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Deborah Henson-Conant, 'Round the Corner (41:42)
Golden Cage Music GC-87-002-CD
Box 400250
Cambridge, MA 02140-0003
Phone: 1-888-DEB-STUF
Cyberhome: www.hipharp.com

Deborah Henson-Conant, the self-described "bad girl" of the jazz 
harp, released this recording on cassette back in 1987. In 1994 she 
reissued it on CD. Although her instrument couldn't be any more 
unconventional, on this early date she plays jazz standards in a 
conventional trio format (lead instrument, upright bass, drums). Her 
rhythm section makes one sit up and take notice: bassist John 
Lockwood and drummer Bob Gullotti are two-thirds of George Garzone's 
well known group The Fringe.

There's a resonant, sustaining quality to the harp that, in a jazz 
context, sounds somewhat similar to the vibes. But there's also a New 
Agey softness to the instrument, and this is a liability on a track 
such as "Blue Bossa." On "'Round the Corner," "Swingin' Shepherd 
Blues," and "Georgia On My Mind," the instrument's limitations as a 
mode of blues expression are hard to ignore. However, on the bright 
waltz rendition of "Over the Rainbow," which Henson-Conant sets up 
with a beautiful, unaccompanied Wizard of Oz medley, the harp sounds 
dreamy and rich. Likewise, on "Summertime," which Gullotti spices up 
with log drums, Henson-Conant uses the harp's innate sonic qualities 
to remake the tune in her own mold. ~David R. Adler





Budapest (1993)
Just for You (1995)
Altered Ego (1996, revised 1998)
Music of Deborah Henson-Conant
Laika Records, Unity Records, Golden Cage Music
http://www.hipharp.com

	Jazz harpist Deborah Henson-Conant is a veteran of the jazz scene in the
Boston area. She performs with a variety of different bands and
instrumentalists, and is a versatile stylist as well. Her music can range
from neatly put together “smooth jazz” with a Latin or modified African
beat, to “soft rock,” to funny and sentimental songs which would fit in
quite well with what is sometimes called “womens’ music.”
	The three albums I’ve heard document this range quite well. Budapest
(named for where it was recorded) is almost all instrumental. Henson-Conant
plays with some excellent European players, including the fine guitarist
Chieli Minucci, and integrates “world” influences into her music, though all
the compositions are hers. There is an invigorating variety of moods here,
ranging from the jazzy “Fool of the World” to the Celtic-inspired “Kerry
Dance.”
	Just for You was recorded live in Germany, where Henson-Conant
played a mix of hot harp jazz, passionate mood music, and bumptious comedy
to an appreciative audience who fortunately understood English. This album
showcases her act, which (though of course it isn’t visible) includes
athletic harp gymnastics, stage schtick, and funny songs about dustballs and
watermelon.
	Altered Ego is the one I would refer to as “womens’ music” because
of its autobiographical, romantic, and “inspirational” lyrics designed for
womens’ lives and concerns. Even the album cover features childhood pictures
of Henson-Conant. This album is mostly songs, rather than instrumentals, and
here’s where I have problems with Henson-Conant’s music.
	When she plays her harp, she’s great. Her instrumental stuff lights up the
air. But when she sings, she’s no more than mediocre, and in many places,
just bad. Her voice has an acid, harsh quality to it, and more often than
not, she’s out of tune. Even when she hums or sighs wordlessly accompanying
instrumental solos, as in Budapest, she doesn’t stay on the notes.
Hearing this, I wish she would just let her harp do all the singing. So if
you like hearing sophisticated harp jazz, I recommend you select her
all-instrumental work, which is cheerful and rewarding, and skip over her
vocalizing.


Hannah M.G.Shapero
2/20/2000



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