Internationally
renowned flutist Hubert Laws is one of the few classical artists who
has also mastered jazz, pop, and rhythm-and-blues genres; moving
effortlessly from one repertory to another. He has appeared as a soloist
with the New York Philharmonic under Zubin Mehta, with the orchestras
of Los Angeles, Dallas, Chicago, Cleveland, Amsterdam, Japan, Detroit
and with the Stanford String Quartet. He has given annual performances
at Carnegie Hall, and has performed sold out performances in the
Hollywood Bowl with fellow flutist Jean-Pierre Rampal and was a member
of the New York Philharmonic and Metropolitan Opera Orchestras. In
addition, he has appeared at the Montreux, Playboy, and Kool Jazz
festivals; he performed with the Modern Jazz Quartet at the Hollywood
Bowl in 1982 and with the Detroit Symphony in 1994. His recordings have
won three Grammy nominations.
Mr. Laws has been involved in
unique projects such as collaborations with Quincy Jones, Bob James, and
Claude Bolling for Neil Simon's comedy California Suite, a
collaboration with Earl Klugh and Pat Williams on the music for How to
Beat the High Cost of Living: and film scores for The Wiz, Color Purple,
A Hero Ain't Nothing but a Sandwich, and Spot Marks the X.
There
are 20 albums in Mr. Laws' discography for such record companies as:
Atlantic, CBS, CTI, including: “My Time Will Come,” and “Storm Then The
Calm” for the Music Masters record label.
Session work also
remains a staple of Hubert Laws' schedule, and includes collaborations
and recordings with such artists as Quincy Jones, Miles Davis, Herbie
Hancock, Chick Corea, Ella Fitzgerald, Sarah Vaughn, Freddie Hubbard,
Paul McCartney, Paul Simon, Aretha Franklin, Lena Horne, Sergio Mendes,
Bob James, Carly Simon, Clark Terry, Leonard Bernstein and the New York
Philharmonic.
In addition, Mr. Laws maintains his own publishing
companies, Hulaws Music and Golden Flute Music, and he founded Spirit
Productions in 1976 to produce his own albums and those of promising new
artists. He was selected the No. 1 flutist in Down Beat readers' polls
ten years in a row and was the critic's choice seven consecutive years.
Born
in Houston, Mr. Laws' musical education came from various sources. He
grew up directly across from a honky- tonk called Miss Mary's Place, his
grandfather played the harmonica, and his mother played gospel music on
the piano. His classical training got under way in high school. He
later enrolled in the music department at Texas Southern University.
During this period, he arranged to study privately with Clement Barone
who Mr. Laws considers had a profound effect on his development. From
there he traveled to Los Angeles with the Jazz Crusaders where he won a
scholarship to the Juilliard School of music in New York City. Mr. Laws
completed his studies and obtained his degree at the Juilliard School of
music in New York City under tutelage of the renowned flutist Julius
Baker.
HUBERT LAWS' MUSICAL BACKGROUND
Hubert's musical
education has always been an amalgamation. For starters, his boyhood
home was directly across the street from an honest-to-goodness
honky-tonk, Miss Mary's Place, which still sits on the same spot in
Houston's Studewood section. His grandfather played the harmonica and
often entertained as a one-man band. His mother, Miola, played gospel
music on piano.
The second of eight children in a musical family,
Hubert grew up playing rhythm and blues and gospel at dances in the
neighborhood. Brother Ronnie and sisters, Eloise and Debra, have all
made their mark in the music industry, while sister Blanche has devoted
her talent to gospel singing and brother Johnnie has contributed his
voice on Hubert's recordings. It's fitting that Hubert's fourth album
for Columbia was entitled Family, featuring almost the entire Laws clan.
Starting
out on Piano then Mellophone and alto sax, Hubert picked up the flute
in high school while volunteering to fill-in on a flute solo performance
with his high school orchestra. Music teacher, Clement Barone, is
credited with teaching Hubert the fundamentals. During his early teens,
Hubert was exposed to jazz by high school band director Sammy Harris at
Phillis Wheatley High School. He enjoyed the freedom of improvisation
and the creativity allowed by jazz and began playing regularly with a
Houston group known variously as the Swingsters, the Modern Jazz Sextet,
Night Hawks, the Jazz Crusaders, and more recently, the Crusaders.
After
high school, Hubert enrolled in the Music Department at Texas Southern
University. After two years there he left with the Crusaders for Los
Angeles. This soon became a point of departure to the Juilliard School
of Music in New York. Winning a scholarship that would cover the cost of
tuition in 1960, Hubert left for New York in a 1950 Plymouth Sedan with
$600.00 in his pocket. Fondly remembering the moment he realized his
savings would not cover the necessities of life in New York, Hubert
recalled, “It was the fall of 1960. I was down to my last fifty bucks
and wondering what to do when the phone rang and it was a call offering
me my first job at Sugar Ray's Lounge in Harlem. Times were tough then,
but, I haven't looked back since.”
Studying all day every day in
class or with master flautist Julius Baker, evenings were devoted to
gigging for support. Soon Hubert was playing with the likes of Mongo
Santamaria, Lloyd Price Big Band, John Lewis of the Modern Jazz Quartet,
the Orchestra USA, and the Berkshire Festival Orchestra at Tanglewood —
summer home of the Boston Symphony Orchestra.
Recording session
work became a staple of Hubert's schedule and included Quincy Jones,
Paul McCartney, Paul Simon, Aretha Franklin, Lena Horne, James Moody,
Sergio Mendes, Bob James, Carly Simon, George Benson, Clark Terry, and
J.J. Johnson. During those tough times, the ability to play R&B and
jazz enabled him not only to survive, but to thrive. Hubert believes
musicians would do well to learn how to play in a variety of musical
idioms.
https://musicians.allaboutjazz.com/hubertlaws
///////
El
flautista de renombre internacional Hubert Laws es uno de los pocos
artistas clásicos que también domina los géneros del jazz, el pop y el
rhythm-and-blues, pasando sin esfuerzo de un repertorio a otro. Ha
actuado como solista con la Filarmónica de Nueva York bajo la dirección
de Zubin Mehta, con las orquestas de Los Ángeles, Dallas, Chicago,
Cleveland, Ámsterdam, Japón, Detroit y con el Stanford String Quartet.
Ha ofrecido actuaciones anuales en el Carnegie Hall y ha agotado las
entradas en el Hollywood Bowl con su colega el flautista Jean-Pierre
Rampal y ha sido miembro de las orquestas de la Filarmónica de Nueva
York y de la Ópera Metropolitana. Además, ha aparecido en los festivales
de Montreux, Playboy y Kool Jazz; actuó con el Modern Jazz Quartet en
el Hollywood Bowl en 1982 y con la Detroit Symphony en 1994. Sus
grabaciones han obtenido tres nominaciones a los Grammy.
El Sr.
Laws ha participado en proyectos únicos como las colaboraciones con
Quincy Jones, Bob James y Claude Bolling para la comedia de Neil Simon
California Suite, una colaboración con Earl Klugh y Pat Williams en la
música de How to Beat the High Cost of Living: y partituras de películas
como The Wiz, Color Purple, A Hero Ain't Nothing but a Sandwich y Spot
Marks the X.
Hay 20 álbumes en la discografía del Sr. Laws para
compañías discográficas como: Atlantic, CBS, CTI, incluyendo: "My Time
Will Come", y "Storm Then The Calm" para el sello discográfico Music
Masters.
El trabajo de sesión también sigue siendo un elemento
básico en la agenda de Hubert Laws, e incluye colaboraciones y
grabaciones con artistas como Quincy Jones, Miles Davis, Herbie Hancock,
Chick Corea, Ella Fitzgerald, Sarah Vaughn, Freddie Hubbard, Paul
McCartney, Paul Simon, Aretha Franklin, Lena Horne, Sergio Mendes, Bob
James, Carly Simon, Clark Terry, Leonard Bernstein y la Filarmónica de
Nueva York.
Además, el Sr. Laws mantiene sus propias editoriales,
Hulaws Music y Golden Flute Music, y fundó Spirit Productions en 1976
para producir sus propios álbumes y los de nuevos artistas prometedores.
Fue elegido el flautista número 1 en las encuestas de los lectores de
Down Beat durante diez años consecutivos y fue la elección de la crítica
durante siete años consecutivos.
Nacido en Houston, la educación
musical del Sr. Laws provino de varias fuentes. Creció justo enfrente
de un honky-tonk llamado Miss Mary's Place, su abuelo tocaba la armónica
y su madre tocaba música gospel en el piano. Su formación clásica
comenzó en el instituto. Más tarde se matriculó en el departamento de
música de la Texas Southern University. Durante este periodo, consiguió
estudiar en privado con Clement Barone, quien el Sr. Laws considera que
tuvo un profundo efecto en su desarrollo. Desde allí viajó a Los Ángeles
con los Jazz Crusaders, donde ganó una beca para la Juilliard School of
music de Nueva York. El Sr. Laws completó sus estudios y obtuvo su
título en la Juilliard School of music de Nueva York bajo la tutela del
renombrado flautista Julius Baker.
FORMACIÓN MUSICAL DE HUBERT LAWS
La
educación musical de Hubert siempre ha sido una amalgama. Para empezar,
su casa de la infancia estaba justo enfrente de un honky-tonk de
verdad, Miss Mary's Place, que todavía se encuentra en el mismo lugar en
el barrio de Studewood de Houston. Su abuelo tocaba la armónica y a
menudo actuaba como un solo hombre orquesta. Su madre, Miola, tocaba la
música gospel al piano.
Hubert, el segundo de ocho hijos de una
familia de músicos, creció tocando rhythm and blues y gospel en los
bailes del barrio. Su hermano Ronnie y sus hermanas, Eloise y Debra, han
dejado su huella en la industria musical, mientras que la hermana
Blanche ha dedicado su talento al canto gospel y su hermano Johnnie ha
aportado su voz en las grabaciones de Hubert. Resulta apropiado que el
cuarto álbum de Hubert para Columbia se titule Family, con la
participación de casi todo el clan Laws.
Hubert empezó tocando el
piano, luego el violonchelo y el saxo alto, y en el instituto se hizo
con la flauta mientras se ofrecía como voluntario para un solo de flauta
en la orquesta de su instituto. Su profesor de música, Clement Barone,
le enseñó los fundamentos de la flauta. Durante su adolescencia, Hubert
conoció el jazz de la mano del director de la banda del instituto, Sammy
Harris, en el Phillis Wheatley High School. Disfrutó de la libertad de
improvisación y de la creatividad que permite el jazz y empezó a tocar
regularmente con un grupo de Houston conocido como los Swingsters, el
Modern Jazz Sextet, los Night Hawks, los Jazz Crusaders y, más
recientemente, los Crusaders.
Después del instituto, Hubert se
matriculó en el Departamento de Música de la Texas Southern University.
Tras dos años allí, se marchó con los Crusaders a Los Ángeles. Pronto se
convirtió en el punto de partida hacia la Juilliard School of Music de
Nueva York. Ganando una beca que cubriría el coste de la matrícula en
1960, Hubert se fue a Nueva York en un Plymouth Sedan de 1950 con 600
dólares en el bolsillo. Recordando con cariño el momento en que se dio
cuenta de que sus ahorros no cubrirían las necesidades de la vida en
Nueva York, Hubert recuerda: "Era el otoño de 1960. Estaba con mis
últimos cincuenta dólares y preguntándome qué hacer cuando sonó el
teléfono y era una llamada ofreciéndome mi primer trabajo en el Sugar
Ray's Lounge de Harlem. Eran tiempos difíciles entonces, pero desde
entonces no he mirado atrás".
Estudiando todo el día en clase o
con el maestro flautista Julius Baker, las noches las dedicaba a dar
conciertos de apoyo. Pronto Hubert estuvo tocando con artistas de la
talla de Mongo Santamaria, la Lloyd Price Big Band, John Lewis del
Modern Jazz Quartet, la Orchestra USA y la Berkshire Festival Orchestra
en Tanglewood, sede de verano de la Orquesta Sinfónica de Boston.
Las
sesiones de grabación se convirtieron en un elemento básico de la
agenda de Hubert y en ellas participaron Quincy Jones, Paul McCartney,
Paul Simon, Aretha Franklin, Lena Horne, James Moody, Sergio Mendes, Bob
James, Carly Simon, George Benson, Clark Terry y J.J. Johnson. En esos
tiempos difíciles, la capacidad de tocar R&B y jazz le permitió no
sólo sobrevivir, sino prosperar. Hubert cree que los músicos harían bien
en aprender a tocar en una variedad de lenguajes musicales.
https://musicians.allaboutjazz.com/hubertlaws
1 - The Chicago Theme (Love Loop) - 5:37
2 - Midnight At The Oasis - 5:28
3 - You Make Me Feel Brand New - 5:50
4 - Going Home - 5:04
5 - I Had A Dream - 6:00
6 - Inflation Chaser - 6:00
Credits:
Cello – Alan Shulman, George Ricci
Design [Album] – Bob Ciano
Drums – Steve Gadd
Flute – Hubert Laws
Keyboards – Don Grolnick
Liner Notes – Toshio Honda
Percussion – Ralph MacDonald
Photography By [Cover] – Pete Turner
Photography By [Liner] – Kwame Brathwaite
Producer – Creed Taylor
Recorded By, Mixed By – Rudy Van Gelder
Reissue Producer – Creed Taylor
Remastered By – Rudy Van Gelder
Trumpet – Randy Brecker
Viola – Al Brown*, Manny Vardi*
Violin – Charles Libove, David Nadien, Emanuel Green, Gayle Dixon, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Paul Gershman
Notes:
Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
Recorded February-April 1975
Label: CTI Records – KICJ 2317
Series: CTI Supreme Collection – 7
Genre: Jazz, Funk / Soul
Style: Soul-Jazz, Jazz-Funk, Disco
https://www.discogs.com/Hubert-Laws-The-Chicago-Theme/release/8527647
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
No comments:
Post a Comment