Jazz / Vocal, Contemporary Jazz, Standards, Vocal Jazz
Diane Schuur - Arranger, Piano, Vocals
Alba Acevedo Design
B.B. King Guitar, Main Performer, Vocals, Performer
Bashiri Johnson Percussion
Brian Ehrlich Assistant Engineer, Engineer, Mixing Assistant
Charles Paakkari Engineer
Chuck Berghofer ?, Bass
Dan Higgins Saxophone
Dan Serrano Art Direction
Dan Wojar Engineer
Dave Grusin Producer, Executive Producer
Diva Gray Vocals (Background)
Don Hahn Engineer
Doug Katsaros Arranger, Synthesizer
Freddie Paloma Design
Gary Foster Saxophone
George Graham Trumpet
George Roberts Trombone (Bass)
Hollis King Art Direction
Jill Dell'Abate Vocals (Background)
Joseph Doughney Producer, Post Production
Karen Kamon Vocals (Background)
Larry Rosen Producer, Executive Producer
Laurie Goldman Design
Lolly Grodner Engineer
Michael Landy Post Production, Producer
Michael Pollard Producer
Patrick Williams Conductor, Arranger
Paul Viapiano Guitar, ?
Phil Ramone Liner Notes, Producer
Randy Waldman Piano, ?, Synthesizer, Arranger
Richard Todd French Horn
Ted Jensen Mastering
Tom Scott Sax (Tenor)
Vaneese Thomas Vocals (Background)
Vinnie Colaiuta ?, Drums
Waldman ?
Warren Luening Trumpet
B.B. King is more than just one of the greatest masters of electric blues guitar; he is also an extraordinarily gifted singer. His talents on his instrument are so great that they tend to eclipse his soulful and sophisticated singing voice, but any who might possibly have doubted his ability will do so no more upon hearing Heart to Heart. On this 1994 release, he joins pop-jazz balladeer Diane Schuur for ten surprising tracks. It is a very moody album, with the overall vibe being mainly of the drown-your-broken-heart-in-gin variety. Some of the string and synth arrangements come off as a little unnecessary, as the music is ably framed by piano, guitar, bass, and drums. However, producer Phil Ramone should be credited for minimizing the schmaltzy moments on Heart to Heart as much as possible, as the music is already treading the fine line between sentiment and drivel. The fine vocal performances by Schuur and King carry much of the music, but drummer Vinnie Colaiuta does the rest. Take, for example, "It Had to Be You." With Doug Katsaros' synth prominently displayed and with the band limping through a Vegas-style funk groove, the drummer's extreme sensitivity and chops enliven the track and not only make it listenable, but one of the high points of the record. Fans of King's blues work may be very surprised by how effectively he slips into the role of balladeer and pop interpreter. To be honest, he does it far more convincingly than Schuur.
---Daniel Gioffre, Courtesy All Music
Diane Schuur
Active Decades: '80s, '90s and '00s
Born: 1953 in Seattle, WA
Genre: Vocal, Jazz
Styles: Ballads, Contemporary Jazz, Standards, Vocal Jazz
Diane Schuur, who has often been on the periphery of jazz, has the potential to be an important jazz singer although she still includes a large dose of pop tunes in her repertoire. Early in her career she had the tendency to screech in her upper register, but with maturity that flaw has largely disappeared and she has become a very impressive singer. Blinded at birth due to a hospital accident, Schuur (who would later be nicknamed "Deedles") imitated singers as a child. She had her first gig at a Holiday Inn when just ten and originally sang country music. The turning point in her career occurred when she sang "Amazing Grace" at the 1979 Monterey Jazz Festival, greatly impressing Stan Getz. After Getz featured her singing at a televised concert from the White House in 1982, Schuur was signed to GRP and began recording regularly. Although her 1987 collaboration with the Count Basie Orchestra was a high point, Diane Schuur's recordings tend to be a mixed success from the jazz standpoint.
---Scott Yanow, All Music Guide |
