Roger Williams Albums (15)
'To Amadeus with Love'
Release Date 9/23/2008
Tracks 10
Label MCA Records
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'Pop Goes the Ivories'
Release Date 1/25/2000
Tracks 12
Label Gold Label
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What The Critics Say
On his 115th album, Roger Williams shows he still has the stuff. Though in his seventies, the man who has played for every president since Harry Truman glides through glissandos and other challenging piano techniques as though he could do it in his sleep. Part Liberace, part Henry Mancini, and part Roger Williams, the live St. Louis audience is treated to classical, bebop, jazz, and cocktail lounge styles, among others. Also, the listener is treated to Williams' dry and self-deprecating humor, though his attempt at leading the audience in song lets listeners know he made a good choice by sticking to the ivories. Known as a pop pianist, his musical interest is actually wide and varied, and thus one hears works such as Brahms' "Hungarian Dance #5," Duke Ellington's "Take the A Train," "My Heart Will Go On" (from Titanic), and, of course, Williams' two biggest hits, "Born Free" ("Star Wars" turned upside down, as Williams describes it) and his signature song "Autumn Leaves." Though, at times, his humor can be a bit corny, such as his Adam and Eve story to lead into "Autumn Leaves," Williams is at the top of his game on this live recording, and his playing is never less than dazzling. Call it showy, call it what you will, he has gotten better with age. Simply put, the man is remarkable at what he does. ~ Michael Ofjord, All Music Guide
'Somewhere in Time'
Release Date 2/10/1994
Tracks 10
Label Bainbridge
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What The Critics Say
His piano embellishments as precise as ever, the great Roger Williams puts his unique style on Paul McCartney classics "My Love," "With a Little Luck," and "Mull of Kintyre" on a double set of vinyl discs that was a product of McCartney's MPL Communications. Distributed by Bainbridge Records, the Ivory Impact album is a sophisticated blend of classic sounds from yesteryear combined with the modern pop of Billy Joel, Christopher Cross, and Marvin Hamlisch. McCartney must have found immense delight in covers of his songs from a man who was the darling of the music establishment in the '50s and equally potent in the conservative end of the entertainment spectrum in the 1960s. It's almost an hour's worth of Roger Williams in the 1980s tackling Hamlisch compositions like "One" and "What I Did for Love" with his usual elegance and charm. "Witchcraft" and the James Bond theme "For Your Eyes Only" merge into this styling effortlessly, while Lionel Richie's "Endless Love" was made for the audience that embraced Williams' keyboard work through the years. Bobby Darin's Top Ten 1960 hit, "Beyond the Sea," is a nice reprise -- more than a reprise, actually, as Williams hit first with it in 1956 when it edged slightly into the Top 40. Spreading the music of a middle-of-the-road artist like Williams across four sides of vinyl might have been too much work for listeners who simply wanted to put on a record and let it spin, though a compact disc can hold all of these sounds efficiently and make for a smoother listening experience. Musically Grade A, as usual, for the maestro. ~ Joe Viglione, All Music Guide
What The Critics Say
In October of 1966, Roger Williams had his seventh Top 40 hit with an instrumental version of the song from the film Born Free. There are four songs from movies on this disc: an elegant "Strangers in the Night" from A Man Could Get Killed, "Edelweiss" from The Sound of Music, and the theme from The Bible. Not content to leave it up to musical sleight of hand à la Liberace, Williams uses the scales to counter the brilliant orchestration which is arranged and conducted by Ralph Carmichael. When tackling a big Frank Sinatra hit, one must pull out all the stops. He takes the Association's "Cherish" and makes it a pure delight. Tension between the piano and the band is precious; Hy Grill's production is outstanding; Roger Williams' touch works so well with the accompaniment that there is drama in the grooves. Some instrumental artists can fall into that "Muzak" trap, but not Williams, "Edelweiss" opening with voices that Ray Coniff was so fond of, but they only come in on the chorus, leaving the music up to the pianist and orchestra. Bobby Hebb's "Sunny" gets a superior treatment. Where Dusty Springfield had orchestration which hinted at the James Bond theme, Ralph Carmichael pushes the orchestra to the limit and this jazz/swing version dances around the nuances of Hebb's composition, the piano dominant with the big band following Roger Williams' lead. Hebb has stated that he's recorded it twice and (outside of live versions) he doesn't want to perform it a third time, but some hip producer could always sample his voice and slip it over this stunning rendition for a few cameo appearances. The song is timeless, and this instrumental in the right film could bring the Born Free album by Roger Williams back into the charts. Where side one had "The More I See You" and five other familiar tunes, the flip has less contemporary melodies, giving the artist a chance to break the confines of the currently familiar. The old chestnut "Dark Eyes" has dark notes, the lower register of the piano getting a workout until the band kicks in. The Sandpiper's "Guantanamera" fits perfectly here, pretty faithful to the Pete Seeger adaptation of Jose Marti's poem -- keep in mind the Sandpipers hit Top Ten in August of 1966, while Williams achieved that same feat two months later with the title track, his version of "Born Free" climbing a bit higher than the Sandpipers. "Hawaii, Pearly of the Sea" takes the sounds from an island in the Atlantic to an island in the Pacific, and the mood shifts accordingly. "Summer Samba" is a bit lightweight when it comes before the grandiose final track, "Theme From 'The Bible,'" but its sure to satisfy fans of the pianist, and the album shows Williams in fine form. ~ Joe Viglione, All Music Guide
