Round the Corner
Editorial Reviews: The Boston Globe, Ernie Santosuosso Deborah Henson-Conant, who has converted a seemingly unwieldy instrument into a genuine jazz voice, mixes standards with an original composition. Accompanied by bassist John Lockwood and drummer Bob Gullotti, Henson-Conant opens with her composition, ''Round the Corner.' It's a flighty, improvisational venture for the harpist, whose launching pad is a delicately bluesy 32-bar statement played in unison with Lockwood's singing bass. The song provides an ideal tableau for the harp's swing capabilities in her gifted hands. 'Blue Bossa' sways so gentle while 'Swingin' Shepherd Blues,' originally popularized by a flute solo, is treated to Henson-Conant's chiming chords and broad solo forays. 'Over the Rainbow,' actually a masterfully interpreted medley from 'The Wizard of Oz' is the album's choice track, climaxed by the trio's waltz approach to the wistful ballad, 'Over the Rainbow.' Henson-Conant smartly salutes George Gershwin with a zesty, refurbished approach to 'Summertime.' UPI, Ken Franckling If you've never heard the harp swing, you've got a treat in store. In the musical hands of Deborah Henson-Conant, the instrument becomes a true jazz vehicle, capable of wonderful improvisations and musical colorings. ''Round the Corner' is a bluesy Henson-Conant original. Bassist John Lockwood and drummer Bob Gullotti are a vital part of this trio session, giving the harpist a swinging, sometimes subtle rhythmic supports, as on 'Blue Bossa' and 'Swingin' Shepherd Blues.'