Piano plays a key part

Saturday October 30, 2010

Tony Magee, pianist, performer, music educator, piano tuner and retailer at a Yamaha C6 piano at DW Music, Fyshwick ACT

by Philip O’Brien

Canberrans have always had a special relationship with the piano. In fact there’s long been a feeling that there are more pianos sold in this city than anywhere else in Australia. Yet it wasn’t until recently that this was confirmed.

The Yamaha Music Australia annual national conference , held in Melbourne in July, concluded with the announcement of the national dealer sales awards for 2009-2010.

Canberra retailer Davis Wheeler Music [Ed: now DW Music] won awards for the highest piano sales in Australia, for both acoustic (upright and grand) as well as digital pianos.

Considering the size of Canberra’s population, relative to other capital cities, it’s a remarkable achievement.

And it can be explained by reasons relating to Canberra’s history and development: an interest from its earliest days, in culture and the arts; higher average incomes than other cities; excellent standards of musical education in Canberra’s schools; and the fact that a proportion of the city’s population turns over each year. As a related phenomenon, there’s also the emergence of Canberra as a focal point for heritage keyboard instruments, research and performance. But more of that later.

Davis Wheeler Music’s Tony Magee says, “For Canberra to have embraced the piano with such continued enthusiasm, outselling large cities such as Sydney or Melbourne, is a reflection of how culturally aware people are here.”

Magee, also an event producer, agent and pianist, has accompanied performers including Toni Lamond, Gery Scott, Stephen Pike, Ian Croker, Bronwyn Sullivan and Geraldine Turner as well as being engaged as supporting artist to Shirley MacLaine and Dionne Warwick. “As a pianist myself, it gratifies me that traditional artistic values - such as the place of the piano in the life of the city - rate so high in Canberra.”

Davis Wheeler, one of a number of piano retailers in Canberra, has been established for ten years and principally sells Yamaha pianos as well as a range of other instruments. Magee says that new upright pianos cost between $4500 and $18,000 while new grands range from $13,000 to $350,000. “Even for the cheapest instrument, that’s a big investment and it represents a serious commitment to music.”

But why are more pianos sold in Canberra than in any other Australian city? One reason may be the significant role of music in the development of Canberra. “Right from the late 1920s, music was an important way of helping Canberrans settle in this city and enjoy themselves,” Magee says. “From dances at the Albert Hall to classical concerts and live jazz, music has been a civilising influence and the piano has been a key part of that.”

Allied with a strong interest in the arts and music is the fact that Canberra enjoys the highest average income per capita in Australia. “Canberra is a well-educated city with a cultural and intellectual life that sets it apart from any other city in Australia,” Dr Geoffrey Lancaster, of the ANU School of Music’s Keyboard Institute, says. “It’s also a city with more income to spend on concert going and music.”

And that also means piano purchases.

Another reason is that Canberra has a shifting population, with each year bringing new arrivals and potential customers of music and culture. One interesting pointer to this is the number of pianos moved in and out of the city each year.

Peter and Mataina Rowzoski, of local piano firm Beethoven Piano Removals, estimate that they shift some 1500 pianos annually, ranging from upright pianos weighing 110 to 150kg to grand pianos weighing 180 to 400kg. Their busiest time is Christmas and the New Year with many of these deliveries being new and second-hand pianos purchased by Canberra families and schools.

In fact, the role of Canberra’s education system also explains the importance of the piano in this city, Magee says, who was previously also a high school music teacher and now sells and tunes pianos in local schools. “So many Canberra schools have flourishing music departments. There’s an enormous enthusiasm for music education here. Some schools also have private piano tuition as part of their curriculum. And parents are supporting that with private piano purchases.”

There’s also a large number of private piano teachers in Canberra.

Christine Faron, a performer and recording artist with national and international experience, teaches from her studio in Aranda. “Half of my students are adults who are learning for their own enjoyment.” she says, “Whether professionals with stressful jobs who want something for relaxation of retirees who have always wanted to take up the piano but never had the opportunity until now.”

One of her students is Robin Bedding, 70, semi-retired from a career with CSIRO entomology. He has had an interest in music all his life and, when he left full-time work, purchased a grand piano and came to Faron for lessons. “There might be physical activities I can’t do any more. but the piano keeps me mentally agile,” he says. “It’s an opportunity for me to do something better than I’ve ever done. Apart from family, the piano is the most important thing in my life.”

The role of the Canberra School of Music in fostering the development of piano scholarship and performance in this city is also crucial, including the influence of teachers such as Lancaster, Wilfrid Holland and Larry Sitsky. What’s interesting is that Canberra has also become a focal point for historical keyboard instruments. 

This follows the establishment of the ANU Keyboard Institute in 2004 at the School of Music, providing an Australian Centre for research into historical keyboard performance and Australian composition for piano.

Lancaster - teacher, performer and early music specialist - says that the Keyboard Institute collection is Australia’s largest working resource of historical keyboard instruments. “Already, we have 32 historical pianos, including the first piano to come out to Australia on the flagship Sirius, with a further 900 historic keyboard instruments offered to us from all over Australia.”

Many of these historic instruments have come to Lancaster from private enthusiasts, such as a piano restorer, Andrew Nolan. Recently relocated to Canberra, Nolan is, by day, a medical practitioner with Directions ACT, a drug, alcohol, support and counselling service. His piano restoring takes a lot of his spare time. “I’m interested in pianos mostly from the late 18th and early 19th centuries, hand-made from before the Industrial Revolution.” he says. “I think it’s important these instruments are kept together, preserved and used for further education, rather than dispersed as home decor pieces.”

His work involves replacing perishable parts, such as cloth and worm eaten timber, as well as making new parts for the workings of an instrument. “It’s interesting that the pianos I repair were regarded, 200 years ago, in the same matter-of-fact way as the upright pianos in family homes today.”

But those family uprights still require regular tuning. Despite the large number of piano sales in Canberra, there are only a handful of piano tuners to match. And it’s a national shortage, according to local craftsman Geoff Pogson, whose family has been tuning pianos for four generations.

“Most piano tuners are older and not being replaced by a new generation.” he says. “Canberra has five fewer tuners than a decade ago but many more pianos to service. Our guild for NSW and the ACT has 70 members of whom only 10 are under the age of 40.”

Pogson, whose grandfather Les also played piano in dance bands at the Albert Hall in the 1930s and 40s, says that the main problem is the absence of training facilities. “There’s nowhere to study piano tuning. The Sydney Conservatorium dropped its course last year.” And it’s been made worse he says, by the Federal Government reducing the number of occupations - including piano tuners - given assisted entry into Australia via the skilled migration program.

Despite this, the healthy sales of pianos in Canberra continue. “A lot of our acoustic piano sales are to families with children wanting to learn.” Magee says. “And it often happens that, when the piano gets into the household, the parents want to learn as well. So the piano becomes a very family focussed thing, something that everyone can enjoy.”

First published in The Canberra Times Panorama section, October 30, 2010

The piano tuner - Nada Jasz

Saturday October 30, 2010

 by Philip O'Brien

Reprinted from The Canberra Times, Panorama, October 30, 2010

Up close and musical - Steinway grand piano #1 (1836)

Tonight is the night for piano aficionados to get up close and historical with a replica of the first Steinway grand piano ever made.

Modelled on Heinrich Steinway’s original design, built in 1836, this replica of his magical #1 piano was meticulously created by Belgian master piano builder Chris Maene.

Experts were brought in to X-ray the #1 so that wood from the same forests could be used.

Tonight, Larry Sitsky and Arnan Wiesel will perform on the new instrument and afterwards audience members are invited to tinkle the keys - as close as one gets, since the original Steinway #1 is with Steinway & Sons New York and cannot be touched or played by anyone.

At 7pm in Rehearsal Room 3, ANU. Phone 1300 199 589 or email jessica@exclusivepianogroup.com.au  

The event is free.

Published in the The Canberra Times Panorama, March 6, 2010

Ed: Also at the event were a Steinway Square piano from the late 1800s, an 1877 Steinway concert grand and a modern Steinway D concert grand. I was allowed to play the 1877 grand, performing themes from the third movement of Rachmaninov’s Piano Concerto No. 2.

from The Canberra Times, March 3, 2010

The Chris Maene Steinway #1 replica, completed in 2008

Elton John and Leon Russell - The Union. Album release 2010 Decca Records

A UNIVERSAL MUSIC COMPANY

Elton John writes (from the CD liner notes):

In 2008 I was on the first episode of Spectacle, a music program with Elvis Costello that I produce with my partner David Furnish. I talked about three singer/songwriters that I thought had been forgotten; Leon Russell was one of them. The other two were Laura Nyro and David Ackles, who have both passed away. During that show I made up a kind of Leon Russell song at the end and thought no more about it. David, because he didn't know about Leon Russell's music or Laura Nyro or David Ackles, bought their CDs and put them on his iPod. Fast forward to January 2009 in South Africa on safari: David and I are getting ready for lunch, he's playing his iPod, and he's playing Leon Russell's "Retrospective" and I'm sitting there listening to it and suddenly I burst into tears and I start sobbing uncontrollably. David said, 'What the hell is the matter?' and I said, 'His music takes me hack to one of the most beautiful and fantastic times of my life. It's not fair that people have forgotten about how wonderful this man's music was and that makes me angry.'

Leon Russell was my biggest influence in the late 60s and early 70s, from a piano-playing point-of-view and from a vocal point-of-view.

'I've been influenced by a lot of other piano' players too, but Leon was my man; he was the master as far as I was concerned. And I got to meet him. He was in the Troubadour club on the second night I played there in 1970.

I saw him sitting in the audience and I was petrified because he was my idol. You couldn't miss him; he was such an incredible looking man with his silver hair and his dark glasses, He was so kind to me from the word 'go' and we did concerts together. We did the Fillmore East. We did other dates together and for me that was a dream come true to actually play with him, and for him to be so nice to me.

We were two people happening at the same time, being successful at the same time. He was the greatest band leader of his era. He did Delaney & Bonnie and Joe Cocker with Mad Dogs and Englishmen and then his own records and then, of course, the Concert for Bangladesh, which was one of the best live concerts ever and probably the first charity record ever made from a charity concert.

Anyway, then I lost touch with Leon and our paths kind of went different ways. And until I did the Spectacle program, I never really thought about getting in touch with him even though I listened to his records constantly throughout the years that we'd been apart. I think 37 years. I phoned Johnny Barbis who is my U.S. manager and who has been working with me for about 30 years. He used to work with Leon Russell in the days of Shelter Records. I told him the story and I said, 'You know, I've got to talk to Leon.' So, he got a number for me for Leon, who was living in Columbia outside of Nashville in Tennessee. And I phoned Leon up and he was very sweet. He said, 'Thank you for the Elvis Costello show, bless your heart,' and I said, 'What have you been doing?' and he said, 'I've just been writing, riding in my bus, playing shows, doing this and that, making my records and selling them on the Internet.' I said, 'When I come to America, I'd love to see you and catch up and have dinner,' and he said, 'Well, I'd like that too.' So, I put the phone down and I said to David, 'You know, that's not the reason I called him.' So I phoned Johnny Barbis back and I said, 'Johnny, can you get me a number for T Bone Burnett?'

Now, T Bone Burnett is one of my favorite producers, but I'd never spoken to him.

I called him and I told him the story, like I'm telling you now, about how I broke down and how he was my idol and I said, 'Would you ever consider making a record with the two of us?' And he said, 'Well having heard that story, I'd love to.' So that kind of got the ball rolling and then I phoned Leon back and I said, 'Would you like to do a record?' and he said, 'Well do you think I can?' and I said, 'Of course you can.' I said T Bone would do it and Leon said, 'Let's do it!' So he was very excited and I was very excited.

He came to Las Vegas while I was finishing up the Red Piano show and we met and we talked and it was great to see him. And then Bernie Taupin and Johnny Barbis went to Austin to see him. And suddenly the seeds were being planted to make this record.

We were originally going to make the record in January 2010 and start writing then as well, but in October of last year, Billy Joel got sick and canceled the northwestern part of the American tour, so I thought, I'm going to go to Los Angeles and go into the studio with T Bone, Bernie and Leon and start seeing if we could write some songs. Bernie had some lyrics ready and we came into the studio - The Village Recorder in Los Angeles - and we sat in the control room talking about music, and it wasn't until T Bone played a video of Mahalia Jackson singing "Didn't It Rain" at the Newport Jazz Festival that the ice was broken. Leon and I have a deep love of gospel music. I went out to the piano and started writing a song called "A Dream Come True," and then Leon came and started playing with me and then the two pianos sounded so great, so we knew that would work. And then we sang together and all of a sudden, the ice really was broken. Not that it was ice in a bad way, but it was awkwardness. And suddenly the album was definitely on and it was just gung-ho from that point on.

During those four days, ten songs were written. Leon had already written one song with Bernie called "I Should Have Sent Roses." Leon and I wrote a couple of songs together, so in that period of time we had ten songs written before we convened in January of 2010. We came to Los Angeles to record but Leon had to have a major operation a week before we made the record; the operation lasted 5-1/2 hours and was very debilitating for him. He came into the studio a week later and would stay for two or three hours playing his part, singing his part, maybe writing a song here and there. And a week later, he was doing the Grammys with Zac Brown and we were doing the MusiCares concert for Neil Young and gradually people came into the studio and found out that Leon was in town. Ringo, Sharon Stone, Stevie Nicks, Grace Jones and LeAnn Rimes came by the studio. Brian Wilson came and sang on the record because Leon had played on a lot of The Beach Boys records. All of a sudden, this man who was very frail, because of his illness, and who had been forgotten about, suddenly got his confidence again and started to play the grand piano instead of the electric piano, and all his great piano playing came flooding back and we made this incredible record. When I say incredible, it's incredible because the music I think is pretty fantastic, but more so, it's the most poignant journey of someone who had been lost in the consciousness of American music and who is going to come back now into the forefront of American music; someone who was a giant, who had written so many beautiful songs, was a great composer, a great arranger and had played on SO many people's records, including all the Phil Spector records.

You know, his CV (curriculum vitae) is amazing and I'm here making a record with my idol and, to be honest with you, what happened was it brought someone back to life. It gave him the confidence and love from his people who were his peers (for instance, Jim Keltner, who played drums on the record used to be in Leon's band). So, with the quality of musicians he was playing with on this record, he finally got the confidence and the love that he should have had for a long time. And I can honestly say, of all the records I've made - and I've made so many records with so many wonderful memories - this one stands out because not only was I making a record with my idol, I was also working with T Bone Burnett, who is also an idol of mine and my dear partner Bernie's. And what ensued was probably one of the most personal and wonderful stories that you're ever going to hear in music: someone coming back from not the dead, but more or less the dead, to become someone who is claiming his rightful place in American music, and I'm so proud of him for doing that. I just got to know and love this man so much and this album is the result of what went on.

And in March 2010, I'm sitting in the same room on safari, 12-to-14 months later, and I have the album recorded and it's one of these things that was meant to be. From Spectacle and David playing his iPod, to me having the courage to go ask for his phone number and phoning Leon up, then T Bone, then Billy canceling; all these things lined up with the stars to make this record. I'm so proud of it, but most of all, I'm proud of Leon for coming back and proving to us all what a wonderful and incredible artist he is.

- Elton John 

Production and Personnel

Producer: T Bone Burnett

Executive Producers: Elton John & Johnny Barbis

Mixed by: Mike Piersante

Recorded by: Mike Piersante, Jason Wormer

Additional Engineering: Kyle Ford, Mark Lambert, Ben McAmis

Assistant Engineers: Vanessa Parr, Chris Owens, Kory Aaron, Brett Lind

Editing: Jason Wormer

Recorded and Mixed at: The Village Recorder, Los Angeles, CA

Additional Recording at: Quad Studios, Nashville, TN, and Silent Sound Studios, Atlanta, GA

Guitar Technician: Paul Ackling

Music Transcriptions: John & Julie Eidsvoog at Singing Potato, Inc.

Mastering: Gavin Lurssen at Lurssen Mastering, Hollywood, CA

Production Coordinators: Ivy Skoff, Jon Howard & Adrian Collee

Design: Peacock

Photography (cover art / p.6-7 / booklet back cover): Annie Leibovitz

Additional Photography (gatefold portraits / booklet inside front cover / p.5):  Joseph Guay

Photography of T Bone Burnett (p.13): Frank Ockenfels

Photograph of a young Leon Russell (gatefold) courtesy of: Steve Todoroff

Elton John Management: Rocket Music Entertainment Group

Leon Russell Management: Johnny Barbis

T Bone Burnett Management: Larry Jenkins

Assistant To T Bone Burnett: Jessica C. Mitchell

Elton John plays Yamaha pianos

This CD was recorded using Yamaha HOI and DC7 pianos played by Leon Russell

______________________________________________________________________

Special Thanks: Maurice Patist, Peter Thomas, and everyone @ PMC Speakers 

The Union - track listing

Elton John and Leon Russell

Decca Records

B0014921-02

______________________________________________________________________

1. IF IT WASN'T FOR BAD

Written by: Leon Russell

Young Carney Music (ASCAP)

Leon Russell - Piano and Vocals

Elton John – Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Booker T. Jones - B3

Keefus Ciancia – Keyboards

Darrell Leonard - Trumpet, Bass Trumpet

Ira Nepus – Trombone

Maurice Spears – Trombone

George Bohanon - Trombo'ne, Baritone Horn

William Roper – Tuba

Alfie Silas Durio, Judith Hill, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Horns Arranged and Conducted by Darrell Leonard

Background Vocals Arranged by Leon Russell

Background Vocals Conducted by Bill Maxwell

2. EIGHT HUNDRED DOLLAR SHOES

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Jnc) (BMl}/ Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John – Piano and Vocals

Leon Russell – Piano and Vocals

Jim Keltner – Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Keefus Ciancia – Keyboards

Bill Cantos, Louis Pardini, Jason Scheff, Tata Vega - Background Vocals

Background Vocals Arranged and Conducted by Bill Maxwell

3. HEY AHAB

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (BMl)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Mike Piersante - Tambourine

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

T Bone Burnett - Electric Guitar

Keefus Ciancia – Keyboards

Tanya Balam, Bill Cantos, Alfie Silas Durio, Judith Hill, Kellye Huff, Perry Morgan, Tiffany Smith, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Background Vocals Arranged and Conducted by Bill Maxwell

4. GONE TO SHILOH

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (BMl)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Neil Young – Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Keefus Ciancia - Keyboards;

Jason Wormer - Dulcimer

Darrell Leonard – Trumpet

Ira Nepus – Trombone

Maurice Spears – Trombone

George Bohanon - Trombone, Baritone Horn

William Roper - Tuba

Horns Arranged and Conducted by Darrell Leonard

5. JlMMIE RODGERS' DREAM

Written by: Elton John, Bernie Taupin & T Bone Burnett

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (EMI)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP), Henry Burnett Music (administered by BUG) (BMI)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Debra Dobkin - Beaded Gourd

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

T Bone Burnett - Electric Guitar

Russ Pahl - Pedal Steel

Keefus Ciancia – Keyboards

Bill Cantos, Louis Pardini, Jason Scheff, Tata Vega – Background Vocals

Background Vocals Arranged and Conducted by Bill Maxwell

6. THERE'S NO TOMORROW

Written by: Elton John, Leon Russell, James Timothy Shaw & T Bone Burnett

HST Publishing Limited (administered by Universal Songs of Polygram, International Inc) (BMI), Young Carney Music (ASCAP), EMI Longitude Music (BMI), Henry Burnett Music (administered by BUG) (BMI)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot - Guitar

Robert Randolph - Pedal Steel

Keefus Ciancia – Keyboards

Martin Grebb – Keyboards

Alfie Silas Durio, Judith Hill, Tata Vega, Jean Witherspoon - Background Vocals

Background Vocals Arranged by Leon Russell

Background Vocals Conducted by Bill Maxwell

7. MONKEY SUIT

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (BMI)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellarose - Drums, Percussion

Mike Piersante - Tambourine

Dennis Crouch – Acoustic Bass

Marc Ribot – Guitar

Robert Randolph – Pedal Steel

Keefus Ciancia – Keyboards

Darrell Leonard - Trumpet, Bass Trumpet

Jim Thompson – Saxophone

Joseph Sublett – Saxophone

Thomas Peterson - Saxophone

Tanya Balam, Bill Cantos, Alfie Silas Durio, Judith Hill, Kellye Huff, Perry Morgan,

Tiffany Smith, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Horns Arranged and Conducted by Darrell Leonard

Background Vocals Arranged and Conducted by Bill Maxwell

8. THE BEST PART OF THE DAY

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (HMI)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Booker T. Jones - B3

Keefus Ciancia - Keyboards

Bill Cantos, Louis Pardini, Jason Scheff, Tata Vega - Background Vocals

Background Vocals Arranged and Conducted by Bill Maxwell

9. A DREAM COME TRUE

Written by: Elton John and Leon Russell

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (BMI) & Young Carney Music (ASCAP)

Elton John - Piano and Vocals

Leon Russell- Piano and Vocals

Jim Keltner – Drums, Percussion

Jay Bellerose – Drums

Rose Stone – Tambourine

Mike Piersante, Jason Wormer, Kyle Ford - Hand Claps

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Keefus Ciancia – Keyboards

Alfie Silas Durio, Judith Hill, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Background Vocals Arranged by Leon Russell

Background Vocals Conducted by Bill Maxwell

10. WHEN LOVE IS DYING

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram International Inc) (BMI)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass;

Marc Ribot – Guitar

T Bone Burnett -  Electric Guitar

Keefus Ciancia Keyboards; Bill Cantos,

Alfie Silas Durio, Judith Hill, Louis Pardini, Jason Scheff, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Brian Wilson - Background Vocals and Vocal Arrangement

Additional Background Vocals Arranged and Conducted by Bill Maxwell

11. I SHOULD HAVE SENT ROSES

Written by: Leon Russell and Bernie Taupin

Young Carney Music (ASCAP) & Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keitner – Drums

Jay Bellerose – Drums

Don Was - Bass

Doyle Bramhall II - Guitar

Booker T. Jones - B3

Keefus Ciancia – Keyboards

Darrell Leonard - Trumpet, Bass Trumpet

Ira Nepus – Trombone

Maurice Spears - Trombone

George Bohanon – Trombone, Baritone Horn

William Roper – Tuba

Jim Thompson – Saxophone

Joseph Sublett – Saxophone

Thomas Peterson - Saxophone

Horns Arranged and Conducted by Darrell Leonard

12. HEARTS HAVE TURNED TO STONE

Written by: Leon Russell

Young Carney Music (ASCAP)

Leon Russell - Piano and Vocals

Elton John - Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Don Was – Bass

Davey Faragher - Bass

Doyle Bramhall II - Guitar

Booker T. Jones - B3

Keefus Ciancia – Keyboards

Darrell Leonard – Trumpet

Jim Thompson- Saxophone

Joseph Sublett – Saxophone

Thomas Peterson - Saxophone

Alfie Silas Durio, Judith Hill, Tata Vega, Jean Witherspoon - Background Vocals

Horns Arranged and Conducted by Darrell Leonard

Background Vocals Arranged by Leon Russell

Background Vocals Conducted by Bill Maxwell

13. NEVER TOO OLD (TO HOLD SOMEBODY)

Written by: Elton John & Bernie Taupin

HST Publishing Limited (administered by Universal Songs of Polygram international inc) (BMI)/Rouge Booze Inc (administered by Universal Polygram International Publishing Inc) (ASCAP)

Elton John - Piano and Vocals

Leon Russell - Piano and Vocals

Jim Keltner - Drums, Percussion

Jay Bellerose - Drums, Percussion

Dennis Crouch - Acoustic Bass

Marc Ribot – Guitar

Keefus Ciancia – Keyboards

Bill Cantos, Alfie Silas Durio, Judith Hill, Louis Pardini, Jason Scheff, Tata Vega - Background Vocals

Background Vocals Arranged and Conducted by Bill Maxwell

14. IN THE HANDS OF ANGELS

Written by: Leon Russell

Young Carney Music (ASCAP)

Leon Russell - Piano and Vocals;

Martin Grebb – Keyboards

Drew Lambert - Electric Bass

Tanya Balam, Bill Cantos, Alfie Silas Durio, Judith Hill, Kellye Huff, Perry Morgan, Tiffany Smith, Rose Stone, Tata Vega, Jean Witherspoon - Background Vocals

Background Vocals Arranged by Leon Russell

Background Vocals Conducted by Bill Maxwell

Reproduced from AlbumLinerNotes.com