LAUREN HOOKER: Right Where I Belong

Lauren Hooker

Right Where I Belong

© 2007 Musical Legends (837101312776)

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"One of the standout vocal releases of this year thus far without a doubt, not to mention a candidate as one of 2007's strongest debut releases." - Laurence Donohue-Greene, Managing Editor All About Jazz-NY

notes

Lauren Hooker's critically acclaimed debut CD "Right Where I Belong" with Rufus Reid on the bass, www.rufusreid.com, Allen Farnham on piano and Tim Horner on drums and percussion, features jazz standards, original compositions, as well as her own lyrics set to Monk, Mingus, Wayne Shorter, Fats Waller and Mal Waldron. (read over twenty reviews below including rave reviews from Jazz Times Magazine, Jazz Imrpov NY and All About Jazz NYC and LA)

Within the third week of radio airplay, Lauren was at the top of the “chartbound” list of jazz CD’s played across the nation and in Canada according to jazzweek.com. A featured guest on WKCR's "Jazz Alternatives" 89.9 FM NYC with Host Sharif Abdus-Salaam, Marc Copland's show "Jazz Influences" on WFDU, and WRSU 88.7 FM out of Rutgers University with host Richard Skelly, Lauren's debut CD continues to receive heavy airplay on radio stations and internet stations here and abroad.

Lauren is not just a singer. She is a consummate musician. Her unique and special talent was recognized early in life and it has developed into the sophisticated, hip vocalist, composer, lyricist and producer she is today. She came onto the jazz scene in the early 80's, fresh out of Fairleigh Dickinson University with a degree in Music Education. Lauren continued post-graduate work in jazz theory with pianist Kenny Barron at Rutgers University, jazz voice with Sheila Jordan at the Manhattan School of Music, private studies in jazz piano with Keith McDonald and vocal coach Paul Gallagher, and most recently, a jazz vocal workshop with Bobby McFerrin and his "Voicestras" vocal ensemble.

She has been featured in many major venues in the New York metropolitan area including Sweetwaters, the West End Café, The 55 Bar, Trumpets, Lounge Zen, the Angry Squire, the Dewar's Jazz Festival, Greenwich Village Jazz Festival and most recently at the International Women in Jazz Festival at St. Peter's Church in NYC as well as a featured performer in the Jerzey Jazz Girlz Series at the Barron Art Center in NJ and Edgewater's Art and Jazz Festival hosted by WBGO's Sheila Anderson.

Her show, "Jazz Expressions", a multi-media experience combining original music, dance, poetry and photography was premiered in 1997 at New Jersey's Puffin Cultural Forum with bassist Calvin Hill and pianist Tomoko Ohno. She has appeared on a variety of television shows such as "Broadway to Business," "For Arts Sake," "Life of the Music" and TV 35's “Night Owls”.

One of the highlights of Lauren's career occurred in 1989 when she recorded (yet never released) with legendary pianist/composer Mal Waldron (Billie Holiday's former pianist), singing her original lyrics set to Mal's composition, "The Seagulls of Kristiansund." (cut #8 on "Right Where I Belong")

Lauren also performs regularly in her Arts in Education Company: Musical Legends, turning kids onto jazz and African and Native American cultures with her shows "Jazz 4 Kids", "Rainbow Crow" and "The Fire Children". (www.musicallegends.biz)

"I was born into music ... as early as in the womb (kicking to the beat - my mother tells me)... hearing my dad jam with his fellow jazz musicians in the basement ... starting piano lessons at age four ... meeting Bill Evans at the Vanguard whom my father recorded with in college ... being exposed to and singing most of the major classical oratorios with full orchestra ...shaking hands with Duke Ellington and Dave Brubeck whose sacred works the New Jersey Schola Cantorum, (my dad's chorus) performed...reaching for Sarah Vaughan's range, Ella's scat, Miles Davis' tone and Coltrane's intention. I was not only encouraged, but expected to be a musician, and a well-rounded one at that ... one who could play, sing, compose, arrange and educate."

PERFORMED AND/OR RECORDED WITH:

John Bianculli, Ted Branchato, Belden Bullock, Rahn Burton, Michael Cochrane, Roy Cumming, Loren Daniels, Glenn Davis, Santi Debriano, Dena DeRose, Bob Devos, John DiMartino, Leon Dorsey, Vince Ector, Allen Farnham, Pat Firth, Mac Goldsberry, John Hart, Freddie Hendrix, Calvin Hill, Tim Horner, Bertha Hope, Chip Jackson, Vic Juris, Dave Kikoski, Andy McCloud, Cecil McBee, Maryanne McSweeney, Paul Meyers, Allison Miller, Bill Moring, Steve Nelson, Tomoko Ohno, Rufus Reid, Ed Schuller, Warren Smith, Christopher Dean Sullivan, Frederick Waites, Mal Waldron, Bobby Watson and Reggie Workman

Read more on her website www.laurenhooker.com and join her myspace page at www.myspace.com/laurenhookerjazz

reviews

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  • Solid, versatile musicians!
    author: Dr. Mark A. Goral

    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.

  • All About Jazz NY www.allaboutjazz.com/newyork/
    author: MARCIA HILLMAN, ALL ABOUT JAZZ NY

    "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."

  • ... a fine showcase for Hooker's vocal abilities.... relaxed and assured...
    author: Art Edelstein, Arts Correspondent, The Times Argus www.timesargu

    "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...

  • ...very original scatting...talented lyricist/songwriter...impressive... a fine
    author: Scott Yanow, Jazz Imrov NY

    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.

  • “… impressive recording debut… distinguishes herself as a lyricist…”
    author: Suzanne Lorge, All About Jazz – New York

    “…want to hear good singing… (a) vocalist who stand(s) head and shoulders above the controversy… (a) notable release… Lauren Hooker’s impressive recording debut, “Right Where I Belong” (Musical Legends), features 12 tunes with originals by Hooker and employing her own arrangements on the standards. Hooker also distinguishes herself as a lyricist on instrumentals like “Footprints” and “Goodbye Porkpie Hat”.

  • “…Hooker has a great jazz sound, and her phrasing and timing are outstanding.”
    author: Ric Bang, jazz critic: The Davis Enterprise

    “Give a try … believe me: You'll remember the artist… and keep an eye out for future releases… excellent example of how good jazz hasn't changed all that much over the years … vocalist Lauren Hooker isn't just another singer; she wrote (or re-wrote) the lyrics and arranged most of the tunes on this debut CD. While several tracks are jazz standards, most are “tribute” tunes to her son, former lovers and famous jazz stars - Fats Waller, Lester Young, Duke Ellington - along with arrangements suggested by other musicians with whom she has worked. Hooker has a great jazz sound, and her phrasing and timing are outstanding. Most importantly, she's backed by an excellent trio: pianist Allen Farnham, bassist Rufus Reid and drummer Tim Horner.

  • A great CD... fine release…
    author: Sharif Abdus-Salaam, Host: “Jazz Alternatives” WKCR 89.9FM

    "Jazz Vocalist, composer, and lyricist Lauren Hooker has a great CD...a fine release...definitely not to be her last CD...we'll be looking for the next one!"

  • A Consummate Artist...an innovator...a force to contend with
    author: Grady Harp, Amazon

    There are few musicians with the depth of training that Lauren Hooker has. 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!), but she is also a composer, a creative lyricist, and an innovator in a field of luminaries. On this CD, appropriately named 'Right Where I Belong', Lauren Hooker is finally available to those of us on the West Coast who know her only by reputation. Here she works with Allen Farnham, piano, Rufus Reid, bass, and Tim Horner, drums and percussion - the perfect set of superb musicians that supply all the atmosphere and zest Hooker sets in her styling. She has an incredible vocal range, able to carry her irresistible scat singing into the stratosphere (as in 'You'd be so nice to come to') while at the same time dipping into the contralto range for her special imprints on songs such as 'The other side of the sun'. 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 it is rewarding to finally have a CD that will bring her to the appreciation of a wider audience. Lauren Hooker is right where she belongs - here!

  • ... undeniably impressive… certainly imaginative… flat-out masterful…
    author: Christopher Loudon, Jazz Times

    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. She studied music education at Fairleigh Dickinson University, where her dad headed the Fine Arts Department. Her postgrad work included jazz theory with Kenny Barron at Rutgers and jazz voice with Sheila Jordan at the Manhattan School of Music. Nearly two decades ago, she set lyrics to Mal Waldron’s “Seagulls of Kristiansund” and recorded them with Waldron himself. Since then, she created the multimedia installation “Jazz Expressions”... appeared on a spectrum of arts-related TV shows... 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. Hooker’s vocal stylizing, with its clarion tone, crisp phrasing (reminiscent of both Nancy Wilson and Shirley Horn) and blues-accented undercurrent, is undeniably impressive, and her covers of “You’d Be So Nice to Come Home To”, “Ill Wind” and “Creole Love Call” are certainly imaginative. But Hooker’s greatest strengths lie on the other side of the mic. As craftswoman of original tunes – the bright and breezy “The Eyes of Chaz” (written for her infant son), the long-distance love lament “The Other Side of the Sun”, the clever “Time and Space”, a peppy dissection of a romance that’s physically fulfilling but emotionally vacant, and “No Goodbyes”, the deceptively simple tale of a too-long bruised and battered heart- she can hold her own against pretty much any singer-songwriter in the business. Hooker’s ability to add lyrics to instrumental classics- the aforementioned “Seagulls”, “Goodbye Pork Pie” (an autobiographical sketch fitted to Mingus’ “Goodbye Pork Pie Hat”, Monk’s “Well You Needn’t” reinvented as the feisty “You Needn’t Call Me”, Wayne Shorter’s “Footprints” shaped into the heartbreaking “Footprints On My Soul” (which Hooker originally wrote for Sheila Jordan) and Fats Waller’s “Jitterbug Waltz” revved into the breakneck merry-go-round of “Lovebug Jitters”- is flat out masterful.

  • Jazz singer updates lyrics for solid debut...
    author: Joseph Blake, TImes Colonist, BC

    Here's a CD debut by a talented, young singer backed by a great, veteran, New York City-based trio. Bassist Rufus Reid and pianist Allen Farnham co-produced the recording with Hooker. Joined by tasteful drummer Tim Horner, they cook-up a repertoire of daring, witty, reshaped jazz standards like "Goodbye Pork Pie Hat", "Creole Love Call", "Footprints" and "Jitterbug Waltz". Hooker's new lyrics to these tunes and the band's reinvented arrangements are inspired. She's a smart, skilled, adventurous singer too. Think of a young Sheila Jordan.

  • Excellent female jazz vocal CD. Pick up a copy today!
    author: Groov (for RadioIndy)

    The CD, Right Where I Belong, by Lauren Hooker is a very impressive jazz project, packed with original and classic jazz compositions. Lauren's vocals are in a class by themselves. She flows vocally through different jazz standards as if she lived them herself. Her voice is rich, tasteful and soulful. Lauren brings back the 50's sound with avengence and just plain brilliance. The track, "No Goodbyes", is a composition that propells Lauren in the same class as Ella Fitzgerald and Sarah Vaughan. It's a beautiful and pure composition, and it stands above the rest of the original jazz tracks on the album. The lyrics tell a heart-felt story that can be appreciated by anyone, regardless of age. We recommend everyone to listen to the entire album and we can assure you that you won't be able to stop listening to the project. It's an inspiration for any musician or songwriter. Lauren Hooker is here to stay and in our opinion, deserves a Grammy for this project. Pick up a copy today!

  • All jazz vocalists should strive to the reach the heights...
    author: Ken Dryden, allmusic

    Lauren Hooker's debut recording as a leader is an impressive affair. She is obviously someone who has paid her dues over the previous two decades as a performer, as demonstrated in her ambitious, wide-ranging choice of material, most of which she arranged as well. Accompanied by a top shelf rhythm section, consisting of pianist Allen Farnham, bassist Rufus Reid and drummer Tim Horner, she's equally at home tackling spirituals like "Sometimes I Feel Like a Motherless Child" (which is retitled "Right Where I Belong" due to her additional lyrics), standards popular during the swing era ("Ill Wind" and a wild, hilarious romp through Fats Waller's "Jitterbug Waltz", for which she contributed lyrics, calling it "Lovebug Jitters." But Hooker's finest performances are revealed in her selection of post-bop material, all of which she wrote lyrics. Charles Mingus' "Goodbye Porkpie Hat" is transformed from a funeral dirge for Lester Young into a moving autobiographical sketch of a woman and her baby leaving her abusive man. She had previously collaborated with Mal Waldron, writing lyrics for (and recording) his "Seagulls of Kristiansund;" this dramatic rendition features the singer accompanying herself on piano, with Farnham adding a tasteful touch of synthesizer in the background. Hooker's adaptation of Wayne Shorter's modal masterpiece "Footprints" (renamed "Footprints On My Soul"), also packs a powerful punch. Only "You Needn't Call Me" is a disappointment, as her lyrics to Thelonious Monk's "Well, You Needn't" are not the equal of those written by Mike Ferro for Carmen McRae's excellent recording of "It's Over Now," though Farnham and Reid offer dynamite solos. The vocalist also wrote four strong originals, highlighted by the brisk samba "The Eyes of Chaz," which features her playful scat and a variety of percussive effects by Horner. All jazz vocalists should strive to the reach the heights that Lauren Hooker achieves on her very first CD.

  • warm voice and breathtaking artistic interpretation
    author: Jürgen Enninger, enja music publishing, Germany

    I am amazed with your warm voice and the breathtaking artistic interpretation of the song ("Seagulls" written by Mal Waldron as "Seagulls of Kristiansund" enja music publishing, lyrics by Lauren Hooker) as well as the compassionate lyrics you have written.

  • ...impressive credentials... filled with surprises... tell stories per her lyric
    author: By Michael P. Gladstone, Senior Editor, All About Jazz

    It turns out that not only does jazz singer Lauren Hooker have some impressive credentials, her debut album is also filled with surprises. Born into a musical family, (her father recorded with Bill Evans during their college days in New Jersey), Hooker assumed a career as an entertainer during the early 1980s as well as being a musical educator at The Bank Street School for Children in Manhattan. Her first big break came in 1989, when she recorded with legendary pianist Mal Waldron and wrote original lyrics to his composition, “The Seagulls of Kristiansund.” This singular moment has been cited as a raison d'etre for Hooker's writing skills and the ability to tell stories per her lyrics. The makeup of these eleven tracks consists of seven songs where she has written original lyrics to jazz standards, two originals and two from the Great American Songbook. The title tune is really the traditional melody, “Sometimes I Feel Like A Motherless Child” with her own adaptation changing the title to “Right Where I Belong.” On the Duke Ellington classic, “Creole Love Call,” Hooker uses her three octave range in vocalese fashion to further enhance the timeless melody. Perhaps the most impressive part of the album is Lauren Hooker's writing for some of the more modern bebop era compositions with completely different lyrics than originally submitted by the original songwriters. On Wayne Shorter's “Footprints” (here called “Footprints on My Soul”), the lyrics are quite different than those previously recorded, including the Grammy-nominated album by Karrin Allison. Charles Mingus' “Goodbye Porkpie Hat” offers none of the meaningful Lester Young tribute lyrics that made the Mingus tune so appropriate. I'm not so sure that I prefer this one over the original. Thelonious Monk's “Well You Needn't” is given a new dressing via Hooker's title, “You Needn't Call Me,” despite previously submitted lyrics (and title changes) from Jon Hendricks and Carmen McRae. “Lovebug Jitters” offers her own take on the classic Fats Waller standard “Jitterbug Waltz.” What matters most with regard to these original rewrites is not whether or not they are better than the words that we may be more interested in hearing, but that Lauren Hooker has the ability and drive to submit these lyrics and deliver them in a swinging sense that befits the works of Shorter, Waller, Monk, Waldron and Mingus. Lauren Hooker's musical companions are an excellent group consisting of über-piano accompanist Allen Farnham, bassist Rufus Reid and much in-demand drummer Tim Horner.

  • Lauren Hooker presents her debut opus to the world on a diamond laden silver pla
    author: Brian Ball, Music Editor

    Right Where I Belong is packed full of both original and classic jazz compositions as well as Lauren’s original lyrics set to tunes that you may remember from decades past (Fats Waller, Monk, Mingus, etc.). Lauren’s four octave vocal range alone sets her leaps and bounds ahead of the competition, not to mention her jaw-dropping composition genius found on tracks such as “Time & Space” and “No Goodbyes”. To describe Lauren’s presence on Right Where I Belong, one would immediately sense inspiration from such classics as Sarah Vaughan, Ella Fitzgerald, John Coltrane and Miles Davis. However, Lauren has been fortunate enough to grow up in an environment that allowed her to meet and spend time with living jazz legends such as Duke Ellington, Dave Brubeck, Mal Waldron (Billie Holiday’s former pianist), Michael Cochrane and Allen Farnham. Now that the world is wise to Lauren’s ability, the hardest part is waiting until she releases her sophomore album… unless you live in the New York metropolitan area where you can catch her performing at such swanky venues as Sweetwaters, the West End Café, Lounge Zen and the many Greenwich Village Jazz Festivals.

  • ...fine voice...writing skills...knock it out of the park
    author: Doug Boynton

    The title song - a twist on the vocals to "Sometimes I Feel Like A Motherless Child," sort of sets the tone for the whole disc. It's familiar, yet different. Ms. Hooker has rearranged the lyrics to this one, and added lyrics to some of the others, like Theolonius Monk's "You Needn't Call Me." Three old pros join Ms. Hooker - Allen Farnham on piano and arrangements, Tim Horner on drums, and Rufus Reid on bass. Two of the songs jump out for me, in addition to the title song. Ms. Hooker's original, "Time and Space," along with a driving version of Cole Porter's "You'd Be So Nice To Come Home To," which also serves as a marvelous showcase for Mr. Farnham's piano. Another original, "No Goodbyes," is the best of the tracks to frame both Ms. Hooker's fine voice, and her writing skills. It's memorable, and quietly beautiful... Ms. Hooker has a background as an educator; and she and the guys have taken some chances here. Not every one worked for me - but when they did - as on that title track I keep mentioning - they knock it out of the park. Go listen - download the tracks that I've mentioned. I think we'll both be looking for the next one from Ms. Hooker and the guys. 


  • Her voice spices '50s cool with a knack for scat.
    author: Tom Hull

    Lauren Hooker: Right Where I Belong (2006 [2007], Musical Legends): Jazz singer. Dates her career from 1984, but this is her first album. It's also pretty impressive. Her voice spices '50s cool with a dash of Sheila Jordan and a knack for scat. She arranges three standards, writes four originals, and adds words to six more, including five jazz instrumentals, from Mingus, Monk, Waller, Waldron, and Shorter. B+(***)

  • ...brilliant, soulful... her debut on a diamond laden silver platter.
    author: Brian Ball, Music Editor, Womens Radio

    New Jersey’s brilliant, soulful jazz composer / musician / vocalist / lyricist, Lauren Hooker, presents her debut opus to the world on a diamond laden silver platter. Right Where I Belong is packed full of both original and classic jazz compositions as well as Lauren’s original lyrics set to tunes that you may remember from decades past (Fats Waller, Monk, Mingus, etc.). Lauren’s four octave vocal range alone sets her leaps and bounds ahead of the competition, not to mention her jaw-dropping composition genius found on tracks such as “Time & Space” and “No Goodbyes”. To describe Lauren’s presence on Right Where I Belong, one would immediately sense inspiration from such classics as Sarah Vaughan, Ella Fitzgerald, John Coltrane and Miles Davis. However, Lauren has been fortunate enough to grow up in an environment that allowed her to meet and spend time with living jazz legends such as Duke Ellington, Dave Brubeck, Mal Waldron (Billie Holiday’s former pianist), Michael Cochrane and Allen Farnham. Now that the world is wise to Lauren’s ability, the hardest part is waiting until she releases her sophomore album… unless you live in the New York metropolitan area where you can catch her performing at such swanky venues as Lounge Zen... and the many Greenwich Village Jazz clubs.

  • Powerful vocals...sultry soul...a multi-talent... full circle musician...
    author: Karl Stober, JazzReview.com

    Lauren Hooker’s newest entry into the world of jazz is far from mediocre. Powerful in vocals, a positioned flow of acute arrangements, and a vast array of fine selections sets the stage for a highly seasoned musical performance! Musical Legends' release, Right Where I Belong, has numerous attitudes, however, none more profound than that of a sultry soul. Her talent is best described with the numerous cuts in which Hooker bleeds her bondage into each and every ballad. Feelings are invoked when Hooker lets loose her vocals…giving the listener a sense of much more than just notes on a scale. The impact on most cuts is strong with a high fever pitch. Her soul is her sound! That, my fellow jazz enthusiast, is the main ingredient to the craft itself. “Seagulls,” by Mal Waldron, is such a wonderful piece. It articulates a story with music. Hooker, taking this Waldron instrumental and adding her lyrics, cements herself as a ‘multi-talent’ in this genre. Many have been quoted as labeling Hooker “a full circle musician.” If any piece of Hooker’s work substantiates this statement, it would be “Seagulls.” A heartfelt piece is shown by Hooker’s own creation, “No Goodbyes.” One becomes enveloped in the strong jazz piece, exhibiting the warmth of every broken heart ever torn. Lyrics are simple, yet in the purist form, addressing the love that was lost without a trace. The arrangement adds to the deep sorrow. An embraceable ballad for those nights when one reminisces…and falls once more into the arms of the lost! Hooker is where she needs to be. In other words, “Right Where She Belongs.” This experience can only offer us hopes of more expressive and diverse journeys with Ms. Hooker. Add to your collection only in hopes for another addition soon.

  • ...one of the standout vocal releases of this year
    author: Laurence Donohue-Greene, Managing Editor AllAboutJazz-New York

    "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 2007's strongest debut releases." -

  • ...going to knock you off your chair...rich, confident, assured
    author: by George Harris, All About Jazz LA

    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 pitch, as evidenced on Duke Ellington's searing "Creole Love Call," will give you goose bumps. Her own compositions, like "No Goodbyes" are perfectly suited jazz vehicles, and deserve to be appreciated on their own musical basis. The band, lead by master bassist Rufus Reid, is simply impeccable, and flies through these songs like a javelin. Swoop up Right Where I Belong, and look for this New Jersey lady when she comes to town; it's sure to be an event.

  • ...her writing and delivery of new lyrics to five jazz instrumental standards...
    author: JOHN HENRY FROM Audiphile Audition

    What attracted me to Lauren's debut CD was her writing and delivery of new lyrics to five jazz instrumental standards - Goodbye Porkpie Hat, Jitterbug Waltz, Monk's Well You Needn't, Mal Waldron's Seagulls of Kristiansund, and Wayne Shorter's Footprints. They're a kick, reminding me of Jon Henrick's efforts in the same direction. She also has several original songs among the 13 tracks. Her voice is excellent, if not that unique, and Allen Farnham is one of the top jazz pianists around, providing first class backing for the her vocals. TrackList: [Lauren's titles for the jazz instrumental lyrics differ a bit from the originals] Right Where I Belong, You'd Be So Nice to Come Home To, Goodbye Port Pie, The Eyes of Chaz, The Other Side of the Sun, You Needn't Call Me, Time and Space, Seagulls, Lovebug Jitters, No Goodbyes, Footprints On My Soul, Ill Wind, Creole Love Call. I'm really not a big vocal music fan, preferring instrumental music in all genres, and evidently many of our other AudAud reviewers are of similar mind, because a fearsome stack of mostly jazz vocalist CDs has piled up in a corner needing reviewing. What follows is a quick survey of most of them. Readers should know that my tastes run toward singers with completely unique vocal styles, and most of them don't really have what might be called terrific voices. Examples: Mose Allison, Dave Frishberg, Bob Dorough, Blossom Dearie, Randy Newman, Billie Holiday, Lotte Lenya, Paolo Conte, Jack Sheldon. So ya' know whereof I's a comin' from, OK?

  • She has had much professional training but despite that she comes across as a ve
    author: Herb Young - International Association of Jazz Record Collector

    It took this talented vocalist, composer, lyricist and yes even a darn good pianist a long time to come forth with her debut recording but here it is and it was well worth the wait. A bit of background on this person is in order. She has been a professional musician now since a teenager. I have no idea of her age and would never ask a lady that question in the first place. But I would venture a guess she has been on the scene for a number of years. A recording was made with Mal Waldron back in the 1980’s but never was issued. I wish someone would issue it. Her education is long and varied and can easily be found on her website but will mention only two places, Manhattan School of Music and Rugters University. She has had much professional training but despite that she comes across as a very free spirit. Now to the recording at hand. So many records start off with what I would consider their best effort in order to immediately catch your intention. I do not find that here. This music just seems to build and build. She has the command of nearly a 4 octave voice. Yet you wouldn’t even get a hint of that from the first track but believe me by the time you get to “Creole Love Call” (my favorite by the way) you know it well. The tune list above shows one song title and then another in brackets. Well, she wrote lyrics to some of these songs and alternate lyrics to others. No gimmicks here at all. The truth is they would make good poetry in their own right. The lyrics as well as her sharing some thoughts about each song are printed in the booklet. I found this to be very interesting and wish other artists would do the same. She does play piano on one tune, “Seagulls" (Seagulls of Kristiansund by Mal Waldron). The other musicians are to be commended. Rufus Reid is a well known bassist and his work here again is super. The same can be said of Mr. Farnham and Mr. Horner. They just know what to put down. All three give her all the support in the world. This is not just another vocalist backed by a trio. It is difficult to verbalize just how unusual this CD is. She is a very mature artist. She has talent and good taste. She just comes across as so honest and genuine. One wishes that he or she would know her personally as her music is so intimate. Well recommended.

  • Hooker is an adventurous singer, with a fine voice of producing finely shaded re
    author: Joe Lang (New Jersey Jazz Society)

    Vocalist LAUREN HOOKER is another presence on the New Jersey scene. She was reared here, graduated from Fairleigh Dickinson University with a degree in Music Education, and has had a New Jersey-based career as a performer and music educator that has garnered her much critical acclaim, and an enthusiastic fan base. "Right Where I Belong" (Musical legends – No Catalog #) is a hip initial recording from a very musical and creative lady, who complements her talents with the good sense to call upon the likes of pianist Allen Farnham, bassist Rufus Reid and drummer Tim Horner for musical support. Most of the program is comprised of completely original pieces by Hooker or jazz tunes to which she has added her own lyrics. It is rare that a first album consisting of primarily original material grabs me upon a first hearing, but this one immediately felt like an old friend. Many performers like Hooker, who grew up at a time when rock and related styles of music were predominant, seem lyrically influenced by the style of the singer-songwriters who displaced the lyric artistry of giants like Cole Porter, Lorenz Hart, Johnny Mercer, Ira Gershwin, with lyrics that are carelessly penned, full of false rhymes, pseudo-intellectual imagery that reeks of pretension, and overly personal confessional story telling. Hooker finds a happy middle ground between these extremes. Her lyrics borrow from the best of both worlds, and are carefully written, often containing reflections of her personal experiences, but still general enough to avoid making you feel like you are a furtive observer of specific occasions and relationships. Hooker is an adventurous singer, with a fine voice of producing finely shaded readings of her material.This may be her first album, but it is evident that Lauren Hooker is a mature and talented performer who deserved an opportunity to record long before this. (www.laurenhooker.com) (NOTE: A portion of the proceeds from the sale of this album will be contributed to the Katrina Children’s Relief Fund.. By special arrangement with Lauren Hooker, copies will be made available to NJJS members for $15.00, including tax and shipping, at our events or by contacting pres@njjs.org.)

  • Hear the heart come through in the vocals...backed up by soulful bones. Lovely human joy.

  • "Formidable comes to mind when I ponder the musicianship...Lauren is the embodim
    author: George W. Carroll, The Musicians' Ombudsman

    "Formidable comes to mind when I ponder the musicianship of the backing contained therein for jazz singer Lauren Hooker's new CD effort. And, ''swing'' is the positive result of all that musical interplay. Lauren & her wondrous group of three veterans, (Tim Horner-drums, Rufus Reid-bass, & Allen Farnham on piano deliver a myriad of artistic polyphonic jewels joined to a panoply of reflection, color, & dynamics. As for Lauren, she is the embodiment of the aesthetic, deeper, philosophical side of the vocal idiom. Her passionate delivery is imbued with candor, structure, reflection, & lovely kaleidoscopic song patterns that are certainly easy to listen to." George W. Carroll/The Musicians' Ombudsman ejazznews.com

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