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 ...
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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, to 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. ~ Ken Dryden, Rovi
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