Manual Growing Up with Jazz: Twenty-Four Musicians Talk about Their Lives and Careers

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It comes off like a sob caught in her throat, and the whole song works because of it. Elsewhere on the album, Hooker uses fuller arrangements than most of those in this post. In particular, her use of a cello in "Song to a Seagull" is a beautiful touch.

Hooker can get different shades of emotion by making use of her wide range, but that would mean nothing without the talent and judgment to know what each song needs. Similarly, the diversity of arrangements found on this album is impressive, but never just for show. Hooker knows what each song needs, and she delivers. Life of the Music is a fine creation, a marriage of four classic tunes with seven originals that cover a wide spectrum - pop, ballads, blues and jazz.

I do really enjoy this combination - it's a refined way to use the Spoken Word and mix it with Jazz and Blues harmonies over the tapestry of exhilarating and controlled virtuoso soloists, bringing new life to America's art form.

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She sets her own compositions up against classics of American music, re-works old favorites and uses some vocal shifts and inflections that other singers might think twice about. And thank goodness she does, because in doing so Hooker has assembled a refreshingly original set that both challenges and brings out the best in the singer and the top-flight band that accompanies her. Hooker's voice has an edge to it—it's not the standard soft-focus sound that seems to have become the norm for many new generation jazz singers. At first this can sound comparatively harsh but over time it becomes obvious that this edginess gives Hooker's sound a sensual quality all of its own.

The band is also distinctive. John Hart plays some beautifully fluid guitar—his acoustic guitar solo on "I Lied" is an album highlight—while "Song to a Seagull" benefits from Mike Richmond's cello.


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Hooker's own covers are stylistically more straightforward, but she writes insightful lyrics and her phrasing and emphases work well in enhancing their impact—it's only the standard blues of "Countin' On The Blues" that sounds ordinary. On the second part the poet Jeanette Curtis Rideau takes over from Hooker to recite her own words over the music.

The whole composition has a real after midnight beat poet feel, heightened by Martin Wind's bass and Robinson's soprano sax. This is Hooker's most impressive and original composition on Life Of The Music, a consistently imaginative and superbly performed set of songs. The CD gives an expansive sampling of Ms. The CD features many of her own compositions executed by a talented list of musicians including John Hart on guitars, and a guest appearance of Mike Richmond on cello and acoustic bass, as well as many other players.

These songs show the wide range of musical styles in which Hooker is comfortable. They lend themselves to her vocal phrasing and they are very personal expressions. My impression of the covers on this CD is that they are credible executions, but Love Me or Leave Me was the only notable track in this category. It fit the underlyng theme and was delivered strongly. She can vamp a tune, and shape and style a tune across the entire emotional palette. That is an enjoyable characteristic of her work.

I would love to see her put together one of those rainy afternoon CDs of broken-heart themed ballads and blues that her voice is ideally suited to. She is highly respected in the New York music scene not only for her admirable qualities as a jazz vocalist she is one of the best before audiences today! Her opening track not only allows her to sing and play one of her own compositions and reads the poem by Jeanette Curtis Rideau as though showing us how music and poetry mix in a final impact.

She has selected some very fine musicians with whom to collaborate and varies the combination of instrumentalists to match the mood of her varied selections. One of the strongest tracks on this album is her rendition of Leonard Bernstein's 'Some other Time' she offers with simple guitar and bass accompaniment. This is a well balanced album, one that allows us to sample the many aspects of Hooker's talent. She is clearly a force to contend with and her progress as one the country's finest jazz musicians is readily apparent in this her newest album.

Hooker and her band Hooker, could both stand alongside any Great American Songbook classic. Three years later, Hooker returns with a program that largely focuses on her own lyrics and music, demonstrating interests in the blues, straight-ahead jazz, funk, pop and Brazilian music.


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  6. The opening track—a collaboration between Hooker and poet Jeanette Curtis Rideau—has some bite to it, featuring a burning solo from Scott Robinson's molten soprano saxophone. One of the most emotionally powerful originals on the album is "I Am Doing Very Well"—a break-up song that touches on all of the conflicting emotions and pain that comes with that territory. Wind and drummer Tim Horner are a solid team behind Hooker on "Countin' The Blues," which features a terrific walking-the-bar-type saxophone solo from Robinson.

    While Hooker's compositional craft is at the core of the album, she also finds time to tackle four standards, shaped to her own liking. Seagulls had their place on Hooker's first album—with "Seagulls Seagulls of Kristiansund "—and this particular fowl found its way onto this record through Joni Mitchell's "Song To A Seagull. While this song has a sunny veneer, darker moods seem to lurk around.

    Life Of The Music, with its engaging original material and intelligently crafted covers, might just get plenty of people hooked on Lauren Hooker. I will be featuring the CD in 2 weeks as CD of the week.

    Growing Up with Jazz: Twenty-Four Musicians Talk about Their Lives and Careers

    Kudos to all concerned. Everyone wants to sing jazz but lack what I feel is the artistry and care for the music. She has been singing and performing for a few years, but I had not heard her music until now with her album Life Of The Music Miles High. What I heard was someone who is not only an artist, but cares for the music, someone who takes the song, embraces and seduces it, and makes sure every part of her being is plugged with sound.

    What I like about the rest of the album is that she is in total control of her voice and the music, she works hand in hand with the band so that there is an equal balance. A lot of times, especially in vocal jazz, a singer likes to overcompensate their lack of vocal skills by going overboard. Hooker is very much the Life Of The Music on this, her sophomore release.

    Certainly left of center jazz vocalizing, this is one groovy chick from start to finish. Her first recording, "Right Where I Belong" startled her critics in a great way. The consensus was they could not believe she had never recorded before.

    Profile in W. Royal Stokes’ ‘Growing Up With Jazz’

    Her voice is mature, rich, robust, and full of emotion that only experience can bring. This recording is, simply, as the title suggests, a glimpse into her life through her own music and musical influences. There are four gems from the American Songbook and seven strong originals by Lauren to make up a well-balanced program for this superb recording. She surrounds herself with seasoned world-class instrumentalists who make the collaboration spectacular. The arrangements of each song have an interesting twist and are well executed. The musicians where chosen for their incredible expertise.

    The result is a wonderful pairing of creative individuals making great music! Plenty of jazz artists grow up with Bill Evans, Duke Ellington, Dave Brubeck and their iconic brethren, but Lauren Hooker is one of the few who can claim to have done so literally. She is the daughter of celebrated musician and conductor Louis Hooker. Now, after what must surely rank as one of the longest and most intense preparatory periods in jazz history, Hooker has finally made her own album-length debut. Lauren Hooker's Right Where I Belong is one of the standout vocal releases of this year thus far without a doubt, not to mention a candidate as one of 's strongest debut releases.

    Lauren Hooker grew up around music. Hooker has developed into a fairly distinctive singer, a skilled scatter and a talented lyricist and songwriter. All of those qualities are in evidence throughout Right Where I Belong. Joined by a top-notch rhythm section, Lauren Hooker performs 13 songs including six jazz standards that feature her lyrics and four originals in which she contributed both words and music. Pianist Allen Farnham and bassist Rufus Reid get plenty of concise solos, and drummer Tim Horner helps keep the music swinging while keeping the main focus on the singer.

    Hooker does not have an overly colorful voice although she is always in tune. Her conversational style is fine on the slow material but she is at her best on blazing tempos. Here's a vocalist that is going to knock you off your chair.

    Newcomer Lauren Hooker, on what is essentially her debut recording, hits a double off the wall on this gratifyingly creative disc consisting of standards, originals, and refashioned jazz classics. Her voice - rich, confident and assured - is like Dianne Reeves, pitch perfect. Hooker's timing and sense of swing is absolutely impeccable, and she can take a lyric and mold it like clay.

    Putting her own lyrics to the likes of "Jitterbug Waltz" "Lovebug Jitters" and "Footprints" "Footprints On My Soul" , she gives the well known melodies a fresh twist of lime. Her own compositions, like "No Goodbyes" are perfectly suited jazz vehicles, and deserve to be appreciated on their own musical basis.

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    The band, lead by master bassist Rufus Reid, is simply impeccable, and flies through these songs like a javelin. There are few musicians with the depth of training that Lauren Hooker has. I first observed Sudhalter in performance at Umbria Jazz , where she sat in on flute with violinist Johnny Frigo and pianist Joe Vita at Hotel Brufani and participated on tenor saxophone in a no-holds-barred lunch-time jam session at Ristorante La Taverna. At La Taverna she more than held her own in the company of five other reed and brass players, all men. She had before that been sitting in there, sometimes called up onto the bandstand by baritone saxophonist Turk Mauro.

    They really put me on a certain path. He would have these really intense talks with me about everything and he agreed to play with my band any time I asked him, whether it was the quartet or big band. I know that was very generous of him. Carol acquired a baritone saxophone in the early s. I like to play ballads on it.

    I took some bari lessons from Joe Temperley and he taught me a lot of things. Segui i suggerimenti del progetto di riferimento. Per interpellare gli autori della voce o il progetto usa: URL consultato il 6 dicembre URL consultato il 3 dicembre URL consultato il 16 dicembre URL consultato il 4 dicembre URL consultato il 19 dicembre URL consultato il 10 dicembre Crash , su Discogs.