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Minor Miracle Track Listing: Everything I Love, CRS-CRAFT, Minor Miracle, Samba do Aviao, Tonk, Johnny Come Lately, Minha, Will You Still Be Mine Personnel: Holly Hofmann--flute; Mike Wofford--piano; Peter Washington--bass; Victor Lewis--drums
JazzTimes Magazine
HOLLY HOFMANN
Minor Miracle (Capri) Holly Hofmann possesses one of the most exquisite flute tones in jazz. She also demonstrates a sure technique, inventive ideas, a secure sense of swing and a broad emotional range. Put her with some of the best practitioners of their own instruments—husband Mike Wofford on piano, Peter Washington on bass and Victor Lewis on drums—interpreting together an attractive collection of standards and originals, and the result has to be a winner. And a winner Minor Miracle is, with all hands displaying a consummate professionalism enhanced by that special quality that only players of their caliber can bring to a performance. Jobim’s lovely “Samba Do Avião,” a flute and piano duet, fittingly displays Hofmann’s beautiful tone and both improvisers’ highly melodic phrasing. Similar examples include Francis Himes’ Brazilian “Minha” and Cole Porter’s “Everything I Love.” On the other end of the emotional spectrum, “CRS-Craft,” a bluesy, 16-bar groover by the late bassist Ray Brown, finds the flutist digging in and swinging hard. Other up-tunes include Matt Dennis’ “Will You Still Be Mine,” Ellington and Strayhorn’s “Tonk” and Strayhorn’s “Johnny Come Lately” (fitted with an Afro-Cuban beat). The jaunty “Minor Miracle,” the couple’s own imaginative stretched blues (à la Bobby Timmons’ “This Here”) resides somewhere in between.
-David Franklin
Hofmann takes the flute off the jazz sidelines
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| Review | by Ken Dryden |
| A number of jazz spouses have worked together on record dates over the decades, though it is still a relatively infrequent occurrence. But flutist Holly Hofmann, a perennial critic's favorite, found a true soul mate in pianist Mike Wofford, as they demonstrate throughout this enjoyable duo concert recorded at the Athenaeum Music & Arts Library in southern California. On this occasion, Hofmann makes her recorded debut playing alto flute on three selections, a reflective "More Than You Know," a risk-taking romp through two infrequently performed Thelonious Monk works ("Introspection" and "Eronel"), and a driving take of the standard "If I Should Lose You" that has a humorous air. Hofmann contributed two originals: "Free Day" is a haunting melody inspired by a fragment from American classical composer Samuel Barber's Adagio for Strings, while "Presentimiento" is a dark, sensuous bossa nova. Wofford wrote the quirky "Floof" for his wife, a demanding chart that is full of sudden twists and turns. Pete Malinverni's "Twelve," full of the playful dissonance and unexpected chords heard in the music of the late Herbie Nichols, is negotiated flawlessly by both Hofmann and Wofford. This intimate concert was recorded acoustically without amplification on the flutes, giving the listener an unforgettable experience similar to those who were able to attend this memorable evening of jazz. | |
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JazzTimes Magazine |
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HOLLY
HOFMANN
Minor
Miracle
(Capri)
Holly Hofmann possesses one of the
most exquisite flute tones in jazz. She also demonstrates a sure technique,
inventive ideas, a secure sense of swing and a broad emotional range. Put her
with some of the best practitioners of their own instruments—husband Mike
Wofford on piano, Peter Washington on bass and Victor Lewis on
drums—interpreting together an attractive collection of standards and
originals, and the result has to be a winner. And a winner Minor Miracle is,
with all hands displaying a consummate professionalism enhanced by that
special quality that only players of their caliber can bring to a performance.
Jobim’s lovely “Samba Do Avião,” a flute and piano duet, fittingly displays Hofmann’s beautiful tone and both improvisers’ highly melodic phrasing. Similar examples include Francis Himes’ Brazilian “Minha” and Cole Porter’s “Everything I Love.” On the other end of the emotional spectrum, “CRS-Craft,” a bluesy, 16-bar groover by the late bassist Ray Brown, finds the flutist digging in and swinging hard. Other up-tunes include Matt Dennis’ “Will You Still Be Mine,” Ellington and Strayhorn’s “Tonk” and Strayhorn’s “Johnny Come Lately” (fitted with an Afro-Cuban beat). The jaunty “Minor Miracle,” the couple’s own imaginative stretched blues (à la Bobby Timmons’ “This Here”) resides somewhere in between.
IN THE NEWS
About her NEW Capri release Minor Miracle
Hofmann works to give the flute frontline parity with horns (Dizzy said her ideas were like those of a trumpeter). Who else would tackle Hank Mobley’s hard bop jewel “This I Dig of You” on her instrument? Like Art Pepper, she’s not afraid to overblow or clam if it means going for a difficult maneuver, as long as the feeling is achieved. Wofford and Hofmann are each supporting strong new albums: Live at Athenaeum and Minor Miracle, respectively (both are on Capri).
“These eight tracks alternate between soothing sambas and upbeat swingers led by Holly’s fresh melodies on flute… very good session.” — D. Oscar Groomes, O’s Place”
“Most recently Hofmann was one of the three flautists on the recent Capri Flutology CD… like to get a nice laid-back groove going and swing…. will definitely please.” — Tony Hall, Jazzwise (UK)
“What a solid album, and what a mighty proponent of the flute genre we have in one Holly Hofmann... virtual torrents of fresh, rhythmically and harmonically inventive ideas and melodies… The epitome of gainful bebop.” — George W. Carroll, Jazzreview.com
“Holly Hofmann is a fantastic flutist. The music on this album proves it. Minor Miracle is a welcome addition to my jazz collection.” — Bruce Von Stiers, BVS Reviews
“Hofmann’s flute finds good company with Mike Wofford, Peter Washington and Victor Lewis on some standards like Everything I Love, Samba do Aviao, Johnny Come Lately and Will You Still Be Mine, among others. Faithful flute fanciers will froth.” — George Fendel, Jazz Scene
“An especially fine set of mainstream and Latin sounds… Hofmann was selected as a “Rising Star” in the latest Downbeat poll; they do know how to pick them. With Minor Miracle she proves that the saxophone or trumpet in front of the rhythm section isn’t the only jazz quartet game in town.” — Dan McClenaghan, All About Jazz
“Holly Hofmann’s bluesy and hard-driving flute has set a new standard for the instrument in the jazz world, gaining her rising star status in the DownBeat Critic’s Poll. On Minor Miracle she pays tribute to those who have influenced her throughout her career including Ray Brown and husband/pianist Mike Wofford.” — Accent on Tampa Bay
“Minor Miracle casts a nice, gentle spell.” — Jerry D’Souza, All About Jazz
“San Diego native Holly Hofmann performs her magical flute work on eight lengthy tracks… An album with a song for every mood!” — Bob Morello, Boston Post-Gazette
“Hofmann has been recording steadily since the last 1980s and her credibility among musicians and jazz critics secured an award for her in the “Rising Star” category in the DownBeat Critics Jazz Poll… She possesses a strong but soulful delivery and in no way resembles the “flute-lite” sound heard frequently… Hofmann states the melody and launches into lyrical and swinging solos just as she did on the road with the Ray Brown Trio.” — Michael P. Gladstone, All About Jazz
“Holly Hofmann’s superb quartet gave a fantastic performance at Steamers while celebrating her wonderful new CD “Minor Miracle”… one of the best ensembles I’ve heard … Highly recommended.” — Glenn A. Mitchell, LA Jazz Scene
“Hofmann’s CD is quality straight-ahead jazz.” — Norman Vickers, Escambia Sun Press
“Straight-ahead jazz is alive and well in the capable hands of flutist Holly Hofmann and her musical partners… Together they soar cohesively over familiar terrain, reminding us what jazz should do for you.” — Jim Santella, LA Jazz Scene
“This Capri release is a “must have” for dedicated fans of jazz and gets our most highly recommended.” — Dick Metcalf, Improvijazzation Nation
Escambia Sun Press
Holly Hofmann on tour
North American flutist Holly Hofmann made ho need because Dyne and Sellers filled the role so well. For the Auckland performance, Hofmann and Wofford were accompanied by Jason Orme on drums and Alberto Santorelli on bass.
As is her wont, Hofmann’s programme consisted of jazz standards mixed in with a few less well-known tunes from the jazz repertoire. She performed on both concert and alto flute (with bass flute head – a concession, she claimed, to the shortness of her arms!) and her sound on both was warm and exquisitely controlled. Her swinging, relaxed and melodic improvisations were impeccably delivered and audiences were treated to high order jazz playing that, while not paradigm shifting, was executed with exemplary finesse. Hofmann’s command of her instrument was abundantly clear in her use of the full range of both flutes, and her solos were coloured with well-controlled glissandi, pitch bends, and occasional over-blown effects. Her sound, particularly on the alto flute, was warm and breathily personal.
The Wellington show was very well attended for a Tuesday evening affair and began with a superbly realized interpretation of John Coltrane’s Dahomey Dance, re-harmonised and performed with a feel that made it sound as fresh as paint. Pianist Mike Wofford proved a very simpatico accompanist for Hofmann and provided just the right amount of ‘push and shove’ to propel her improvisations beyond well achieved ‘copy-book jazz’, to something more personal and compelling. His own playing was absolutely top drawer, and Paul Dyne remarked after the show that Wofford was one of the best pianists he had ever worked with. That became apparent to the audience when Hofmann left the stage during the second set and he performed You Go To My Head as a trio piece. Touches like this modulated the programming of the show (sometimes a problem in jazz concerts) and Hofmann’s duet with Dyne on Gershwin’s Embraceable You provided another lovely contrast: it was an intimate conversation between two old friends that the audience was invited to share.
The choice of music was very fine, ranging from a serenely tranquil reading of Cole Porter’s Everything I Love to a very funky take on Ann Ronell’s Willow Weep For Me, and included more modern fare like John Scofield’s Groove Elation. What elevated it above ‘just another jazz gig’ however, was the care that Hofmann and Wofford had put into the arrangements of the tunes. Even things as hackneyed as If I Should Lose You gained a new lustre as a result of their attentions. Mixed with the evident good humour of the musicians on stage, this attention to detail made the concert an excellent introduction to Hofmann’s musical sensibilities for those new to her art, and a confirmation of her unquestioned abilities to those already familiar with her music. Holly Hofmann’s concert may not have been the hottest show on tour this spring, but it was almost certainly the sweetest.
Norman Meehan
