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P+T
Joined: 15 Jun 2006
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Location: Portland, OR
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Post subject: Brian Whistler for Audiophile Audition
Posted: Sun Sep 27, 2009 3:52 pm
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Audiophile Audition reviews WTD for a second time! (Earlier review is here.) This one's by Brian Whistler. Alas, he misspells Laurence's first name, but he loves the album. Great review!
| Quote: | Lawrence Hobgood – “When the Heart Dances” NAIM
This latest addition to the Hobgood catalogue is a mostly down-tempo affair consisting of a nice balance of standards and originals.
Published on September 26, 2009
On Lawrence Hobgood’s third album as a leader we find him in a duo setting with consummate bassist Charlie Haden. Haden is a perfect collaborator for Hobgood’s piano excursions. Both are accomplished artists whose considerable technical prowess is kept in check by an unerring discipline and an artistic esthetic that leans heavily towards understatement.
Hobgood is of course best known as the tasteful accompanist and artistic director for singer extraordinaire Kurt Elling. Elling has such a commanding presence it is easy to overlook the man at the keyboard who provides the foundation for Elling’s vocal flights of fancy. Hobgood’s tasty accompaniments are the glue that makes it all work, night after night.
This latest addition to the Hobgood catalogue is a mostly down-tempo affair consisting of a nice balance of standards and originals. The album starts off with “Que Sera Sera,” a tune I have never really thought of as a jazz standard. It has always conjured up unpleasant memories of a too cheerful Doris Day singing it as though it’s a simple minded children’s song, which in a sense it is. Like Bill Evans who took ditties like “Hi Lilly Hi Lilly Hi Lo” and discovered hidden depths beneath their somewhat vacuous veneer, Hobgood reconsiders the deeper philosophical implications of the lyric and gives the tune a plaintive re-harmonization, yielding an interpretation that is both intellectually probing and emotionally compelling.
Having established an introspective mood, Hobgood launches into the medium up-tempo title track, one of several originals that pepper the album. “While the Heart Dances” is a smart and sprightly jazz waltz with some nice changes and a gorgeous melody. Hallelujah! A great player who can write a memorable tune!
Kurt Elling joins the duo on the third track, for a vocal rendition of the Haden standard, “First Song.” I hadn’t been aware there was a lyric for this tune, but Elling milks every ounce of meaning from this serviceable if uninspired lyric. Hobgood, leader on this date modestly leaves the solo duties to the composer who turns in a characteristically unhurried and well-constructed improvisation over the austere chord changes.
Sanctuary, a gospel tinged Hobgood original is one of two solo pieces. It flows and meanders around a gospel theme that brings to mind early Keith Jarrett. Even though the tune wanders far afield harmonically from its gospel vamp, crossing into European harmonic territory, it constantly returns home to its bluesy roots.
Chickoree, a composition penned by both Hobgood and Haden is an adventurous little ballad that gives both men plenty of blowing room. Hobgood turns in one of his most inventive solos, occasionally flirting with a double time feel.
The album is broken up again with another Elling feature, “Stairway to the Stars”. He sounds absolutely divine on this old chestnut, masterfully drawing out his phrasing through the dreamy refrain. Another highlight and probably my favorite track on the CD is an original tune entitled “Leatherwood.” It is a contemporary even eighth note composition performed solo. This harmonically supple tune brings to mind the writing of west coast jazz pianist Alan Pasqua, whose gorgeous composition “Highway 1” was covered on Ellings’ album, “Nightmoves.” “Leatherwood” is as fine an example of contemporary jazz writing as one is likely to encounter. It’s also a great vehicle for Hobgood’s prodigious technique. Here he lets loose with fiery 16th note lines that effortlessly spin their way across his finely wrought harmonic structure.
Special mention should be made of the recording which was presided over by Elling’s personal engineer of many years, Ken Christianson, who takes full advantage of lovingly-restored Steinway D piano residing at Roy O. Disney Hall at CalArts. Haden’s bass sounds fat and full. It is a very warm live recording, in what the liner notes refer to as “true stereo.”
What most impresses me about Hobgood is how articulate his playing is. Every musical gesture, from his creative single note lines to his energetic two-handed rhythmic passages, is precise and perfect in its execution. His strengths as a creative line player, mastery of voicings, compositional integrity and subtle rhythmic precision serve to make him a standout. In a world where an ever increasing pool of young players try to steal the limelight with cheap bravado and virtuosity, it is comforting to know that players of the of Hobgood’s caliber are around keeping the art of jazz piano alive and well.
TrackList: Que Sera Sera, Whenthe Heart Dances, First Song, Sanctuary, Chickoree, Stairway to the Stars, New Orleans, Why Did I Choose You?, Leatherwood, Daydream, The Cost of Living
-- Brian Whistler
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P+T
Joined: 15 Jun 2006
Posts: 691
Location: Portland, OR
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Post subject: Pasatiempo magazine, Santa Fe New Mexican CD review
Posted: Mon Sep 28, 2009 1:13 pm
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CD review from Pasatiempo, the weekly arts/entertainment/culture magazine of The Santa Fe New Mexican newspaper, September 18, 2009:
| Quote: | LAURENCE HOBGOOD When the Heart Dances (Naim Jazz)
This is a beautifully recorded no-nonsense outing in terms of mission and performance: it can be heard as a return to earlier, simpler times. But that isn't to say the writing and playing are elementary. This album's three instruments are Laurence Hobgood's recently made-over Steinway piano; Charlie Haden's bass, created in the mid-19th century by Jean-Baptiste Vuillaume; and, on three pieces, the vocal instrument of Kurt Elling, with whom Hobgood has worked for 15 years, including on all eight of Elling's albums.
In the liner notes, Hobgood writes of the essential nobility of Haden's music. "I mean it's all there: imagination, empathy, harmony, pitch, rhythmic dimension, clarity, complexity of texture, simplicity of center. But if you want to sum it up: noble."
The disc starts off with two instrumentals: a lovely version of "Que Sera Sera" and the title song by Hobgood. There are two solo-piano songs for Hobgood, both composed by him. But my favorite pieces are in the heart of the album. The first, "Chickoree," written by Haden and Hobgood, begins with an outstanding duet. Haden has an almost-two-minute solo that is tasty and tremendously low-key -- not the show-off stuff so often strutted in solo breaks -- and Hobgood, when he comes back in, is obviously inspired. Then comes the standard "Stairway to the Stars," on which Elling is perfection.
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P+T
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Location: Portland, OR
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Post subject: Brief CD reviews of WTHD
Posted: Fri Oct 16, 2009 9:27 pm
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Two more short CD reviews:
| Quote: | “When The Heart Dances” is really a Laurence Hobgood CD with the great jazz bassist Charlie Haden.
A highlight of this CD is Charlie Haden's “First Song,” sung by Kurt Elling.
(“First Song” was also featured on Charlie Haden and Pat Metheny's collaboration, “Beyond The Missouri Sky,” over a decade ago.)
Pianist Laurence Hobgood is probably better known as Kurt Elling's collaborator on his numerous CDs over the years. Hobgood's new CD features his music, the heroic 'Aaron Copeland' romantic, optimistic venture, “Sanctuary,” a thing of beauty, an excellent solo concert level performance. There are many gems here. And of course two most prominent jazz performers sustain the high unique level of this performance.
It only takes that one special moment that elevates an artist to an even higher status. And this is his moment. “When The Heart Dances” frames Laurence Hobgood's distinctive talent as a composer, arranger and pianist.
Dick Crockett
“The Voice” 88.7fm
Sacramento, Ca 95819-4743
accesssacramento.org |
| Quote: | Laurence Hobgood - When The Heart Dances 4/4
O's Notes: Laurence Hobgood is the consummate pianist and a joy to listen to. He pairs up with bassist Charlie Haden, already a legend, to perform songs of the heart. The program includes classics and originals by Hobgood and Haden all done tastefully. Guest artist Kurt Elling adds the vocal instrument on three tracks adding a special dimension notably on "Daydream." The interaction between Kurt and Laurence on "Stairway To The Stars" is dazzling! In fact the performance of all of the musicians during this set is stellar. Although the mood is mostly blue, we enjoyed listening, more than once!
D. Oscar Groomes
O's Place Jazz Magazine
http://www.OsPlaceJazz.com |
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P+T
Joined: 15 Jun 2006
Posts: 691
Location: Portland, OR
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Post subject: Transcendent pleasures
Posted: Fri Oct 23, 2009 6:27 pm
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From Mike Joyce, JazzTimes, November 2009, page 63:
| Quote: | When the Heart Dances takes its name from a tune composed by Laurence Hobgood, one of several original pieces that appears on the pianist's latest release. The title, however, isn't really indicative of what awaits listeners. Instead of sustaining a pulse-racing, romantic mood, the album features a series of soulful collaborations featuring singer Kurt Elling and bassist Charlie Haden.
Elling, who has benefited from a long and fruitful association with Hobgood, contributes to three performances that are distinguished by his burnished baritone and theatrical bent. His efforts to dramatize a lyric haven't always paid off in the past, but this time around his interpretations are relatively subdued and focused, culminating in the Ellington-Strayhorn reverie "Daydream."
While Elling's contributions should help When the Heart Dances achieve at least some of the exposure it deserves, the Hobgood-Haden duets are transcendent pleasures. In his liner notes, the pianist mentions that he's careful not to take his collaborators for granted, and the proof is in the playing. Haden is generously showcased as soloist, accompanist and foil, and beginning with the album's opening surprise, a pensive, borderline noir-ish arrangement of "Que Sera Sera," the duo's chemistry is compelling.
With his surefooted phrasing, spacious melodicism and resounding tone, Haden never fails to enhance the mood, especially when the piece calls for a haunting interlude, as evidenced by "The First Song," written by the bassist and sung by Elling, and "Why Did I Choose You?," the Michel Legrand ballad. Hobgood performs solo only once, on the self-penned "Sanctuary," a harmonically orchestrated and ultimately stirring piece. But in the end, nothing trumps the settings he's devised for his inspired pairings with Haden. |
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Post subject: A synchronicity of temperaments
Posted: Mon Dec 07, 2009 3:10 pm
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From Robert L. Doerschuk, DownBeat, January 2010, page 76:
| Quote: | The beauty of When The Heart Dances derives from the synchronicity of temperaments achieved by Laurence Hobgood and Charlie Haden.
In fact, it's impossible to imagine any bassist better suited than Haden to reflect Hobgood's patience, economy and profundity. Both artists take their time moving through the tunes, as if contemplating masterworks at a gallery exhibition. This approach focuses the listener on the material sometimes more than the performance--which makes these performances masterpieces in and of themselves.
This becomes clear seconds into the first track, an examination of "Que Sera Sera" whose understatement makes this no less of a spectacular achievement. Over spare half-notes from the bass, Hobgood's piano is hushed and reflective, his solo unfolding a little mournfully. When Haden takes his chorus, he moves unhurriedly, his emphasis on gorgeous tone and eloquent invention. In the background, Hobgood plays with the same sparseness Haden had shown in support, voicing with no more complexity than a suspension or small knot of notes. Never has this song been taken this far from its standard perception, treated so reverently or transformed into such a vehicle for emotional expression.
The other covers receive equally thoughtful treatment. On "Stairway To The Stars," behind Kurt Elling's nuanced vocal, Hobgood, the singer's regular accompanist, eases from straightforward harmonies, often in third inversion, into gentle clusters, tremolos, bitonal superimpositions or raindroplike sprinkles, all of it leading to a breathtaking finale with Elling holding the last note in a feathery falsetto.
The original compositions are just as satisfying. A playful tumble of notes sets the feel on the waltz-time title tune; it's the record's most joyous cut, animated by a rare quick keyboard run--yet even here there's a breath of melancholy, perhaps a cautionary reminder that happiness is never as easy as it seems. In "Sanctuary," one of two pieces played on piano alone, Hobgood shows the same traits he displays with Haden, mainly his ability to slip from simplicity into more involved passages and back again, pulling from blues, classical and pastoral new age elements, deepening rather than diluting his expression but with the additional freedom of going in and out of tempo as the moment dictates. -- Robert L. Doerschuk |
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P+T
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Post subject: Stately, grand beauty...with an affinity to Keith Jarrett
Posted: Fri Jan 22, 2010 11:11 am
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From Cadence: The Independent Journal of Creative Improvised Music, Jan-Feb-Mar 2010:
| Quote: | Laurence Hobgood is known for his many years playing behind Kurt Elling, but When the Heart Dances is a rare opportunity to hear him in duet with another august musical presence, bassist Charlie Haden. Hobgood's piano has a stately, grand beauty that is enhanced by Haden's familiar deep sound. They make an entrancing, romantic duo on the title track and Hoagy Carmichael's "New Orleans." Their work together gets really intricate on "Chickoree," a whirling, classically-oriented variation on "Cherokee" where Haden has a few moments in the foreground, and the somber Don Grolnick tango "The Cost of Living."
Hobgood also has a couple of solo tracks like "Leatherwood" and "Sanctuary" where he shows an affinity to Keith Jarrett in the use of American folk melodies and the sense of yearning restlessness in his playing. Kurt Elling himself also shows up in masterful voice on three tracks, lending extra gravity to Haden's "First Song," soaring like a Ben Webster solo on "Stairway to the Stars" and getting beautifully soulful on "Daydream." Laurence Hobgood finally gets a spotlight here to show what a fine pianist he can be. |
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