Biography by Thom Jurek
Hubert Laws is an award-winning and Grammy-nominated flutist and saxophonist whose musical interests run the gamut from classical, jazz, and R&B to pop and Broadway.
Laws grew up in Houston, in a musical household. His mother was a singer, his grandfather a musician, and almost all of his siblings -- most notably brother Ronnie Laws -- pursued professional careers in music. Hubert studied piano first, then mellophone, and eventually flute in high school. Between 1954 and 1960 (when he won a scholarship to Julliard), he was a member of the early Jazz Crusaders. During his time at Julliard, he studied with Julius Baker and played with the New York Metropolitan Opera Orchestra (as a bonded member) and the New York Philharmonic Orchestra under Leonard Bernstein. He was also moonlighting in jazz, working with personas as diverse as Mongo Santamaria, Benny Golson, Jim Hall, James Moody, and Clark Terry, among many others. He signed to Atlantic and his debut album, The Laws of Jazz, was released in 1964. Two other releases appeared in 1966 (Flute By-Laws) and 1969 (Laws Cause). He signed to Creed Taylor's CTI label and issued the soul-jazz date Crying Song; it was not only a hit, but elevated his public profile past Herbie Mann's (Mann was jazz's most high-profile flutist for more than a decade). In 1970, Laws issued Afro-Classic, which showcased a jazz version of James Taylor's "Fire and Rain" with jazz-filtered classical pieces by Bach and Mozart, as well as a film theme by Francis Lai, which offered fans a completely different look at the artist. 1972's Rite of Spring was comprised exclusively of classical material played by sidemen who included Airto, Bob James, Ron Carter, and Jack DeJohnette. It is regarded as a jazz classic. The recording topped many critics' lists for the year despite the fact that Laws' issued two more full-lengths that year, Wild Flower for Atlantic (his final release for the label) and the provocative Morning Star for CTI, which placed Laws in a funky soul-jazz setting with a large, lush group of musicians and full string and horn sections conducted and arranged by Don Sebesky. Laws remained with CTI through 1978, releasing In the Beginning and The Chicago Theme, among others. He was also a featured guest on dates by George Benson and Grant Green during the era.
Laws embraced jazz, funk, and disco when he signed to Columbia for 1979's In the Beginning, which he composed, arranged, and conducted. While more staid jazz fans took issue with his direction, jazz radio and club DJs embraced it. 1980's funky Family featured his sister Debra on one cut, surrounded by a crew that included Chick Corea, Bobby Lyle, Nathan East, and Leon "Ndugu" Chancler. That same year, he and Earl Klugh co-composed and recorded the music and soundtrack for How to Beat the High Cost of Living. (Laws has also contributed to other film scores. Some of his credits include The Wiz, The Color Purple, and A Hero Ain’t Nothing But a Sandwich.)
With Jim Hall and Chet Baker, he recorded the trio date Studio Trieste for CTI. He wed funk and classical on 1984's Make It Last, and the following year he recorded two classical works, Harold Alfred Blanchard's New Earth Sonata and George Telemann's Suite in A Minor (Overture/Air Italien/Rejouissance) --the latter was conducted by Quincy Jones. It was his last date for Columbia. After 1987's Very Well, an all-star sextet session with Carter, Pendarvis, Eric Gale, Buddy Williams, and Victor See Yuen, Laws took a break from recording for seven years, choosing to participate in live classical and musical theater endeavors as well as an abundance of high level session work. He returned to recording the early '90s and issued My Time Will Come in 1993 and Storm Then the Calm the following year for MusicMasters. In 1998, he released the critically acclaimed Hubert Laws Remembers the Unforgettable Nat King Cole. Other activities included annual performances at Carnegie Hall, sold-out performances in the Hollywood Bowl with flutist Jean-Pierre Rampal, and performances with the Detroit Symphony. In 2002, Laws took on Brazilian and Latin jazz on Baila Cinderella, and two years later he released the charting Moondance for Savoy. To date, he's won Best Jazz Flutist 24 times in the Downbeat Reader's Poll and won the critic’s poll seven -- the latter were all in the 21st century. 2015 yielded Symphonic Arrangement: Suite for Flute & Jazz Piano Trio with Steve Barta and Jeffrey Biegel.
https://www.allmusic.com/artist/hubert-laws-mn0000234374#biography
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Biografía de Thom Jurek
Hubert Laws es un flautista y saxofonista galardonado y nominado al Grammy cuyos intereses musicales abarcan desde la música clásica, el jazz y el R&B hasta el pop y Broadway.
Laws creció en Houston,en un hogar musical. Su madre era cantante, su abuelo músico y casi todos sus hermanos, sobre todo su hermano Ronnie Laws, siguieron carreras profesionales en la música. Hubert estudió piano primero, luego melófono y, finalmente, flauta en la escuela secundaria. Entre 1954 y 1960 (cuando ganó una beca para Julliard), fue miembro de los primeros Jazz Crusaders. Durante su tiempo en Julliard, estudió con Julius Baker y tocó con la Orquesta de la Ópera Metropolitana de Nueva York (como miembro vinculado) y la Orquesta Filarmónica de Nueva York con Leonard Bernstein. También trabajó como pluriempleado en el jazz, trabajando con personajes tan diversos como Mongo Santamaría, Benny Golson, Jim Hall, James Moody y Clark Terry, entre muchos otros. Firmó con Atlantic y su álbum debut, The Laws of Jazz, fue lanzado en 1964. Otros dos lanzamientos aparecieron en 1966 (Flute By-Laws) y 1969 (Laws Cause). Firmó con el sello CTI de Creed Taylor y publicó la canción Crying Date de soul-jazz; no solo fue un éxito, sino que elevó su perfil público más allá del de Herbie Mann (Mann fue el flautista de jazz de más alto perfil durante más de una década). En 1970, Laws emitió Afro-Classic, que mostraba una versión de jazz de "Fire and Rain" de James Taylor con piezas clásicas filtradas por jazz de Bach y Mozart, así como un tema cinematográfico de Francis Lai, que ofrecía a los fanáticos una visión completamente diferente del artista. La Consagración de la primavera de 1972 se compuso exclusivamente de material clásico interpretado por acompañantes que incluían a Airto, Bob James, Ron Carter y Jack DeJohnette. Es considerado un clásico del jazz. La grabación encabezó las listas de muchos críticos del año a pesar de que Laws emitió dos largos más ese año, Wild Flower para Atlantic (su último lanzamiento para el sello) y el provocativo Morning Star para CTI, que colocó a Laws en un ambiente funky de soul-jazz con un gran y exuberante grupo de músicos y secciones completas de cuerda y trompa dirigidas y arregladas por Don Sebesky. Laws permaneció con CTI hasta 1978, lanzando In the Beginning y The Chicago Theme, entre otros. También fue invitado destacado en citas de George Benson y Grant Green durante la época.
Laws abrazó el jazz, el funk y la música disco cuando firmó con Columbia para In the Beginning de 1979, que compuso, arregló y dirigió. Mientras que los fanáticos del jazz más serios discreparon con su dirección,la radio de jazz y los DJ de clubes la adoptaron. funky Family de 1980 presentó a su hermana Debra en un corte, rodeada por un equipo que incluía a Chick Corea, Bobby Lyle, Nathan East y Leon "Ndugu" Chancler. Ese mismo año, él y Earl Klugh compusieron y grabaron conjuntamente la música y la banda sonora de How to Beat the High Cost of Living. (Laws también ha contribuido a otras bandas sonoras de películas. Algunos de sus créditos incluyen The Wiz, The Color Purple y A Hero Ain't Nothing But a Sandwich.)
Con Jim Hall y Chet Baker, grabó el trío date Studio Trieste para CTI. Se casó con funk y música clásica en Make It Last de 1984, y al año siguiente grabó dos obras clásicas, New Earth Sonata de Harold Alfred Blanchard y Suite en La Menor de George Telemann (Obertura / Air Italien / Rejouissance), esta última dirigida por Quincy Jones. Era su última cita con Columbia. Después de Very Well de 1987, una sesión de sexteto de estrellas con Carter, Pendarvis, Eric Gale, Buddy Williams y Victor See Yuen, Laws se tomó un descanso de la grabación durante siete años, eligiendo participar en proyectos de teatro clásico y musical en vivo, así como en una gran cantidad de sesiones de alto nivel.trabajo. Volvió a grabar a principios de los 90 y publicó My Time Will Come en 1993 y Storm Then the Calm al año siguiente para MusicMasters. En 1998, lanzó el aclamado Hubert Laws Remembers the Unforgettable Nat King Cole. Otras actividades incluyeron presentaciones anuales en el Carnegie Hall, presentaciones con entradas agotadas en el Hollywood Bowl con el flautista Jean-Pierre Rampal y presentaciones con la Sinfónica de Detroit. En 2002, Laws incursionó en el jazz brasileño y latino en Baila Cinderella, y dos años más tarde lanzó Moondance para Savoy. Hasta la fecha, ha ganado el premio al Mejor Flautista de Jazz 24 veces en la encuesta Downbeat Reader's Poll y ganó la encuesta critic's poll siete , todas estas últimas en el siglo XXI. 2015 produjo Arreglo Sinfónico: Suite para Trío de Flauta y Piano de Jazz con Steve Barta y Jeffrey Biegel.
https://www.allmusic.com/artist/hubert-laws-mn0000234374#biography
1 - La Jean 2:30
2 - Love Is Blue / Sing A Rainbow 3:20
3 - Crying Song ( From The Motion Picture "More" ) 4:50
4 - Listen To The Band 3:20
5 - I've Gotta Get A Message To You 3:05
6 - Feelin' Alright? 2:30
7 - Cymbaline ( From The Motion Picture "More" ) 3:55
8 - How Long Will It Be? 5:50
9 - Let It Be 3:30
Credits:
Arranged By [Brass] – Glen Spreen (tracks: 1, 2, 4 to 6, 9), Mike Leech (tracks: 1, 2, 4 to 6, 9)
Arranged By [String] – Bob James (tracks: 1, 2)
Bass – Mike Leech (tracks: 1, 2, 4 to 6, 9), Ron Carter (tracks: 3, 7, 8)
Cello – Charles McCracken (tracks: 1, 2), George Ricci (tracks: 1, 2)
Design [Album] – Bob Ciano
Drums – Bill Cobham* (tracks: 3), Gene Chrisman (tracks: 1, 2, 4 to 6, 9), Grady Tate (tracks: 7, 8)
Engineer – Rudy Van Gelder (tracks: 3, 7, 8)
Engineer, Music Director [Musical Director Of American Group] – Tom Cogbill* (tracks: 1, 2, 4 to 6, 9)
Flute – Hubert Laws
Guitar – George Benson (tracks: 3, 7, 8), Reggie Young (tracks: 1, 2, 4 to 6, 9)
Organ – Bobby Emmons (tracks: 1, 2, 4 to 6, 9)
Organ, Piano – Bob James (tracks: 3, 7, 8)
Photography By [Cover] – Pete Turner (4)
Piano – Bobby Wood (tracks: 1, 2, 4 to 6, 9)
Producer – Creed Taylor
Reissue Producer, Liner Notes [Reissue] – Didier C. Deutsch
Remastered By – Tim Geelan
Saxophone – Art Clarke* (tracks: 1, 2, 4 to 6, 9), Seldon Powell (tracks: 1, 2, 4 to 6, 9)
Trombone – Garnett Brown (tracks: 1, 2, 4 to 6, 9), Tony Studd (tracks: 1, 2, 4 to 6, 9)
Trumpet, Flugelhorn – Ernie Royal (tracks: 1, 2, 4 to 6, 9), Marvin Stamm (tracks: 1, 2, 4 to 6, 9)
Violin – Avram Weiss (tracks: 1, 2), Gene Orloff (tracks: 1, 2), George Ockner (tracks: 1, 2), Lewis Eley (tracks: 1, 2), Matthew Raimondi (tracks: 1, 2), Max Pollikoff (tracks: 1, 2), Paul Gershman (tracks: 1, 2), Raoul Poliakin (tracks: 1, 2), Sylvan Shulman (tracks: 1, 2)
Originally released in 1969 [CTI Records CTI 6000]
Recorded July 23 (Tracks 4, 5), 24 (Tracks 1, 2, 6, 9), 1969, American Sounds Studio, Memphis, TN
Recorded September 23 (Track 3), 24 (Tracks 7, 8), 1969, Van Gelder Studios, Englewood Cliffs, NJ
Label: CTI Records – CTI 1002
Country: US
Released: 1969
Genre: Jazz
https://www.discogs.com/es/release/1018966-Hubert-Laws-Crying-Song
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