"Steve Hobbs has long been one of the most talented if underrated vibraphonists around, and his playing recalls Bobby Hutcherson at times but also displays his own musical personality. On Spring Cycle, he performs five of his originals, three songs by pianist Bill O'Connell, and a couple standards. Performing with a core quartet including O'Connell, bassist Peter Washington, and drummer John Riley, Hobbs takes "On the Street Where You Live" and his own ballad "Jean" as showcases for the rhythm section. He welcomes trumpeter Tom Harrell and tenor saxophonist Bob Malach to most of the other selections, flutist Dave Valentine is on "Blued Swings" and "Para Mis Padres," and percussionist Steve Berrios sits in on the latter. The music ranges from hard bop to post-bop and contains its fair share of variety. While the odds are that none of the originals will catch on as future standards, they serve as viable vehicle for improvisation and the musicians are all in top form, particularly Harrell and Hobbs. This solid modern jazz set is easily recommended."
Scott Yanow, All Music Guide

"Who says universities create an ivory tower mentality? Educator and vibes master Steve Hobbs has put out a delectably enjoyable CD of accessible, yet thought-provoking music. Employing a front line of Tom Harrell (trumpet, flugelhorn), Dave Valentin (flute), and Bob Malach (tenor), his lighter than air thematic statements serve as a perfect foil to the percussive underpinnings of Hobbs and pianist Bill O'Connell.

All of Hobbs' compositions are catchy, memorable, and thoroughly enjoyable. The modal “Blued Swings,” with its sophisticated interplay between Valentin and Harrell, is breezy. The lithe and lively melody line of “Spring Cycle” will stay in your mind long after the CD is over. Ditto for “Para Mis Padres,” with its lovely and breathy flute melody. The originals by O'Connell are just as well crafted, coherently weaving in the solos as if they were part of the composition.

The driving “Crosswinds,” strutting “Marionettes,” and rhythm-shifting “Loon Lake” all fit into the mainstream category, with excellently defined solos provided by Harrell and Malach. The only potential indulgence regarding this record relates to the listener, who may want to put it on over and over."
George Harris, AllAboutJazz.com

"Although he has not become world-renowned yet, Steve Hobbs in the 1990s and the present period has been one of the top vibraphonists in jazz. Joined by an impeccable rhythm section (pianist Kenny Barron, bassist Peter Washington, and drummer Victor Lewis), Hobbs performs a well-rounded set of standards and originals. Among the high points are the opening thoughtful version of "La Vie en Rose," cooking renditions of "Airegin" and "Move," Hobbs' "Bossa de Buzios," and the closing "Blues for a Way of Life." In reality, all ten songs work well, featuring close interplay between Hobbs and Barron, occasional solos from Washington, and subtle support by Washington and Lewis. It is surprising that it took six years for this material to be released, but it was worth the wait."
Scott Yanow, All Music Guide

"In 1994, Steve Hobbs recorded Second Encounter with an unimpeachable post-bop rhythm section: pianist Kenny Barron, bassist Peter Washington, and drummer Victor Lewis. Ten years later, here it is. The band works through standards like Sonny Rollins's "Airegin," Clifford Brown's "Daahoud," and the theme from the old Spider-Man TV show (yeah, you read that right). Jazz has traditions and rules, for one simple, good reason: When you know the rules, it's that much more impressive to hear folks who are at the absolute top of their game. That's the case with Second Encounter. It's a display of taste, inspiration, and skill, within a post-bop framework that provides just enough familiarity to make the players' improvisations that much more impressive."
Phil Freeman, Jazziz 2004

"This is a hot group. Vibraphonist Steve Hobbs teams up with pianist Kenny Barron, bassist Peter Washington, and drummer Victor Lewis for some real cookers along with a few challenging (but generally hard-swinging) originals by the leader. Barron sounds quite inspired, both in his solos (which make every note count) and his comping behind the vibes. Washington and Lewis form a rather potent rythm team, always alert to the musical directions of the lead voices.

Although Hobbs is essentialy playing straightahead jazz in the hard bop idiom throughout this set (which includes six standards and five of his originals), he does not sound derivative of his predecessors (Milt Jackson, Bobby Hutcherson, or Gary Burton); he has carved out his own identity on vibes and occasional marimbas; for a good example of his individuality without the tradition, check out his ideas on the ballad "But Beautiful," the uptempo marimba showcase "What Is This Thing Called Love," and his complex original "Thinking of Chet." This highly reommended outing is available through Koch Jazz."
Scott Yanow, Jazziz 1996

"Vibraphonist Steve Hobbs makes a solid debut on Candid in an intimate date featuring pianist Kenny Barron, bassist Peter Washington and drummer Victor Lewis, a Rolls Royce of a rhythm section whose quiet intensity and nuanced support help keep the spotlight on Hobbs' shimmering vibes. A mainstream modernist, Hobbs' unfussy and straightahead approach bears comparison to role models Bobby Hutcherson, Mike Mainieri and Milt Jackson.

In an effective program, Hobbs includes a medium-tempo, 4/4 version of "Amazing Grace," a romping roundelay in 3/4 called "Around and Around" and a moving ballad treatment of Gus Arnheim's "Sweet and Lovely." He switches to the more percussive marimba for a breakneck run-down of Jerome Kern's "The Song Is You." Though Hobbs stumbles a bit in negotiating the flying chordal marks, he recovers quickly. The medium-paced "Pedra Bonita" with a bossa beat is a clear winner, as is Hobbs' moody, modal "Thinking of Chet," a tribute to the late Chet Baker."
Chuck Berg, Jazz Times 1996

""I'm not a jazz Nazi. Sure, if you put a gun to my head and I had to decide what style of music I'd have to play for the rest of my life, it would be jazz standards and bebop. But as long as I have a choice, I'm going to branch out." Branching out-but staying within the acoustic, mainstream jazz tradition-is exactly what vibraphonist and composer Hobbs has accomplished with Cultural Diversity (Timeless). "I wanted the album to reflect all the places I've lived and to capture the diversity of a lot of different musical influences." The 37 -year-old South Carolina native's music career is as good a road map of jazz-influenced styles as you're likely to find. While a student at Berklee College, he won his bopper's stripes. Later in Florida, where he earned a Master's degree at the University of Miami, Hobbs was exposed to heavy doses of calypso, reggae, Afro-Cuban styles, R&B and Brazilian music. A little of all those references creep into "Cultural Diversity", but at the heart of Hobbs's sound is an unbending love of improvisation and those solid bebop roots. "I'm not seeking to become a crossover artist," he readily admits. "Improvisation that has some connection to bebop and the blues is the key to my sound. My intent is to play some bop, but to do some other things outside of the bop idiom that would still be jazz and not sink into the category of bland background music that seems to characterize so much of today's contemporary instrumental music." On standards like fellow vibraphonist Milt Jackson's "Bag's Groove" and "Bernie's Tune," Hobbs and his all-star sextet establish a link to vibes-led groups that extends from Red Norvo through to Bobby Hutcherson and Gary Burton. The session was done live in the studio, with no over-dubbing. Hobbs's fleet articulations on vibes and marimba spur passionate contributions by pianist Alan Broadbent, bassist John Patictucci, drummer Joe LaBarbera, saxophonist Bob Shepard, and percussionist Luis Conte. The invigorating results underscore the leader's faith in straightahead values. Clearly, Hobbs is one of the mallet worlds' most versatile young talents, but his performance skills are fully equalled by his penchant for composition. From the reflective "Missing Carolina" and the dancing samba feel of "Astrud" to the hard-edged Latin groove of "Coreaah!!!!," a tribute to one of his major influences, Hobbs's writing is blessed with a melodic personality that is as disarming as his soft Carolina accent. "I'm a straightahead vibes player with a deep understanding of the past, but I work hard at trying to be eclectic and to write what's happening today," the mallet master says. "Listen to Cultural Diversity." He couldn't have said it better."
By Mark Holston, JAZZIZ 1993