Back in 2011, jazz legend Herbie Hancock’s Herbie Hancock Institute of Jazz was instrumental in presenting the idea before the United Nations Educational, Scientific and Cultural Organization that April 30 forever be celebrated as International Jazz Day. A few years later, in 2018, I had the great fortune of vacationing in Portugal, where, for the first time in my life I witnessed first-hand the true global impact of jazz while attending a performance by Portuguese jazz artist Sofia Hoffmann. I was immediately struck by Hoffmann’s ability to fuse a multitude of musical styles as she performed in Portuguese and English everything from jazz and American Songbook vocal standards to pop, contemporary and even tunes with hints of India.
In the years since first being introduced to Hoffmann by friends who divide their time between the U.S. and Portugal, I’ve gotten to know her as a friend and have grown to truly admire her as an artist, so what better way to celebrate International Jazz Day than with a quick catch-up.
“Despite being quite young compared to other ancient musical movements and traditions, jazz is one of the most transversal and richest music genres worldwide. The improvisation is one of the main aspects characterizing it, and in my opinion, this kind of musical freedom and uniqueness in every performance shall be celebrated as a symbol of free self-expression,” said Hoffmann, who’ll be performing a jazz standard during a nationally televised Portuguese program celebrating and exploring the history of jazz in Portugal, that will also focus on international highlights and personalities from the world of jazz.
Hoffman, who recalls first listening to jazz as a teen, by way of her Brazilian aunt and various friends’ parents playing records, cites Ella Fitzgerald as the jazz artists she was first acutely aware of. “Ella Fitzgerald was and still is my main reference as the original, or traditional jazz singer and scatter,” remembered Hoffman. “Ella inspired me through her various skills, not only in terms of her vocal pitch range, but also and mostly through her creativity while scatting and improvising. Her creative vocal process not only includes traditional improvisation, but also frequently surpassing them, allowing Ella to perform based on unique and unexpected melodic structures and compositions.”
Continuing her thoughts on Fitzgerald, Hoffman elaborated saying, “Her attitude on stage throughout her career was notable, presenting herself in a free-flowing, transparent manner, sharing all the emotions which she’d work out during a standard interpretation, yet always elegant and with a smile to the audience in the end.”
Hoffmann’s other early influences are a who’s who of jazz greats including such luminaries as Sara Vaughan, Etta James, Billie Holiday, Louis Armstrong, Chet Baker and more contemporary artist like Nancy Wilson, Miles Davis, Ahmad Jamal and Diana Krall—giving special mention to Krall’s 2002 Live in Paris.
As for more personal influences, Hoffman’s own background studying jazz as a performer, includes its own list of high-profile entertainers, first in Milan with renown Italian jazz vocalist, Laura Fedele, then back in her native Portugal studying alongside Portuguese vocalist Maria João,
“I recall the day of the audition with Laura, as she was selecting the students for the her masterclass. She asked me to sing specific melodies she’d play on the piano, and the ended up saying “you should definitely sing jazz”. That worked as a boost to me in my jazz learning process, and it was certainly a good official start within my singing career.”
Of her time with João, Hoffmann enthused, “I had a willingness to step deeper into the jazz field and connected with the great Maria João, who was at the time THE reference in terms of vocal jazz performance in Portugal. I did interesting work with her not only in terms of the vocal technique but most of all, in regard to my own individual interpretation of the standards. Also the importance of physical posture on stage, and being aware of our full body as an instrument (not just our vocal chords, diaphragm and lungs!). We are still in contact and shared the stage recently during the All That Jazz musical event here in Lisbon last February, which was a great joy.”
While Hoffmann’s style is indeed steeped in jazz, the above-mentioned willingness to go deeper is evident in the many musical styles she incorporates into her work. Prime examples, her 2019 debut album, One Soul and her 2022 follow-up, Rebirth, produced by Grammy-winner John Beasley. Rebirth contains a truly
enchanting cover of Nat King Cole’s classic Nature Boy, but with a decidedly Indian melodic twist. Pointing out the unexpected similarities between jazz and Indian music, Hoffmann revealed, “Interestingly, you find a similar kind of improvisation, although with slightly more strict rules, within the Indian Classical taans (improvised rapid melodic passages). You also have to keep in mind the main harmonic structure while improvising, and this again applies to both jazz and Indian Classical music.”
Hoffman’s earlier mention of her recent All That Jazz collaboration sparked mention of upcoming performances. “I’ll be singing as a soloist with The Lisbon Swingers orchestra during 2 concerts scheduled for the month of June. Performing with big bands…something I love doing!”
In additional to her upcoming live gigs, Hoffmann is hard at work on a new album. When asked for details, Hoffmann teased, “What I can tell you is that I’m back to my original songs. I may also share with you that I’m working with an outstanding internationally renowned producer and musician, who is collaborating with me on this album. It will be a surprise! We are working towards releasing it this year on an international level, including the USA, and it will deliver heartfelt messages to which, I believe, many can relate. And you’ll be one of the first to know about it.”
To keep up with Hoffmann’s tour schedule and upcoming new music releases, check out her Official Site, or follow her on Facebook, Instagram, YouTube, Spotify and Apple Music.
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