Ira Stein and Russel Walder Album)
1986 - Fore (Huey Lewis & The News) - Huey Lewis & The News recorded Bruce and John Hornsby's "Jacob's Ladder"
1987 - Island In The Sea (Willie Nelson Album) Willie recorded "Nobody There But Me" (written by Bruce Hornsby, John Hornsby, and Charlie Haden), with Bruce Hornsby and The Range playing on the track
1987 - In Vitro (In Vitro Album)
1987 - A Little Bit Closer (Tom Wopat Album)
1987 - From The West (T. Lavitz Album)
1987 - Tribe (Bernie Taupin Album)
1987 - Sirius (Clannad Album) - Bruce played piano, accordion, sang a duet, and was in the video for "Something To Belive In"
1987 - Heroes and Zeros (Glen Burtnick Album)
1988 - Small World (Huey Lewis & The News Album)
1988 - View From The House (Kim Carnes Album)
1988 - The Real Me (Patti Austin Album)
1988 - Paradise Citizens (Randy Bernsen Album)
1989 - The End Of The Innocence (Don Henley Album) - Bruce co-wrote and played piano on the title track
1989 - Will The Circle Be Unbroken, Volume 2 - Bruce performed "The Valley Road" with the Nitty Gritty Dirt Band
1989 - Steady On (Shawn Colvin Album) - Bruce played piano on "Something To Believe In"
1989 - The Other Side of The Mirror (Stevie Nicks Album)
1989 - Various Artists:Greenpeace Rainbow Warriors - Bruce Hornsby and the Range performed "Look Out Any Window"
1990 - Never Change (M.C. Buzz B Album) - Sampled "The Way It Is on the title track
1990 - Under The Red Sky (Bob Dylan Album) - Bruce played piano on "Born In Time", and "T.V. Talkin' Song"
1990 - Live It Up (Crosby, Stills, and Nash Album)
1990 - Rock & Bird (Cowboy Junkies Single)
1990 - River Of Love (David Foster Album)
1990 - Guitar Trouble (Tommy Conwell and the Young Rumblers Album) - Bruce played piano on "I'm Seventeen"
1990 - Any Kind Of Lie (Marti Jones Album)
1991 - Luck Of The Draw - (Bonnie Raitt Album) - Bruce played piano on "I Can't Make You Love Me"
1991 - Storyville (Robbie Robertson Album) - Bruce co-wrote, sang background vocals and played electric piano on the track "Go Back To Your Woods"
1991 - The Fire Inside (Bob Seger Album) Bruce played accordion on "Sightseeing" and piano on "Always in My Heart"
1991 - Infrared Roses (Grateful Dead Album) - Bruce played piano on "Silver Apples Of The Moon"
1991 - 620 W. Surf (Michael McDermott Album) - Bruce played piano on "Fool's Avenue"
1991 - Natural Selection (Dave Samuels Album)
1991 - Busman's Holiday (John Kilzer Album)
1991- Play (Squeeze Album) - Bruce played accordion on "Walk A Straight Line"
1991 - Prince Of The Deep Water (The Blessing Album)
1991 - Pour In The Sky (Liquid Jesus Album) - Bruce played piano and electric piano on four songs
1991 - Music From The Original Motion Picture Soundtrack Backdraft - Bruce performed "The Show Goes On" and "Set Me In Motion"
1991 - Elton John and Bernie Taupin:Two Rooms - Bruce performed "Madman Across The Water"
1991- Music From The Original Motion Picture Soundtrack Switch - Bruce performed "Barren Ground"
1991 - Deadicated (Tribute Album to the Grateful Dead) - Bruce performed "Jack Straw"
1992 - Anything Can Happen (Leon Russel Album) - Bruce co-produced, co-wrote, and played electric piano on five songs
1992 - Fat City (Shawn Colvin) - Bruce played piano and sang background vocals on "Climb On"
1992 - Barren Ground (Daryl Brathwaite Album) - Brathwaite recorded Bruce and John Hornsby's, "Barren Ground"
1993 - Three Flew Over The Cuckoo's Nest (Bela Fleck Album) - Bruce played piano on "Spunky & Clorissa & The Message"
1993 - Worth Waiting For (Jeff Lorber Album)
1993 - Trios (Rob Wasserman Album) - Bruce wrote and played piano on "White Wheeled Limousine" along with Branford Marsalis and Rob Wasserman
1994 - Verve 50th Anniversary Concert - Bruce layed piano on "Yellowstone" with Art Porter, Jeff Lorber, Tom Barney, Omar Hakim, and Don Alias
1994 - Ken Burns Baseball:Soundtrack - Bruce performed "The Star Spangled Banner" with Branford Marsalis
1994 - Push (Bill Evans Album) - Bruce played piano on "If Only In Your Dreams" and "A Simple Life"
1995 - Music From The Original Motion Picture Soundtrack:Clockers - Bruce co-wrote and played piano on the song "Love Me Still" with Chaka Khan
1995 - Tales From The Acoustic Planet (Bela Fleck Album) - Bruce played piano on "The Great Circle Route"
1995 - Road Tested (Bonnie Raitt Album) - Bruce played accordion and sang vocals on "Thing Called Love", piano on "I Can't Make You Love Me", and accordion and vocals on "Angel From Montgomery"
1995 - Mutineer (Warren Zevon Album) - Bruce played accordion on "Monkey Wash, Donkey Rinse" and "Piano Fighter"
1995 - All Of This Love (Pam Tillis Album) "Mandolin Rain"
1996 - The Songs Of West Side Story - Bruce perfomred "Cool" with Patti Austin, Branford Marsalis, and Mervyn Warren
1996 - Mystery Box (Mickey Hart Album)
1996 - Live Art (Bela Fleck Album)
1996 - The Concert For The Rock And Roll Hall Of Fame - Bruce performed "I Know You Rider"
1996 - Music From The Motion Picture Soundtrack:Tin Cup - Bruce wrote and performed "Big Stick" and performed "Nobody There But Me" written by Bruce Hornsby, John Hornsby, and Charlie Haden
1996 - Tha Hall Of Game (E 40 Album)
1996 - Epiphany: The Best of Chaka Khan
1997 - "Dick's Picks" Vol. Nine Grateful Dead
1998 - "Crown Of Jewels" (Randy Scruggs Album) - Bruce wrote and performed on the title song
1998 - "Enchanted" (Stevie Nicks Album) - Bruce performed on "Two Kinds Of Love"
1998 - "Gimme Shelter:The Best Leon Russell" (Leon Russell Album) Bruce co-wrote and performed on "Anything Can Happen" and "Faces of the Children"
1998 - "Soul Connection" (Levi Little Album) Bruce performed on "Tearing Down The Walls"
1998 - 2Pac Greatest Hits (Tupac Shakur Album) "The Way It Is" sampled on "Changes"
1999 - "D'lectrified" (Clint Black Album) Bruce performed on "Dixie Lullaby"
Photo Gallery
http://www.brucehornsby.com/gallery.asp
]
Breaking Clay Makes My Day!
http://www.brucehornsby.com/
BRUCE HORNSBY
Big Swing Face
``This is so out, but I like it
So outside but I'm in
This is so out but it's all right
Way out there in the spheres''
-- ``So Out''
Bruce Hornsby notes that when he's been playing his eighth album, ``Big Swing Face,'' for people, the general reaction is ``Who the hell is this?''
Simply put, it's an album that doesn't sound quite like anything Hornsby has done before. Then again, it's hardly news to say that Hornsby is experimenting and pursuing different directions again. Since he emerged in 1986 with his triple-platinum debut album ``The Way it Is'' -- which earned him a Grammy Award for Best New Artist -- Hornsby had delighted in stretching his own creative boundaries and challenging the parameters of the mainstream music world. During the course of his career the Williamsburg, Va., native has turned jagged, Keith Jarrett-style piano solos into Top 10 hits and has pursued everything from polished, swinging pop to rootsy Southern paeans and gritty juke joint soul. In an industry that often values the safe, Hornsby has made it safe to be a little dangerous.
``Big Swing Face'' is a whole different matter, however, and is Hornsby's farthest step afield. There's less piano -- far less piano - this time out, and more guitar. There are loops, samples and other technological ``chicanery'' (in Bruce's words) to create an assortment of moods and textures. And there's a spirited lightness of tone and irreverence with the language that forms a nice complement to the detailed narratives and character studies that have been the stock in trade of Hornsby's previous efforts.
What it does retain, however, is the rich melodicism that's always inherent in Hornsby's music -- even his most avant-garde pieces. ``My whole approach is I just want to like it,'' Hornsby explains. ``This is generally a very different, sort of quirkier record. Songwriting-wise, I did have more fun. I didn't drive myself crazy; I just wanted to write some funny shit. So it was liberating. It just took me to a different place musically, which led me to a different lyrical space as well.''
``Big Swing Face'' was actually not the album Hornsby set out to make. He planned to follow the 2001 live album ``Bring on the Noisemakers'' with a song cycle about his twin sons, now age 10, and was working on it in earnest when his A&R rep, David Bendeth, came to Williamsburg to hear the new music and to produce an ``oddball little song'' that Hornsby had also cooked up. ``So he listens to the stuff and he goes `Great songs. Big fuckin' deal,' '' Hornsby recalls with a laugh. ``I go `What do you mean?' He says `Well, it's sorta like the same thing. The songs are really great. I think you've written some great things here. But it's not, like, anything particularly new.'
``So he unloads this sort of vibe on me. Then we work on this other tune, and I loved what he did with it. I loved the way he made this other song sound.''
That song was ``So Out,'' which became the lynch pin for ``Big Swing Face.''
Hornsby and David Bendeth decided to put the other album on hold -- Hornsby plans to finish it in the near future -- and follow this new path that Hornsby acknowledges was both exciting and daunting.
``It's a standard artistic ploy to say `Screw the A&R guy' and `It's my way and I have the artistic vision -- this is what I'm gonna do, and I hope you like it,' sort of thing,'' Hornsby notes. ``But (`So Out') made me curious about going down this sort of left-field road and doing these things I'd always wanted to do sonically on my records, but I didn't know how to do it before and never really worked with anybody who could do it me. So we started down the long road towards this record.''
Recorded in fits and spurts between November 2000 and November 2001, ``Big Swing Face's'' 11 songs wind themselves through a variety of sonic paths that range from the wiggling electric groovery of ``So Out'' and ``Sticks & Stones'' to the moody soulfulness of ``The Chill'' and ``This Too Shall Pass,'' the jazzy, polyrhythmic swirl of the title track and the funky drive of ``Cartoons & Candy'' and ``Try Anything Once.''
The tracks are fortified by members of Hornsby's touring band and by guest guitarist Steve Kimock, who worked with Hornsby in the ad hoc Grateful Dead group The Other Ones. Also popping up on ``Big Swing Face'' is Floyd Hill, Jr., a 70-year-old Hornsby family friend in Williamsburg who co-wrote and raps on the song ``No Home Training.''
Hill's contribution is indicative of the lyrical course Hornsby took with much of ``Big Swing Face,'' a down-home approach informed by the vernacular he was exposed to as a teenager. ``I was the only white guy on the basketball team,'' says Hornsby, who moved from private school into a public high school. ``I was thrust totally headlong into this rural black culture of my town, and it's been such an influence on me all my life. I still talk shit just like I learned from those guys, and a lot of this record has to do with that. All that stuff, like `Crack ya upside the head,' `Oh God'm kill me daid' (dead) is coming straight out of that.''
Since this album was going in such a different direction, I thought it was a good area to delve into.'' Hornsby has been cutting a wide creative swath since he graduated from the famed University of Miami music school and moved to Los Angeles, where he played in Sheena Easton's touring band but never lost sight of wanting to create his own music. In 1986, as Huey Lewis & the News were taking his ``Jacob's Ladder'' to No. 1 on the Billboard Hot 100, Hornsby reached the top himself with ``The Way it Is,'' a crisp and cinematic narrative about civil rights that was marked by lengthy, jazz-inflected piano passages that sounded completely unlike anything else on the radio at the time. It the first of a string of ambitious compositions that scaled the charts and saturated the airwaves, including tracks such as ``Mandolin Rain,'' ``Every Little Kiss'' and ``The Valley Road.''
``I'm really proud that songs like that could be big hits,'' he says.
Hornsby's boundary-stretching pursuit has continued unabated. While his list of guest appearances is enormous -- including co-writing and performing on Don Henley's Grammy-winning smash ``The End of the Innocence,'' a stint with the Grateful Dead and sessions for Bonnie Raitt, Bob Dylan and others -- Hornsby's own releases have been consistently eclectic and captivating, revealing the head of a pop craftsman and the heart of a virtuosic jazz improvisationalist. ``Scenes from the Southside'' (1988) was another platinum, Top 5 smash. ``A Night on the Town''(1990 - Gold) bristled with live energy. ``Harbor Lights'' (1993 - Gold) painted textured musical pastiches, while ``Hot House'' (1995) had the heart of a juke joint. And the two-CD ``Spirit Trail'' (1998) was a sweeping tour de force of adventurous musicality and pointed lyrical commentary.
Along the way, Hornsby has continued to push himself and add new facets to his craft. Intensive piano studies during the mid-`90s yielded a two-handed playing style that brought additional dynamics and nuances to his playing, while shifts in his band personnel have taken his performances to even greater heights. ``Big Swing Face'' is the latest destination on an already broad creative highway, and while it's admittedly winsome -- ``Any time you start off a record with `scabby head knobby kneed old nappy head,' you know you're not going to too serious a place,'' he notes -- it doesn't abandon the qualities or sensibilities that have made Hornsby a vital and essential noisemaker.
Discography
Official Album Releases
2002 - Big Swing Face
1986 - The Way It Is
1988- Scenes From The Southside
1990 - A Night On The Town
1993 - Harbor Lights
1995 - Hot House
1998 - Spirit Trail (Double Album)
2000 - Here Come The Noisemakers (Live Double LP)
Additional Recording Credits
Bruce Hornsby has appeared on many recordings other than his own albums. Here is a comprehensive listing:
1983 - Mirage A Trois (Yellowjackets Album)
1986 - Shades (Yellowjackets Album)
1986 - Transit (Ira Stein and Russel Walder Album)
1986 - Fore (Huey Lewis & The News) - Huey Lewis & The News recorded Bruce and John Hornsby's "Jacob's Ladder"
1987 - Island In The Sea (Willie Nelson Album) Willie recorded "Nobody There But Me" (written by Bruce Hornsby, John Hornsby, and Charlie Haden), with Bruce Hornsby and The Range playing on the track
1987 - In Vitro (In Vitro Album)
1987 - A Little Bit Closer (Tom Wopat Album)
1987 - From The West (T. Lavitz Album)
1987 - Tribe (Bernie Taupin Album)
1987 - Sirius (Clannad Album) - Bruce played piano, accordion, sang a duet, and was in the video for "Something To Belive In"
1987 - Heroes and Zeros (Glen Burtnick Album)
1988 - Small World (Huey Lewis & The News Album)
1988 - View From The House (Kim Carnes Album)
1988 - The Real Me (Patti Austin Album)
1988 - Paradise Citizens (Randy Bernsen Album)
1989 - The End Of The Innocence (Don Henley Album) - Bruce co-wrote and played piano on the title track
1989 - Will The Circle Be Unbroken, Volume 2 - Bruce performed "The Valley Road" with the Nitty Gritty Dirt Band
1989 - Steady On (Shawn Colvin Album) - Bruce played piano on "Something To Believe In"
1989 - The Other Side of The Mirror (Stevie Nicks Album)
1989 - Various Artists:Greenpeace Rainbow Warriors - Bruce Hornsby and the Range performed "Look Out Any Window"
1990 - Never Change (M.C. Buzz B Album) - Sampled "The Way It Is on the title track
1990 - Under The Red Sky (Bob Dylan Album) - Bruce played piano on "Born In Time", and "T.V. Talkin' Song"
1990 - Live It Up (Crosby, Stills, and Nash Album)
1990 - Rock & Bird (Cowboy Junkies Single)
1990 - River Of Love (David Foster Album)
1990 - Guitar Trouble (Tommy Conwell and the Young Rumblers Album) - Bruce played piano on "I'm Seventeen"
1990 - Any Kind Of Lie (Marti Jones Album)
1991 - Luck Of The Draw - (Bonnie Raitt Album) - Bruce played piano on "I Can't Make You Love Me"
1991 - Storyville (Robbie Robertson Album) - Bruce co-wrote, sang background vocals and played electric piano on the track "Go Back To Your Woods"
1991 - The Fire Inside (Bob Seger Album) Bruce played accordion on "Sightseeing" and piano on "Always in My Heart"
1991 - Infrared Roses (Grateful Dead Album) - Bruce played piano on "Silver Apples Of The Moon"
1991 - 620 W. Surf (Michael McDermott Album) - Bruce played piano on "Fool's Avenue"
1991 - Natural Selection (Dave Samuels Album)
1991 - Busman's Holiday (John Kilzer Album)
1991- Play (Squeeze Album) - Bruce played accordion on "Walk A Straight Line"
1991 - Prince Of The Deep Water (The Blessing Album)
1991 - Pour In The Sky (Liquid Jesus Album) - Bruce played piano and electric piano on four songs
1991 - Music From The Original Motion Picture Soundtrack Backdraft - Bruce performed "The Show Goes On" and "Set Me In Motion"
1991 - Elton John and Bernie Taupin:Two Rooms - Bruce performed "Madman Across The Water"
1991- Music From The Original Motion Picture Soundtrack Switch - Bruce performed "Barren Ground"
1991 - Deadicated (Tribute Album to the Grateful Dead) - Bruce performed "Jack Straw"
1992 - Anything Can Happen (Leon Russel Album) - Bruce co-produced, co-wrote, and played electric piano on five songs
1992 - Fat City (Shawn Colvin) - Bruce played piano and sang background vocals on "Climb On"
1992 - Barren Ground (Daryl Brathwaite Album) - Brathwaite recorded Bruce and John Hornsby's, "Barren Ground"
1993 - Three Flew Over The Cuckoo's Nest (Bela Fleck Album) - Bruce played piano on "Spunky & Clorissa & The Message"
1993 - Worth Waiting For (Jeff Lorber Album)
1993 - Trios (Rob Wasserman Album) - Bruce wrote and played piano on "White Wheeled Limousine" along with Branford Marsalis and Rob Wasserman
1994 - Verve 50th Anniversary Concert - Bruce layed piano on "Yellowstone" with Art Porter, Jeff Lorber, Tom Barney, Omar Hakim, and Don Alias
1994 - Ken Burns Baseball:Soundtrack - Bruce performed "The Star Spangled Banner" with Branford Marsalis
1994 - Push (Bill Evans Album) - Bruce played piano on "If Only In Your Dreams" and "A Simple Life"
1995 - Music From The Original Motion Picture Soundtrack:Clockers - Bruce co-wrote and played piano on the song "Love Me Still" with Chaka Khan
1995 - Tales From The Acoustic Planet (Bela Fleck Album) - Bruce played piano on "The Great Circle Route"
1995 - Road Tested (Bonnie Raitt Album) - Bruce played accordion and sang vocals on "Thing Called Love", piano on "I Can't Make You Love Me", and accordion and vocals on "Angel From Montgomery"
1995 - Mutineer (Warren Zevon Album) - Bruce played accordion on "Monkey Wash, Donkey Rinse" and "Piano Fighter"
1995 - All Of This Love (Pam Tillis Album) "Mandolin Rain"
1996 - The Songs Of West Side Story - Bruce perfomred "Cool" with Patti Austin, Branford Marsalis, and Mervyn Warren
1996 - Mystery Box (Mickey Hart Album)
1996 - Live Art (Bela Fleck Album)
1996 - The Concert For The Rock And Roll Hall Of Fame - Bruce performed "I Know You Rider"
1996 - Music From The Motion Picture Soundtrack:Tin Cup - Bruce wrote and performed "Big Stick" and performed "Nobody There But Me" written by Bruce Hornsby, John Hornsby, and Charlie Haden
1996 - Tha Hall Of Game (E 40 Album)
1996 - Epiphany: The Best of Chaka Khan
1997 - "Dick's Picks" Vol. Nine Grateful Dead
1998 - "Crown Of Jewels" (Randy Scruggs Album) - Bruce wrote and performed on the title song
1998 - "Enchanted" (Stevie Nicks Album) - Bruce performed on "Two Kinds Of Love"
1998 - "Gimme Shelter:The Best Leon Russell" (Leon Russell Album) Bruce co-wrote and performed on "Anything Can Happen" and "Faces of the Children"
1998 - "Soul Connection" (Levi Little Album) Bruce performed on "Tearing Down The Walls"
1998 - 2Pac Greatest Hits (Tupac Shakur Album) "The Way It Is" sampled on "Changes"
1999 - "D'lectrified" (Clint Black Album) Bruce performed on "Dixie Lullaby"
Photo Gallery
http://www.brucehornsby.com/gallery.asp
] Breaking Clay Makes My Day!
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