PREVIOUS GUESTS

Frank McComb

A tall, unassuming man, casually dressed, and sitting alone at a piano bench in front of 88 keys. Whether in Johannesburg or London, on stages with Prince or Branford Marsalis, or in an unassuming nightclub in his hometown of Cleveland, Ohio, this is the immortalized vision of Frank McComb. Donny Hathaway to whom McComb was once often compared (similarly George Benson and Stevie Wonder have also been bandied about as assumed influences). McComb will be the first to tell you it’s his grandmother lush sound at their small Midwestern Holiness church who he first emulated when he called to sing. Which makes sense in what listeners are responding to in his warm, round, resonant baritone. Something older, more ancestral, certainly more spiritual than anything reflecting any time capsule music era or sound. It’s a voice that’s always reaching, with keys earnestly following suit, both trying to get at something unseen, just past the sky, rooted in faith even when what is described in their soaring songs is the broken, humane, and complexities of the heart.

Having begun piano lessons at age 12 at a similar church piano bench with his aunt, the late Evelina Palmer, by McComb’s performing arts high school years, he was already a session fixture at Cleveland nightclubs with his own trio. Graduating by the skin of his teeth from Glenville High School due to one late night gig too many, McComb was soon ensconced in the orbit of Gerald LeVert and playing for The Rude Boys (Atlantic Records). Eventually becoming their Musical Director, McComb toured with the R&B group before jumping ship to tour with DJ Jazzy Jeff & the Fresh Prince, thanks to an introduction to Jeff Townes. Townes would be instrumental with McComb moving to Philadelphia where he would become a contracted session player for Philadelphia International Records founders’ Kenny Gamble and Leon Huff. The Gamble & Huff connection led to an introduction to then Motown Records executive Steve McKeever, who later signed McComb to McKeever’s fledgling MoJazz imprint under the Motown label.

Following tours with Teena Marie and Phillip Bailey, respectively, McComb would first come to initial public attention as an official bandmember and featured vocalist on Branford Marsalis’ Buckshot LeFonque, the modern legend’s jazz-hip hop hybrid act. While having appeared on the band’s self-titled debut album, it was on three spotlight vocal cuts on Buckshot LeFonque’s sophomore project, Music Evolution, that McComb would get first recognized by soul fans and critics alike, starting with their 1997 single, “Another Day.” The international cult success of “Phoenix,” “Better Than I Am,” and especially “Another Day” would lead to McComb’s second solo record deal, this time with Columbia Records.

Love Stories (2000) released by Columbia as a 14-song set, was entirely written by McComb and co-produced with Branford Marsalis. The eclectic album showcased largely urban adult contemporary sounds infused by contemporary jazz and mature soul. Love Stories and McComb’s subsequent independent releases would serve as calling cards for future work as both a musician and vocalist with other musicians such as Prince, Najee, Chaka Khan, George Duke, Patrice Rushen, Frankie Beverly & Maze, John P. Kee, Fred Hammond, and Lalah Hathaway.

McComb’s 2003 subsequent album release The Truth, cemented his place as a R&B music force on the burgeoning international indie soul scene. Featuring contributions by then-young stars Donnie, Ledisi, and Brigette McWilliams, as well as the iconic Brazilian percussionist Paulinho da Costa, bassist Bobby Watson of Rufus fame, and the legendary “fifth Beatle,” Billy Preston, the set boasted tunes that would become classics among McCombs’ repertoire, including “Intimate Time,” “Cupid’s Arrow,” and “Do You Remember Love.”

The first SoulTracks Readers’ Choice Awards winner for Best Album of the Year would follow with Straight from the Vault (2004), McComb’s third CD, but the first entirely written and recorded by McComb himself, In 2023, McComb would be named Soul Café Radio’s Indie Soul Male Artist of the Year, thanks to his frequent indie soul, gospel, and jazz releases. With over 215 industry credits as a writer, arranger, vocalist, producer, and instrumentalist, McComb’s work appears on over 67 compilations globally. McComb has appeared on projects by Najee, Maysa, Hyleen Gil, Gato Barbieri, Marilyn Scott, DJ Kemit, Tracy Hamlin, Conya Doss, Angela Johnson, Bob Baldwin, Jeff Bradshaw, Tim Dillinger, Randy Scott, Art Sherrod, Jr., Brandon Williams, Trijnte Oosterhuis, Till Brönner, Bruno Müller, Anthony Crawford, Ragan Whiteside, and The Ladies of Soul, among others. In 2019, Frank would secure duel SoulTracks Readers’ Choice nominations, including one for Best Song with his self-written, produced, and recorded single “High” featuring Eric Roberson.

A tall, unassuming man, casually dressed, and sitting alone at a piano bench in front of 88 keys. Whether in Johannesburg or London, on stages with Prince or Branford Marsalis, or in an unassuming nightclub in his hometown of Cleveland, Ohio, this is the immortalized vision of Frank McComb. Donny Hathaway to whom McComb was once often compared (similarly George Benson and Stevie Wonder have also been bandied about as assumed influences). McComb will be the first to tell you it’s his grandmother lush sound at their small Midwestern Holiness church who he first emulated when he called to sing. Which makes sense in what listeners are responding to in his warm, round, resonant baritone. Something older, more ancestral, certainly more spiritual than anything reflecting any time capsule music era or sound. It’s a voice that’s always reaching, with keys earnestly following suit, both trying to get at something unseen, just past the sky, rooted in faith even when what is described in their soaring songs is the broken, humane, and complexities of the heart. Having begun piano lessons at age 12 at a similar church piano bench with his aunt, the late Evelina Palmer, by McComb’s performing arts high school years, he was already a session fixture at Cleveland nightclubs with his own trio. Graduating by the skin of his teeth from Glenville High School due to one late night gig too many, McComb was soon ensconced in the orbit of Gerald LeVert and playing for The Rude Boys (Atlantic Records). Eventually becoming their Musical Director, McComb toured with the R&B group before jumping ship to tour with DJ Jazzy Jeff & the Fresh Prince, thanks to an introduction to Jeff Townes. Townes would be instrumental with McComb moving to Philadelphia where he would become a contracted session player for Philadelphia International Records founders’ Kenny Gamble and Leon Huff. The Gamble & Huff connection led to an introduction to then Motown Records executive Steve McKeever, who later signed McComb to McKeever’s fledgling MoJazz imprint under the Motown label. Following tours with Teena Marie and Phillip Bailey, respectively, McComb would first come to initial public attention as an official bandmember and featured vocalist on Branford Marsalis’ Buckshot LeFonque, the modern legend’s jazz-hip hop hybrid act. While having appeared on the band’s self-titled debut album, it was on three spotlight vocal cuts on Buckshot LeFonque’s sophomore project, Music Evolution, that McComb would get first recognized by soul fans and critics alike, starting with their 1997 single, “Another Day.” The international cult success of “Phoenix,” “Better Than I Am,” and especially “Another Day” would lead to McComb’s second solo record deal, this time with Columbia Records. Love Stories (2000) released by Columbia as a 14-song set, was entirely written by McComb and co-produced with Branford Marsalis. The eclectic album showcased largely urban adult contemporary sounds infused by contemporary jazz and mature soul. Love Stories and McComb’s subsequent independent releases would serve as calling cards for future work as both a musician and vocalist with other musicians such as Prince, Najee, Chaka Khan, George Duke, Patrice Rushen, Frankie Beverly & Maze, John P. Kee, Fred Hammond, and Lalah Hathaway. McComb’s 2003 subsequent album release The Truth, cemented his place as a R&B music force on the burgeoning international indie soul scene. Featuring contributions by then-young stars Donnie, Ledisi, and Brigette McWilliams, as well as the iconic Brazilian percussionist Paulinho da Costa, bassist Bobby Watson of Rufus fame, and the legendary “fifth Beatle,” Billy Preston, the set boasted tunes that would become classics among McCombs’ repertoire, including “Intimate Time,” “Cupid’s Arrow,” and “Do You Remember Love.” The first SoulTracks Readers’ Choice Awards winner for Best Album of the Year would follow with Straight from the Vault (2004), McComb’s third CD, but the first entirely written and recorded by McComb himself, In 2023, McComb would be named Soul Café Radio’s Indie Soul Male Artist of the Year, thanks to his frequent indie soul, gospel, and jazz releases. With over 215 industry credits as a writer, arranger, vocalist, producer, and instrumentalist, McComb’s work appears on over 67 compilations globally. McComb has appeared on projects by Najee, Maysa, Hyleen Gil, Gato Barbieri, Marilyn Scott, DJ Kemit, Tracy Hamlin, Conya Doss, Angela Johnson, Bob Baldwin, Jeff Bradshaw, Tim Dillinger, Randy Scott, Art Sherrod, Jr., Brandon Williams, Trijnte Oosterhuis, Till Brönner, Bruno Müller, Anthony Crawford, Ragan Whiteside, and The Ladies of Soul, among others. In 2019, Frank would secure duel SoulTracks Readers’ Choice nominations, including one for Best Song with his self-written, produced, and recorded single “High” featuring Eric Roberson.