It is delightful when a new singer, together with three of jazz's most noteworthy musicians, is able to offer us something new, innovative and traditional at the same time.  This particular project has so many nuances and intricacies that one gets only from repeated listenings.  Rufus Reid on stand-up bass is at his peak.  Tim Horner on drums exemplifies jazz drumming at its best and resembles Louie Bellson in many ways.  Allen Farnham is superlative on piano.  The power and inner joy that each musician shows is apparent and wonderful.  Lauren Hooker, while having a somewhat high and quiet-like timbre, is able to accomplish alot with her range, intonation and tone.  Song selection was fantastic and revealed respect for lyricists.  Lauren's original tunes were not lacking in any way.  Tim Horner's percussion skills are fabulous, especially on the tune called The Eyes of Chaz.  Overall, kudos to everyone who has helped in the completion of this work.
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"Lauren Hooker shows off her multi-faceted talent... plays with time the way Monk did and would have made (Fats) Waller chuckle with delight...reminiscent of Sarah Vaughan’s bottom range...hint of Dinah Washington’s energy. But her sound and style are unique."
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"Right Where I Belong," her first solo CD, is a fine example of a singer who seems very comfortable in her musical setting. The songs, ranging from the blues/gospel of "Sometimes I feel like a Motherless Child," to "Goodbye Pork Pie" and "No Goodbyes," are a fine showcase for Hooker's vocal abilities. Her voice exudes warmth with a friendly feel to it. Relaxed and assured, she puts lots of space between verses, allowing the instrumentalists plenty of play. She doesn't venture into vocal gymnastics much, adhering to the concept that "less is more." One doesn't have to be a jazz fan to appreciate Hooker's taste or delivery. She's also a fine songwriter and lyricist, credited with several tracks on the album. The backing musicians ­ Allen Farnham on piano, Rufus Reid on bass and Tim Horner on drums and percussion ­ are consummate instrumentalists and stalwarts of the Big Apple jazz scene. Hooker must be highly respected to have landed this talented trio for this project...
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Lauren Hooker grew up around music. She 
had piano lessons when she was four, sang as a teenager,
and has said that she aims for “Sarah Vaughan’s 
range, Ella’s scat, Miles Davis’ tone and Coltrane’s 
intention.” Those are worthy if unattainable goals 
but Ms. 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. The only songs that do not have her lyrics are 
a cooking version of “You’d Be So Nice To Come 
Home To” which is an excellent feature for her 
very original scatting, and a medley of “Ill Wind” 
and a wordless “Creole Love Call.” Particularly intriguing 
are her additional stanzas to “Sometimes 
I Feel Like A Motherless Child” (which is taken at 
a faster-than-usual tempo) and Thelonious Monk’s 
“Well You Needn’t,” which, like “Footprints” and 
“Goodbye Pork Pie Hat,” have been given new lyrics 
that differ quite a bit from the more familiar words. 
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. Ms. 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. She 
takes Fats Waller’s “Jitterbug Waltz” very fast and 
races through her lyrics (which sound like vocalese 
though they aren’t) with little effort. Of her originals, “Time And Space” is the most memorable and 
has the best chance of catching on. Other highlights 
include a bluesy interpretation of “Ill Wind,” her lyrics to Charles Mingus’ “Goodbye Pork Pie Hat” and 
a display of her range on “Creole Love Call.” 
Since she has been active in jazz as a performer 
and an educator since the late 1980s, it is surprising 
that Right Where I Belong is Lauren Hooker’s recording debut as a leader. Overall it is an impressive effort, 
and a fine starting point for Lauren Hooker’s recording career.
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