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

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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+

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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