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Hurbert Laws-Morning Star (1973) Jazz Fusion Flac A+

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Description

Music : Jazz : Lossless
Morning Star (CTI
Records 40th Anniversary Edition) [Remastered]
Hubert Laws – Morning Star 
Label: 
Masterworks
Jazz – 88697 76833 2 
Series: 
CTI Records 40th Anniversary – 
Format: 
CD, Album,
Reissue, Remastered, This Is A FLAC Lossless Transfer.
Country: 
Europe 
Released: 
2010 
Genre: 
Jazz 
Style: 
Soul-Jazz, Fusion 
Track listing 
All compositions by Hubert Laws
except as indicated
1."Morning Star" (Rodgers Grant) - 7:57
2."Let Her Go" - 4:53
3."Where Is The Love" (Ralph MacDonald, William Salter) - 4:36
4."No More" - 5:01
5."Amazing Grace" (Traditional) - 7:19
6."What Do You Think of This World Now?" - 6:00
Recorded at Van Gelder Studio in Englewood Cliffs, New Jersey on September - November 1972
 
 
It Doesn't Get Much Better Than This
Friends A+Features Bob James On Electric Piano He Wrote The Theme Song For The T.v Show Taxi 

Sound Sample
https://www.youtube.com/watch?v=ZVwShFuR-8A

Album Credits
Performance Credits
Hubert Laws Primary
Artist,Flute,Alto Flute,Piccolo
John Tropea Guitar
Phil Bodner Clarinet,Flute,Alto Flute
Ron Carter
Bass
Bob James Electric Piano
Marvin Stamm Trumpet,Flugelhorn
Ralph MacDonald Percussion
Debra Laws
Vocals,Soloist
Eloise Laws Vocals
David Nadien Violin
Tasha Thomas Vocals
Gloria Agostini Harp
Garnett Brown Trombone
James Buffington French Horn
Billy Cobham Drums
Harry Cykman Violin
Don
Sebesky Conductor
Max Ellen Violin
Paul Gershman Violin
Emanuel Green Violin
Lani Groves Vocals
Harry Lookofsky Violin
Jack Knitzer Bassoon
George Koutzen Cello
Charles McCracken Cello
Gene
Orloff Violin
Romeo Penque Flute,Alto Flute,English Horn,Piccolo
Alan Rubin Trumpet,Flugelhorn
Lucien
Schmit Cello
Irving Spice Violin
Dave Friedman Percussion,Vibes
Elliot Rosoff Violin

Notes 
Originally released on CTI Records as CTI 6022. 
Recorded September-October, 1972 
(p) 1973 Sony Music
Entertainment. 
(c) 2010 Sony Music Entertainment



After the success of 1970'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. 
                                                             

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