Showing posts with label Ronnie Laws. Show all posts
Showing posts with label Ronnie Laws. Show all posts

Saturday, March 9, 2019

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

Sunday, October 14, 2018

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

Thursday, October 11, 2018

Ronnie Laws - Fever

Styles: Saxophone And Flute Jazz 
Year: 1976
File: MP3@320K/s
Time: 42:22
Size: 105,5 MB
Art: Front

(4:31)  1. Let´s Keep It Together
(3:29)  2. Fever
(4:04)  3. All The Time
(7:24)  4. Stay Still (And Let Me Love You)
(4:07)  5. Strugglin´
(2:59)  6. Captain Midnite
(3:44)  7. Karmen
(6:30)  8. Night Breeze
(5:30)  9. From Ronnie With Love

When Ronnie Laws first started recording as a leader in 1975, one of the saxman's strongest allies was Wayne Henderson. That trombonist and founding member of the Crusaders (originally the Jazz Crusaders) was an expert when it came to combining the accessibility of soul and funk with the freedom of jazz, and his guidance proved to be a definite asset when he produced early Laws albums like Pressure Sensitive (1975) and Fever (1976). The popular Grover Washington, Jr. was a strong influence on Laws, whose appreciation of Mr. Magic asserts itself on everything from the funky "Let's Keep It Together" and the gritty "Captain Midnite" to Bobby Lyle's alluring "Night Breeze." 

This isn't to say that Laws was a Washington clone, or that he unaware of other soul-jazz saxmen like Eddie Harris and David "Fathead" Newman. Laws, in fact, was quite recognizable himself on both tenor and soprano. One tune that definitely isn't in the soul-jazz vein is "From Ronnie with Love," an angular, cerebral post-bop offering that isn't unlike something Jackie McLean would do. 

Because Laws has recorded so many throwaways, one has to approach his catalog with caution; but rest assured that Fever puts his talent to work instead of wasting it. ~ Alex Henderson https://www.allmusic.com/album/fever-mw0000099049

Personnel:  Ronnie Laws - tenor saxophone, soprano saxophone, flute;  Donald Hepburn, Michael Hepburn, Bobby Lyle - electric piano, clavinet, synthesizer;  Marlin the Magician - guitar;  Wilton Felder, Nathaniel Phillips - electric bass;  Bruce Carter, Steve Guttierez - drums;  Bruce Smith - percussion;  Tony Ben - conga;  Murray Adler, Bonnie Douglas, Henry Ferber, Elliott Fisher, Ronald Folsom, James Getzoff, William Kurash, Joy Lyle, Gordon Marron, Paul C. Shure, Felix Sitjar, Carroll Stephens - violin;  Jesse Ehrlich, Nathan Gershman, Raymond J. Kelley, Victor Sazer - vocals;  Ronald Coleman, Augie Johnson, Esau Joyner, Michael Miller, Deborah Shotlow, Douglas Thomas - backing vocals

Fever

Friday, September 7, 2018

Jazz Crusaders - Soul Axess

Styles: Jazz, Big Band
Year: 2004
File: MP3@320K/s
Time: 78:20
Size: 181,4 MB
Art: Front

(7:06)  1. Overjoyed
(4:28)  2. Clima Suave (Smooth & Cool)
(4:29)  3. Trail of the Sidewinder
(6:58)  4. Imagine
(3:47)  5. Standing Tall
(5:41)  6. Down Yonder
(5:36)  7. Life in the City (Really Turns Me On)
(5:17)  8. All That Jazz N Razz a Ma Tazz
(7:29)  9. Prodigal Son
(6:32) 10. All Along the Watchtower
(5:25) 11. Over the Rainbow
(4:55) 12. Never Too Late (To Fall in Love Again)
(4:18) 13. Ya Gotta Respect Ya Self
(6:13) 14. Goin' Bukyld

Since the breakup of the original Crusaders in the '80s, there have always been two factions battling for the name: the occasional Joe Sample-Wilton Felder projects billed as "the Crusaders," and another group of rotating smooth jazz musicians led by trombonist Wayne Henderson, usually called the Jazz Crusaders. This new fun-filled, very brassy, and stylistically diverse collection features Felder on only three tracks, but, not surprisingly, one of the best is "Down Yonder," a gospel-inflected midtempo funk number that joyfully recalls the old Crusaders' Southern roots. Elsewhere, it's more a gathering of contemporary greats, with Henderson forming tasty horn sections with guest saxmen Everette Harp (on the bouncy cover of Stevie Wonder's "Overjoyed," also featuring a crisp Norman Brown guitar solo) and Ronnie Laws. Vibist Roy Ayers adds a touch of class to the Latin-flavored "Clima Suave (Smooth & Cool)," and Bobby Lyle (piano) and Dwight Sills (guitar) find ample room to shine on their numbers. The only drawback is Henderson's seeming need to join the hip-hop generation by adding several rap vocals, one of which pays obligatory homage to jazz heroes ("All That Jazz n Razz a Ma Tazz"). Along with an overreliance on pop covers, this sort of thinking makes Henderson's effort a far less rewarding experience than Sample and Felder's return to the front porch on the previous year's Rural Renewal. There are always glimmers of unique creativity, however. A cover of "Over the Rainbow" featuring vocalist Phillip Ingram features a cool Take 6-like intro, but then evolves into something much more pedestrian. ~ Jonathan Widran https://www.allmusic.com/album/soul-axess-mw0000333594

Personnel:  Bass – Larry Kimpel, Nathan East;  Drums – Tony Moore;  Guitar – Brian Price, Dwight Sills;  Keyboards – Bobby Lyle, Herman Jackson;  Soprano Saxophone – Ronnie Laws;  Tenor Saxophone – Everette Harp, Ronnie Laws, Wilton Felder;  Vibraphone – Roy Ayers;  Vocals – Jean Carne, Phillip Ingram;    Producer – Wayne Henderson

Soul Axess

Monday, August 7, 2017

Walter Bishop, Jr's 4th Cycle - Keeper of My Soul

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 38:01
Size: 87,7 MB
Art: Front

(6:23)  1. Soul Village
(4:37)  2. N'Dugu's Prayer
(5:47)  3. Summertime
(7:47)  4. Those Who Chant
(4:46)  5. Keeper of My Soul
(3:13)  6. Blue Bossa
(5:26)  7. Sweet Rosa

Digitally remastered edition of this 1973 album from the Bop/Jazz pianist. On Keeper of My Soul, Bishop plays acoustic and electric pianos and organ with a sense of uplift, a quality characterizing the best soul-jazz of the day. Opening number 'Soul Village' is a fascinating union of jazz and funk; today, it still sounds fresh in its immediacy. Here Bishop brings personality to his playing of a plugged-in piano, no easy task, while young saxophonist Ronnie Laws, a few years away from his descent into the disco-fusion abyss, captures in his solo some of the saxophone-generated warmth associated with his mentor, David Fathead Newman. The little-remembered vibraphonist Woody Murray handles himself well, and the funk rhythm section cooks. ~ Editorial Reviews https://www.amazon.com/Keeper-Soul-Walter-Cycle-Bishop/dp/B0081ZYVEW

Personnel:  Walter Bishop Jr. – piano;  Ronnie Laws – flute, saxophone;  Woody Murray – vibraphone;  Gerald Brown – bass, electric bass;  Bahir Hassan – drums;  Shakur M. Abdulla – congas, bongos

Keeper of My Soul

Tuesday, September 20, 2016

Ronnie Laws - Mr. Nice Guy

Bitrate: MP3@320K/s
Time: 36:05
Size: 82.6 MB
Styles: Jazz/Funk/Soul
Year: 1983/2010
Art: Front

[4:09] 1. Can't Save Tomorrow
[3:44] 2. Mr. Nice Guy
[3:33] 3. In The Groove
[4:57] 4. Third Hour
[4:07] 5. You
[4:23] 6. Big Stars
[3:54] 7. Rolling
[3:12] 8. What Does It Take (To Win Your Love)
[4:01] 9. Off And On Again

The music Ronnie Laws created in the 80's has always tended to be miscatagorized under the name of jazz. And such as with his previous album Solid Ground this recording contains very little that resembles even jazz FUSION let alone acoustic music. What you get in both cases is wonderfully crafted modern funky pop/R&B with some pop-jazz references. Overall the music here is closer to being that of an 80's era Jr.Walker (a fact not betrayed by the fact his classic hit "What Does It Take" is covered almost by wrote here). As for this album taken on it's own Ronnie Laws has taken the slick elements he began adding as far back as 1979's Every Generation and updated them with more mid 80's elements such as lightly gated drums and hand claps. The odd chords on the excellent shuffling album opener "Can't Save Tomorrow" are innovative and like so much music of this era contains a strong inspiration from Stevie Wonder's compositional style. The same use of chords shows up on the eerie near instrumental "Rolling". In between that the album emphasizes nothing but uptempo tunes of which the bouncy title track,"In The Groove","You" and "Off And On Again" offer in abundance. Ronnie takes a few more little creative soujourns on "Third Hour" and "Big Stars" but generally keeps the sound intact and the material consistant. Those people who have been collecting Ronnie Laws recordings all along will find this yet another in a string of solid consistant recordings he's made since 1975. And for reference purposes I actually like Ronnie's smooth soul singing on these songs and never had a problem with it at all; don't many believe as me that in the case of Laws,Norman Connors and Michael Henderson that vocals actually enhance their music? Either way this is a must have for any Ronnie Laws fan.~Andrew S. Grindl

Mr. Nice Guy

Sunday, March 22, 2015

Ronnie Laws - Tribute To The Legendary Eddie Harris

Bitrate: MP3@320K/s
Time: 37:04
Size: 84.9 MB
Styles: Saxophone jazz, Funk-jazz
Year: 1997
Art: Front

[3:55] 1. Listen Here
[4:26] 2. Freedom Jazz Dance
[4:27] 3. Boogie Woogie Bossa Nova
[3:58] 4. Cold Duck
[4:27] 5. Sham Time
[5:21] 6. I Don't Want No One But You
[4:02] 7. Hip Hoppin
[6:24] 8. Compared To What

Ronnie Laws' performs eight songs associated with the late, great saxophonist Eddie Harris. In some spots Laws (whose other recordings are in the worlds of jazz-funk and pop) closely copies his early inspiration, but when he tries to sound like himself, he comes across as a fine improviser. Laws (who doubles on tenor and soprano) is joined by a rhythm section including pianist Vernell Brown, Jr.; trumpeter Oscar Brashear makes two welcome appearances (particularly on "Cold Duck Time"). This CD (which is highlighted by lightly funky versions of "Freedom Jazz Dance," "Hip Hoppin'," and "Compared to What") is the first Ronnie Laws release recommended for conservative jazz listeners. ~Scott Yanow

Tribute To The Legendary Eddie Harris