Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!

138

Hinda Hoffman: Moon and Sand

Jack Bowers By

Sign in to view read count
Several years have passed since last I heard Hinda Hoffman, and I’d almost forgotten what an absolutely marvelous singer she is. It’s good to be reminded of that, even though Hinda did have to produce this second album herself, as she did her first one. So why can’t someone with such conspicuous talent get a break? Why does she have to scratch out a living in Chicago, singing wherever and whenever she can find an open mic, while the Diana Kralls, Cassandra Wilsons and Nnenna Freelons of the world — none of whom, in our opinion, can hold a candle to Hinda — command generous recording contracts, light up festival marquees and earn mega–buck guarantees? I have a theory, and it is this: even though Hinda has a wonderful contralto voice, near–perfect diction, enormous respect for a lyric, a keen sense of rhythm enhanced by an incisive feeling for Jazz inflection, and — brace yourselves — actually sings on–key, she lacks the one ingredient that our image–conscious society prizes more highly than talent, and that is glamor. Dress Hinda Hoffman in the finest furs and jewelry and she’d still be Hinda Hoffman, only dressier. Don't get me wrong; Hinda's not unattractive or anywhere near that, but she is, to put it as discreetly as possible, an average-looking brunette who happens to own an amazingly above-average singing voice. If — and we can’t be certain that’s the case — if Hinda’s less–than–provocative appearance counts as one strike against her, her determination to be a Jazz singer is no doubt another, and the third could well be the fact that she chooses to live in Chicago, not New York or L.A. Add ’em up and the result is that many people won’t hear her impressive renditions of “I Got It Bad (And That Ain’t Good),” “Deep Purple,” “Comes Love” and so many other memorable songs, and that is their loss, as Hinda pours her heart and soul into every number on this exemplary CD. As the late Steve Allen, a superb connoisseur of talent, observes in the album’s brief liner note, Hoffman is “one of the best singers in the business. She’s the real thing, a singer with not only a fine voice, but an authentic feeling for Jazz. You can understand her every word, and her simple sound is just lovely. For you ‘excellent freaks’ out there, [this album] is a treat.” We should add that she’s also an astute appraiser of songs, carefully reinvigorating Alec Wilder’s “Moon and Sand” and such other sleeping princes as “Day by Day,” “Wonder Why,” “Our Day Will Come” and Antonio Carlos Jobim’s “Dreamer” (lyrics by Gene Lees). To her credit, she sings Dave Frishberg’s seductive “Peel Me a Grape” her way, with any allusions to Blossom Dearie no more than coincidental. On that number, as on every other, Hoffman receives unflagging support from pianist Dennis Luxion (who divides time with Ron Perrillo), bassist Dennis Carroll and drummer George Fludas. Hinda Hoffman is indeed, as Allen affirms, “the real thing,” and Moon and Sand is one of the few vocal albums to earn a permanent home in this finicky Jazz-lover's record library, in recompense for which I've one small favor to ask — on your next album, Hinda, if there is to be one, please include your delightful version of the Gershwins' "Little Jazz Bird."

Contact:Hinda Hoffman, 1200 W. Chase, Suite 3A, Chicago, IL 60626 (phone 773–508–0912).


Track Listing: Wonder Why; Deep Purple; Whisper Not; The Lamp Is Low; Flower Medley (Lotus Blossom, A Flower Is a Lovesome Thing); Our Day Will Come; Day Dream; Comes Love; Dreamer; Day by Day; I Got It Bad (And That Ain

Personnel: Hinda Hoffman, vocals; Dennis Luxion (1, 3, 8, 11

Title: Moon and Sand | Year Released: 2001 | Record Label: Expunged Records


Tags

comments powered by Disqus

More Articles

Read Bricks CD/LP/Track Review Bricks
by Glenn Astarita
Published: December 17, 2017
Read Makes the Heart to Sing: Jazz Hymns CD/LP/Track Review Makes the Heart to Sing: Jazz Hymns
by Dan Bilawsky
Published: December 16, 2017
Read Song of No Regrets CD/LP/Track Review Song of No Regrets
by Jack Bowers
Published: December 16, 2017
Read Sounding Tears CD/LP/Track Review Sounding Tears
by John Sharpe
Published: December 16, 2017
Read Lighthouse CD/LP/Track Review Lighthouse
by Glenn Astarita
Published: December 16, 2017
Read Kill The Boy CD/LP/Track Review Kill The Boy
by Chris Mosey
Published: December 16, 2017
Read "Incidentals" CD/LP/Track Review Incidentals
by Mike Jurkovic
Published: September 23, 2017
Read "Beatrice" CD/LP/Track Review Beatrice
by Jack Bowers
Published: May 13, 2017
Read "Quantum Man" CD/LP/Track Review Quantum Man
by C. Andrew Hovan
Published: April 11, 2017
Read "Old Songs" CD/LP/Track Review Old Songs
by Geno Thackara
Published: November 5, 2017
Read "Najwa" CD/LP/Track Review Najwa
by Jerome Wilson
Published: November 7, 2017
Read "Poetry from the Future" CD/LP/Track Review Poetry from the Future
by Roger Farbey
Published: June 30, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!