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KEY
CHANGE
David Foster embraces a newmuse
in a relativelymajor
[
broad
]
way
ByMiriamDi Nunzio
D
AVID FOSTER IS A HOPELESS ROMANT IC .
He makes no apologies for it.
“I think my music re ects that,” Foster says, phon-
ing from New York. “Most of my music is so .
I’ve had my little share of rock and roll, but when I lay my
hands on the keyboard, what comes out is romance. It’s not
bullshit.”
Foster has been making romantic hit music for four
decades, give or take a few years, composing but most of all
producing and arranging orchestrations for some of the big-
gest pop stars in the business: Celine Dion, Michael Bublé,
Josh Groban, Andrea Bocelli, Whitney Houston, Al Jarreau,
Lionel Richie, Chaka Khan … an exhaustive list might actu-
ally be exhausting to read.
e list of hit songs, too, is ridiculously long: “A er the
Love Is Gone,” “ e Prayer” (his self-proclaimed favorite),
“Grown-Up Christmas List,” “I Have Nothing,” and “Love
eme from
St. Elmo’s Fire
,” to name a few.
ese collaborations showed (or, more to the point,
didn’t
show) Foster as the guy behind the scenes, many times on
piano, getting the best out of singers and musicians.
en came
.
RAVINIA MAGAZINE | JULY 23 – AUGUST 5, 2018
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