Pianist, composer, author, and educator Charlie Austin has influenced an entire generation of western Canadian jazz musicians. Now retired, the former head of the Piano Department at Grant MacEwan University in Edmonton, Canada taught and inspired students for nearly thirty years. With a notable performance career spanning four decades, Charlie Austin has played in festivals, clubs, concerts, theatres and recording and television studios, and has appeared with Mel Torme, Henry Mancini, Robert Goulet, Viki Carr, Connie Stevens, Robert Goulet, Engleburt Humperdink and Conway Twitty among others. IF I SHOULD LOSE YOU features beautiful interpretations of jazz standards, with tunes by Henry Mancini, Jerome Kern, George Gershwin, Antonio Carlos Jobim and more, as well as Charlie’s own “Song for Bill Evans.” Recording: Steinway D, Convocation Hall (Edmonton, Canada), September 2003 Engineer: Pat Strain Mastering: Colin Lay Producer: Cherilyn Michaels Charlie writes: This album is dedicated to the memory of my mom, 'Dolly' Austin. These tracks were basically one-offs in a session that came together through serendipity and a casual thought that I should record something before I started in teaching in the fall of 2003. There was no specific forethought as to what I was going to play so I played standard tunes that I had been generally working on. I had asked Pat Strain who was working at Con Hall in the recording department if I could record there sometime on the nine foot Steinway. So this album was pretty much off the cuff. The tunes are all standards except for “Song For Bill Evans,” an original that was written in 1978. Thanks to Colin Lay who later did some refining work on the tracks and darkened and softened the sound somewhat to produce something truly listenable. He kind of set the mark for me there. Is it perfect in performance? Not totally, and there were times that I was hanging on for dear life in order to let the phrasing play out on its own. But when chances are taken, there is often something new (to me at least) that will surface. There are a couple of moves and endings there that I would have to transcribe in order to repeat. I hope the listener takes the time to listen for the little things that seem to emerge now and then. I hope you enjoy this album. It has certainly grown on me. Humbly yours, Charlie. Acknowledgments: First and foremost I would like to thank Geraldine, my wife and stalwart companion for over forty years, for her support and her dedication to our family. Special thanks to Edward Parker, Barbara Custance, Douglas Tawlney, Bob Myers, Rick Garn, Bobby Cairns, Bob Stroup, Paul Biggelaar, Stu Millman, Bob Turner, Clarence "Big" Miller, and Tommy Banks for the inspiration over this lifetime. Thanks to my parents for helping me in my music studies, and my own family for putting up with me. Thanks to the composers of the songs on this album—such beautiful music to work with. Many thanks to the faculty and students of MacEwan Music past and present, and to all the musicians I have played with over the years. Thanks again to Pat Strain who recorded this project and a heartfelt thanks to Colin Lay for the wonderful job he did of the mastering. I’d like to send a very special thanks to my friend Cherilyn Michaels for motivation, and tireless dedication to the cause of the CD and my book. You have helped me much more than you can possibly know (probably more than I will ever know I’m sure). You have my never-ending gratitude.