Hubert Laws Albums (23)
What The Critics Say
Hubert Laws made his finest recordings playing arrangements by Don Sebesky. Unfortunately, starting with this project, Bob James began to take over the writing chores, and the flutist's recordings became much more commercial. Rather than performing with a small group, as he did on his best sessions, Laws is joined by strings and funky rhythm sections playing now-dated commercial grooves. The six selections (which include James' forgettable "Chicago Theme," "Midnight at the Oasis" and Dvorák's "Going Home") are listenable, but nothing special. The only reason to acquire this out of print LP is for Laws' still-superb flute playing. [Chicago Theme was reissued on CD in 2000.] ~ Scott Yanow, All Music Guide
What The Critics Say
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, All Music Guide
'Baila Cinderella'
Release Date 10/15/2002
Tracks 9
Label Scepterstein
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What The Critics Say
A nice date from an earlier Laws period with a harder tone and more traditional jazz direction. ~ Ron Wynn, All Music Guide
'Remembers The Unforgettable Nat King Cole (RKO)'
Release Date 12/15/1998
Tracks 9
Label RKO
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What The Critics Say
This double album features flutist Hubert Laws at his finest. The music ranges from classical-oriented pieces to straight-ahead jazz with touches of '70s funk included in the mix. The supporting cast includes keyboardist Bob James on most tracks, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie on tenor (his solo on John Coltrane's "Moment's Notice" is arguably Ronnie's best ever on record). Whether it be works by Satie or Sonny Rollins, this recording is one of the most rewarding of Hubert Laws' career. ~ Scott Yanow, All Music Guide
'Storm Then the Calm'
Release Date 9/13/1994
Tracks 9
Label Music Master
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'The San Francisco Concert'
Release Date 11/6/1991
Tracks 12
Label CTI
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What The Critics Say
This live set finds flutist Hubert Laws both looking backwards toward his best CTI recordings and ahead to his generally abysmal output for Columbia. With Bob James doing the arrangements, the music is more overtly commercial than Don Sebesky's earlier work. The adaptations of themes by Bizet and Rimsky-Korsakoff are worthwhile, and Laws does a fine job on the catchy "Feel Like Making Love"; the other selection is a forgettable tune by Dave Grusin. Backed by a huge string orchestra, Laws plays quite well, uplifting the material and doing what he can with the charts. This was his final CTI release. ~ Scott Yanow, All Music Guide
