| Time and Again | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 1991 | |||
| Recorded | August 19–21, 1991 | |||
| Studio | BMG Studios, NYC | |||
| Genre | Jazz | |||
| Label | Landmark Records LCD-1532-2 | |||
| Producer | Orrin Keepnews | |||
| Mulgrew Miller chronology | ||||
| ||||
Time and Again is a 1991 studio album by American jazz pianist Mulgrew Miller together with Peter Washington on bass and Tony Reedus on drums. [1] [2] [3] [4] This is his eighth album as a leader and sixth for Landmark Records label.
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [5] |
Scott Yanow of Allmusic wrote "Miller's ... recording finds him returning to the trio format with bassist Peter Washington and drummer Tony Reedus. Six of the ten selections are his compositions (including "Tongue Twister," "Woeful Blues," "My Minuet" and an unaccompanied solo rendition of "Song of Today"), while the four remaining songs include the spiritual "Lord, In the Morning Thou Shalt Hear" (taken solo) and Bud Powell's "I'll Keep Loving You." The reliable pianist is in typically fine form on this swinging and fairly exploratory set". [6]
Billboard reviewers called the album "a tasteful program of originals and standards". [7]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Tongue Twister" | Miller | 6:38 |
| 2. | "Broad Street" | Miller | 5:07 |
| 3. | "You and the Night and the Music" | Arthur Schwartz, Howard Dietz | 7:11 |
| 4. | "Woeful Blues" | Miller | 10:21 |
| 5. | "Lord, in the Morning Thou Shalt Hear" | Isaac Watts | 4:21 |
| 6. | "Who Can I Turn To" | Leslie Bricusse, Anthony Newley | 5:40 |
| 7. | "I'll Keep Loving You" | Bud Powell | 7:10 |
| 8. | "My Minuet" | Miller | 4:06 |
| 9. | "If It Ain't One Thing - It's Two" | Miller | 6:06 |
| 10. | "Song of Today" | Miller | 4:45 |
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Mulgrew Miller was an American jazz pianist, composer, and educator. As a child he played in churches and was influenced on piano by Ramsey Lewis and then Oscar Peterson. Aspects of their styles remained in his playing, but he added the greater harmonic freedom of McCoy Tyner and others in developing as a hard bop player and then in creating his own style, which influenced others from the 1980s on.
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