Word: writings
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Dates: during 1970-1979
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...lost cause, however. Hubbard claims she wants to write music that "is felt but not heard." She tries to buck the trend in modern jazz and revive the purely romantic side of jazz. In her music, Hubbard states, she is "not trying to be any structured thing. In all of us we have the dreamer...
...lack of structure and amorphous aspirations to write love songs do not sustain this album. Hubbard traces some of her roots back to Tchaikovsky, and she has clearly picked up the less desirable traits of the late 19th century romantics from her years of classical training. Her piano style is heavy-handed, unsubtle and flashy. She alternates booming chords organized in the most predictable of charts, with grandiose runs up and down the keyboard which sound like pallid attempts to imitate Keith Jarret's flourishes. The arrangements do nothing to cover for Hubgaucheries. To evoke Arabia, Hubbard gives us Bedouin...
...album--gives a grim picture of war-wracked Stuart England. His bass conveys depression and despair by a simple, minor sequence. Hubbard tries to flesh out the piece by drastically slowing the tempo and playing entirely in the piano's lower register. For all of Hubbard's attempts to write "felt" music, her combination of blatant imagery and her derivative performance produces songs that are just background noises...
...must wonder then, why the hype? Why should Corea and Clarke endorse this album, write poems to Hubbard, much less play on it? The answer is that Hubbard is only a part-time musician; the bulk of her time is spent as an executive in her father's--L. Ron Hubbard's-- Church of Scientology, and both Clarke and Corea are scientologists. Hubbard said she was trying to make no social statement with this album--she achieved all she wanted from her work in her church and was content with that...
...much different, and his estate would have been far smaller. He wrote one superb and unimprovable book, Apley, several good ones (So Little Time, Point of No Return) and quite a few that were glib, unimportant, and exceedingly popular. He never had to teach freshman English or write book reviews, and he lived where he pleased. When he was middle-aged and famous, the Book-of-the-Month Club appointed him to its panel of judges, and that seems to have been exactly where he belonged...