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CD Reviews
Presented here is a collection of reviews for use in promotion of Holly Hofmann. Reviews can be printed or downloaded in DOC or PDF format.
Review Courtesy jazzreview.com
Reviewed by: Peter Westbrook
CD Title: Three's Company
Year: 2010
Record Label: Capri
Style: Straight-Ahead
/ Classic
Musicians: Holly Hofmann, flute & alto flute; Bill
Cunliffe, piano; Regina Carter [track 3], violin; Alvester Garnett [track 4],
drums, Ken Peplowski [track 5], clarinet; Terell Stafford [track 7], trumpet
Review: Holly Hofmann (www.hollyhofmann.com) is one
of the premier flutists in jazz, "Along with Hubert Laws. . . the best jazz
flute player today" according to Phil Woods. Bill Cunliffe (www.billcunliffe.com) is an outstanding pianist--1989 winner of the
Thelonious Monk International Jazz Piano Award--and an award-winning
arranger--he won a Grammy in 2010, with three other nominations, including
another one this year. Together they provide one of the finest examples of the
art of the jazz duo.
This is the fourth duo album that Hofmann has released, three of them with Cunliffe and one with Mike Wofford. (Given that she is married to Wofford, this must reflect the respect she has for Bill Cunliffe's playing--not to mention the strength of her marriage to Mike, himself an accomplished pianist and gifted arranger!) Submitting to economic realities, in common with many other jazz players these days, Hofmann finds herself working frequently in a duo setting, rather than the more ideal quartet or quintet. Wisely, however, Holly has turned this liability into an asset, developing the art of duo performance into a distinct voice of its own. For Three's Company, Hofmann and Cunliff create a change of pace by adding guest artists on four tracks, drummer Alvester Garnett, Garnett's wife, award-winning violinist Regina Carter, trumpeter Terell Stafford, and clarinet master Ken Peplowski. The duo tracks demonstrate the diversity of form and color that Hofmann and Cunliffe draw from the flute/piano combination, aided by their original compositions and Cunliff's deft touch as an arranger. The guest artists, and the unusual instrumental combinations they create with the duo, add further variety to a session that never fails to hold the interest. These are first-rate jazz artists at the top of their game, with Hofmann's agile flute work and Cunliff's unerring musical intelligence evident every step of the way.
Anyone interested either in the flute in jazz, or the art of duo performance,
would do well to get hold of this recording, as well as Holly's previous efforts
in this genre, Just Duet, vols. 1 & 2 with Cunliffe, and Live at
Athenaeum with Wofford, all of which can be found at www.hollyhofmann.com. They perfectly demonstrate how a duo can be more
than just a quartet without bass and drums, as well as what players with a
classical as well as jazz background can bring to this music. Check out
Cunliffe's site also. If you are a fan of jazz piano and are not familiar with
his work, you need to rectify that immediately. For great examples of his
writing my personal favorites are How My Heart Sings and Imaginacion.
Reviewed by: Peter Westbrook
Review Courtesy AllAboutJazz.com
Live at Anthenaeum
Jazz, Volume 2
Holly Hofmann / Mike Wofford | Capri
Records By Michael
P. Gladstone
Flutist
Holly Hofmann’s Live at Anthenaeum Jazz, Volume 2 was
recorded during the summer of 2006 at San Diego' s Athenaeum Jazz
Music and Arts Library, in duet with musical partner/husband, Mike
Wofford. Prior to the quartet recording Minor Miracle (Capri,
2005) Wofford’s piano trio released the well-received Live
at Anthenaeum Jazz (Capri, 2004).
Though earlier efforts may be hard to come by, Hofmann’s recent signing with Colorado-based Capri means she is now on a larger indie label. Previously, she was on the smaller Azica label, coincident to her tenure with the Ray Brown group.
Originally from Cleveland, Hofmann, studied with Slide Hampton and Frank Wess, relocating to San Diego in the mid-1980s. Championed by legendary bassist Ray Brown, Hofmann was a regular member of his group for a seven-year period until his passing in 2002. Although Hofmann had a significant series of recordings with other musicians including pianist Bill Cunliffe, her 2000 marriage to Wofford signaled a new collaboration.
P>Texas pianist Mike Wofford has a long history of active playing during the exciting period of West Coast Jazz during the 1960s, and served as the keyboardist for the Lighthouse All Stars.
This album presents both players at their best, with Hofmann's swing-oriented playing being highlighted, as well as Wofford's noteworthy ability to match her with prodding pianistics. Although this is not a “mood album” per se, a suggestion might be to play the opening track, Vincent Youman's “More Than You Know,” on either a beautiful summer day or evening to maximize the tune's ultimate romantic presentation. On the other hand, the Ralph Ranger/ Leo Robin classic “If I Should Lose You” seems to be taken at a faster pace than usual after the melody statement, which Hofmann plays on alto flute.
An interesting Thelonious Monk medley begins with he rarely heard “Introspection,” and flows into “Eronel.” Hofmann’s “Pentimento,” with a tango-ish touch, is another highlight. The album ends with a spirited “Exactly Like You,” with Wofford striding behind the flute.
Track Listing: More Than You Know; Floof; Introspection; No Mercy; Twelve; Free Day; Out of This World; If I Should Lose You; Presentimento; Exactly Like You.
Personnel: Holly Hofmann: flute, alto flute; Mike Wofford: piano.
allmusicguide...jazz
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.
IN THE NEWS
HOLLY HOFMANN
About her Capri release Minor Miracle
“A really fine jazz flutist is always worth celebrating, and Holly Hofmann is among the finest. Her warm, swinging tone, her exquisite taste in sidemen and her seemingly effortless facility in diverse jazz styles make this collection of ballads, sambas and blues a completely delightful listening experience. Highly recommended to all jazz collections.”
— Rick Anderson, CD Hotlist
“There are few female musicians in jazz, but the best one is definitely Holly. Her inheritance comes from Frank Wess and Bud Shank, and here she soars with mastery in everything: themes, cords and rhythms... marvelous album: varied, subtle, and original, which is a rare thing these days. It’s worth listening to with great attention!”
— Jean-Michele Reisser, Jazz Magazine (France)
“Holly Hofmann’s third recording for Capri records and tenth album overall… an amazing jazz flutist, and this CD is no exception to her previous releases… Producer Thomas Burns has done an excellent job of maintaining a natural acoustic sound on this album. The ensemble is tight, the selections are fun and mesmerizing at the same time, and the improvs are creative, both harmonically and melodically… play it over and over again.”
— Flute Talk
“**** Four stars. This is a terrific SACD.”
— John Henry, Audiophile Audition
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
