19 Songs, 1 Hour 11 Minutes


Ratings and Reviews

4.1 out of 5
29 Ratings
29 Ratings

You Have Two Compelling ReasonsTo Enjoy Love Will Come

Guaraldi’s unique style of composition is readily recognizable: strong bass lines, frequent cyclical modulations, chords featuring major 9ths (often in place of the 7th typically used in jazz harmonies) and pentatonic scales.

“Fenwyck’s Farfel/Calling Dr. Funk,” track five, is as standout as a somber blues in almost a New Orleans jazz funeral style. “Pebble Beach/Dolores Park” is another atypical selection. It is modern jazz with harmonic progressions reminiscent of Gary Burton’s early work. The title track, “Love Will Come,” is again from “Charlie Brown” and paints an image of the character’s thoughtful reflective nature. It is reprised in variation for the final track, “Love Will Come 2.”

Winston faces two challenges on this CD. First, the compositions are all by a single composer and are extremely familiar from their original context. Second, the entire recording is of solo piano. Given these tight constraints this is a good piece of work. Many of us have an immediate strong and pleasurable nostalgic response to Vince Guaraldi’s “Charlie Brown” sounds. Combine that with Winston’s fine interpretations of some of Guaraldi’s other interesting jazz compositions and you have two compelling reasons to enjoy Love Will Come.

Mike Reynolds


Two Great Artists

I am a big fan of Vince Guaraldi and I am very happy to have a remake of his excellent and almost forgotten work. I have all of George Winston's Solo Piano music so I know his style pretty well. And, I can say with confidence that this album is right in line stylistically with everything he has been doing all along. Many people forget that this artist stared out as a Rhythm and Blues artist. I think some listeners get caught up in the "Seasons" stuff that is really fantastic work but only one part of what he does. This CD is a must have for every fan. I must say it's not his best work since his tempo does not sound right at times. "Your Elected, Charlie Brown" sounds strange rhythmically and "Dilemma" seems a bit off too but yet somehow it still seems to portray George's interpretation of the music.

Andrew Layton

Learn to Appreciate Something Different!

Seriously, if you only want to listen to studio musicians who play the same thing on every album, there are plenty of them to choose from (especially within the solo piano genre).

I was a little puzzled at first when George started doing all this "different" stuff (i.e. the first Vince Guaraldi album), but over time I've come to really appreciate and even enjoy most of it. He has spent the better part of his career studying these other artists, and has said himself that the style on his seasonal albums only accounts for about one third of his focus.

He has been playing many of these new (to him) Vince Guaraldi pieces in concert for a few years, so I've been waiting for this new album for a while. It was definitely worth the wait. The album kicks off with one of my favorites, Time for Love, and keeps me engaged to the end. As others have mentioned, he occasionally plays fast-and-loose with the left-hand rhythm, but I think that's just part of the New Orleans stylistic influence coming through.

All things considered, it's not his best, but then again it would be a challenge for any musician to top masterpieces like December and Forest. I recommend enjoying it for what it is, and maybe you will learn to like something new.

About George Winston

Self-described "rural folk piano" player George Winston was among the earliest and most successful proponents of the genre of contemporary instrumental music later dubbed new age. Although born in Michigan in 1949, he was raised primarily in Montana, the extreme seasonal changes he experienced there later greatly influencing the pastoral feel of his music. Even as a child, Winston preferred instrumental music over vocal performances, counting among his early heroes Booker T. & the MG's, Floyd Cramer, and the Ventures; he did not take up music until after high school, however, beginning with organ and electric piano but moving to acoustic piano by 1971. Influenced by the stride piano of Fats Waller and Teddy Wilson, Winston turned from rock and R&B to jazz, and soon released his first solo piano effort, Ballads and Blues 1972, after which he mysteriously retired from music for the next several years.

Discovering the music of the legendary New Orleans R&B pianist Professor Longhair in 1979 was the epiphany Winston was seeking to inspire a return to performing; signing to the Windham Hill label, between 1980 and 1982 he recorded a trilogy of albums -- Autumn, December, and Winter into Spring -- of impressionistic, seasonally themed piano musings that laid much of the groundwork for the new age boom to follow. Winston's music continued to grow in popularity and influence in the years to follow, but in typically enigmatic fashion, he virtually dropped from sight for the remainder of the '80s, resurfacing only in 1986 to score a reading of The Velveteen Rabbit by actress Meryl Streep.

Finally, in 1991, Winston returned to action, completing his seasonal cycle with Summer; Forest followed three years later. In 1996, he paid tribute to another of his greatest influences with Linus & Lucy: The Music of Vince Guaraldi. A compilation album, All the Seasons of George Winston, was released in the spring of 1998, followed a year later by Plains. The new millennium brought anniversary editions of several of his landmark albums, including Autumn, December, and Winter into Spring, as well as the 2001 album Remembrance: A Memorial Benefit, which was Winston's response to the tragic events of September 11, 2001. His 2002 release, Night Divides the Day, focused on the music of one of his earliest influences, the Doors. Montana: A Love Story from 2004 was inspired by Winston's childhood in Montana. An impressive solo piano outing, Gulf Coast Blues & Impressions, released as a benefit set for hurricane relief, appeared from RCA in 2006.

Winston continued to perform solo, but didn't cut another record until Love Will Come: The Music of Vince Guaraldi, Vol. 2 appeared in 2010. Winston toured in support of the album, playing solo piano concerts as well as performing on slack key guitar and harmonica. In the aftermath of the Deepwater Horizon's explosion and its resultant massive oil spill and environmental disaster in 2010, Winston monitored the situation closely and became deeply concerned about the loss of the wetlands in Southern Louisiana. In response, he issued another benefit recording, entitled Gulf Coast Blues & Impressions, Vol. 2: A Louisiana Wetlands Benefit, in March 2012 in order to help with funding bluesman Tab Benoit's The Voice of the Wetlands organization and other environmental concerns resulting from the crisis. In 2015 Winston underwent a successful bone marrow transplant to combat myelodysplastic syndrome, an illness that can sometimes lead to leukemia. Two years later he released the cancer research benefit LP The Spring Carousel. ~ Jason Ankeny

New Age



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