1 Stranger on the Shore '90
 2 Right Here Waiting
 3 Room in Your Heart
 4 A Smack a Latin
 5 Another Day In Paradise
 6 Don't Know Much
 7 After Midnight
 8 Don't Wanna Lose You
 9 How Am I Supposed To Live Without You
 10 I'm Not In Love
 11 The Best Of Me
 12 Anything For You - Love on a Summer Night
 13 Disney Girls
 14 If Leaving Me Is Easy
 15 When Summer Comes
 16 Traces Of Dreams - Wind Beneath My Wings

Acker Bilk -- or Mr. Acker Bilk, as he was billed -- has won immortality on rock oldies radio for his surprise 1962 hit "Stranger on the Shore," an evocative ballad featuring his heavily quavering low-register clarinet over a bank of strings. To the jazz world, though, he has a longer-running track record as one of the biggest stars of Britain's trad jazz boom, playing in a distinctive early New Orleans manner. After learning his instrument in the British Army, Bilk joined Ken Colyer's trad band in 1954 before stepping out on his own in 1956. By 1960, a record of his, "Summer Set" -- a pun on the name of his home county -- landed on the British pop charts, and Bilk was on his way, clad in the Edwardian clothing and bowler hats that his publicist told his Paramount Jazz Band to wear. Several other British hits followed, but none bigger than "Stranger," which Bilk wrote for his daughter Jenny. The single stayed 55 weeks on the British charts and crossed the sea to America, where it hit number one in an era when radio was open to oddball records of all idioms (Bilk gratefully called "Stranger" "my old-age pension"). Released on English Columbia in Britain, several Bilk albums came out in America on the Atco label, and he continued to have hits until the British rock invasion of 1964 made trad seem quaint. With that, Bilk moved into cabaret and continued to have some success in Europe, leading jazz bands, recording with lush string ensembles, and even scoring another hit, "Aria" (number five in Britain), in 1976. Continuing to perform through the 2000s, Bilk slackened his pace so that he could pursue, like Miles Davis, a hobby of painting. --- Richard S. Ginell, All Music Guide

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01. Stranger On The Shore
02. Summertime
03. Night And Day
04. I Wonder Who's Kissing Her Now
05. Long Ago (And Far Away)
06. Fly Me To The Moon (In Other Words)
07. Body And Soul
08. Stardust
09. Embraceable You
10. I'll Get By
11. That Old Devil Called Love
12. Ole Buttermilk Sky
13. Pennies From Heaven
14. South Of The Border
15. Try A Little Tenderness

For many, Jazz clarinet is synonymous with one man: Acker Bilk. His unique tone, rich, versatile and as expressive as the human voice, has become a benchmark against which other Jazz clarinetists are measured. In the '60s Bilk became a cult figure, a popularity matched by some stunning chart successes. This collection of great standards was recorded in 1995, and demonstrates that Bilk's apparently effortless delivery of melody, and his ability to draw from the clarinet a wealth of colors and tones, remain apparently unquenchable. EMI Gold. 2007. ---amazon.com

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01.Stranger on the shore  
02.Jean  
03.Windmills Of Your Mind  
04.Yesterday 
05.Words
06.Aria 
07.Misty  
08.Until It's Time For You To Go
09.Close to you  
10.If you go away
11.Amazing grace 
12.Bridge Over Troubled Water
13.This Guy's In Love With You 
14.Feeling  
15.Clair  
16.You Light Up My Life
17.When A Child Is Born
18.What A Wonderful World
19.Miss you nights
20.Aranjuez, mon amour

Acker Bilk -- or Mr. Acker Bilk, as he was billed -- has won immortality on rock oldies radio for his surprise 1962 hit "Stranger on the Shore," an evocative ballad featuring his heavily quavering low-register clarinet over a bank of strings. To the jazz world, though, he has a longer-running track record as one of the biggest stars of Britain's trad jazz boom, playing in a distinctive early New Orleans manner. After learning his instrument in the British Army, Bilk joined Ken Colyer's trad band in 1954 before stepping out on his own in 1956. By 1960, a record of his, "Summer Set" -- a pun on the name of his home county -- landed on the British pop charts, and Bilk was on his way, clad in the Edwardian clothing and bowler hats that his publicist told his Paramount Jazz Band to wear. Several other British hits followed, but none bigger than "Stranger," which Bilk wrote for his daughter Jenny. The single stayed 55 weeks on the British charts and crossed the sea to America, where it hit number one in an era when radio was open to oddball records of all idioms (Bilk gratefully called "Stranger" "my old-age pension"). Released on English Columbia in Britain, several Bilk albums came out in America on the Atco label, and he continued to have hits until the British rock invasion of 1964 made trad seem quaint. With that, Bilk moved into cabaret and continued to have some success in Europe, leading jazz bands, recording with lush string ensembles, and even scoring another hit, "Aria" (number five in Britain), in 1976. Continuing to perform through the 2000s, Bilk slackened his pace so that he could pursue, like Miles Davis, a hobby of painting. --- Richard S. Ginell. All Music Guide

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1 Acker Bilk - Imagine (3:27)
2 Acker Bilk - Michelle (2:55)
3 Acker Bilk - Woman (3:35)
4 Acker Bilk - World Without Love (2:59)
5 Acker Bilk - Fool On The Hill (3:9)
6 Acker Bilk - Ebony & Ivory (3:30)
7 Acker Bilk - Nowhere Man (2:59)
8 Acker Bilk - Yesterday (3:32)
9 Acker Bilk - She's Leaving Home (3:9)
10 Acker Bilk - Here, There & Everywhere (3:10)
11 Acker Bilk - Pipes Of Peace (3:53)
12 Kevin Knight - Facination (2:10)
13 Kevin Knight - Tenderly (2:26)
14 Kevin Knight - Autumn Leaves (3:18)
15 Kevin Knight - Alice In Wonderland (2:52)
16 Kevin Knight - Stella By Starlight (3:20)
17 Acker Bilk - Norwegian Wood (2:23)
18 Acker Bilk - With A Litle Luck (3:37)

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1 	King Kong	8:37
2 	Postcard	6:45
3 	Little Steps	7:11
4 	Joan	6:45
5 	Maroon Bells	0:42
6 	Imprint		11:21
7 	The Well	5:52
8 	Essay	9:04
9 	Japanese Folk Song	5:24
10 	Afro-Blue	5:36

John Patitucci - acoustic bass, 6-string electric bass, percussion, kalimba
Chris Potter - tenor & soprano sax
Mark Turner - tenor sax
John Beasley, Danilo Perez - piano
Jack DeJohnette - drums
Horacio "El Negro" Hernandez - drums, percussion
Giovanni Hidalgo - congas, percussion
Sachi Patitucci - kalimba

While some musicians refrain from the public eye and give clues to their lives and personalities only through music, Patitucci openly acknowledges the devastating effects of some of life's challenges and uses them as a basis for his tunes for cathartic effect. Instead of continuing to mourn loss, Patitucci chooses to celebrate life.

As a result, he wrote a heart-felt tune in honor of his mother, "Joan," who died last year. Chris Potter achingly interprets it in the upper range of the tenor sax and in the process creates a gem that may inspire other musicians to record it as well. "Japanese Folk Song," which Patitucci's wife sings to his daughter, recognizes the beauty of the tune's melodic beauty as he performs in duo with pianist Beasley.

In contrast to the personalized familial tributes, Patitucci refers to his interests in Latin music to create a music of celebration. Perez and Hernandez establish the infectious feel of Patitucci's compositions, which involves incessant percussive beat, but also suspension of melody, pauses and sustain of tones. Quite a contrast to the Patitucci of the 1980's.

"Imprint" allows the listener to realize the complexity of Patitucci's music and personality and to realize that he has come a long way in a short amount of time...and has even greater growth to achieve in the future. ---allaboutjazz.com

When GRP dropped John Patitucci in 1996, it turned out to be a blessing in disguise. The bassist found a supportive new home in Concord Jazz, where his creativity was encouraged and he was able to take his share of chances. Just as 1998's cerebral Now was a departure from 1996's introspective, deeply personal One More Angel, Imprint finds Patitucci surprising his followers once again by emphasizing Latin elements. Employing drummer Jack DeJohnette and saxman Chris Potter, as well as Latino improvisers, pianist Danilo Perez and drummer/percussionist Horacio "El Negro" Hernandez, Imprint is the most Latin-minded album that he recorded in the 1990s. However, Imprint isn't Latin jazz in the sense that Poncho Sanchez is Latin jazz -- it is more intellectual and less direct, and it's not as accessible. While Sanchez's releases tend to favor immediacy and take an extroverted, party-time approach, that's hardly what Patitucci is going for on this acoustic post-post-jazz effort. Sticking to the upright bass, Patitucci delivers an album that is almost as intellectual as Now, but with an emphasis on Latin rhythms. For those who aren't afraid of being challenged, Imprint is a welcome addition to the bassist's catalogue. ---Alex Henderson, AllMusic Review

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1. Stranger On The Shore
2. We've Only Just Begun
3. Hey Jude
4. I Left My Heart In San Francisco
5. My Way
6. The First Time Ever I Saw Your Face
7. I Can't Stop Loving You
8. Let It Be Me
9. Morning Has Broken
10. Ramblin' Rose
11. The Rose
12. If I Give My Heart To You
13. You're The Best Thing That Ever Happened To Me
14. Never My Love
15. Jean
16. Eres Tu (touch The Wind)

Born Bernard Stanley Bilk, 28 January 1929, Pensford, Somerset, England. A self-taught clarinettist, Bilk made his first public appearance in 1947 while on National Service in Egypt. On his return to the UK, he played as a semi-professional around the Bristol area, before gaining his big break with the Ken Colyer band in 1954. Four years later, under the name "Mr" Acker Bilk, he enjoyed his first UK Top 10 hit with "Summer Set". Backed by the Paramount Jazz Band, and promoted by his Bilk Marketing Board, he was at the forefront of the British traditional jazz boom of the early 60s. With their distinctive uniform of bowler hats and striped waistcoats, Bilk and company enjoyed a number of jazzy UK hits in the 60s, including "White Cliffs Of Dover", "Buona Sera", "That's My Home", "Stars And Stripes Forever", "Frankie And Johnny", "Gotta See Baby Tonight", and "A Taste Of Honey". However, it was with the Leon Young String Chorale that Bilk achieved his most remarkable hit. "Stranger On The Shore" was a US number 1 in May 1962, and peaked at number 2 in the UK, staying for a record-breaking 55 weeks in the bestsellers. Although the beat boom all but ended the careers of many traditional jazzmen, Bilk has continued to enjoy a successful career in cabaret and concerts, and returned to the Top 10 in 1976, again with a string backing, with "Aria". He continues to tour regularly alongside contemporaries such as Kenny Ball and Chris Barber. The trio had a number 1 album, The Best Of Ball, Barber And Bilk, in 1962. Bilk remains a major figure in traditional jazz, and more than 30 years after "Stranger On The Shore"

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