“The piano keyboard is perhaps the greatest early multi-tasking invention,” explains Laurence Hobgood. “Think about it, all the piano’s predecessors (with the limited exception of the guitar’s antecedents) fit into one of three categories: blown into, strummed/bowed or beaten, and in general were designed to produce only one note at a time. Moreover, the genius of the keyboard is its reflection/embodiment of the musical system up to that point – the seven ‘church’ modes are laid out as logically as possible, admittedly prejudicial in favour of C major.”
Hobgood was, as he puts it, born into an “arts family”. “My father was a renowned theatre teacher and my mother was an Appalachian folk artist, so I was exposed to all forms of music, be it classical, jazz, pop, rock, country, even avant-garde and electronic. But, more importantly, in my opinion, I never had to deal with any of the stereotypical discouragement – you know: ‘Son, I love music too, but you have to earn a living.’”
Pushing down keys on a neighbour’s piano when he was just eight months old, Hobgood started taking group piano lessons on a preparatory music programme when he was five. “That lasted only half-a-year I think, then my folks put me with a private teacher.” Hobgood continues: “The private piano lessons were solely focused on repertoire and technique, but thanks to some excellent music teaching at my elementary school, my first theoretical realisations happened – perceiving the nature of the cycle of fifths, starting to ferret out the basic workings of harmony, etc.”
Though the piano has always been Hobgood’s main instrument, he has also played the cello and, during junior high, was “conscripted” into the school concert band to play pitched percussion. At the same time, he was jamming with older players from his church and, as he says: “I was in some pretty good bands. I learned the blues and played gigs in some places I shouldn’t have been!” He went on to study at the University of Illinois School of Music. “There was an amazing jazz scene there, the heart of which was the university jazz band led by an extraordinary gentleman named John Garvey. I ended up in his band for three years. It was one of the great musical experiences of my life.”
Hobgood’s first piano was a Kawai upright, before he bought himself a similarly spec’d Shoninger. “Then, in 1991, I bought a newly rebuilt six-foot Conover grand. It was a Chicago-made piano fashioned after Steinway and Mason & Hamlin.
But it was mostly a ‘workhorse’, nothing subtle about it, so better for writing/arranging than for hours of practice. In about 2002 I finally got a nice piano, a 1927 Steinway Model O that had just been rebuilt in Germany then sent over to the States. And I mean totally rebuilt – not just the pinblock, pins, strings, etc, but almost all the internal action was brand new. It was dreamy.”
Hobgood has also used electric instruments over his long career: “I’ve owned several Rhodes and various synthesisers. Now I have a Yamaha Montage 8 – an amazing instrument. I’ve barely scratched the surface of its capabilities. At some point I want to do a more electronic project with it. It’s a fully programmable synth with the best array of sounds I’ve ever heard, and the keyboard feel is as close to a real piano as I’ve experienced for less than $20,000.”
But what acoustic piano and which microphones would Hobgood request for a concert performance? He’s in no doubt: “Definitely the Yamaha CFX, Yamaha’s nine-foot flagship concert grand. Or, more likely (due to practical considerations), the CF6, which is the seven-foot version. These new top tier Yamaha pianos are simply amazing and, to me, combine the best qualities of the two main competitors, Steinway and Fazioli, while going yet further. Each note ‘sings’, and the touch is remarkably responsive and subtle. Each is also a little unique, but in a way that takes nothing away from their overall excellence. I love them and never want to record on anything else. As far as microphones are concerned, I now carry a matched pair of Schoeps MK/CMC 6 mics with me wherever I go. For me these are the best mics for both live performance and the recording studio.”
Hobgood is currently selling his dreamy Steinway piano to purchase his ultimate set of keys – a Yamaha N3. “This is their true hybrid, meaning that the keyboard and action are an actual Yamaha grand,” he explains. “But instead of a hammer at the end of the shank, there’s a digital sensor that triggers the sampled tone. It’s a pretty amazing thing they’ve made, which will allow me to consolidate music stations in my New York apartment. I currently have the acoustic piano. But then, across the room, is a digital stage piano connected to my computer rig, where I do all my writing with Sibelius. The N3 will allow both functions to be served by one instrument. And, if I want to practice late into the night, I can use headphones.”
JUNE 2018 // David Gallant, Jazzwise Magazine