Roy Ayers - Stoned Soul Picnic

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 38:27
Size: 89,3 MB
Art: Front

(9:00)  1. A Rose For Cindy
(2:47)  2. Stoned Soul Picnic
(8:01)  3. Wave
(3:54)  4. For Once In My Life
(6:34)  5. Lil's Paradise
(8:09)  6. What The People Say

Stoned Soul Picnic is vibraphonist Roy Ayers' third and probably best solo album, made in 1968 while he was still a part of Herbie Mann's group. Ayers stands clearly in the shadow of Bobby Hutcherson on this primarily modally-oriented date, sounding nothing like the groove-meister he would become known as later in the 1970s. Producer Mann, always an underrated talent scout, assembles an especially exceptional septet for Ayers here with Gary Bartz on alto sax, arranger Charles Tolliver on trumpet/flugelhorn, Hubert Laws on flute, Herbie Hancock on piano (and probably uncredited organ on the title cut), Ron Carter or Miroslav Vitous on bass and Grady Tate on drums. The program is a typical late 1960s menu, heavy on such Top 40 pop covers as the dated "Stoned Soul Picnic," "For Once In My Life" and "What The People Say." What sets these and the interesting, if unsuccessful, cover of Jobim's "Wave" apart are Tolliver's rather ingenious arrangements. Tolliver seems to tear apart the constraints of these duds (although "Picnic" is beyond hope) by dramatically slowing down the melodies, providing Ayers the time and space to set the mood (Tolliver correctly recognizes Ayers's strengths with ballads) and punctuating with nicely considered horn statements in between. It is the two modal originals here Ayers lovely "A Rose For Cindy" and Tolliver's waltz, "Lil's Paradise" that make this disc worth hearing. Ayers plays some of his finest-ever work on these pieces. You're sure to hear something new and different in these pieces every time. Hancock completists will also be especially pleased with the pianist's performance here (and on "What The People Say" too). Except for the nods toward late 1960s pop-jazz conventions, Stoned Soul Picnic is a marvelous disc well worth investigating. With so much of Ayers's West Coast work of the 1960s (especially with Jack Wilson) lost in limbo, this disc serves as a cogent reminder of the strength of the vibraphonist's chops. And groove lovers might be happily surprised hearing what Ayers was up to before the groove.
~Douglas Paynehttps://www.allaboutjazz.com/stoned-soul-picnic-roy-ayers-32-records-review-by-douglas-payne.php

Players: Roy Ayers: vibes; Gary Bartz: alto sax;  Charles Tolliver: arranger, trumpet, flugelhorn; Hubert Laws: flute;  Herbie Hancock: piano, organ; Ron Carter: bass;  Miroslav Vitous: bass;  Grady Tate: drums.

Stoned Soul Picnic

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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Carol Duboc (Feat.Jeff Lorber) - Restless

Styles: Vocal
File: MP3@320K/s
Time: 38:28
Size: 88,8 MB
Art: Front

(3:57) 1. Restless
(3:56) 2. Universe
(3:58) 3. Swept Away
(4:05) 4. Aftershock
(3:32) 5. Stay Awake
(3:33) 6. Love Don't Get in the Way
(3:43) 7. If You Still Have Eyes
(4:21) 8. Shadow Dance
(3:26) 9. Philosophy
(3:53) 10. Metanoia

Jeff Lorber teams up with jazz vocalist/songwriter, Carol Duboc, just two years after winning the Grammy for Best Instrumental album. Duboc’s 9th solo album entitled, “Restless,” is produced and co-written by Lorber and Duboc. The album also features legendary flutist Hubert Laws, guitarist Paul Jackson Jr, and drummer Gary Novak. Many critics agree this is Duboc’s best album to date! http://carolduboc.com/store/

Personnel: Carol Duboc - Vocal; Hubert Laws - Flute Paul Jackson Jr - Guitar; Gary Novak - Drums

Restless

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Hubert Laws - Law's Cause

Styles: Flute Jazz 
Year: 2005
File: MP3@320K/s
Time: 34:20
Size: 79,8 MB
Art: Front

(2:32)  1. No More
(4:31)  2. If You Knew
(3:34)  3. A Day with You
(3:04)  4. Please Let Go
(6:44)  5. Shades of Light
(5:08)  6. Trio for Flute, Bassoon, and Piano
(8:42)  7. Windows

Laws' Cause is the third album by jazz flautist Hubert Laws released on the Atlantic label in 1969. https://en.wikipedia.org/wiki/Laws%27_Cause

Personnel:  Hubert Laws - flute, piccolo; Jimmy Owens - trumpet; Karl Porter - bassoon; Chick Corea - piano; Roland Hanna - harpsichord; Kenny Burrell - guitar; Sam Brown - sitar; Ron Carter - bass; Chuck Rainey - electric bass; Grady Tate - drums; Melba Moore - vocals

Law's Cause

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Hubert Laws - Morning Star (CTI Records 40th Anniversary Edition)

Styles: Flute Jazz
Year: 1973
File: MP3@320K/s
Time: 35:39
Size: 81,9 MB
Art: Front

(7:55)  1. Morning Star
(4:51)  2. Let Her Go
(4:34)  3. Where Is The Love
(4:59)  4. No More
(7:18)  5. Amazing Grace
(6:01)  6. What Do You Think Of This World Now?

Morning Star - Hubert Laws: Recorded in late 1972 between Hubert Laws’ well-known CTI classic The Rite of Spring and the 1973 CTI performance recording Carnegie Hall, Morning Star may be one of the least known of flautist Hubert Laws’ recordings and among his very best. It’s hard to imagine a more perfect setting for the flautist, surrounded as he is by Bob James (electric piano), Ron Carter (bass), Billy Cobham (drums) and Don Sebesky’s sumptuously employed arrangements for horns and strings. Laws alternates between several flutes (flute, alto flute, bass flute, piccolo and an uncredited electric flute) and shares solo duties with Bob James, who is simply magnificent here. Sebesky’s suberbly lovely work here ranks among some of the very best he ever did for CTI. Laws covers a typical program of third-stream jazz (Rodgers Grant’s title track), spirituals (“Amazing Grace”), pop covers (Roberta Flack & Donny Hathaway’s hit “Where Is The Love,” co-written by this album’s percussionist, Ralph MacDonald) and interesting originals (“Let Her Go,” “No More” and “What Do You Think of This World Now?”). Surprisingly, Morning Star has never been issued on CD before, making this particular release substantially significant due to its very first appearance of availability in nearly four decades. Plus, it makes for excellent listening as well.

Personnel:  Flute, Alto Flute, Piccolo Flute – Hubert Laws; Bass – Ron Carter; Bassoon – Jack Knitzer; Cello – Charles McCracken, George Koutzen, Lucien Schmit; Drums – Billy Cobham; Electric Piano – Bob James;Flute, Alto Flute, Clarinet – Phil Bodner; Flute, Alto Flute, Piccolo Flute, English Horn – Romeo Penque; French Horn – Jim Buffington; Guitar – John Tropea; Harp – Gloria Agostini; Percussion – David Friedman, Ralph MacDonald; Trombone – Garnett Brown; Trumpet, Flugelhorn – Alan Rubin, Marvin Stamm; Vibraphone – David Friedman; Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Cykman, Harry Lookofsky, Irving Spice, Max Ellen, Paul Gershman; Vocals – Eloise Laws, Lani Groves, Tasha Thomas

Morning Star (CTI Records 40th Anniversary Edition)

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Hubert Laws - Crying Song

Styles: Flute Jazz
Year: 1969
File: MP3@320K/s
Time: 33:19
Size: 77,2 MB
Art: Front

(2:30)  1. La Jean
(3:23)  2. Love Is Blue / Sing a Rainbow
(4:53)  3. Crying Song
(3:21)  4. Listen to the Band
(3:07)  5. I've Got to Get a Message to You
(2:31)  6. Feelin' Alright?
(3:51)  7. Cymbaline
(6:08)  8. How Long Will It Be?
(3:31)  9. Let It Be

A landmark record the first album that flutist Hubert Laws cut for CTI, and the beginning of a very important partnership with the label! The record is a sublime exploration of sound and space very different than Laws' 60s Latin sides for Atlantic, and handled in a baroque mode that has his flute drifting over a mixture of organ, piano, and rhythms augmented with strings easy and jazzy in the same moment, with a hip sophistication that points the way towards a new flute sound in the 70s! Titles include "Crying Song", "Listen To The Band", "Cymbaline", "Feelin Alright", "I've Gotta Get A Message To You", "La Jean", "Love Is Blue/Sing A Rainbow", and "How Long Will It Be".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/60210/Hubert-Laws:Crying-Song

Personnel:  Hubert Laws – flute; Bobby Wood – piano; Bobby Emmons – organ; Bob James – electric piano, organ; George Benson, Reggie Young – guitar; Mike Leech – electric bass; Ron Carter – bass; Gene Chrisman, Billy Cobham, Grady Tate – drums; Ernie Royal, Marvin Stamm – trumpet, flugelhorn Garnett Brown, Tony Studd – trombone;  Art Clarke, Seldon Powell – saxophone;  Ed Shaughnessy – tabla, sand; Lewis Eley, Paul Gershman, George Ockner, Gene Orloff, Raoul Pollikoff, Matthew Raimondi, Sylvan Shulman, Avram Weiss – violin; Charles McCracken, George Ricci – cello; Bob James, Glen Spreen, Mike Leech – arranger

Crying Song

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Hubert Laws - Romeo & Juliet

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 37:50
Size: 87,6 MB
Art: Front

(6:12)  1. Undecided
(8:19)  2. Tryin' to Get the Feeling Again
(4:13)  3. Forlane
(7:43)  4. Romeo & Juliet
(5:36)  5. What Are We Gonna Do?
(5:45)  6. Guatemala Connection

Forget the Shakespearean reference in the title which might make you think the whole album's got a Renaissance bent because the album's a nice bit of funky flute jazz from Hubert Laws, done with the same groovy vibe as some of his earlier albums for the CTI label! The set was produced by Bob James, and has lots of strong James touches from the sweet work on Fender Rhodes and clavinet that works nicely with the flute on most tracks, to the full group rhythms that make the best tracks into nice smooth groovers! A few tunes get more introspective, in Hubert's Afro-Classic mode and titles include "Guatemala Connection", "What Are We Gonna Do", "Undecided", "Forlane", and "Tryin To Get The Feelin Again". 
© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856880/Hubert-Laws:Romeo-Juliet

Personnel:  Hubert Laws - Flute; Bob James - Fender Rhodes, Clavinet, Keyboards; Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan - Guitar; Gary King - Bass; Andy Newmark, Steve Gadd - Drums; Ralph MacDonald - Percussion; Mark Gray - Clavinet, Keyboards; Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow - Trumpet, Flugelhorn; Allen Ralph, David Taylor, Wayne Andre - Trombone; George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin - Woodwinds; David Nadien - Concertmaster; Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab - Strings; Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman - Vocals

Romeo & Juliet

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Hubert Laws - My Time Will Come

Styles: Flute Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,7 MB
Art: Front

(10:11)  1. Malaguena
( 5:16)  2. My Time Will Come
( 5:03)  3. It's So Crazy
( 6:54)  4. Shades of Light
(10:57)  5. Valse
( 8:45)  6. Make It Last
( 7:52)  7. Moonlight Sonata

This is a streaky affair, Hubert Laws's first recording as a leader in quite a few years. The great flutist has a reunion with Don Sebesky on a version of "Malaguena" that becomes an imitation of Chick Corea's "Spain," a few of the selections are forgettable funk and "Moonlight Sonata" is ruined by an unbearable rhythm. However there are some fine performances that feature excellent soloing by Laws and pianist John Beasley. Still, only Hubert Laws's most loyal fans will want this release. ~ Scott Yanow https://www.allmusic.com/album/my-time-will-come-mw0000095582

Personnel:  Piccolo Flute – Hubert Laws; Bass – Gary Willis, John Patitucci , Mike Richmond; Congas – Terry Santiel; Drums – Clayton Cameron, Dan Gotlieb, Leon "Ndugu" Chancelor, Ralph Penland; Flute – Hubert Laws ; Keyboards – George Duke, Joe Sample, John Beasley; Percussion – Sue Evans, Terry Santiel; Piano – Mark Gray;  Soprano Saxophone – Ronnie Laws;  Vocals – Joan LaBarbara

My Time Will Come

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Walter Wanderley - When It Was Done

Styles: Latin Jazz
Year: 1968
File: MP3@320K/s
Time: 30:46
Size: 70,7 MB
Art: Front

(2:39)  1. Open Your Arms (Let Me Walk Right In)
(2:35)  2. Surfboard
(3:35)  3. Baiao da Garoa
(2:37)  4. Reach Out for Me
(2:28)  5. Ole, Ole, Ola
(2:25)  6. Ponteio
(2:24)  7. When It Was Done
(2:46)  8. On My Mind
(2:20)  9. Just My Love and I
(4:20) 10. Capoeira
(2:34) 11. Truth in Peace (Verdade em Paz)

Walter Wanderley moved over to A&M from Verve with producer Creed Taylor, whose influence dominates this heavily produced yet attractive album of mostly Brazilian material. The Wanderley sound is more carefully terraced than ever on this strikingly packaged album, edited and faded for easy airplay. Especially nice is Jobim's "Surfboard," a sleek miniature tone poem. Besides his usual subdued organ work, Wanderley spends almost as much time on the electric harpsichord, upon which he uses a more legato attack than on the organ, a curious reversal of each instrument's properties. He is not helped by the cottonball-textured vocals from a superfluous female trio, who figure most prominently on the two American tunes, Burt Bacharach's "Reach Out For Me" and Jimmy Webb's title track. A few of the usual CTI suspects turn up Hubert Laws on flute, Marvin Stamm on flugelhorn; Don Sebesky provides the overlush string backdrops, with other points in the arrangements entrusted to Eumir Deodato. A young Milton Nascimento makes a cameo appearance on "Open Your Arms," scatting a countermelody that he invented on the spot after awakening from a nap (no, it was jet lag, not a commentary on the session!). ~ Richard S.Ginell https://www.allmusic.com/album/when-it-was-done-mw0001041579

Personnel:  Walter Wanderley - organ, electronic harpsichord; Marvin Stamm, John Glasel - flugelhorn; George Marge, Stan Webb - flute, piccolo; Donald Ashworth, Hubert Laws - flute, piccolo, oboe, English horn; José Marino - bass; João Palma - drums; Lu Lu Ferreira - percussion; Lewis Eley, Harry Glickman, Gene Orloff, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Tosha Samaroff, Sylvan Shulman, Avram Weiss - violin; Harold Coletta, Harold Furmansky - viola; Charles McCracken, George Ricci - cello; Gloria Agostini - harp; Anamaria Valle, Marilyn Jackson, Linda November, Milton Nascimento - vocals; Eumir Deodato - rhythm arrangements; Don Sebesky - string arrangements

When It Was Done

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Nancy Wilson - Turned To Blue

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 52:09
Size: 120,7 MB
Art: Front

(5:56)  1. This Is All I Ask
(4:30)  2. Take Love Easy
(4:02)  3. Turned To Blue
(3:53)  4. Knitting Class
(3:55)  5. Be My Love
(3:17)  6. Taking A Chance On Love
(4:21)  7. Just Once
(6:10)  8. The Golden Years
(5:17)  9. I Don't Remember Ever Growing Up
(5:24) 10. Old Folks
(5:17) 11. I'll Be Seeing You

This recording is like heirloom silver: finely etched and gleaming with a rich and mellow sheen. Its many delights include top-level players, excellent arrangements and production values, and a variety of configurations from a smoking all-star big band to intimate quartets. There are also great solo turns by the likes of John Clayton, James Moody, Bob Mintzer, Hubert Laws, Tom Scott, Dave Samuels, Andy Narrell and Billy Taylor. Then there's the introduction of splendid new material, including a great breakup song ("Knitting Class") that's sure to be covered more often than cake at a picnic. Maya Angelou's poetry becomes a haunting ballad, "Turned to Blue," while the composer of the profoundly moving "Here's to Life" offers a sequel: "I Don't Remember Ever Growing Up," which could be the next boomer anthem. All of this provides the perfect setting for the center sparkler, Nancy Wilson herself. At age 69, she remains the musical definition of class, using her lovely, flexible, still-powerful voice to caress and swing, whisper and wail. Unlike much of the current crop of female singers, she aims her spotlight on emotional meaning, rather than melismatic tricks; the ever-elegant Wilson, a master of nuanced dynamics, never crosses the line into schmaltz. And when she tells her song-stories, you believe every word she's met love and loss in all their permutations, and her disclosures reach out to touch the listener, heart to heart. Wilson's genuine lyrical connection and deep musicality are evident throughout (catch that involuntary sensuous reaction to uber-bassist Clayton's solo opening on "Just Once"), and her trademark is here her bluesy vocal hitch, that patented uptick that conveys such passion and soul. This release will surely delight the legions of long-term Wilson fans, even as it gains her new ones. Turned to Blue is a worthy followup to Wilson's 2005 Grammy-winner, R.S.V.P. (Rare Songs, Very Personal), adding to the growing reputation of the MCG Jazz label for carefully crafted, reliably excellent music. ~ Dr Judith Schlesinger https://www.allaboutjazz.com/turned-to-blue-nancy-wilson-review-by-dr-judith-schlesinger.php

Personnel: Nancy Wilson: vocal; Alon Yavnai, Llew Matthews, Dr. Billy Taylor: piano; Marty Ashby, acoustic guitar; Nilson Matta, Rufus Reid, Kip Reed, John Clayton: bass; Mike Tomaro, Tia Fuller, alto saxophone; Bob Mintzer, Tom Scott, Andy Snitzer, Eric DeFade, Jimmy Heath, James Moody, tenor saxophone; Jim Hynes, Steve Hawk, Sean Jones, Jack Schantz, trumpet; Ed Kocher, Douglas Purviance, Jay Ashby, trombone; Hubert Laws, Jennifer Conner: flute; Mike Tomaro: clarinet, bass clarinet; Jim German: baritone saxophone; Jeremy Black, Kate Black, Kate Hatmaker, Stephanie Tertick: violin; Mikhail Istomin: cello; Vito DiSalvo: accordian; Andy Narrell: steel pans; Dave Samuels: vibraphone; Winard Harper, Jamey Haddad, Roy McCurdy, Terry Clarke, Portinho, Jay Ashby: drums, percussion.

R.I.P.
Born:  February 20, 1937
Died: December 13, 2018

Turned To Blue

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Ronnie Laws - Brotherhood

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 54:29
Size: 125,1 MB
Art: Front

(4:54)  1. Still In The Band
(6:18)  2. See The Day
(4:02)  3. Handyman
(5:46)  4. Tidal Wave
(4:50)  5. My River
(5:12)  6. I Feel Fine
(6:10)  7. Night Thing
(6:20)  8. Brotherhood
(5:07)  9. Distant Lover
(5:46) 10. When I Fall In Love

Ronnie Laws is an award-winning tenor saxophonist and composer whose career has, since the early 1970s, straddled the worlds of jazz and R&B. Since 1975 he has placed seven albums in the Top 200 including his 1975 Blue Note debut Pressure Sensitive as well as tracks and albums in no less than six other categories. He has worked as an in-demand session man and live musician with a who's-who of jazz and R&B greats including Ramsey Lewis, Gregory Porter, B.B. King, George Duke, Quincy Jones, Stanley Jordan, and dozens more. Laws, the younger brother of flutist Hubert Laws, is the product of a musical family. Two of his sisters, Debra and Eloise, are also professional singers. Born in Houston, Texas, Laws began teaching himself to play the alto saxophone at the age of 11. While his first love was baseball, a serious eye injury ended those dreams early and he focused on music, which he studied in high school, at Stephen F. Austin State, and later at Texas Southern University, where he switched to tenor, earned a degree, and developed a progressive mastery and technique. In 1970 he moved to Los Angeles in pursuit of a musical career. He woodshedded with the Jazz Crusaders (Hubert had played with them in the '50s) and especially Hugh Masakela. His early gigs in the city were with pianist Walter Bishop, Jr., Doug Carn, and on his brother's CTI recordings. In 1972, he joined Earth, Wind & Fire for 18 months and was, in effect, its first saxophonist, playing both tenor and soprano; he played on the album Last Days and Time. In Los Angeles, he made the acquaintance of Donald Byrd. 

The two became friends and Byrd got Laws signed to Blue Note. His 1975 debut, Pressure Sensitive, got serious radio play despite landing at 73, and yielded the enduring jazz-funk classic "Always There." It has been covered and/or sampled by well over 100 artists. Laws was on his way. With his other '70s work 1976's Fever, Friends and Strangers, and Flame which boasted his first cross continental 12" hit "All for You," Laws established himself as a workhorse studio musician, playing on recordings by Ramsey Lewis, his sister Eloise, Arthur Adams, Gene McDaniels, and Wayne Henderson, to name a few. In the '80s, Laws was an international festival and club draw. Three singles from his first three albums all went gold, as did their respective long-players. Despite the fact that he is often characterized strictly as a "smooth jazz" artist, Laws might be the first instrumentalist to score hits in the emerging "quiet storm" subgenre of R&B. In the '80s, Laws started to showcase his voice along with his saxophone playing on tracks like the title cut to Every Generation (1980), "Stay Awake" (from 1981's Solid Ground), and "Mr. Nice Guy" (1982). "Stay Awake" spent 18 weeks on the R&B chart, and reached number 19. He jumped around from United Artists to Capitol to Columbia throughout the decade, issuing memorable albums such as 1983's Mr. Nice Guy and 1987's All Day Rhythm. His records began to chart on radio R&B lists regularly he placed ten tracks on Hot R&B/Hip Hop Songs during the ten-year period. The '90s kicked off with Laws returning to his hard jazz-funk roots on True Spirit. The album didn't chart in the U.S., but did well in Europe and guaranteed him slots at major festivals and on Ronnie Scott's stage. In 1994, he issued Natural Laws for the Right Stuff label; it reached 34 on the jazz charts. In 1998, he returned to Blue Note for Portrait of the Isley Brothers: Harvest for the World, which reached 41. Two years later, he released Dream a Little, a vocal R&B album with jazz leanings. His two sisters and Porter appeared on the date. The track "Old Days/Old Ways" hit number 36 at Adult R&B. Signing to Eddie Holland's HDH label in 2004, he cut Everlasting, which hit number 39 on the jazz charts. Though Laws hasn't recorded an album since then, he continues to tour and do session work. In 2017, he dropped the R&B single "Settle Down" on the Bungalo/CIA label. 

~ Thom Jurek https://itunes.apple.com/us/album/brotherhood/id819307250
 

Personnel:  Hubert Laws - flute;  Ronnie Laws - saxophone;  Craig T. Cooper - guitar;  Eloise Laws - vocals;  Rob Mullins - piano, keyboards;  Larry Antonio - keyboards, acoustic bass, electric bass, drum programming;  Michael Lent - guitar, drum programming;  William "Bubba" Bryant - drums.

Brotherhood

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Hubert Laws, Earl Klugh - How To Beat The High Cost Of Living

Bitrate: MP3@320K/s
Time: 31:30
Size: 72.1 MB
Styles: Crossover jazz
Year: 1980/2017
Art: Front

[2:20] 1. Down River
[5:22] 2. Night Moves
[4:27] 3. Piccolo Boogie
[3:35] 4. Dream Something
[4:04] 5. It's So Easy Loving You
[2:15] 6. The Edge
[2:27] 7. The Caper
[1:35] 8. Ready To Run
[2:13] 9. The Scuffle
[3:07] 10. Song For A Pretty Girl

After a series of low-quality commercial releases for Columbia, Hubert Laws came up with this surprisingly worthwhile album. Featured along with acoustic guitarist Earl Klugh, the flutist performed Patrick Williams' music for the film How to Beat the High Cost of Living, which starred Susan Saint James, Jane Curtin, and Jessica Lange. While the light comedy has been long forgotten and none of these ten selections caught on, the music is largely straight-ahead, with some strong melodies, and finds Laws and Klugh playing very well. They are backed by a six-piece rhythm section including keyboardist Michael Lang and both Tim May and Mitch Holder on guitars. This out of print LP (which probably will not get reissued on CD anytime soon) is well worth acquiring. ~Scott Yanow

How To Beat The High Cost Of Living

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Quincy Jones - Sounds & Stuff Like That

Styles: Swing, Big Band
Year: 1990
File: MP3@320K/s
Time: 35:45
Size: 82,9 MB
Art: Front

(6:16)  1. Stuff Like That
(3:31)  2. I'm Gonna Miss You In The Morning
(5:13)  3. Love, I Never Had It So Good
(6:45)  4. Tell Me A Bedtime Story
(4:08)  5. Love Me By Name
(5:25)  6. Superwoman (Where Were You When I Needed You)
(4:24)  7. Takin' It To The Streets

With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" which is several cuts above the norm for that genre  along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. ~ Richard S.Ginell https://www.allmusic.com/album/soundsand-stuff-like-that%21%21-mw0000649592

Personnel: Nickolas Ashford (vocals, percussion); Yolanda McCullough (vocals, background vocals); Gwen Guthrie, Luther Vandross, Patti Austin, Tom Bahler, Valerie Simpson, Vivian Cherry, Chaka Khan, Charles May (vocals); David T Sounds; Walker, Eric Gale , Melvin Watson, Wah-Wah Watson (guitar); Gayle Levant (harp); Tom Scott (lyre, flute, soprano saxophone, alto saxophone, tenor saxophone, lyricon); Jerome Reisler, John Wittenberg, Wilbert Nuttycombe, Carl LaMagna, Marvin Limonick, Betty LaMagna, Connie Kupka, Israel Baker, Arnold Belnick, Nathan Ross, Sheldon Sanov, Harry Bluestone, Harry Lookofsky (violin); Meyer Bello, David Schwartz , Leonard Selic, Samuel Boghossian (viola); Gloria Strassner, Dennis Karmazyn (cello); George Young (flute, saxophone, alto saxophone, tenor saxophone); Hubert Laws, Jerome Richardson, Bill Perkins, Bud Shank, Buddy Collette (flute, saxophone, tenor saxophone); Harold Vick (saxophone, trumpet, flugelhorn); Howard Johnson (saxophone, tuba); David Tofani, Harold Fick (saxophone); Michael Brecker (tenor saxophone); Jon Faddis, Virgil Jones (trumpet, flugelhorn); Chuck Findley, Bill Lamb, Oscar Brashear, Snooky Young (trumpet); Arthur Maebe, David Duke , Sidney Muldrow, Aubrey Bouck, Henry Sigismonti (French horn); Donald Waldrop, Jimmy Cleveland, Robert Payne, Bill Watrous, Charles Loper, Chauncey Welsch (trombone); Alan Raph (bass trombone); Roger Bobo, Tommy Johnson (tuba); Herbie Hancock (piano, electric piano, keyboards); Richard Tee (piano, organ, keyboards); Clark Spangler (synthesizer, programming); Michael Boddicker (synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums); Ralph MacDonald (percussion); Zachary Sanders, Bill Eaton, Frank Floyd (background vocals)

Sounds & Stuff Like That

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Hubert Laws - Moondance

Bitrate: MP3@320K/s
Time: 43:53
Size: 100.5 MB
Styles: Crossover jazz
Year: 2004/2010
Art: Front

[3:54] 1. Moondance
[4:40] 2. Bloodshot
[5:15] 3. Stay With Me
[4:42] 4. Summer '75
[3:25] 5. Stinky
[3:55] 6. Nighttime Daydream
[4:08] 7. Malibu
[3:46] 8. Love You Tonight
[4:30] 9. Clarita
[5:33] 10. Kiss

Hubert Laws (flute, keyboards, synth bass, piccolo flute, alto flute), Chris Botti (trumpet), Guy Eckstine (bass guitar, ambient keyboards, drum programming, percussion, clavinet, keyboards, synth bass, Wurlitzer electric piano), Evan Marks (guitar, bass guitar, Wurlitzer electric piano, keyboards, strings), Duncan Moore (drums), Amber Whitlock (vocals), Hilary Van Lier (vocals), Rob Mullins (keyboards/synth strings, special additions), David Budway (piano), John Leftwich (bass), Ralph Penland (drums), Munyungo Jackson (percussion), Alex Al (bass guitar).

The legendary flutist returns to the contemporary jazz fold in an era when the type of sexy cool soul-jazz he recorded on CTI in the '70s (earning three Grammy nominations in the process) is now considered retro and hip. Even with some incredibly fresh new material, magnificently wistful playing, and his grand legacy in tow, he might have trouble getting the flute onto the smooth jazz format. But his new label gives him a great shot at it, helping him along first on the title cut with Chris Botti's subtle trumpet and Fattburger guitarist Evan Marks' best wah-wah clicks. Even with those luminaries and lush backing vocals, Laws' sultry flute gymnastics stand out. "Bloodshot" sounds like the kind of dreamy funk-jazz he did in the '70s, helped along here by the keyboard punch of Jeff Lorber, who also traverses both eras. And speaking of hip, on "Summer '75" Laws picks up the piccolo for a higher-tone melody over the bouncy moods of smooth jazz star Brian Culbertson's Wurlitzer and Rhodes. Another guest sure to help in the marketing of the legend's new era is Herbie Hancock, an old CTI labelmate who charms on acoustic piano on the midtempo "Nighttime Daydream." Ironically, as strong as those tracks are, Laws does just fine with a core trio of David Budway (piano), John Leftwich (bass), and Ralph Penland (drums) throughout the rest of the disc. "Stinky" is all speedy chops, while "Malibu" offers more of Laws' laid-back side. A marvelous night, indeed. ~Jonathan Widran

Moondance mc
Moondance zippy

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Grover Washington Jr - Soul Box

Bitrate: MP3@320K/s
Time: 68:17
Size: 156.3 MB
Styles: Fusion, Funk, Soul Jazz
Year: 1973/2008
Art: Front

[ 3:42] 1. Aubrey
[13:17] 2. Masterpiece
[15:57] 3. Trouble Man
[ 6:04] 4. You Are The Sunshine Of My Life
[11:12] 5. Don't Explain
[ 9:54] 6. Easy Living Ain't Nobody's Business If I Do
[ 8:08] 7. Taurian Matador

Alto Saxophone, Tenor Saxophone, Soprano Saxophone – Grover Washington, Jr.; Arco Bass – Richard Davis, Ron Carter; Bass – Ron Carter; Bass Trombone – Alan Raph, Paul Faulise, Tony Studd; Bassoon – Donald McCourt; Cello – Charles McCracken, George Ricci, Seymour Barab; Drums – Idris Muhammad; Flute, Clarinet, Clarinet [Contra Bass], Bass Saxophone – Wally Kane; Flute, Piccolo Flute – Hubert Laws; Flute, Piccolo Flute, Clarinet, Bass Clarinet, Oboe, English Horn – Romeo Penque; Flute, Piccolo Flute, Oboe – George Marge; Flute, Piccolo Flute, Recorder – Harvey Estrin; French Horn – Brooks Tillotson, Jim Buffington, Peter Gordon; Guitar – Eric Gale; Organ – Richard Tee; Percussion – Airto, Dave Friedman, Phil Kraus, Ralph MacDonald; Piano, Electric Piano – Bob James; Trombone – Santo Russo, Wayne Andre; Trumpet – Bernie Glow, John Frosk, Jon Faddis, Randall Brecker; Viola – Alfred Brown, Emanuel Vardi, Theodore Israel; Violin – Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman; Vocals – Barbara Massey, Bernard Thacker, Eileen Gilbert, Maeretha Stewart, Randolph Peyton, Bill Eaton.

The early work of alto saxophonist and composer Grover Washington, Jr. is a rare and beautiful thing to behold. His entire Kudu period, marked by the albums Inner City Blues, All the King's Horses, Soul Box, Mister Magic, and Feels So Good, is brilliant, solid urban groove jazz played with grace, mean chops, and slippery funkiness. Soul Box, a double LP recorded in 1973, has Creed Taylor's production enhanced by a symphony orchestra and full-blown jazz band arranged and conducted by Bob James. Some of the session men include Ron Carter, Billy Cobham, Eric Gale, Idris Muhammad, Airto, and Richard Tee. Soul Box only contains seven cuts. Among them are truly innovative reads of Billy Cobham's "Taurian Matador," Stevie Wonder's "You Are the Sunshine of My Life," a side-long jam on Marvin Gaye's "Trouble Man" (the album's centerpiece and masterpiece), and the deep funk of Norman Whitfield's "Masterpiece." "Trouble Man," however, is the cut on which all the contradictions of the session come to bear and are resolved due in large part to Washington's deeply lyrical improvising and James' ability to layer an orchestra into a groove. There are cadenzas written in after choruses that bring the orchestra in to accent the sketchy funk in the tune and bring out its deep blue hues. When Washington gets to the front of it all, he lets go like he's crying from the heart. On other tracks, the orchestra adds the right drama or sweetness -- as it does on Wonder's cut -- but Washington makes them grittier, with soloing that sidles up to the melody before reinventing it. For its length, Soul Box is a modern classic for its instrumental and arrangement invention and for its deeply emotional bounty. ~Thom Jurek

Soul Box mc
Soul Box zippy

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Milton Nascimento - Courage

Styles: Vocal, Brazilian Bossa Nova 
Year: 1969
File: MP3@320K/s
Time: 34:27
Size: 81,1 MB
Art: Front

(3:52)  1. Bridges (Travessia)
(3:13)  2. Vera Cruz
(2:45)  3. Tres Pontas
(4:12)  4. Outubro (October)
(3:27)  5. Courage
(3:23)  6. Rio Vermelho
(3:26)  7. Gira Girou (Round 'N' Round)
(4:28)  8. Moro Velho
(2:31)  9. Catavento
(3:07) 10. Canção Do Sol (Saltworkers Song)

Milton Nascimento's first album for North American ears, recorded at Van Gelder Studios in New Jersey under the watchful eye and discerning ear of Creed Taylor, is a masterpiece, a gorgeously executed tour through his early songs. Backed beautifully by Eumir Deodato's lush orchestrations and a clutch of sidemen from the Taylor stable (including Herbie Hancock, Airto Moreira, and Hubert Laws), Nascimento unveils one first-class tune after another, many of which would ignite a rush of cover versions. Among the songs North Americans heard for the first time were "Vera Cruz," "Tres Pontas," "Morro Velho," the scatted "Catavento," and the intensely moving "Bridges" ("Travessia")" the latter which launched Nascimento's name on the world music scene. Singing in English, Portuguese, and often with no words at all, Nascimento's odd yet masculine and expressive baritone stands out like a moaning foghorn from the smooth A&M/Taylor sonic formula, a haunting combination. This was Nascimento before tropicalismo, when he latched onto the tail end of the bossa nova movement and quickly became one of its most inspired performers and songwriters. To some admirers, Courage remains his best record, period. ~ Richard S.Ginell https://www.allmusic.com/album/courage-mw0000199723   

Personnel:  Milton Nascimento - vocals;  Wayne Andre, Paul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch - trombone;  Burt Collins, Marvin Stamm - flugelhorn;  Ray Alonge, Joe DeAngelis, Paul Ingraham - French horn;  George Marge - clarinet;  Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo - flute;  Herbie Hancock - piano;  Eumir Deodato - organ, arranger, conductor;  Jose Marino - bass;  João Palma - drums;  Airto Moreira - percussion;  David Nadien, Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zatde, Joseph Zwilich - violin;  Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi - viola;  Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman - cello;  Anamaria Valle - vocal

Courage

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Hubert Laws - Land of Passion

Styles: Flute Jazz
Year: 1978
File: MP3@320K/s
Time: 40:55
Size: 93,9 MB
Art: Front

(5:22)  1. Music Forever
(5:56)  2. Land of Passion
(7:16)  3. We're in Ecstasy
(6:47)  4. Heartbeats
(7:09)  5. The Key
(4:56)  6. We Will Be
(3:25)  7. Land of Passion (Single Edit)

When Columbia released Land of Passion in 1979, the album received scathing reviews from jazz critics. They knew Hubert Laws for his work as a jazz instrumentalist, and for the most part, Land of Passion isn't instrumental jazz  it isn't hard bop, post-bop, or even fusion. The main focus of this LP is mellow, mildly jazzy R&B/pop (with the occasional instrumental). So serious jazz standards shouldn't be applied. Unfortunately, the critics who trashed Land of Passion did apply serious jazz standards, which is sort of like a food critic lambasting an Italian restaurant because it doesn't provide Vietnamese or Cambodian cuisine. Land of Passion needs to be judged by R&B/pop and quiet storm standards, and when those standards are applied, one has to say that this record is likable but not mind-blowing. Laws was obviously going after the quiet storm crowd when he recorded gentle tunes like "Music Forever" and "We're in Ecstasy." Arguably, quiet storm music falls into two main categories: R&B/pop vocals (Luther Vandross, Phyllis Hyman, Anita Baker) and R&B-minded crossover jazz (Grover Washington, Jr., David Sanborn, Lonnie Liston Smith). For the most part, this LP (which had yet to be reissued on CD when the 21st century arrived) falls into the former category, although it does contain two gently funky instrumentals: "We Will Be" and "Heartbeats." Neither are masterpieces, but they have a lot more substance and integrity than the sort of elevator Muzak that Kenny G and Richard Elliot were known for in the 1980s and 1990s. Not one of Laws' essential releases, Land of Passion must be taken for what it is: a pleasant but unremarkable collection of mood music. ~ Alex Henderson https://www.allmusic.com/album/land-of-passion-mw0000875877

Personnel: Hubert Laws (alto, flute); Debra Laws, Eloise Laws, Blanch Laws, Johnny Laws (vocals); Roland Bautista (guitar); Dorothy Wade, Marcia Van Dyke, Janice Dower, Robert Sushel, Sandy Seymour, Arnold Belnick, Bonnie Douglas, Paul Shure, Endre Granat (violin, strings); Ron Cooper, Raymond Kelly, Nils Oliver (cello); Ronnie Laws (saxophone); Garnett Brown, Benny Powell, Maurice Spears (trombone); Raymond Brown, Oscar Brashear, Snooky Young, Bobby Bryant (brass); Patrice Rushen (piano); Larry Dunn (synthesizer); Leon "Ndugu" Chancler (drums); Victor Feldman (percussion).

Land of Passion

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Hubert Laws - Make It Last

Styles: Flute Jazz
Year: 1983
File: MP3@320K/s
Time: 39:06
Size: 89,7 MB
Art: Front

(5:28)  1. Gonna Be Happy (TV Soaps)
(4:55)  2. Make It Last
(1:39)  3. Happy Anniversary
(6:13)  4. Swan Lake
(7:13)  5. Stay with Me
(8:04)  6. Morning Star
(5:30)  7. Life Cycles

First time on CD for this 1983 album from the internationally renowned Jazz great, Hubert Laws, who is an American flutist and saxophonist with a career spanning over 40 years in jazz, classical, and other music genres, had a number of charting albums in the 1970s and is one of the most recognized and respected jazz flutist. And, as a bonus Make It Last features Alphonse Mouzon. ~ Editorial Reviews https://www.amazon.com/Make-Last-2016-Reissue-Hubert/dp/B00AQAUAAE

Personnel:  Hubert Laws, Flute, vocals;  Nathan East, bass;  Raymond Pounds, drums;  John Chiodini, guitar;  Barnaby Finch, Rhodes piano

Make It Last

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Ron Carter - New York Slick

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 35:42
Size: 85,3 MB
Art: Front

(4:02)  1. NY slick
(4:19)  2. A slight smile
(8:48)  3. Tierra Espanola
(8:54)  4. Aromatic
(9:37)  5. Alternate route

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but he didn't used it for many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, Michigan to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his Master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. He joined Art Farmer's group for a short time in 1963 before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. 

The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. He's contributed many arrangements and compositions to both his groups and other bands, and made duo recordings with either Cedar Walton or Jim Hall. He's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, and eventually landed at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. At the dawn of the new millennium, Carter remained an active, in-demand artist, releasing a steady stream of albums and keeping a busy live schedule. When Skies Are Grey surfaced in early 2001, followed in 2002 by Stardust, Carter's tribute to the late bassist Oscar Pettiford. That same year, he joined saxophonist Houston Person for the duo's third album of standards, Dialogues. In 2006, another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. Several more small group solo albums followed including 2007's Japan-only It's the Time and 2008's Jazz and Bossa. In 2011, Carter delivered his first effort with big-band music, Ron Carter's Great Big Band featuring arrangements by conductor Robert M. Freedman and a bevy of name players including pianist Mulgrew Miller and drummer Lewis Nash. He then joined drummer Gerry Gibbs for two albums with 2013's Thrasher Dream Trio and 2014's We're Back. Also in 2014, Carter was backed by the WDR Big Band on My Personal Songbook. In 2016, the bassist once again paired with saxophonist Person for the duo album Chemistry. ~ Ron Wynn https://itunes.apple.com/us/album/new-york-slick/id208092426

Personnel: Ron Carter (bass); Art Farmer (flugelhorn); J.J. Johnson (trombone); Hubert Laws (flute); Kenny Barron, Jay Berliner (piano); Billy Cobham (drums); Ralph McDonald (percussion)

New York Slick

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