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| Morning Star |
| Hubert Laws |
| első megjelenés éve: 1972 |
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| (2010)
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CD |
| 4.233 Ft
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| 1. | Morning Star
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| 2. | Let Her Go
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| 3. | Where Is The Love
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| 4. | No More
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| 5. | Amazing Grace
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| 6. | What Do You Think of This World Now?
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Jazz
CTI Records 40th Anniversary Edition
Alan Rubin - Flugelhorn, Trumpet
Billy Cobham - Drums
Bob Ciano - Design
Bob James - Piano (Electric)
Charles McCracken - Cello
Creed Taylor - Producer
Dave Friedman - Percussion, Vibraphone
David Nadien - Violin
Debra Laws - Soloist, Vocals
Don Sebesky - Arranger, Conductor
Elliot Rosoff - Violin
Eloise Laws - Vocals
Emanuel Green - Violin
Garnett Brown - Trombone
Gene Orloff - Violin
George Koutzen - Cello
Gloria Agostini - Harp
Harry Cykman - Violin
Harry Lookofsky - Violin
Hubert Laws - Flute, Flute (Alto), Piccolo
Irving Spice - Violin
Jack Knitzer - Bassoon
James Buffington - French Horn
John Tropea - Guitar
K. Abe - Photography
Lani Groves - Vocals
Lucien Schmit - Cello
Mark Wilder - Mastering
Marvin Stamm - Flugelhorn, Trumpet
Max Ellen - Violin
Paul Gershman - Violin
Pete Turner - Cover Photo
Phil Bodner - Clarinet, Flute, Flute (Alto)
Ralph MacDonald - Percussion
Richard Seidel - Reissue Producer
Romeo Penque - Flute, Flute (Alto), Horn (English), Piccolo
Ron Carter - Bass
Rudy Van Gelder - Engineer
Tasha Thomas - Vocals
After the success of '70's Afro-Classic, Hubert Laws re-teamed with arranger/conductor Don Sebesky for 1972's Morning Star, his third date for producer Creed Taylor's CTI. Laws' sidemen for the date included Ron Carter on bass, Bob James on electric piano, Billy Cobham and Ralph McDonald on drums, guitarist John Tropea, and vibraphonist/percussionist Dave Friedman. Rather than follow up Afro-Classic with another program of primarily classical numbers, Taylor, Laws, and Sebesky employed a large string, wind, and brass ensemble and went to the pop-jazz side of the spectrum. The title track of this gorgeous set is a laid-back, lilting jazz tune with Laws' flute introducing the melody, followed by a tight, economical yet lengthy and expressive James solo and the winds flowing in momentarily before the brass explodes into a gorgeous swing before disappearing again very quickly. James' solo flows through both beautifully. Laws' own break is impressionistic, yet full of elemental swing and classical flourishes. On the beautifully textured reading of "Where Is the Love," Laws' flute plays and darts soulfully around the melody as James colors the margins and Carter ushers in a groove change with his diligent lines accenting Cobham's backbeat. The strings, sweet as they are, underscore rather than overpower the band, adding an entirely different dimension to the arrangement. The reading of "Amazing Grace" is introduced slowly by Laws playing the melody in the lower register. James joins him on the changes before the strings enter sparsely at the minute mark. They color Laws' flute with elegance and a touch of Celtic hymnody. A harp duets with Laws on the third verse; violins and cellos brighten it sparely. When Carter enters, the tempo picks up; the mood changes instantly. It begins to sway, shimmer, and shift, reaching nearly transcendent heights of expression before it all quiets down to Laws' flute unaccompanied, improvising on Bach before returning to the folk roots of the song. These are just the highlights; Morning Star is a joy all the way through, whether it's in the bluesy soul-jazz of "No More" or the occasionally abstract "What Do You Think of This World Now?," which riffs on "America the Beautiful." It's Laws at his very best; it helped define the essence of CTI.
---Thom Jurek, Rovi
Hubert Laws
Active Decade: '70s
Born: Nov 10, 1939 in Houston, TX
Genre: Jazz
Styles: Instrumental Pop, Jazz-Funk, Hard Bop, Jazz-Pop, Crossover Jazz, Jazz Instrument, Saxophone Jazz
A talented flutist Laws, whose musical interest was never exclusively straight-ahead jazz, Hubert Laws exceeded Herbie Mann in popularity in the 1970s when he recorded for CTI. He was a member of the early Jazz Crusaders while in Texas (1954-1960) and he also played classical music during those years. In the 1960s, Laws made his first recordings as a leader (Atlantic dates from 1964-1966) and gigged with Mongo Santamaria, Benny Golson, Jim Hall, James Moody, and Clark Terry, among many others. His CTI recordings from the first half of the 1970s made Laws famous and were a high point, particularly compared to his generally wretched Columbia dates from the late '70s. He was less active in the 1980s, but has come back with a pair of fine Music Masters sessions in the 1990s. After those releases, a tribute to Nat King Cole arrived in 1998, followed four years later by a stab at Latin jazz, Baila Cinderella. The sharp and cool Moondance appeared in spring 2004. Hubert Laws has the ability to play anything well, but he does not always seem to have the desire to perform creative jazz.
---Scott Yanow, Rovi |
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