Review From: "Richard Henry" World Wide Jazz
The first track Soul Sojourn Prelude is a solo piano feast with complex, rippling runs and creative melodies. This is the marriage of a modern sound added with a subtle triumphant, dignified vibe. Creative chromaticism are heard along with sounds that could be heard at a performance or a restaurant. Classical romantic influence is felt in this piece. Fast, dazzling notes are placed at just the right times. The theme appears a number of times throughout, giving the listener familiarity that holds everything else together. After a while, the mood changes to a more bouncy feel that lets you savor and taste the sounds in your ears. It’s a modern piano feast that you can understand.

Red Spanish Skies, which is the third track sounds exactly what the title implies. The piece has a Spanish, colorful sound and feel. It features a number of different instruments that include the guitar and two recorders. A pleasant theme appears a number of times. The triple meter gives this piece a dance, festive kind of quality. The interchange between the guitar and recorder has great balance and variety. This piece paints a lively portrait of musical energy that has a number of layers of effective sound. Wonderful Spanish scenery and culture is well highlighted in this piece. All of the instruments and musical textures work together in great balance without being too muddy. Ascending runs and sequences are heard in the guitar solo. One of the more unique jazz pieces you’ll ever hear.

The violin is featured in the fifth track Awakening Hymn. You can hear a strong classical influence in this track. The pianist accompanies the violin nicely with chords that give the violinist the freedom to play the wonderful lines. A piano solo fits well with the overall structure of the song bending the rhythm but still maintaining a good pulse and control. Modern sounds are strongly created by the violin and further flavored by the lines and chords of the piano. The drums help keep the forward motion moving. You can hear the hymn aspect as the chords on piano have a hymnal quality while the violin sings with passionate clarity. A bass solo is played with the same feel of the overall piece. The violin and piano have the melody numerous times.

You know you're in for a treat as Borderland Beyond begins with a brisk pulse full of energy. The guitar begins with a characteristic melody that’s heard throughout the piece. You can hear the bass supporting the guitar giving you a variety of things to listen to. The drums kick this piece in high gear with speed that lets the other instruments perform with energy. I hear a modern sound in this tune as well, especially from the lines that are played and the solos that are heard. Fast ascending lines are heard on the guitar in a highly virtuosic way. The guitar is really featured in this tune and shows you the ability and range of the instrument. When the opening theme is heard again towards the end, you feel a sense of joy.

I enjoyed the modern, colorful sounds and skillful improvisation and melodies in Soul Sojourn. This cd gives you a lot of angles to listen to in terms of skill and knowledge of music. The violin, guitar and recorder give you even more variety of sounds to listen to. You can tell that a lot of care and precision went into composing these tunes. George Hoar is a composer, bassist and pianist, which is a rare combination among musicians these days and he definitely had multiple important roles in creating this cd. This is a must buy for jazz fans.

Review from All About Jazz -Mark Sullivan:
Bassist/pianist George Hoar has had extensive training and playing experience in jazz with Rufus Reid, Dave Samuels, Harold Mabern, Harvie S and Art Resnick. But his stylistic influences also include world music and Western concert music from the Renaissance and the Baroque, which are very much in evidence here. Hoar leads off the program on piano, with the solo Prelude to the title tune. "Soul Sojourn" itself features violinist Mark Feldman (in one of his two featured tracks), and also includes strong solos from guitarist Troy Conn and Hoar himself, still on piano. The addition of drummer Joe Nocilla and bass guitarist John Butler also gives this tune the most conventional rhythm section in the set. Feldman returns later for the hymn-like "Awakening Hymn," a style well-suited to the violin. His playing is beautiful as always, making him a very welcome guest.

"Red Spanish Skies" introduces the rhythm section for much of the rest of the program: percussionists Kira Kundu and Carl Mendez. The Spanish sound promised by the title is provided by nylon string guitarist Miguel Nunzio, along with Hoar on upright bass. The "horn section" employs the unusual instrumentation of alto and tenor recorders (which could be that Renaissance influence). The same core group (no recorders) also plays on "Quiet Thunder," with Nunzio taking center stage and Hoar switching to acoustic bass guitar. The tune would not be out of place on an Oregon album, which also describes the general fusion of jazz and world music on the whole album. Hoar likes this grouping so much that he reprises it on "Train Travel" (again featuring Conn) and "Aqua Blue" (which showcases guitarist Van Sachs), both with Hoar back on upright bass.

The two final tracks show Hoar with another striking musical voice: fretless bass guitar. The instrument seems to bring out a special energy in him, both as soloist and accompanist. "Borderland Beyond" is the most energetic, up-tempo track here. Conn returns on guitar, and Nocilla joins the two percussionists for a definite jazz fusion feel (in the Weather Report sense of the term). "Turn Out The Stars" was the only misstep for me. It's a heartfelt tribute to Bill Evans featuring recitation of Evans quotes about Jazz and creativity. There's nothing wrong with Richard Dalrymple's narration or the arrangement; the spoken word just pulled me out of the mood of the rest of the program. Nevertheless Hoar turns in a lovely performance of this Bill Evans tune, with the imaginative accompaniment of bowed psaltery and acoustic guitar.

A strong recording overall. Hoar is impressive as a composer and on all of his instruments, and he has a fine group of players attuned to his creative vision.
Track Listing: Soul Sojourn Prelude; Soul Sojourn; Red Spanish Skies; Train Travel; Awakening Hymn; Quiet Thunder; Aqua Blue; Borderland Beyond; Turn Out The Stars
 

George Hoar Oracle

Bassist/composer/pianist George Hoar’s latest album, Oracle, features some beautiful and haunting compositions and an A-list of musicians. The album begins with a striking polyphonic solo bass suite that was composed in a classical style, yet it evolves into an improvisational performance, showing the two sides of George Hoar. The second piece is the title track which is perhaps the highlight of the album. The beautiful melody is handled by Dave Liebman, on soprano saxophone, who infuses it with his soul-stirring sound.

"Solace Anon" finds Hoar playing beautifully on the piano. Again the melody and chords that he has arranged, along with the bowed bass put it in the field of classical music, but then some Latin percussion enters and improvisation begins. Hoar’s improvisations on this composition are heartfelt and intense. Suddenly, the tempo increases, and the melancholy quality turns to hope and excitement.

Track five has a very contemplative and otherworldly vibe and is entitled "Celestial Awake." This tune gives Hoar a chance to really shred on electric bass, even though the tempo is slow. It is no surprise that he dedicated it to Eric Satie and Jaco Pastorius. "Gentle Giant" is a very pretty duo played between Hoar and Troy Conn on guitar—Conn gets a very Bill Frisell type of sound on this track. Hoar really gets to stretch out on this one, taking a more rubato approach to tempo.

"Scenes from a Marionette" is an epic composition with some exciting twists and turns, through-composed from beginning to end. Mark Feldman plays beautifully on violin.

"Farewell" is exactly that—the album closer, and it ends how it began, with solo bass. For me, the opener and closer are the best two tunes on the album—he arpeggiates two absolutely beautiful chord progressions that will go right through your chest. The closer has more of a joyful quality to it, where the opener was dark and haunting. It is dedicated to his father, Arthur Hoar

JAZZ REVIEW. COM

George Hoar "Eclectic Heart"

Jazz composer & multi-instrumentalist George Hoar hangs out with the right people (re: Dave Liebman- reeds, Dave Samuels-marimba, etc.) ergo, his proud array of original musical artistry. George's tribute to Bill Evans, 'Evans Remembered' displays the group's & Hoar's virtues of immense musicality, taste, & artistic sensitivity.

Review from DownBeat magazine

George Hoar "Eclectic Heart"

"Highly Creative composer and performer"

REVIEW FROM GUITAR NINE RECORDS:

TRIKUS

"The New York area band Trikus, Led by Bassist/Keyboardist/Composer George Hoar self-titled album delivers

a hard edged jazz/world/blues sound that is immediately likable and of

keen interest for both guitar and bass fans. "Front St." features a classic guest performance by none other than Mike Stern, while the second track,

Free Bass", is a grooving George Hoar -led bass showcase (he plays four basses), but for a novelty track, is fine stand-alone composition as well.

The final bass inspired piece on the album is "Palette One", a lyrical piece

which finds Hoar going toe to toe with himself on piano.

Trikus has a modern sound, outstanding musicianship, a sense of humor

and a great direction for the future. Try to get a CD from the band when

they become available - you can't go wrong.

JAZZ REVIEW. COM

TRIKUS, "New Mood Suite"

The name of the group and the CD's cover art suggested art suggested

European Progressive Rock to me, so I was not surprised by the intricate bass introduction by George Hoar to "The Funhouse," the first

track on Trikus's New Mood Suite. I was slightly surprised, though,

how funky the track became something like a cross between Prince and Stanley Clarke. Likewise, the Zappa-esque flourishes on "Festoon" and the electric guitars on the title track and elsewhere were of a piece with my expectation.

The fluid and dense Brazilian rhythms of "Ginaroma," though, were both welcome and unusual. "Slippery When Wet," the trombone and euphonium of Matt Tracy, is a swinging piece that seemingly could've

been written at any point in jazz. Pallette Two" is a nice ballad with a lovely melody played by Hoar on piano. All Compositions were written by Hoar who plays wooden flute in addition to Basses & Keys.

This is an interesting album, full of diverse styles. Hoar displays a wide range as both performer and a composer, and the rest of the group backs him effectively. Anyone interested in Jazz played on electric and acoustic instruments should find something of interest here.

MUSE'S MUSE REVIEW:

TRIKUS, "New Mood Suite"

"With some tweaking, Trikus could become a major force in jazz. The CD

is strikingly original and the virtuosity displayed exist for musical reasons, not for its own sake. There is good variety. "Funhouse", which opens the CD, features a very funky groove that shifts around, keeping the listener guessing. "Ginaroma" has a more tropical vibe, featuring the Indian Ioni Flute. "Druids" is a moodier funk piece while "Quite Contree M's B" is a modern staight-ahead jazz waltz, sounding similar to some of the Yellowjackets acoustic material. Bassist/composer George Hoar delivers, whether it's a melodic solo or accompaniment. With some

changes in the overall production level, Trikus might  well have captured

the elusive balance of being both accessible to a wide audience and artistically satisfying.

MUSIC DISH REVIEW:

George Hoar - Difference in Bleu

This 56 minute, 11 track instrumental jazz album needs only 2 players.

Joe Nocilla on drums, precussion, and George Hoar on Piano & Upright Bass. There's a good mixture between new compositions and classics here. The style of play is so consistent that when a new song comes around, like "Silly Lilly" you can't really tell the difference. After all, once you hear the tune in the opening moment, you might not hear it again. Improv and variation on the themes is a favorite romp with George, one he manages rather well. The CD is well worth the first hour, and the fifth

hour you play it. Smooth and cool and satisfying.

Bass Inside Magazine

TRIKUS, "New Mood Suite"

 Not Content with one or two genres of music, or fretted and fretless,

George eats it all up with Bass, Piano, Keyboards, Flutes. Celtic projects , Jazz, Baroque and who knows what else! Alongside guys like this , I feel...well, dumb. Covering such a wide range makes it no easy task trying to describe the album. Safe to say, he is a notable talent on Bass. There is even a Steve Morse feeling to the album with Baroque and neo-classical rock overtones abound. There you have it. Great playing, good tunes, I'll buy that.

BASS FRONTIERS MAGAZINE

"TRIKUS"

Great Instrumental Jazz music. The Bassist and Main writer George Hoar has recruited Mike Stern for the first track "front St" which showcases nice conversation between players. The Bass lines are funky with plenty of movement as George maneuvers from style to style laying down Marcus type thumb, Rocco flavored fingerstyle, and leaving big open spots of silence just to keep the listener guessing. FX is an up-tempo jazz number that highlights George's fretless playing both in the background as well as in the spotlight. With music that is sophisticated, playing that is impeccable, and songwriting that is both crafty and complex. Trikus is very cool indeed

REVIEWS FROM CELTIC BEAT:

LOUD WHISPER, Celtic Music Of Two Brothers

"This CD has some very unique renditions of traditional Celtic tunes as

Well as some engaging original tunes, all containing a wide variety of

Influences from other genres of music in them.

           There are pieces on the CD that are very haunting such as the opening medley, "King of Sprites," and "Barrack Hill" and other pieces

which are totally charming like "The Honeysuckle/The New Potatoes,"

"Tobins Favorite/Humors of Whiskey. On the Cool side of things, there

are some Celtic jazz fusion pieces like "Poll Hapenny" and the "Harriers"

and there are tunes which are truly moving as in Dear land written by

The Brothers Mother, and those that are creative like "Celtic Sonata for

Bass & Pipe." Yes, creativity is evident in this CD. If you're looking for a

unique take on Celtic music, look no further...

LOUD WHISPER, An Early Music Christmas

George and Arthur Hoar have a talent for making music sound like it comes from another place and time and authentically so... a great testimony to this is found on their Christmas CD. Spanning many historical periods, it demonstrates what fine and creative musical artist the multi-instrumentalist Hoar brothers are. For a collection of Christmas
tunes from diverse older musical styles, look no further this one is it...

And rare gems can be found here such as very old carols from the middle ages, tunes from the Baroque period and other tunes rarely heard on other CDs. For a totally unique holiday CD like no other, this one is highly recommended.

LOUD WHISPER, Baroque & Traditional Music Of Ireland And Scotland

"This CD sounds like you are listening in on a 19th century session.

Indeed the music is played on antique instruments. That is part of where it's charm lies. among those cuts that stand out are "Liverpool Hornpipe"/"Quarrelsome Piper"/"Fairies Hornpipe" and "Farewell To The Creeks. "The latter is a nice combination of Arthur Hoar on Pipes with Agnes Schaper on Bells. Bells and Pipes also work very well indeed in "Highland Cathedral." One cut I enjoyed the most was "Castle O'Neill" with an unusual combination of instruments. Some of the best selections here are George Hoar on his piano in "Star of Munster"/"Congress," "Bundle of Rushes" and "The Fair Child." The CD finishes off with a fine rendition by Arthur Hoar on Pipes of "Cameron MacFayden."

Much of the music here I think of as being played in a country church long ago, ironically from an era where many denominations actively tried to suppress music, often violently. It has an atmosphere of "through the glass dimly." That atmosphere even gets eerie sometimes. On that level Loud Whisper certainly succeeds. I hope that Loud Whisper will continue to expand in their explorations in this style.

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