Hubert Laws: the Influence of Classical Tone, and Technique on Improvisations for the Jazz Flutist and Woodwind Specialist

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HUBERT LAWS: THE INFLUENCE OF CLASSICAL TONE, AND TECHNIQUE ON IMPROVISATIONS FOR THE JAZZ FLUTIST AND WOODWIND SPECIALIST

OLIVER NELSON, JR.

SCHOLARLY PAPER

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2016

Urbana, Illinois

Doctoral Committee

Professor Charles McNeill, Chair, Director of Research Professor Erik Lund Professor Jonathan Keeble Associate Professor Christina Bashford

Abstract

Many aspire to excellence in musical performance, yet few performers are able to achieve it, much less raise the standard of excellence. Hubert Laws is one of those rare performers who has been able to raise the level of excellence as a jazz flutist. His approach to the flute includes a beautiful tone and outstanding technique, which has influenced the way jazz is performed on the instrument and has inspired a generation of artists and listeners.

This scholarly essay examines Hubert Laws’ incorporation of classical technique and tone quality in his jazz improvisations and is intended to assist the jazz flutist and woodwind specialist in the development and utilization of these attributes in their improvisational performance. I demonstrate the importance of classical flute training to the woodwind specialist and jazz flutist by analyzing Laws’s transcribed solos, and I discuss the classical flute tone and techniques he used and how he used them. I provide information gained from a personal interview with Laws and other jazz flutist and woodwind specialist. I present a biographical overview of his life, and I offer exercises to help woodwind specialist and jazz flutists develop their tone and technique. By showing how Laws was successful as an internationally recognized jazz flutist and classical flutist in a major orchestra, I argue that the adoption of classical tone and technical skills will benefit both the woodwind specialist and jazz flutist who want to be more proficient playing the flute, along with enhancing jazz improvisation skills. Ultimately, this essay will help flutists combine classical techniques with jazz improvisation to achieve excellence in a jazz context.

Table of Contents

Introduction ...... 1 Biographical Sketch ...... 2 Chapter 1: Hubert Laws’s Approach to Tone, Technique, and Improvisation ...... 7 Chapter 2: Improvisation on “Bessie’s Blues” ...... 16 Chapter 3: Improvisation on “Shades of Light” ...... 20 Chapter 4: Improvisation on “Windows” ...... 25 Chapter 5: Improvisation on “Killer Joe” ...... 29 Chapter 6: Improvisations on “Along came Betty” and “Spain” ...... 32 Conclusion ...... 41 Appendix 1 – Transcriptions ...... 44 Bibliography ...... 71

iii

Table of Figures

Figure 1 – De La Sonorité tone exercise ...... 8 Figure 2 - Taffanel and Gaubert's 17 Daily Exercises, no. 4 ...... 12 Figure 3 - Various articulations ...... 12 Figure 4 – Exercise derived from Taffanel and Gaubert's 3B ...... 13 Figure 5 - Locrian scale ...... 17 Figure 6 - Example of a diminished scale in Law's "Bessie's Blues" solo ...... 18 Figure 7 - The last half of measure 8 of Law's solo on "Bessie's Blues." ...... 18 Figure 8 - An example of double-tonguing in Law's solo on "Bessie's Blues." ...... 18 Figure 9 - Triple-tonguing in mm. 35-37 of Law's solo on "Bessie's Blues." ...... 19 Figure 10 - Measures 4 and 5 of Laws's solo on "Shades of Light." ...... 21 Figure 11 - Mm. 36-7 in Law's solo on "Shades of Light." ...... 21 Figure 12 - Triple-tonguing with triples in mm. 68-9 of Laws's solo on "Shades of Light." ...... 22 Figure 13 - Pentatonic scale use in Laws's solo on "Shades of Light." ...... 22 Figure 14 - Pentatonic and bebop scales in mm. 61-63 of Laws's solo on "Shades of Light." ..... 23 Figure 15 - Triple-tonguing in mm. 65-69 of Laws's solo on "Shades of Light." ...... 23 Figure 16 - The end of Laws's solo on "Shades of Light." ...... 23 Figure 17 - Triple-tonguing with varying articulations in Laws's solo on "Windows." ...... 26 Figure 18 - A slow-moving pentatonic line in Laws's solo on "Windows." ...... 26 Figure 19 - A fast-moving pentatonic line in Law's solo on "Windows." ...... 26 Figure 20 - A repeated pentatonic line in Law's solo on "Windows." ...... 27 Figure 21 - Chordal complexity in the bridge of "Killer Joe." ...... 29 Figure 22 - Mm. 10-12 of Laws's solo on "Killer Joe." ...... 30 Figure 23 - Triple-tonguing in the high register in mm. 13-15 of Laws's solo on "Killer Joe." ... 30 Figure 24 - Minor pentatonic scale in mm. 19-20 of Laws's solo on "Killer Joe." ...... 31 Figure 25 - M. 8 of Laws's solo on "Killer Joe." ...... 31 Figure 26 - Laws's rendition of the melody of "Along Came Betty." ...... 34 Figure 27 - Mm. 25-37 of Laws's solo on "Along Came Betty." ...... 35 Figure 28 - Fast double-tonguing in Laws's solo on "Along Came Betty." ...... 35 Figure 29 - Triple-tonguing in m. 48 of Laws's solo on "Along Came Betty." ...... 36 Figure 30 - Triple-tonguing in Laws's solo on "Spain." ...... 38 Figure 31 - Mm. 53-56 of Laws's solo on "Spain." ...... 38 Figure 32 - Phrasing in the highest register in Laws's solo on "Spain." ...... 39 Figure 33 - Substituting pentatonic for bebop scales in mm. 15-6 of Laws's solo on "Spain." .... 39 Figure 34 - Mm. 35-6 of Laws's solo on "Spain." ...... 40 Figure 35 - Mm. 83-4 of Laws's solo on "Spain." ...... 40 Figure 36 - Pentatonic and diminished scales in mm. 10-12 of Laws's solo on "Spain." ...... 40

Introduction

Hubert Laws raised the level of jazz flute playing. He had well-established improvisational skills, along with classical flute training. He has performed and recorded with many of the greatest jazz, classical, and popular musicians, in a variety of styles including gospel, rhythm and blues, and soul. His classically trained approach to the flute includes a beautiful tone and outstanding technique, which has influenced the way jazz is performed on the instrument and has inspired a generation of artists and listeners.

Laws’ extensive discography provides examples of his artistry and can assist in the development of both the woodwind specialist and jazz flutist who is interested in improving his or her flute playing and jazz improvisation skills. Although there have been numerous articles written about Hubert Laws over the years, there is not very much information on the technical aspects of his playing in regard to tone production, technique, and how he uses both of these in a jazz setting. This essay identifies and explains how he developed his sound, technique, and improvisational skills. It also describes how the woodwind specialist and jazz flutist can use this information to enhance their flute playing. I have included the thoughts of other woodwind specialists and jazz flutists, which will be helpful in improving one’s flute playing. After extensive listening and reflection, I have narrowed my focus to recordings of Hubert Laws from

1966 through 1975. The recorded solos from this period demonstrate his knowledge of bebop, post bop, modal, and fusion jazz, as well as showcase his flute tone, and command of classical flute techniques. This essay will not provide a note-by-note analysis of these recorded solos, but will provide short examples that demonstrate the way he uses certain classical flute techniques in

1 combination with jazz theory to construct his improvisations. I include examples from exercise books, etude books, and orchestral excerpts to assist in the development of improved tone and enhanced technical abilities. Following these recommendations will help the reader develop additional creative skills that can be used to express musical ideas in both an improvisational and non-improvisational context.

Biographical Sketch

Hubert Laws was born in Houston, Texas on November 10, 1939. Music was very important in his family, and he was exposed to gospel, rhythm and blues, and soul music at an early age. His mother played the piano, and his grandfather played the harmonica. Music could be heard in the home and from a small club named Miss Mary's Place, which was located across the street from his home.1

Laws’ first instrument was piano, and he was able to hear and play melodies easily. His piano skills developed to a level where he was able to accompany his sister in church. His first wind instrument was the mellophone, which he played in elementary school, and in high school, he developed a fondness for the alto saxophone. It was during this time that he was first exposed to jazz music. Laws recalls, "as a matter of fact, you could hear a lot of pop, but to hear jazz, you had to be introduced to it, probably from some obscure source. In this case the band director

Sammy Harris, would play records for us in the classroom. I was introduced to Cannonball

[Adderley] and many others."2 This background set the stage for his development as a jazz improviser. There were no jazz improvisation classes in high school during those years, and

1 Victoria Jicha, “Hubert Laws Was the Fist Classically-Trained Jazz Flutist,” Flute Talk (September, 2003): 7. 2 “Hubert Laws Interviewed by Tom Keenlyside,” Vancouver Jazz, November 2007, accessed April 13, 2016, http://vancouverjazz.com/inview/hubertlaws.shtml. 2 consequently, the only way to learn to play jazz was by memorizing recorded solos and performing whenever possible. Laws performed with several local groups including the Jazz

Crusaders, which would become the commercially successful Crusaders. The Jazz Crusaders performed a mixture of jazz, rhythm and blues, and soul.

During his senior year of high school, Laws was introduced to the flute. In an interview,

Laws states, "the high school band was playing for a commencement exercise downtown, and the bandmaster chose to play the William Tell Overture. At that time there was nobody playing flute in the band, and there's a big flute solo. At that strategic time a friend of mine gave me a flute that was up in his attic. I learned to play the flute to play that solo, and that was my introduction to the flute."3 This introduction turned into a lifelong love affair. Although he continued to play the saxophone throughout college and into his early professional life, it took a backseat to the flute.

His formal music education continued at Texas Southern University where, ironically, he enrolled as a clarinet major because that was the only degree available for a woodwind student.

The flute was his first love, and even though he sought a flute instructor at the university, there were none to be found. He recalls, " A music appreciation course was required, and this took me to several Houston Symphony concerts, where I met the second flutist David Colvig, and the piccolo player, Clement Barone. I don't know what came over me, but I was aggressive and fearless. I just walked up and asked if either of them would give me lessons. They looked at each other in bewilderment until David Colvig said ‘Clement you take him.’"4 This was the beginning of his classical flute training and was preparation for his next educational endeavor at the

3 Ibid. 4 Victoria Jicha, “Hubert Laws Was the First Classically Trained Flutist,” Flute Talk (2003): 7-10. 3

Juilliard School of Music in New York. Before he went to Juilliard, however, he auditioned for the Curtis Institute in Philadelphia. Clement Barone had attended the Curtis Institute, and his teacher, principal flutist of the Philadelphia Orchestra, William Kincaid, was a professor there.

Laws auditioned for Kincaid, but he did not realize that because there was only one position available, he would be in competition with Kincaid’s students; ultimately, he was not selected. Depressed but determined, he saw an advertisement in the Local 47 musician’s union magazine for a single scholarship to the Juilliard School. He had no idea that this audition was not flute-specific and was, instead, open to any instrumentalist. Nevertheless, he auditioned and won the scholarship. His Juilliard scholarship covered his tuition only, and after arriving from

Los Angeles with little money, Laws needed an income to support himself. He played in jazz groups around the city, which allowed him to further develop his jazz playing in public along with his classical training at the Julliard School. The highlight of this experience was his opportunity to study with the principal flutist of the New York Philharmonic Orchestra, Julius

Baker. His studies with Baker were intense, challenging, and very beneficial. Laws describes lessons with Baker as funny and interesting: “Julie did not teach the technical aspects of flute playing; he simply taught music. I mostly learned by observing him. He never talked about fingerings or technical details."5

This experience allowed Laws to study classical flute literature in depth, thus providing the tonal and technical skills he would use throughout his career. Being a full-time student while playing late-night gigs was demanding and difficult; however, his determination and desire allowed him to be successful in his course work while having the additional source income he needed. During his Juilliard years, he developed a musical and personal relationship with fellow

5 Ibid. 4 student and jazz pianist Armando (Chick) Corea. The duo have recorded and performed together for many years, and Laws’ first two recordings include Chick Corea as pianist.

After Juilliard, he performed with Mongo Santamaria and recorded his first album, "The Laws of

Jazz." He became a member of the New York Metropolitan Opera Orchestra and regularly played with the New York Philharmonic Orchestra while maintaining a career as a studio musician.

Laws has recorded and performed with Paul Simon, Aretha Franklin, Jean Pierre Rampal,

James Moody, Quincy Jones, Oliver Nelson, Lena Horne, and Sergio Mendez, to mention but a few well-known musical artists. The way he transcends musical styles gives him a wide audience due to his crossover appeal. His pioneering albums, The Rite of Spring and Romeo and Juliet, exposed a different element of his creative ability by blending jazz, pop, and Western classical music. His adaptations of canonical Western classical compositions include improvisational sections along with a jazz- and pop-oriented harmonic and rhythmic framework. This attracted the attention not only of many classical flutists, but also popular and classical music lovers.

Throughout his career, his peers and the jazz community in general have recognized his achievements. He was voted the number one flutist in DownBeat Magazine twenty-four times, including a span of ten consecutive years. He also received the National Endowment for the Arts

Jazz Masters Award in 2011.

In April of 2003, Laws was complemented by one of the most popular jazz flutists of all time, Herbie Mann. As Laws recounts, “[Herbie Mann’s] voice was weak and low, and he did not sound well. His prostate cancer had spread to his bones, and I didn't know if he would be able to perform at Jazz Fest in May. He said to me that when an interviewer recently stated ‘that

5 he was probably the best flute player around,’ that he replied, ‘No, no. The best flute player is

Hubert Laws.’”6 At 76, Laws continues to work as a recording artist and to perform concerts.

6 Ibid, 10.

Chapter 1: Hubert Laws’s Approach to Tone, Technique, and Improvisation

This chapter begins with a discussion of Hubert Laws’s tone, technique, and improvisational style. After discussing some of his influences, Law’s own views on these issues will be considered. Whether listening to Laws live or on recordings, the first thing one notices is how his sound differs from what one might expect from a non-classically trained jazz flutist, for his classical training resulted in the sort of intonation and consistency of tone in all registers that is rare for woodwind specialist and jazz flutists who often have a more limited range. In an interview I conducted with Laws on August 25, 2015, Laws attributed his sound to two specific elements: consistent practice of long tones and critical listening to classical flutists. Practicing long tones and listening to great classical flutists is an important part of flute pedagogy, and the experience of listening to and imitating the sound of great flutists helps instill the concept of a good sound. Laws remarked that, “development and control of your flute tone colors greatly affects all other aspects of your playing. Decide on a particular tone color you like and develop it by the use of long tones. For example, I heard a flute sound being used by Clement Barone and

Julius Baker in a symphonic setting and decided that this is one of the colors I would like to use.”7 When practicing, Laws spends an hour or more working on long tones. He begins with the middle line B in the treble clef and moves down chromatically, analyzing the sound of every note and making sure there is consistency between each subsequent note.

When I asked what exercise books he used for long tone practice, he did not have any recommendations and said the long tone exercise described above is the only one he uses. Along with Laws’ long tone exercise, I would recommend the following books: De La Sonorité and

7 “Flute Improvisation By Hubert Laws,” Keynotes: Conn Selmer Inc, 2 April 2015, http://ws.conn- selmer.com/archives/keynotesmagazine/article/?uid=278. 7

Tone Development Through Interpretation, both by Marcel Moyse.8 The first exercises of De La

Sonorité follow the same downward chromatic note patterns Laws uses groupings of two to seven notes. Here is an example of the exercise (Figure1).

° œ b˙ ™ °ü bœ ˙ ™ °ü œ #˙ ™ °ü #œ n˙ ™ °ü œ ™ °ü ™ ü 4™ ™ ™ ™ ™ ™ ™ ™ ™ #˙ ™ ™#œ n˙ ™ & ¢ 4 ¢† ¢† ¢† ¢† ¢† † 7 ° ™ œ ˙ ™ ™°ü ™ œ b˙ ™ ™°ü ™bœ ˙ ™ ™°ü ™ œ ™ ™ ü ™ ™°ü ™ ™ ™ ü & ¢ ™ ™¢† ™ ™¢† ™ ™¢† ™ #˙ ™ †#œ n˙ ™¢† ™ œ ˙ ™ †

° ™ ™ ™°ü ™ ™°ü ™ ™°ü ™ ™°ü ™ ™°ü ™ ™ ü & ¢ ™ œ b˙ ™¢† ™bœ ˙ ™ ™¢† ™ œ #˙ ™ ™¢† ™#œ n˙ ™ ™¢† ™ œ #˙ ™ ™¢† ™#œ n˙ ™ ™ †

° ™ ™°ü ™ ™°ü ™ ™°ü ™ ™°ü ™ ™ ü & ¢ ™ œ ™ ™¢† ™ ™ ™¢† ™ ™¢† ™ ™¢† ™ ™ † ˙ œ b˙ bœ ˙ ™ œ #˙ ™ #œ n˙ ™

Figure 1 – De La Sonorité tone exercise Tone Development Through Interpretation utilizes orchestral excerpts to help flutists develop a good sound. For the woodwind specialist and jazz flutist who has not studied in a traditional, classical setting, I recommend incorporating this systematic tone development routine into one’s daily practice. Sound development should be the first priority for every flutist, irrespective of genre or style.

Both woodwind specialists and jazz flutists share Laws’s ideas on tone. Lew Tabackin is a jazz saxophonist and woodwind specialist who has performed with many of the greatest jazz legends including Joe Henderson, Elvin Jones, and Donald Byrd. He also played in Doc

8 Marcel Moyse was one of the most influential flutists of the twentieth century. He taught at the Paris Conservatory and the Geneva Conservatory, and he published many pedagogical works that are still widely used. 8

Severinsen’s Tonight Show Band as well as in the Dick Cavett Show Orchestra. His major instrument at the Philadelphia Musical Academy was the flute, and he studied with Kenton

Terry, James Pellerite, and Murray Panitz, all of whom were members of the Philadelphia

Orchestra flute section. His ideas about sound are similar to Hubert Laws. “Basically, I have a routine where I do lip placements that enable me to find where the mouth hole is located. Then I do some Marcel Moyse exercises descending to the bottom of the flute, play the overtone series, and then scales in different positions.”9 Tabackin talks about breathing, which is an essential part of creating a good flute tone. He states,

I also try to make sure my breathing is correct. Sometimes, I have to depend on my breathing, especially when playing the saxophone real hard for 20 to 30 minutes and then having to pick up the flute. The sound is not going to be where you want it to be, so the first thing is never to panic. Let the air do the work until the feeling (in the lips) starts to come back. Air is a life force and I try to make it all a part of the music.10

Jamie Baum is a jazz flutist who has received critical acclaim from the jazz community, audiences, and critics. In 2012, she won the Downbeat Critics poll award for the number one rising star, and in 2014 she was awarded a Guggenheim Fellowship. She studied at the New

England School of Music and teaches at the Manhattan School of Music and The New School of

Music. I asked her how she works with woodwind specialists on sound, and these are her thoughts:

I teach a lot of doublers from MSM and the New School. I usually only get them for split lessons with their major teacher, so it is always a challenge since they think they should be able to play on the flute as well as they do on the sax within just a few lessons. The main thing I think is that there is a misconception that the embouchure on the flute is similar to the sax and it really isn't. I have found that there is much more similarity to the trumpet. I think the approach of having a doubler learn to "buzz" like a trumpet can be very helpful to bring the

9 Edward Joffe, “An Interview with Lew Tabackin,” New York Flute Club Newsletter (November, 2006): 3. 10 Ibid. 9

embouchure and tongue forward. Most sax players are stumped because they get a good midrange sound initially but struggle with the low and high resister, and that won't get better no matter how much they practice unless they understand that the embouchure has to be different. All of this, of course has to be practiced, and I like to use the Trevor Wye books, Anderson Etudes, and Bach Sonatas, and eventually jazz solo transcriptions once they get it together.11

Tom Walsh is the Director of Jazz Studies at Indiana University, where he teaches saxophone as well as clarinet and flute to jazz majors. The first thing he recommends to students wanting to improve their flute playing is to “find a good flute teacher and take lessons.”12 He also shared several techniques that he uses to help his students develop consistency of tone throughout the entire three-octave range of the flute. One of these techniques is called the point of maximum resonance (PMR). The student first establishes an aperture that produces a poor sound, gradually makes adjustments to produce a good tone, and then returns back to a poor sound. This is done in each register and provides an adjustment framework that the student can easily internalize. Tom equates this with the

“Goldilocks Principle:” too much, too little, and just right. He also recommends that students 1) practice harmonics and octave slurs with a tuner, 2) utilize traditional flute method books, 3) listen to recordings and live performances of great flutists, and 4) devote regular time to playing flute parts in an ensemble. He stated the he learned a great deal playing in real-world situations such as the circus, as well as on local television and radio broadcasts.

The second thing one notices is his technique. His ability to execute a wide variety of articulations and harmonics sets him apart from other woodwind specialist and jazz flutists who have not been classically trained. I asked him how he was able to incorporate classical flute

11 Interview with the author, 2016. 12 Ibid. 10 articulations and harmonics in his flute playing and he stated, "I really don't think about it."13 The articulation and harmonic skills he utilized as a classical player are just a natural part of his jazz playing. Whether it is the sort of triple tonguing used in Mendelssohn's Symphony no. 4 in A minor, double tonguing as one finds in Poulenc’s Flute Sonata, or the harmonic slurs of the

Kuhlau flute duets, he has these techniques available, and Laws frequently uses them in his improvisations.

For the jazz flutist and woodwind specialist, scale studies are the foundation for the development of solid technique and tonal consistency. Taffanel and Gaubert’s 17 Daily

Exercises is one of the quintessential scale study books for flutists. Exercise 4, which includes both major and minor scales, is a daily exercise for many flutists. Here is an example of Exercise

4 (See Figure 2).

13 Ibid. 11 2

& ∑ 4 2

œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#œ#œ œ œ œ œ nœ œ œ œ œ œ œ œ œ & œ

Figure 2 - Taffanel and Gaubert's 17 Daily Exercises, no. 4

œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ . œ œ . .

œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . œ œ . . .. œ. œ. ..

œ œ œ œ & œ œ œ œ œ œ œ œ œ. œ . ..œ. œ Figure 3 - Various articulations

These scale exercises cover the complete range of the flute and are to be practiced with various articulations (See Figure 3). A working knowledge of scales used in jazz will assist the woodwind specialist and jazz flutist both in learning the solos included here and in creating individual improvisations. The Flutist's Vade Mecum by Walfrid Kujala is a great resource.

Although there are numerous jazz scale books available, The Flutist’s Vade Mecum presents scale exercises that reflect the flute’s range and fingerings. The “Practical Guide 8” (for special scales) section provides a wealth of information and includes modal scales, blues scales, pentatonic scales, and diminished scales.

Through his classical studies, Laws has become a master of articulations. His single-, double-, and triple-tonguing is very precise and controlled. Taffanel and Gaubert’s Exercise 4 is also a great exercise for fast single and double tonguing. Here is an exercise I derived from Taffanel and Gaubert’s 3B which great for developing triple tonguing technique (Figure 4). œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ &8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ ˙ œ

Figure 4 – Exercise derived from Taffanel and Gaubert's 3B Additionally, I would recommend the study of Felix Mendelssohn’s “Scherzo” from the

Incidental Music of A Midsummer Nights Dream and the first movement of the Bach Flute

Sonata in C major. These will both assist in the development of a solid double-tonguing technique.

Up to this point, the emphasis has been on double-tonguing and triple-tonguing in a scale-directed way. Let us now address double- or triple-tonguing on the same note in succession. Laws’s solos are filled with this kind of tonguing, as evidenced by the transcriptions included in this essay. I recommend Victor V Salvo's book, 243 Double and Triple Tonguing

Exercises, Progressively Arranged for Flute and Piccolo. The exercises are short, but gradually increase in length and difficulty and will not only be useful in the process of learning the included solos but will provide the flutist with additional articulation skills that are useful for jazz improvisation. A recommended daily warm-up routine includes practicing exercises out of both the 17 Daily Exercises and 243 Double and Triple Tonging Exercises books, as well as playing major scales in all twelve keys while double- and triple-tonguing each note.

The third thing one notices is Laws’ melodic, rhythmic, and harmonic sensibilities as they relate to jazz improvisation. I asked Laws about his approach to improvisation, and he stated, “I work to think like a composer while improvising.” With a composer’s mindset, the improviser takes a holistic approach. The melody, rhythm, and harmony are evaluated in the moment, and choices are made that allows for the creation of new and personal musical ideas.

This was developed through many years of listening to the great jazz masters, learning their improvisations note-for-note, incorporating some of their musical ideas into improvisations, and imitating their style and phrasing. Utilizing this process will eventually lead to the flutist finding his or her own voice.

Hubert Laws developed as a flutist by mastering his tone, technique and improvisational skills. This chapter highlighted these skills along with his unique thoughts on each. It also provided exercises and techniques which will enable the woodwind specialist and jazz flutist to improve their flute playing by their incorporation.

Chapter 2: Improvisation on “Bessie’s Blues”

The focus of this chapter is on Hubert Laws’s jazz improvisation on the composition

“Bessie’s Blues” from his first solo recording, The Laws of Jazz. This recording reflects his early bebop influence and includes five of Laws’ compositions. The rhythm section consisting of

Armando (Chick) Corea (piano), Richard Davis (bass), and Jimmy Cobb (drums). "Bessie's

Blues" is a twelve-bar blues in F major that utilizes a variation of traditional blues changes known as "Bird blues" changes. This variation was created and popularized by bebop alto saxophonist Charlie "Bird" Parker. The chord changes include a combination of alternative ii V chord progressions leading to the IV chord and a tritone substitution14 leading to the V chord with chromatic passing chords connecting several of the ii V progressions. Laws uses bebop scales,15 half-whole diminished scales,16 and various bebop language quotations throughout.

Interestingly, he does not outline any blues scales17 in his solo. Laws also introduces a double- time feel by playing lines that are double-tongued.

It is advisable for flutists to listen to the solo extensively before attempting to play it.

They should focus, first and foremost, on the feel of the composition. This is a slow blues and it should be played in a relaxed fashion without rushing. Laws starts out slowly, uses tension and release throughout, and concludes by releasing the tension. Although a transcription of this and several other of Laws’ solos is included in Appendix 1, it is best to commit the solo to memory,

14 “Dominant chords with roots a tritone apart share the same tritone interval between their respective thirds and sevenths, and are often substituted for one another.” Gary Keller, The Jazz Chord /Scale Handbook (Germany:

Advance Music, 2002), 11. 15 “Bebop scales are traditional scales (the Ionian, Dorian, and Mixolydian modes of the major scale, and the melodic scale) with an added chromatic passing tone.” Mark Levine, The Jazz Theory Book (Petaluma: Sher Music Company, 1995), 171. 16 An eight-note scale built on alternating half and whole steps from any root note. 17 A six-note minor pentatonic scale plus the sharp-4 or flat-5 scale degree. 16 for this is the traditional way that jazz players have learned solos. In preparation of the present transcriptions, I spent considerable time memorizing each one. This not only expedited the transcription process, but also served to broaden the jazz language I use within my own playing.

For the “Bessie’s Blues” solo, I would recommend internalizing both the modal and diminished scale sections in Vade Mecum. The only scale not addressed in Vade Mecum is the bebop scale, which is of critical importance for this particular solo. Additional information about the bebop scale is available in a three-volume series called How to Play Bebop by jazz educator

David Baker.18

A lead sheet of “Bessie's Blues,” along with a transcription of Laws’ solo, is located in

Appendix 1 of this essay. Measures 2 and 9 of “Bessie’s Blues” are significant insofar as they contain altered chords. Measure 2 contains a ii V progression with the first chord being a dominant 7 with a lowered 5th. Figure 5 is an example of a locrian scale, which would be played over a Em7 b5 chord (see Figure 5). E‹7(b5) 4 œ œ & œ œ œ bœ œ 4 œ 2 Figure 5 - Locrian scale One must practice it& until one can hear and recognize this scale easily.∑ Measure 9 has a diminished 7 chord with lowered 3rd, 5th, and 7th scale degrees. Laws uses the diminished scale in basically the same way each time this progression appears (see Figure 6).

18 David Baker is a trombonist , cellist, composer, and educator. He has written more than seventy books and four hundred articles on jazz improvisation and other music topics. 17 Bessie's Blues Hubert Laws Flute Transcription Oliver Nelson Jr Hubert Laws F² E7(b5) A7 D‹7 D¨‹7 3 œ œ bœ ^œ ^œ j j œ œ ^ œ œ œ œ œ bœbœbœ &b4 œ œ œ œ œ ‰ œ œ Œ‰ œ≈ ≈ œ œ œ œ bœbœ 4 3 3 bœbœ 4 C‹ÞFÞB¨²E¨7 3 nœ nœ ™ œ œnœ œ nœ #œ œ nœ œ œ - - ™ b nœbœnœ œ ≈ R ‰ œ ≈ œ bœ ≈bœ œ œ œ ™ & œ nœbœ œ R 7 F7 E7 E¨7 D7 - nœ Bessie's Blues œ œ nœ nœ nœ bœ -^œ ^ nœ œ œ#œnœ ^ Hubert Laws Flute Transcriptionb œ œ œ œ nœ#œ nœ nœ bœ nœ œ#œnœ Oliver Nelson Jr& œ nœ#œ#œ Hubert Laws BØ7 E7 C‹7 F7 B¨7 E7 9 3 F² E7(b5) A7 D‹7 D¨‹7 nœ nœ nœ œ œ -œ œ œ œ œ bœ œ œ 3 #œ nœ œ œ bœ nœ œ ^ œ ^ œ œ œ œ bœœnœ œ#œ 4 œ ^œ œ œ j j œ œ&bœŒœ œnœœ œ bœbœbœ ≈ ≈ &b œ œ œ ‰ œ œ Œ‰ œ≈ ≈ œ œ œ bœbœ 4 3 3 bœbœ C‹ÞFÞB¨²Figure11 6 - A‹7Example of a diminishedE¨7 D7scale in Law's "Bessie's Blues"3 A¨‹7solo G‹7 C7 4 3 3 nœ ™ bœ bœ nœ œ nœ n œ # Theœ endn œof measureœ œ 8œ œand the beginning of measure 16œ containnœ #œ partialœ bebopbœ scalesbœ ,# asœ nœ œ nœ œ œ bœnœ œnœ œ œ b nœ-œœ œ b-œ ™ œnœœœœ œ™ ≈ ‰≈R bœ nœ œ œ b nœ ≈ &R ‰ ≈nœœ œ œ#œ≈œbœ œ 3 3 & nœbœ œ seen in Figure 7. R œ F² E7(b5) A7 13 7 F7 E7 E¨7nœ œ D7œ bœ -œ nœœnœœ œ ^ œ œ œ œ œ œ œ œ œ œ nœ nœ nœ bœ b-^œ ^ Bessnie'œœs#œ Blueœnœnœs ^ ‰ œnœ œ#œ ≈ œ œ ‰ &b œ œ œ #œ œ nœ#œ nœ &nœ bœ nœ nœ œ#œnœ œ nœ#œ 3 2 BØ7 E7 C‹715 D‹7 F7 B¨7 E7 D¨‹7 9 F7Figure- 7 - The last E7half of measure 8 of Law's E¨73 solo on "Bessie's D7Blues." bœ bœ bœ 19nœ nœ nœ œ œ œ œ œ œ œ œ bœ œ œ œœ 20 œ nœ ^œ 3 bœ œ#œ#œ nœ The second chorus of œthe soloœ startsœ inœ measurebœ nœ 24,œ and Laws uses double- andnœ triplenœ - bœ bœ œ œ œnœ œ œ &^ b #œ œ œ J ‰≈#œnœ œ œ nœ œ ≈‰ &b Œ nœ b nœ œ ≈ ‰≈r nœ œ nœ œ ≈bœ bœ œ nœ nœ tonguing& nœ when the rhythmœ bœ section nplaysœ in double time. Double-tonging this passage provides a 16 C‹7 F7 11 A‹7 D73 A¨‹7 G‹7 C7 uniqueness3 BØ7 and precision to the improvisationœ and demonstrates his technical E7 prowess. Mœostœ nœ #œ nœ œ œ œ 21 nœ #œ œ bœ bœ bœ bœ nœ œœ nœnœ œ bœœnnœœbœ œnœœ œ œ œ œ œ nœ œ œ R bnœ nbœœ#œnœnœ œ œ œ #œ œ‰ œœ nœœ œ œ œ b œ œ œnœ œwoodwind≈ specialist‰ would≈& not nbeœ ableœ to #executeœ #œ thisnœ passage as Laws has done here. Moreover, & nœ œ œ#œ œ b ≈ nœ #œ œ œ 3 3 & B¨² E¨7 F² it would beE7(b5) virtually impossible17 to singleA7-tongue this passage at the recorded tempo, and slurring 13 œ œ œ œ bœ œ 3 nœ œ C‹7 F7 B¨²E7 A‹7 D7 œ œ ^ would22 diminish its effectiveness. b™œ œ 23œ œ œ bœ œ œ œ œ bœ œbœ bœ œ b œ nœ œ œ œ bœ ‰ œ œ œ &œnbœ œ#œ œ n≈œ œ œ œ œ œ ‰ œ bœ œ Œ‰≈R œbœ œ & nœ nœ nœ #œ nœ œ nœ ™ œ œ bœ œ œ nœ œ nœ 3 An example of Laws’s double‰ -tonguing is found inn œmeasuresœ nœ 24-25 (see Figure 8œ). œ &b œ nœ œ #œ œ ≈ 15 D‹7 D¨‹7 24nœ A¨‹7^ G‹7bœ b C7œ bœ 25 F² œ œ œ œ œ œ bœ bœ bœ ™œ &b #œ œ J ‰bœ ≈œ œ ≈œ‰ œ bœ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ &b Ó‰ nœbœ œ œ œ œ ™ œ œ œ œ ≈ ≈ œ œ 16 C‹7 F7 nœ œ nœ E7(b5)œ A7œ œ #œ œ nœ œ D‹7œ œ D¨‹7 bœ nœ œ œ œ nœ bœ Figureœ œ 8 œ- An example of double-tonguingœ in Law's solo on "Bessie's Blues." bnœ nœ 26‰ œ œ 27 & bœ bœ In measuresœ œ œ œ œ 35œ-36 of “Benssie’sœ œ œ Blues,”œ œ Laws uses triple-tonguingœ b ^œto establish aœ bluesybœ ^ B¨² E¨7œ œ#œ œ œ œ œ ™œ œ ™ œ œ œ œ œ bœbœ 17 &b ® œ œ œ œ bœ œ feel, whichœ leads to the end of his solo in measure3 37 (see Figure 9). œ œ œ bœ œ œ bœ b œ C‹7œ Œ‰≈œ bœ F7œ bœ œ œ B¨² 3 & 28bœ œbœ œ R nœ œbœ 29 œ bœ nœ bœ œ œ œ œ œ œ ™ œ bœ 18 nœ bœ nœ œnœnœbœ œ œ œ œ œ œ œ œ bœ &b Œ œnœbœ œnœ

E¨7 F7 E7 E¨7 D7 30 31 32 œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ bœ œ œ œ ™ œ œ bœ œ ™ nœ œ nœ œ œ#œ &b œ œ œ ‰

33 BØ7 E7 nœ #œ nœ #œ œ nœ œ œ œ œ nœ œ #œ &b ‰ nœ #œ

C‹ÞFÞB¨² EÞ 34 nœ bœ nœ nœ œ œ nœ œ œ œ #œ nœ bœ nœ œ œ nœ bœ nœ &b œ œ Bessie's Blues

35 A‹7 D7 œ 3 3 3 3 3 3 nœ bœ nœ œ bœ nœ œ bœ nœ œ bœ nœ œ bœ nœ œ bœ nœ œ &b ‰ A¨‹7 G‹7 C7 F² 363 3 37 3 3 3 3 œ bœ œ nœ œ ^ œ œ ^ b œbœ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ≈nœ œ & bœ œ

Figure 9 - Triple-tonguing in mm. 35-37 of Law's solo on "Bessie's Blues." As you can see from this solo on “Bessie’s Blues,” at this early stage of his career, Hubert Laws had already mastered many classical flute techniques and was able to use them easily in his improvisations, thus establishing his improvisational style which he continued to refine throughout his career. In listening to his peers, such as Herbie Mann, Frank Wess and Rahssan

(Roland Kirk), at that time, it quickly became obvious that no other jazz flutist had the sonic and technical prowess that Laws possessed.

Chapter 3: Improvisation on “Shades of Light”

This chapter highlights Hubert Laws’s solo on “Shades of Light,” showing how he transitioned from a mostly bebop jazz language to a post-bop language. It will also discuss the technical components of the post-bop improvisational language. Laws’s third recording, Law’s

Cause, was recorded in 1968. This album is very interesting insofar as it not only reveals his mature jazz improvisational style, but also introduces his ability to perform and compose in several musical styles. In the liner notes to this album, Mike James writes,

This is Hubert Laws‘ first album. Now wait a minute- you know he’s got two LP’s out, and he’s been heard on… Yes , I know he has two earlier releases on Atlantic, The Laws Of Jazz and Flute BY Laws. Then Why call it his first? Because this is the first time I’ve really heard all of Hubert Laws. On this LP, he stretches out as never before. He is a “now musician - at home with jazz or pops, classic or soul, with “ today’s do your own thing “ sound or yesterday’s baroque ensemble sound. All of this is heard on this album.19

This album is musically diverse with two Chick Corea compositions: a jazz standard,

“Windows,” alongside a classical composition, Trio for Flute, Bassoon, and Piano. His composition “Shades of Light ” has become a jazz standard. His “Shades of Light” solo shows a maturing improvisational style, which includes established bebop language while adding the post-bop components of pentatonic20 and whole-tone scales.21 His strong breath support is also evident and equally important. He is able to push a lot of air to support his sound along with providing sufficient amounts of air to play long, linear passages.

19 Mike James, liner notes to Hubert Laws, Law's Cause, Atlantic Recording Company, 1968, LP. 20 A major scale minus the tritone (4th and 7th), or five consecutive ascending fifths (or descending fourths) formed into a scale. Keller, 10. 21 A scale built consecutive whole step intervals and contains six notes. Ibid., 76. 20

This composition is sixteen measures long and uses ii V progressions with chromatic passing chords.22 Measures 4 and 5 are examples ofShades his improvisational of approach Light to chromatic passing chords (see Figure 10). Notice how he starts on the thirdHubert interval Laws of Flute each Transcriptionchord and Oliver Nelson Jr moves downward in major thirds while the chords themselves move upward. This pattern played Hubert Laws along2 with the minor seventh of each Shadeschord produces of Light a 23tritoneA‹7, which is part D7 of a whole toneF‹7 B¨7 ^ ^ G©‹7 A‹74 D‹7Œ œ G7œ œ≈œ œ œ‰ C² j œ bœ ˙ scale29 and thus gives a &whole 30 tone œsound.œ œ œ 31œ 32 œ bœ œ œ œ 4œ ^œ œ j nœ œ456nœ G¨7œ œ œ œ G7œ œ œ œ A¨7 A‹7 D7 ‰ œ œnœ 3≈ 3 œ œ œ œ3 œ œ œ ™ j & #œ œ ^ œ œ œ œ œ œ ˙ ^ œ œ œ j œ ™ C²& ‰ bœ bœ bœ A‹7‰ nœ nœ nœ D7bœ F‹7bœ Œ‰ B¨7nœ nœ ‰ œ #œ 33 34 35J œ 7 B‹7 78F‹7 B¨7^ œ œ 3 Figure 10 - Measures 4 œandœ 5 ofœ Laws's solo on œ"Shadesbœ of Light."œ œbœ 3 & Œ œ œ œ œ œ œ œ œ œ ≈ œ œbœ œ bœ bœ Œ nœ #œ Thisœ œprogressionœ returnsnœ ab œsecondœ time in measures 36œ andœ 37 (seeœ Figure 11œ). #œ œ #œ & bœ bœ bœ œ bœ ‰Œ ‰J ‰ ‰ G¨7 G7E7 E¨7 A¨7 A¨²G7 F©‹7 B7 3691011^ 37 3 bœ bœ œ nœœ bœnœ nœœ bœœ bœ bœ œ œ œ bœ bœ œ #œ ™ bœ nœ œ bœ nœ œ nbœ-^œ œ œ bœ œ #œ #œ #œ & ‰ &‰ ‰ ‰ ‰ ≈ bœ bœ˙ œ Œ‰ 333

A‹7FigureE² D7 11 - Mm.F©‹7 36-7 in Law's G©‹7 solo F‹7 on A‹7"Shades of Light."B¨7 D‹7 G7 3812 13 39 14 15 3 3 3 Noticenœ that this time he changes the phrase around. He still 3starts with the bthird™œ œ of œeachbœ chord,œ nœ œ nœ #œ œ #œ ^ œbœ œ nnœœnœœbœœ œ œ ™ œbœ œ ™ œ œ ^ œ #œœ #nœ œ œœ ‰Œœ ™ œ œnœnœ œ œ œ œ œ bœ œ but& here he expands the& phrase in measureœ nœ #37œ (including#œ the raised 4th) and plays a whole-tone œ œ B‹7 C² E7 E7 A‹7 E¨7D7 F‹7 B¨7 scale40 starting on the raised16 fifth of the A-flat 177 chord. 41 He also uses 18 triplet patterns the first 19 time #œ œ œ œ œ 3 œ n^œ bœ #œ3nœ ^œ 3 nœ #œ ^ œœ#œnœœ œ œ œbœ bœ œ #nœ nœnœbœ ^ and a four-note patterns theœ secondœnœ œ time.™ #œ# Theœ œ thirdœ timeœ J in measures 68 andœ #69,œ he uses tripletnœb œbœ œ & & n˙ œ œ ŒÓ ‰ bœnœnœbœ bœ Œ patterns that are triple-tonguedG¨7 (see Figure 12) G7. A¨7 A¨²20G7 F©‹7 B7 E² 21 F©‹7 G©‹7 A‹7 42 43 44 45 3 r^ ^ bœ bœ 3 ^ bœŒbœ œ œ bœ nœ n^œ ≈#œ nœ ^ ™ #œ bœ œ œ œ œœ œ œ œ œ nœ œ&bœ bœ bœœœ Jnœ œbœnœ#œ bœ nœ œ bœ bœ & bœnœ œbœ œbœ bœ œ #œJ ‰ œ ˙Ó‰œ A‹7 D7 F‹7 B¨7J B‹7 22 23 24 22 A passingD‹7 chord is a nonG7-diatonic chord thatC² connects or passesE73 between the notes of two A‹7diatonic3 chords. D7 Carl nœ œ Schroeder46 and Keith Wyatt, 47 Hal Leonard 48Pocket Music Theory:nœ n 49œ A comprehensive™ and convenient 50 source for^ all nœ #œ œ œ ^ œ œnœ œ œ œ œœ œœ œbœ œ œ œ œ#œ musicianœ (Winona:œ œ Halœ Leonard,&˙~~ Œ 2002),nœ#œ 144nœ.œ œ œ œ œbœ œbœnœbœ œ ‰#œœœ J ‰ ~ ™ j œ œ œ≈ J21 & œ œ œ #œ œ ˙ Ó≈ œ œ œ#œ ™ E7 E¨7 A¨²G7 F©‹73 B7 E²F©‹7 F‹725 B¨7 26 G¨7 27 G7 28 51bœ nœ œ œ œ œ 52 #œ nœ œ œ œ nœ 3 bœ œ nœ b^œ bœ nœR #œ#œ #œ nœ bœ & œ œ œ œ œbœbœ bœœ˙bœ ‰≈nœ nœ nœ #œ#œ œ ˙ & œ bœ bœ œ bœ œ ‰ ‰‰bœ bœ ‰ nœ nœ nœ A¨7 A‹7 D7 F‹7 B¨7 53 543 nœ 55 ^ nœ œ nœ ^ ^œ œ œ nœ œ œ #œ œ œ nœ bœ œ bœ bœ œ œ nœ œ œ bœ œ nœ & ≈ Œ‰R Shades of Light 3 B‹7 E7 E¨7 A¨7 G7 56 57 58 œ bœ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ ˙ & ≈ ≈

F©7 B7 E²F©7 G©‹7 A‹7 59 60 61 œ œ #œ œ#œ œ #œ œ œ#œ œ œ#œ œ œ œ & Œ #œ#œ œ œ#œ #œ #œ ˙ #œ œ#œ œ œ œ

D‹7 G7 C² 62 63 64 nœ œ œ œ nœbœ ^ nœ ^ ≈ ≈ nœ œ œnœ œ œ œ œ œ œ œ œ & œ nœbœ œ œ œ ≈nœ œ œ œ Ó E7 A‹7 D7 F‹7 B¨7 65 66 67 3 3 3 œ œ 3 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œbœ œbœ & Œ‰≈œ œ œ œ œ œ œ œ œbœ œbœ œbœ œ R G¨7 G7 A¨7 3 3 3 683 3 3 69 3 bœ nœ œ bœ œ œ nœ œ œ bœ œ œ 3 bœ bœ bœ nœ nœ nœ bœ #œ #œ œ œ œ &

A‹7Figure D7 12 - Triple-tonguing with triples F‹7in mm. 68-9 of Laws's soloB¨7 on "Shades of Light." 70 71 The use of pentatonic scales is also a prominent feature in this solo. This type of playing is a nœ œ ^ nœ#œ œ œ ™ œbœ œnœ ‰ œ œ œ ≈ œnœ œbœ œ œbœ œbœ œ œ ‰ characteristic& of the post-bop school and wasœ utilized extensively by playersn inœb theœ midœ -œto-nlateœ ™

1960sB‹7 and 70s. Some of the players who E7 pioneered theE¨7 use of pentatonic A¨ scales² includeG7 pianists 72nœ ™ 73bœ ™ œ ™ 74 McCoy Tyner and Chick#œ Corea;nœ saxophonistsœ œ Johnbœ Coltrane,nœ bœ ^ Joe Henderson, and Wayne nœ#œnœ œ nœ œ bœ œ ^ œ ^œ & ‰ #œ œ Œ Shorter; andJ trumpeters Woody Shaw and Freddie Hubbard. All of these musicians started in the F©‹7 B7 E²F©‹7 G©‹7 A‹7 D‹7 bebop75 school and progressed to this 76 style of playing. Pentatonic 77 scales provide 78 œ improvisers a 3 3 -œ œ nœ œ œ œ ^œ ^ different sonic jcolor than modalnœ#œ scales#œ and have the ability ™for one scale to work harmonicallyœ & Œ‰#œ œ œ#œ#œ #œ #œ œ ˙ over several chords because scale notes overlap. Laws quickly progressed to this style of playing, G7 C²E7 as279 it was the hip sound atœ the time, and 80Shades now it is of an integralLight part of the musical 81 tools jazz ^ œ œ œ œ œ œ œ œ G©‹7 A‹7 F©‹7œ œ œ œ œ #œ3 B7 En²œ œ œ œ œ F©‹7œ œ ^ ^ musicians27 use on a regular basis. 28œ œ œnœ 29œ œ œ œ ≈ œ Œ & #œ nœ œ œ œ œ œ œ œ nœ #œ #œ j œ nœ & ‰Measur≈R es 30 through 34 provide #anœ excellent#œ#œ œexample˙‰ of the pentatonic#œ œ œ scalenœ nbeingœ used over four chords: D-7, G7, C maj 7, A-7, and D7 (see Figure 13).

D‹7 G7 C² C²A‹7 D7 30 ^œ 31 32 33 34 ^ œ œ œ œœœ œœ œ œ œ œ œ & ≈ œ œœœ œœœœœœ œœ ™ j œ Œ œœ œœœœœœœ ≈ œ œ œ œ ˙ œœ œ F‹7 B¨7 G¨7 G7 35Figure 13 - Pentatonic scale use in Laws's 36 solo on "Shades of Light." 7 ^ bœ œ nœ œ bœ Measuresœ œ 61,bœ 62, and part of 63 show how Laws usesb aœ pentatonicbœ scale withn œa bebopnœ & œ bœ œ œ bœ bœ Œ‰ ‰ scale A¨7following afterward (see Figure 14). A‹7 D7 37 38 3 œ œ bœ bœ œ œ bœ bœbœ œ nœ nœ nœ#œ ≈nœ bœ œ œ œ œ œ œ œ œ ‰ & bœ nœ œ nœ #œ 22 F‹7 B¨7 B‹7 39 40 3 3 bœ bœ bœ œ œ bœ œ bœ #œ œ œ œ œ nœ œ œnœ œ œ #œ œ œ ™ & Œ nœ œ #œ #œ œ œ E7 E¨7 A¨²G7 41 42 ^ bœ 3 nœ nœ #œ nœ bœ bœ œ bœ bœ œ œ œ#œ nœ nœbœbœ nœ œbœ œ œ œ & bœ nœ œbœ œbœ bœ œ F©‹7 B7 E²F©‹7 G©‹7 A‹7 D‹7 G7 43 44 45 46 47 ^ 3 ^ ^ #œ nœ ^ #œ œ œ œ œ œ ˙~~ ‰ J bœ #œ œ ˙Ó‰œ nœ œ J ‰ ~~ ™ j & #œ J œ œ C² E7 A‹7 D7 F‹7 B¨7 48 49 50 51 œ 3 œ œ œ œ œ œ œ bœ œ Ó≈ œ œ œ≈ nœbœ œ bœ œ œ œ ‰ ‰ & œ #œ œ ˙ œ œ œ#œ ™ bœ œbœ G¨7 G7 A¨7 52 53 bœ nœ œ b^œ nœ œ œ nœ ^œ ^œ bœ bœ bœ bœ nœ nœ nœ nœ bœ & ‰ ‰ nœ nœ ≈ Œ Shades of Light 3 A‹7 D7 F‹7 B¨7 B‹7 543 nœ 55 56 œ œ nœ œ œ #œ œ œ nœ bœ œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ nœ & ‰ R ≈

Shades of Light 3 E7A‹7 E¨7 D7A¨7 F‹7 G7 F©7 B¨7 B‹7B7 E²F©7 5754 58 55 59 56 60 3 œ nœ nœ œ œ #œ œnœ œ œ œ œ œ œ œœ œ#œ #œœ nœ bœ œ œ bœ œ œœ œ œ œ œ œ œ œ œ#œ ˙ bœ œ nœ #œ#œ œ#œ œ #œ #œ & ‰ R ≈ Œ #œ#œ œ œ ≈ #œ ˙

G©‹7E7 E¨7 A‹7A¨7 D‹7 G7 F©7 B7 G7 E²F©7 6157 58 62 5963 60 œ nœ œ #œ œ œœœ œœœ#œœ œœœœ#œœœœ œ œ#œ œ œ nœbœnœ œ œ œ ^ œ œ œ &#œ œ#œ œ œ œ œ#œ≈ ˙ ≈ n#œœœ#œœ nœœ#bœœ œœ #œ≈n#œœœ œ œ & ≈ Œ #œ#œ œ œ œ œ #œ ˙ G©‹7C²Figure 14 - PentatonicE7 A‹7 and bebop scales in A‹7 mm. 61-63 of D‹7 D7 Laws's solo on F‹7"Shades of Light." B¨7 6461 65 66 62 67 3 3 œ nœ œ 3 A major pentatonic scale# coversœ the3œ #chordsœ œthatœ are not3 based in œa3 ii V andœ 3nœ thebœ bebopnœ3 scale3 covers œ#œ^ œ œ œ œ œ œ œ œœ œ œ œ ≈3 ≈ œ œ nœ œ &#nœ œ œ œ œ œ œ œ œ œ œbœ œbœœ the& followingœ œ œ bebopÓŒ‰-based D≈-7œ G7œ progression. œ œ œ œ œ œbœ œbœ œbœ œ G7 R C² 63 G¨7 G7 A¨7 64 The last chorus starts in triplet phrases, is triple-tongued,3 and lasts from measure 65 to 69 683 3 3 3 69 3 ^ ^ œ œ nœ œ 3 3 (see bFigureœ 15). nœ ≈ œ œbœœ œœ œ nœ œ œ bœ œœ œ Ó & nœ bbœ bœœ bœœ œ nœ nœ nnœœ œbœ #œœ œ #œ œ œ œ & 65E73 66 A‹7 D7 67 F‹7 B¨7 3 3 A‹7 D73 œ œ œ œ 3 F‹7 3 3 B¨7 3 3 3 70œ œ œ œ œ 71 œ œ œ œ œbœ œbœ & Œ‰nœ œ≈^œnœ œ œœœbœœœœ œ œbœ œbœ œbœ œ œR #œ œ œ ™ œ œ nœ œbœ œ œbœ œ œ & G¨7‰ G7≈ nœ œ A¨7 bœ œ nœbœ œ œ nœ ™ ‰ 3 3 3 683 3 3 69 3 bB‹7œ nœ œ E7 bœ œ œE¨7nœ œ œ bœ œ A¨²œ G7 3 72bœ bœ bœ nœ ™nœ nœ 73bœ ™ ™ 74 #œ #œ œ œ œ & #œ nœ nœ œ œ bœ œ bœ nœ bœ ^ #œnœ œ nœ œ bœ œ ^ œ ^œ & ‰ #œ nœ œ Œ A‹7J D7Figure 15 - Triple-tonguing in mm. F‹7 65-69 of Laws's solo on "ShadesB¨7 of Light." 70F©‹7 B7 E²F©‹7 71 G©‹7 A‹7 D‹7 The75 techniquenœ œ used in this passage 76 is very fluteb-specificœ 77 and works well 78in this jazz context. ^œ nœ#œ œ œ 3 ™ œ œ œnœ œbœ œ œ & ‰ 3 œ ≈ œnœ-œ œ œbœœ nœœbœ œœnœbœœœ œœ œ^œ ^™ ‰ The soloj ends in# measuresœ nœ#œ # 80œ and 81.#œ A pentatonic ™scale is played over a Cmaj7 chordnœ œ & B‹7Œ‰#œ œ œ#œ E7 #œ œE¨7˙ A¨²G7 724 ™ 73™ ™ Shades of Light 74 with a downward motion,#œ nœ whichnœ providesœ b œfor aœ greatbœ n endingœ to the solo (see Figure 16). G7 #œnœ œ C²bœ ^œ nœ œ E7œ ^ ^œ 79‰ #œ nœ 80bœ 81 œ œ Œ & J œCœ²œ œ E7 F©‹7^œ œ œ œ80# B7œ œ œ œ E²œ œ nœF©‹7œ œ œ œ G©‹7 81 A‹7 D‹7^ ^ 75œ œ nœ œ œ 76œ œ œ œ 77œ œ^œ œ œ 78^œ ≈ Œ & 3 3œ œ œ œ œ nœ œ œ œ œ œœ œ œ œ & #œ -œ œnœ œ œ œ œ ≈œœnœ œ Œ œ ^œ ^œ j #œ nœ#œ #œ ™ œ & Œ‰#œ œ œ#œ #œ œ ˙ G7 82 Figure 16 - The endC of² Laws's solo on "Shades of Light." E7 79œ 80 81 In this solo, Laws demonstratesœ œ anœ expanded post-bebop vocabulary, utilizing pentatonic and ^œ œ œ&#œ œ œ œ œ œ nœ œ œ œ œ ∑ ^ ^ œ œ œ œ œ œ œ œ œ œ ≈ Œ whole& tone scales. These scales, along with the utilization of thenœ traditionalœ œ bebop œlanguageœ œ œ ,

23 provides the opportunity of greater creative musical expression. I would recommend that the woodwind specialist and jazz flutist learn the solo, find passages that are of particular interest, and incorporate them in their own improvisations while internalizing these additional scales.

Chapter 4: Improvisation on “Windows”

This chapter highlights Hubert Laws’s final improvisational transition from bebop to post-bop with the recording of Chick Corea’s “Windows.” Laws was moving even further from his bebop roots as evidenced by his first recordings, The Laws of Jazz and Flute by Laws. His third album, Laws’s Cause, contains a composition written by Chick Corea titled “Windows.”

There is a bit of confusion concerning the exact recording date for the album. The liner notes indicate that “Windows” was recorded in 1966 while the rest of the album was recorded in 1968.

The same version of “Windows” appears on Corea’s album, Inner Space (1973), and interestingly, jazz flutist Herbie Mann was one of the producers on both Laws’s Cause (1969) and Inner Space.

“Windows” is 48 bars long and is written in 3/4. The form is ABC. Around this time,

Corea and his contemporaries were writing compositions using modal harmony instead of traditional, functional harmony. Some of the characteristics of these compositions include utilizing scales or modes to define tonality and slow moving harmonic rhythms in which the same chord lasts four measures or longer.

Laws’s solo on “Windows” takes full advantage of the tonal characteristics and slow harmonic rhythms a modal composition provides. There are several notable features in this solo: slow and fast triple-tonguing, extensive use of pentatonic scales with both static and moving chords, and the use of fast, slurred scale passages that connect with slower passages.

Laws’s solo starts with a slow triple-tongued phrase that establishes the 3/4 swing feel and sets the tone for the rest of the improvisation (see Figure 17).

25 Windows 3 E²(#11) A¨7 A7 71 72 73 74 œ ^ # œ #œ œ œ #œ#œ nœ # #œ œ œ ≈‰Œ #œ œ nœ bœ bœ œ bœ bœ nœ & #œ œ#œ #œ œ œ #œ

75A¨7 76 A7 77 A¨7 78 A7 n^œ # bœ bœ bœ bœ n^œ bœ bœ nœ bœ bœ nœ bœ œ bœ & # Œ‰J W‰indowsJ nœ Hubert Laws Flute Transcription A¨7 A7 A¨7 E²D©‹7 79 80 81Oliver Nelson 82 Jr Chick Corea

# nœ bœ bœ B‹7 23œ œ 4 # nœ œ bœ 3 3 3 œ œ #œ ≈ œ & bœ nœ b˙ nœ #œ #œ #œ ^ ##3 #œ #œ œ œ œ œ œ œ œ œ ˙ C©‹72& C©‹7/Bœ œ œ œ B¨Øœ œ Windows B¨Ø/A¨≈ ≈ œ 83œ 84œ œ 85 86 4C©‹7 C©‹7/B B¨Ø B¨Ø/A¨ # ™ 3556^ 36j 7 37œ œ ˙ 8 38 ##œ œ œ œ A¨Ø‰ œ œ #œ œ A¨Ø D¨7 & J #œ œ #œ ^ ### #˙ œ ™ ∑∑ E¨7/G&& # E¨7œ∑ A¨‹Œ œ œ # A¨‹7/G¨˙ ‰ œ ˙ #œ 87# 88œ ˙ 89˙ J œ 90 J ˙ œ œ ^ #œ #œ # 9101112F©‹E¨˙Þ/G œ E¨#œÞ #œ œ & # ≈ ≈ ‰ œ œ #œ œ A¨‹œ A¨‹7/G¨ 39# #œ ^œ 40J^ ^ 41 42 # ‰ j œ œ œ œ D¨7/F &# D¨7œ œ ^ E²œ ^^#œ œ œ œ D©‹7œ œ ^œ œ œ œ œ œ #œ œ œ œ^ œ œ œ^œ œ œ^njœ 91# ‰ 92œ œ œ 93œ œ œ 94bœ bœ Œ œ bœ bœ b‰œ bœ ‰ bœ œ #œ œ œ&œ ˙J ^ œ œœ #œ ^ œ #œ J # 13A‹7/D #œ #œ 14œ œ 15#œ œ #œ œ 16 # ≈ D¨7/F WindowsD¨7 D©‹7 & 43^ 44 45E² 46 ## 3Hubert Laws Flute Transcription^^ œ nœ ^œ & œ œ œ œ Oliverœ NelsonŒ Jr ™ œ œ œ Chickœ Coreaœ œ œ C©‹7## C7 œ œ nœ œ œ œ 95& nœ bœ bœ ŒŒ 96 ŒŒbœ bœ 3 #œ #œ œ B‹7 23˙ 4œ nœ œ #œ 3 173 E²3(#11) 18 19œ 20 # œ C©‹7œ ^ C7 B‹7œ œ ## #œ œ47œ œ 48œ ^ œ œ œ ≈ nœœ 49™ ™ œ ^ œ 50 ™ ™ œ & #3 # œ œ œ œ #œ œœ #œ œ ≈˙ ≈ œ#œœ œ ˙ œ œ #œ œ 3œ œ œ œ œ œ&œ # Œ œ #œ 4 ###œ œ œ œ œ œ nœ ^œ j j œ œ & œ bœ bœ œ œ ‰ nœ œ ™ œ œ 9756B‹7A¨Ø 98 99B‹7 7 A¨Ø 100 8 D¨7 œ œ 3 21E3²(#11) 3 223 23 24 # œ 3 3 A¨Ø3 ^ # œ œ œ ∑œ 51œ #Œœ œ œœ ™œ œœ#œœ œœ œ œœ 52#œœœœœœ‰œ œœœœ œ œ˙ œ 53œ œ 3 54^ ^ &# # Œ œ œ#œ J #˙ œ œ J œ œ œ œ œ œ #œœ œ™ œ j œ & # J Œ &J # J Œ jJ ^^ œ ^^^#œ œ ^^^#œ ˙ & # œ ‰‰œ œ œ œ œ œ œ œ œ œ œ 9101112F©‹ A¨7J œA7 œ œ A¨7 A7 Figure 1725 - Triple-tonguing^ with varying articulations 26 in Laws's solo on27 "Windows." 28 # œ#œ ^œ ^ A¨Ø D¨7 101The second# ‰ j phraseœ œ , which 102# startsœ onœ the secondœ ^ 103chorus,œ showsœ how he^ 104variesœ andbœ expandsœ nœ œb ^œtheœ œ use #œ nœ & A¨Øœ #nA¨Øœ bœ bœ #œœ bœ œ œ D¨7œ#œœ nœœ nœ F©‹3œ #œ nœ œ œ bœœ œ nœnœ #œ œ nœ 55& 56 57œœ œ œ œ 58 œ of triple# ^ tonguing to make a different musical^œ statement.˙ ^ œnœ œ œ 13# A‹7/Dœ ‰ œ ‰ œ #œ 14œ œ œœ œ œ 15œ œ œ A7œ 16 ≈#œ œ ‰ J ^ & J 29J #A¨7œ œ #œ #œ Œ 30 ≈ ≈ œ ≈ œ ≈ Because of the^ &modal construction^^ of the composition,^ pentatonic scalesœ can cover œ^ œ œ œ nœ ™ ## œ Œ# ^ n^œ bœ nœ œ œ œ nœœ œ #œ ^ & œ œ œ œ #bœ œ ™ œ œ œ œ œ A‹7/Dœ nœ multiple measures with59& identical chords at varyingœ 60n speedsœ œ (see Figure 6118). 62 ^œ ^ 17E²(#11) 18^œ 19œ œ œ n 20œ E² D©‹7 31# A¨7#œ 32 A7 A¨7 œ 33œ œ 34 ^ ^ # ^œ œ œ ™ ™ ‰œ J œ ™œ ™ œ œ œ3 ≈nœ ## #œ #œ& œ œ#œnœ b˙œ bœ #œ œ œ #œ œ œ œ œ œ œ & Œ œ ## nœ #œ nœ #œ #œ nœ œ & Œ bœ bœ nœ ‰ J #œ ‰ j 63b 64œ 3 nœ #˙ 3 œ 21E²(#11) 223 3 23 24 nœ œ Figure 18 - A slow-moving pentatonic line in Laws's solo on "Windows." œ œ œ œ œ##œŒœ œ œ œ œ œ œnœ œ œ J ‰ # #œ œ#&œ #œ œœ œœ œœ œ œ j^ ^ Here& #is anŒ exampleœ œ of a faster moving pentatonic line (see Figureœ 19#œ). ™ œ œ #œ ˙ 66 A¨7 65 A7E²(#11) A¨7 A7 25 26#œ œ 27 28œ œ œ œ œ ™ ^ # #œ œ#œ ^ œ^œ œ #œ œ#œ œ œ œ ##nœ œ b&œ # ≈œ #œ #œ œ œ#nœ bœ œ#nœœœbœ nœ #œ #œ nœ œœœ#nœœ œ œ œ & bœ bœ nœ nœ œ œ#œ œbœ œ#œ œ Figure A719 - A fast-moving pentatonic A¨7 line in Law's solo on "Windows." 29A¨7 30 31 32 A7 A¨7 Laws uses^ this^ descendingb^œ nœ pentatonicœ œ line ^using three nandœ bfourœ b noteœ phrases to release tension ##bœ nœ #œ nœ Œ nœ #œ nœ bœ (see& Figure 20). bœ nœ bœ E² D©‹7 C©‹7 C©‹7/B 33 34 35 36 3 # nœ ##œ #œ ‰ œ ‰ j & J #œ nœ #˙ œ #œ œ ˙ ˙ œ 26 Windows 3 67E²(#11) 68 œ œ #œ œ œ œ ™ œ œ #œ œ œ œ ™ ## œ#œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ & #œ œ#œ œ œ #œ œ#œ œ œ 69E²(#11) 70 œ œ #œ œ œ œ ™ œ œ #œ œ œ œ ™ ## œ#œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ & #œ œ#œ œ œ #œ œ#œ œ œ E²(#11) A¨7 A7 71 72 73 74 œ œ #œ #œ#œ n^œ ## œ#œ œ œ ≈‰Œ œ nœ bœ œ bœ bœ nœ œ & #œ œ œ œ #œ #œ bœ #œ #œ 75A¨7 76 A7 77 A¨7 n^œ # bœ bœ bœ bœ n^œ bœ bœ nœ bœ & # Œ‰J ‰ J

78A7 79 A¨7 80 A7 A¨7 # bœ nœ œ nœ # bœ bœ nœ bœ nœ bœ œ bœ bœ & nœ b˙ E²D©‹7 C©‹7 C©‹7/B 81Figure 20 - 82 A repeated pentatonic line in Law's 83 solo on "Windows." 84 ™ ^ ## In order to feel comfortableœ improvisingœ #œ œ œon a≈ compositionœ #œ œlikeœ “Windows,”œ one should & #œ nœ #œ #œ #œ J #œ œ #˙ spend time#B¨Øœ listening to other compositions B¨Ø/A¨ in this style.E¨7/G Herbie Hancock’s composition E¨7 , “Maidenœ 85 86 87 88 Voyage# ,” fromj the Blue Note œrecordingœ œof the˙ same name,˙ would provideœ œ a good ˙starting point.^œ & # ‰ #œ œ œ #œ ≈ ≈ Its harmonyA¨‹ is based on four chords: A¨‹7/G¨ A-7/, C-7/, B-flat- D¨7/F7, D-flat7, and the form isD¨7 AABA. The 89 90 91 92 Dorian scales of A, C, B-flat and D-flat as well#œ as#œ pentatonicœ scales#œ œ canœ be usedœ to˙ improvise#^œ on ## #œ œ œ #œ œ this& composition.‰ J Eachœ # chœ ordœ is played for four measures at a≈ time, which provides improvisationalE² space similarD©‹7 to “Windows,” even C©‹7 though the composition C7 is much shorter in 93 94 95 96 3 œ œ œ length.# # œ #œ œ ^œ #œ #œ œ œ œ œ ^ œ œ & # #œ #œ œ œ œ œ œ ≈nœ When beginning to learn Laws’s solo, listen to it many times to get a feel for it, read

97B‹7 98 99B‹7 100 through th3e transcription, and commit3 the transcription3 to memory.3 For many in the jazz milieu, 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 it is #conventional wisdomJ that sound is moreJ important than technique. Inœ anœ interview,œ œ œ Lawsœ œ œ & # J Œ J Œ states that, “jazz musicians are driven by the sound. (Early) Jazz musicians were not trained but had big ears.”23 Developing “big ears,” or hearing and being able to recognize and improvise over jazz harmonies, is the goal. For the woodwind specialist and jazz flutist, this is one of the most important aspects of playing jazz. One can have great technique and a beautiful tone, but with no useful jazz language to apply, the music is unsuccessful. Laws is a great example of

23 Interview with the author, 2016. 27 what is possible when the woodwind specialist and jazz flutist possesses both impeccable classical technique along with a sophisticated understanding of the jazz style.

Chapter 5: Improvisation on “Killer Joe”

This Chapter highlights the beginning of Hubert Laws’s most productive recording and performing period, which includes his recorded solo on “Killer Joe.” In 1969, he was firmly established in the music world, having performed and recorded with some of the biggest names in both jazz and popular music. He recordedKiller his first Joealbum for CTI Records, Crying Song, that year. The same year, he performed on Quincy Jones’s album Walking in Space for A&MBenny Golson

Records.EØ The album is a mixture of jazzy pop, gospel, film music, Broadway music, and even Benny4 Golson’s jazz standard, “Killerœ œ Joe,”œ whichœ was œfirst recordedœ œ by the Benny Golson and &b œ œ œ œ œ œ œ œ Art Farmer4 Sextet, on the album, Meet the Jazztet (1960). A¨‹7 G‹7 C7 F² ™œ œ œ œ œ bœ œ œ œ œ “Killer Joe” isœ œa twentyœ œ œ -four-measure compositionœ œ œ inœ AABAœ œ œ form and was writtenœ œduring &b Ó‰ nœbœ œ œ œ ™ œ œ œ œ ≈ ≈ œ œ the latter part of the bebop era. It is basedœ on a repeated chord progression of C7 to B-flat7 with an eight-measure bridge. The composition is deceptively simple because sixteen bars are based on& twob chords. The∑ bridge adds musical interest ∑and complexity because of its ∑ contrasting n harmonic construction (see Figure 21).

EØ A7b9 E¨‹ A¨Þ & VVVV VVVV VVVV VVVV

AÞA¨ÞE‹ AÞ & VVVV VVVV VVVV VVVV

Figure 21 - Chordal complexity in the bridge of "Killer Joe." Laws’s G¨7solo on “Killer G7 Joe” A¨7 is only one chorus long; however, it contains all the elements of a 3 3 3 ^ well-constructed‰bœbœ ‰ njazzœ nœ solo whichœ bœ binclude,œ Œ‰ wellœ œ constructed∑∑∑∑∑ linear improvisational lines utilizing & bœ nœ J bebopD‹7 scale language as well G7 a pentatonic scales, C good² use Cof² tension and release,A‹7 and most D7 ^œ ^ œ œ œ œ œ œ œ œ œ œ29 ≈ œ œ œœœ œœ œ ™ j Œ œ œœ œ ≈ & œ œœ œœœœ œ œ œ œ ˙ œœœœœœœ œœ G©‹7 A‹7 D‹7 nœ œ œ œ#œ œ œ#œ œ œ œ œ œ œ nœ bœ nœ œ & #œ œ#œ œ œ œ ≈ ≈ œ nœ œ œ G7 C² ^ œ œ nœ œ ^ œ ≈ œ œ œ œ œ œ Ó 3 & nœbœ œ œ nœ œ 4 Killer Joe Hubert Laws Flute Transcription Oliver Nelson Jr Benny Golson C7 B¨7 C7 B¨7 C7 ^ 3 3 4 œ j ™ j œ œ & Ó œ Œ‰œ œ œbœ œ œ œ ™ Ó œ œbœ œ œ œ ‰ J œbœ 4 œ ˙ 6 importantly, spontaneity. The clarity and power of his high register playing is evident in B¨7 C7 B¨7 bœ bœ nœ j œ œbœbœ bœ nœ œ œ bœ œ nœ œ Œ‰bœmeasuresbœ 10,nœ 11, œandœ 12nœ (seeœ œ bFigureœ œ22).œ œ bœbœ & œbœ bœ œnœ nœ C7 B¨7 C7 B¨7 9 > ^ œ œ bœ bœ ^ ^ ^œ nœ œ bœ 3 œ ^ œ œ ^ ^œ œ bœ œ œ -œ ^ œ nœ ‰ J ‰ J‰J ‰ ‰ J œ J ‰ J &

C73 B¨7Figure 22 - Mm. 10-12 of C7 Laws's solo on "Killer Joe." B¨7 3 3 3 3 3 13 œ œ 3 œ œ œ œ œ œ œ ^ œ œ œ œLawsœ playsœ bthisœ œ phraseœ œ withœ greatœ tone,œ intonation,œ œ -œ œ and bcrispness.œ ^ Classicalbœ flutists are J J œ œ J œ œ & ‰ accustomed to playing in this register with consistency of ‰tone and intonationŒ‰, but jazz flutists EØ7 A7(b9) E¨‹ A¨7 17 and woodwind specialist3 s may need to work to buildKiller consistency inJoe this range of the instrument. > œ œ Hubert Laws Flute Transcription ™ œ œ nœ bœ œ bœ bœ Benny Golson œ ItJ is advisable‰ J to bworkœnœ on exercisesŒŒ‰ in De La Sonoritœbéœ startingbOliverœbœ Nelson on page ™Jr 16. The exercise moves & J bœ bœ œ bœ bœ ˙ chromatically in tripletsC7 starting on different B¨7 notes from the C7bottom of theB¨7 octave range to the C7 21 A7 A¨7 3 3 ^ nœ bœjbœ bœ œ top. When used& as 4a dailyÓ exercise,œœ œ Œ‰ they arejbœ provenbœœbœbœœ to™ help improveœ œtonebœ bconsistencyÓœ œb œoverœ the ‰ œ œ œbœ Œ #œ œ nœ #œ œ bœ nœœ œ œ œ ˙ ™ œ bœ bœ œ œ J & nœ nœ œ œ œ 4 ≈ entire range of6 the flute.B¨7 C7 B¨7 23 E‹ A7 bœ nœ œ bœ bœ œ nœ œ jbœ œnœ bœ œbœbœ bœ nœ œ ^Laws is &ableŒ‰ to triplebœ œb tongueœ n inœb theœ œhigh^ œ registerœ œb œusingœ œ an varietyœ œ œ bœ of# noteœ intervals. This nœ nœ nœ #œ œ œ œ nœ œ œ œ nœbœ nœ #œ #œ nœ œ œ & nphraseœ nœ starts at measureC7 13 andœ end#sœ in the first B¨7œ halfbœ n œof# measureœ #œ 15. It movesC7 in a downward B¨7 9 > ^ œ œ bœ bœ ^ ^ 25 C7pattern starting B¨7 on the high ^G and loweC7nringœ toœ a 5th,bœ 6th, and B¨77th3. Triple tonguingœ this^ passage is œ œ œ ^ 3 œ - œ n^œ J ^œ J bœ œ œ œ ^ J J ^^œtrickynœ œ becausenœ ofœ the œquickœ‰# œembouchnœ‰ œJ‰ureœ and air-^ adjustment‰™ - required‰ (seeJ Figureœ 23‰ ). & nœ nœ &J‰ œ œ œ œ œ bœ œ ˙ bœ œ œ œ œ œbœ œ C7 B¨7 C7 B¨7 3 3 3 3 3 3 3 29 C7 B¨713 œ C7œ œ B¨7œ œ œ œ œ œC7 ^ œ œ œ œœ œœ œ bœ œ œ œ œ œ œ œ œ -œ œ bœ ^ bœ œ nœ J œ bœ œ bœ bœ bœ J œ œ œ œ œ œ ‰ œnœ b˙ & ‰‰ œ J‰ ≈ bœ œ œ œ œ œ j‰Œ Ó ‰ Œ‰J &#œ œ J œ œ nœ EØ7 A7(b9) E¨‹ A¨7 Figure17 23 - Triple-tonguing in the high3 register in mm. 13-15 of Laws's solo on "Killer Joe." ™ œ> œ nœ bœ œ œ œ bœ bœ œ J ‰ J bœnœ ŒŒ‰ œbœbœbœ ™ & J bœ bœ œ bœ bœ ˙ 21 A7 A¨7 bœ bœ bœ 30 œ bœbœ bœ nœ œ œ bœ bœ Œ #œ œ nœ #œ œ bœ nœ œ bœ bœ & nœ nœ œ œ œ ≈ 23 E‹ A7 ^ ^ nœ nœ #œ œ œ œ œ œ nœ #œ #œ #œ nœ œ & nœ nœ nœ œ nœ œ #œ œ bœ nœ #œ #œ bœ œ

25 C7 B¨7 C7 B¨7 3 ^^œ nœ œ nœ œ œ œ#œ nœ ^œ œ -^™ - & nœ nœ J‰ œ œ œ œ œ bœ œ ˙ bœ œ œ œ œ œbœ œ

29 C7 B¨7 C7 B¨7 C7 œ œ bœ œ bœ bœ bœ œ œ œ œ nœ œ œ bœ œ œ œ œ œ j &#œ œ ‰ nœ b˙ J‰ J‰ ≈ œ œ nœ ‰Œ Ó Killer Joe Hubert Laws Flute Transcription Oliver Nelson Jr Benny Golson C7 B¨7 C7 B¨7 C7 ^ 3 3 &4 Ó œ œ Œ‰j œbœ œ ™ j œ Ó œbœ œ ‰ œ œ œbœ 4 œ œ œ œ ˙ ™ œ œ œ J 6 B¨7 C7 B¨7 bœ bœ nœ œ bœ bœ œ bœ nœ œ jbœ œ œ œnœ œ œ œ œ bœbœ œbœ nœ œ & Œ‰bœ œbœ nœbœ bœ œnœ nœ œ C7 B¨7 C7 B¨7 > œ œ 9 nœ œ 3 ^œ bœ bœ ^œ ^œ ^œ ^ bœ œ - ^œ n^œ œ bœ œ œ œ ^ J & ‰ J ‰ J‰J ‰ ‰ J œ J ‰ C7 B¨7 C7 B¨7 3 3 3 3 13 3 3 3 œ œ œ œ œ œ œ œ œ ^œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ -œ bœ œ ^ bœ œ ‰ J ‰ J œ Œ‰J œ & 24 Measures 19-20 use a minorEØ7 pentatonic scale that moves from top A7(b9)to bottom. This is close to a 17 3 blues scale, but it lacks the half-step motion> between the 4th and 5th degrees of the scaleœ (see œ œ ™ œ œ nœ bœ bœ nœ œ & J ‰ KillerJ JJoe Œ Figure 24). Hubert Laws Flute Transcription Oliver Nelson Jr Benny Golson 19 E¨‹ A¨7 A7 C7 B¨7 C7 B¨7 C7 bœ bœ œ 3 3 #œ œ Œ‰ ^ bœbœbœbœ ™ Œ œ œ#œ œnœ œbœ & 4 œ j bœ œ™ bœjbœ ˙ nœnœ œ œ œ & Ó œ Œ‰œ œ œbœ œ œ œ ™ Ó œ œbœ œ œ œ ‰ J œbœ Figure22 24A¨7 -4 Minor pentatonic scale in mm. 19-20 of Laws's solo on œ"Killer˙ Joe." bœ nœ bœ bœ bœ œ œ 6 B¨7nœ bœ bœ C7 bœ bœ œ At the beginning of measure≈ 8, Laws uses a bebop scale starting on C-sharp (D-flat) played over bœ bœ & j œ a B-flat7 chord, which is resolvedŒ‰ on thebœ last beat bybœ a firstnœ inversionœ B-flaœt descendingnœ œ 6thœ bchordœ œ œ œ 23 &E‹œ bœ bœ A7 œ nœ nœ to the C7 (see Figure 25). nœ n^œ #œ œ œ œ œ œ ^ nœ #œ #œ #œ nœ œ & nœ nœ œ nœ œ #œ nœ #œ #œ bœ œ B¨7 nœ C7œ bœ > 8 bœ ^ nœ œ B¨7 bœ 3 bœ bœ nœ œ bœ œ bœ nœ œ œ ^ œ bœ 25 C7bœbœ œbœ B¨7 nœ C7œ n^œ J œ B¨7J œ œ & 3 ‰ ‰ J‰ ‰ ‰ ^^ nœ œ œ#œ nœ ^ œ -^ - nœ œ nœ œ nœ J‰œ œ œ œ œ œ ™ œ bœ œ ˙ bœ œ œ œ œ œ & C7Figure 25 - M. 8 of Laws's B¨7 solo on "Killer Joe."C7 B¨7 bœ œ 3 3 3 3 Since this is a bebop-oriented11 composition, œone œwouldbœ assume^ that bebop scale3 choices would3 ^œ ^ bœ œ ^œ œ œ œ œ œ œ œ œ -œ ^ œ œ œ œ œ œ bœ œ œ œ œ œ œ make the most sense. In addition toJ listeningJ to Laws’s solo, listening to FreddieJ Hubbard’s solo & J œ ‰ ‰ in the same song is also useful, as it is much more bebop-oriented, which shows a different C7 B¨7 EØ7 A7(b9) 3 perspective on the chord15 changes.œ Using^ ideasœ from both solos provides a wider range of 3 œ œ -œ œ bœ ^ bœ > nœ bœ œ œ œ improvisational tools that will be useful to woodwindJ œ specialistœ and jazzœ œ flutistœ ™ as theyœ œ progress. bœnœ & ‰ Œ‰J J ‰ J J Œ

19 E¨‹ A¨7 A7 bœ bœ œ œbœbœ ™ #œ œnœ#œ œbœ & Œ‰ bœbœ bœ œ bœ bœ ˙ Œ nœnœ œ œ œ

22 A¨7 bœ bœ bœ 24 bœ bœ nœ œ œ bœ “When the (pentatonic) scale is structurednœ inbœ the order of minor 3rd, whole step, whole step, minor 3rd, whole bœ œ bœ bœ step, the scale takes on a minor& quality≈ and is commonly referred to as the relative minor pentatonic.” Keller, 10. 31

23 E‹ A7 ^ ^ nœ nœ nœ #œ œ œ œ œ œ œ bœ nœ #œ #œ #œ nœ œ & nœ nœ nœ œ #œ œ bœ nœ #œ #œ œ

Chapter 6: Improvisations on “Along came Betty” and “Spain”

This chapter highlights two of Hubert Laws’s solos that show his virtuosity in two musical genres while providing useful examples for flutists who want to improvise. In 1974,

Quincy Jones released the album Body Heat, which followed his successful formula of bringing the best musicians of various musical styles together to perform a diverse array of compositions, which thereby appealed to a varied group of listeners. On Body Heat, the only composition to have a jazz standard pedigree was Benny Golson’s “Along Came Betty”—a tune first recorded by The Jazz Messengers in 1958.

“Along Came Betty” is a 32-measure, ii V I-based composition with a unique AABA form. The second A is transposed down a major third from the first A. There is an 8-measure bridge, followed by the final A section, which deviates from the first A in the last 4 measures.

The arrangement elongates the composition by extending each single-measure chord into two measures and multiple-chord measures into one measure each. This elongation, along with a

Motown-like feel, provides an interesting improvisational platform. Hubert is the only soloist on this track, and he exhibits great skill in playing along with both the rhythm section and the big band accompaniment.

As with the previously analyzed solos, many of Laws’s typical elements are evident including fast double- and triple-tonguing, an excellent rhythmic pace and feel, the use of the entire range of the flute, and good, flowing harmonic lines. This solo is interesting insofar as it really starts on the bridge and continues to the end of the chorus. The first section (measure 1-24) is an arrangement of the melody line.

One should take note of the embellishments Laws uses on this arranged melody line. He makes it his own by adding the element of triple tonguing in certain sections (see Figure 26).

Embellishment of melodic lines is a characteristic of the jazz tradition. The great jazz artists almost never play a melody in its basic form. They demonstrate their musical personality through the way they play a melody utilizing a variety of melodic and harmonic options available. Laws utilizes classical techniques to express his unique musical ideas.

33 Along Came Betty Hubert Laws Flute Transcription Oliver Nelson Jr Benny Golson B¨‹ B‹ E7 œ ™ œ bœ #œ ™ œ ^œ J J ^œ & 4 ÓÓŒ ÓÓŒ 4 1234 B¨‹ B‹ E7 3 œ ™ œ #œ ™ œ bœ œ œ œ œ ^œ & J ÓŒ‰J J ÓÓŒ 5678

A²A¨7 œ ™ œ bœ œ œ ™ œ bœ ^œ ^œ œ & J ÓŒ‰∑ J J ‰ J 9101112 G² G¨7 œ ^ & ŒÓ∑∑ Ó Œbœ 13 14 15 16

G¨‹ G‹ ™ ^ ™ bœ œ bœ nœ œ b^œ & J ÓÓŒ J ÓÓŒ 17 18 19 20

G¨‹3 G‹ C7 ™ 3 3 ™ bœ œ bœ œ œ œ œ œ œ œ œ nœ œ & J ÓŒ J Ó ∑ 21 22 23 24 F7Figure 26 - Laws's rendition of the melody A7(#9) of "Along Came Betty." ^^ ” Starting in measureœ 25œ, Laws playsœ the end of^ the arranged“ section, going up to a high B- œ œ bœ œ œ œ œ & Œ‰J Œ Œ Œ Œ Œ ‰ J flat and moving25 down stepwise to F in 26measure 29. Measure 2729 is the beginning of the 28 improvisedD‹ section. He utilizes the C Dorian scaleG7 with a line moving through the D minor and <> “ œ œ ™ œ ™ œ bœ œ œ œ œ ˙ œ J œ œ œ œ Œ œ œ ‰ œ œ & J œ œ 34 29 30 31 32J

G7 chords to C minor chord at measure 33 and continues using it through measure 37. (see

Figure2 27). Along Came Betty

F7 A7(#9) ^^œ œ ^ “ ” œ œ œ bœ œ œ œ œ & Œ‰J Œ Œ Œ Œ Œ ‰ J 25 26 27 28 D‹ G7 <>“ ™ ™ œ œ œ œ bœ œ œ ˙ œ J œ œ œ œ œ œ œ & J Œ œ œ ‰ œ œ œ 29 30 31 32J C‹ F7(b9) AØ7 bœ œ b^œ 2 bœ œ œ œ œ œAlonœ œbgœ Cœ amebœ Betty ^ ^ & œ œ ÓŒœ œ œ œbœ œ œ œ bœ œ œ œ œ œ 33 34 35 36 37 F7 A7(#9) ^^ 3 D7(#9) G‹ G‹/F œ œ ^ “ ” EØ7 Figure 27œ - Mm.œ 25-37 of Laws's solo on "Along Camebœ Betty."3 œ œ œ œ œ bœ œ œ œ œ œ œ œ œ ^ ^& Œ‰J œnœ Œ#œ œ Œ Œ œnœ œŒ œ œ œ Œœ œ ‰ J & Thisœ representsÓŒ good25 harmonicœ œ œ b lineœ œ movement, 26 which is essential in 27 a≈ good ‰solo. Tension‰ 28 #œ nœ38bœ œD‹œ 39#œ 40G7 41 and release are shown<> by how the line flows. The best way to achieve this kind of fluid motion is “ œ œ ™ œ ˙ ™ A7(#9)œ bœœ œ^ œ œ œ F‹ œ to practice improvising overœ slowlyœ œmovingbœ nœJ# chordœ progressions#œ bœ nœ œ whileœœb œutilizingœœ classicalœ œflute œ œ œ œ&œ#œ œ œ œ J Œœ bœœnœ œ œ œ ‰ œ & ‰ 29 30 31bœ 32J 42 43 44 45 articulations and techniques.C‹ The ii V exercises in Jamey F7(b9) Aebersold’s Volume Three are very AØ7 B¨73 B¨œ bœ3 œ œ 3 B¨‹ 3 ^ useful when practbicing^œ œ thisœ type3 of exercise.œ œbœ œ 3œ œ œ œbœ3œ œbœ œ œ ^ œ j& ÓŒ bœ bœ œ œ œ œ bœ bœ œ œœ œbbœœ œ œ œ œ & œ ™Figure 28 showsÓ 33 anb examœ œ plebœ ofœ fast,œ 34 œscalebœb-œbasedœ doubleœ 35-tonguingœ with tripleœb 36œ n-tonguingœ œ . 37 œ46˙ 47œ 48 49 D7(#9) LawsB¨ is, again, very precise B‹ with his articulations E7. This is also a common B¨‹ jazz figure that has œ bœ ^ œ #œnœ œ œ #œ œ ^^œ ^ bœ bœ nœ bœ œ œ œ b^œ œ been used by œ&jazz#b musiciansœ throughnœ#œ œthe years. nœ #œ J œ & ‰ J ‰ œbœ nœ#œ 38bŒ‰œ œ 50J 51 52 53 3 G‹ G‹/F 3 EØ7 B‹œ E7œ bœ œ œ œ œ œCØ7œ bœ bœ ^ œ œ ^ œ nœ œ œnœ #œ œ œnœ œ bœbœœnœœ œ œ œ œ & ÓŒœ œ œ œbœ^œ œ#œœ#bœœ œœnœnœ#œ œ#œ œ#œ œ œ ^ bœ œ œ≈nœbœ ‰ ‰ & 39#œ ‰ 40J #œ ‰ 41 54 55 56 57 Figure 28 - Fast doubleA7(#9)-tonguing in Laws's solo on "Along Came Betty." F‹ F7(#9)nœ #œ œ #^œ nœ B¨Ø7 bœ bœ œ œ œ œ œ bœ bœ œ œbœ œ œ œ bœœnœ bœœ œ#œbœ œ œ ^ bœ n35œ œ œ & ‰ œ œ nœbœbœ œ œ œ j ™ bœ & 42bœ 43œ œbœ œ œ œ 44‰ œ œ bœ 45 58 59 60bœ bœ 61 B¨7 B¨ B¨‹ 3 3 3 3 E¨7(#9)3 3 A¨² 3 bœ j - bœ œ ^ bœ œ bœ^œ œ œ œ œ bœ œ œ œ œ bœ &œ œœ ™ œœ ˙ ™ Ó b-œbœœœ œbœ œ œ œnœbbœœbœ œ bœœ œ bœ nœ œ & 46˙ 47‰ 48ŒŒ‰nœ œ 49 J J62B¨ 63 B‹ 64 E7 B¨‹ 65 œ bœ #œnœ œ œ #œ ^^œ bœ bœ nœ bœ œ œ œ ^ œ œ bœ nœ#œ œ œ #œ J bœ & ‰ J ‰ œbœ nœ#œ Œ‰ 50J 51 52 53 B‹ E7 CØ7 nœ bœ bœ ^œ œ œ œ^œ œ œ œb^œ nœ #œ#œ œ œnœnœ#œ œ#œ œ#œ œ ^ bœ œnœbœbœbœ & ‰J œ#œ ‰ œ 54 55 56 57 F7(#9) B¨Ø7 bœ bœ œ œ bœnœ bœ œbœ œ nœbœbœ ^ j ™ & œbœ œ œ œbœ œ œ œ ‰ œ œ œ bœ 58 59 60bœ bœ 61 2 Along Came Betty

F7 A7(#9) ^^œ œ ^ “ ” œ œ œ bœ œ œ œ œ & Œ‰J Œ Œ Œ Œ Œ ‰ J 25 26 27 28 D‹ G7 <> “ œ œ ™ œ ™ œ bœ œ œ œ œ ˙ œ J œ œ œ œ Œ œ œ ‰ œ œ & J œ œ 29 30 31 32J C‹ F7(b9) AØ7 bœ œ b^œ œ œbœ œ œ œ œ œ œ œbœ œ œbœ ^ ^ & œ ÓŒœ œbœ œ œ œ bœ œ œ œ œ œ 33 34 35 36 37 D7(#9) ^ ^ & œ #œ nœ 38bœ œ œ 3 G‹ G‹/F 3 EØ7 bœ œ œ œ œ œ œnœ œ #œ œ œ œ œnœ œ œ œ œ œ œ & ÓŒœ œ œ bœ œ ≈ ‰ ‰ 39#œ 40 41 A7(#9)œ ^ F‹ œ œ bœ nœ #œ #œ bœ nœ œ œbœ œ œ œ œ#œ œ œ œ œ bœ nœ œ œ œ & ‰ bœ 42 43 44 45 Measure 48 shows triple tonguing while using a chromatic pattern (see Figure 29). This type of pattern is a very effective improvisational technique when moving between two relatively ™ j stationary chords.& Inœ this case, it connects the bridge toœ the final A section.˙ 46 B¨7 B¨ B¨‹ 3 3 3 3 3 3 3 bœ bœ bœ œ œ œ œ bœ œ œ & Ó bœ œ œ bœ œ œ œ bœ bœ œ œ œ œ bœ nœ œ 47 48 49

FigureB¨ 29 - Triple-tonguing in B‹ m. 48 of Laws's solo on "Along E7 Came Betty." B¨‹ œ #œnœ œ œ #œ ^^bœ bœ nœ œ œ ^ œ Although short,b œthis soloœ exhibits consisten#œt andœ fluid line movement,œ #œ œ well-organized bœ œ bœ & ‰ J ‰bœ œbœ nœ#œnœ Œ‰J musical ideas, good pacing and50 timing,J and a controlled 51 use of technique. 52 Controlled technique is 53 something every jazz improviser needs to think aboutB‹ and work on. A successful E7 solo shouldCØ7 fit bœ bœ ^ œ œ ^ œ nœ œ bœbœ nœ œ œ œ œ œb^œ #œ#œ œnœnœ#œ œ#œ œ#œ œ œ ^ bœ œ œnœbœ well with the rhythm& section and should let the music dictate what technique‰ shouldJ be#œ used,‰ as 54 55 56 57 opposed to forcing technical elements into the improvisation in an unnatural manner. Musicality and restraint are often more effective than using advanced techniques simply because one has the ability to do so. In the case of all the Laws solos included in this essay, one can easily see how a master improviser uses his or her skills to effectively tell a powerful musical story.

One of the goals of this essay was to find examples of Laws’s recordings that may be obscure, but nevertheless noteworthy. Since Laws and Chick Corea had played together in jam sessions at Juilliard and performed and recorded professionally, it seemed appropriate to search for other collaborations between the two. “Spain,” one of Corea’s most well known compositions, has been arranged and recorded by many artists, so it seemed like an obvious place to start. A search for a recording of Corea and Laws performing “Spain” together was fruitless; however, there is a video available on YouTube of a performance on the 1975

Downbeat Poll Winners Show, which was hosted by Quincy Jones.25 This performance featured

Laws on flute, Bill Watrous on trombone, Stanley Clarke on bass, George Benson on guitar,

Corea on electric Piano, and Lenny White on Drums. While the audio and video quality are lacking, one can still recognize his sound, technique, and breath control. In several instances within Laws’s improvisation, he plays very long lines in the top octave of the flute, and yet, he plays them with control, strength, and beauty.

“Spain” was originally composed in 1971 and first appeared on the album, Light as a

Feather (1973). The composition is modal and is played as a samba. The original recording included an introduction that was taken from the “Adagio” of Spanish composer Joaquin

Rodrigo’s Concierto de Aranjuez. The YouTube performance does not include the introduction.

The solo changes are almost exactly the same as the chord progressions in Rodrigo’s “Adagio,” plus the addition of a G-major-7 chord. The changes are as follows, G-major7, F-sharp7, E- minor-7, A7, D-major7 (G-major7) C-sharp7, F-sharp7, B-minor, and B7.

Highlights of this solo include the use of both double and triple tonguing, pentatonic and diminished scales, and fluid technique in the extreme high register. The tonguing also helps maintain the samba feel. The solo starts in the fourth measure. It begins with a simple motif followed by six beats of rest before Laws plays again. The use of space is a very important concept to understand for both the beginning jazz flutist and the experienced one alike. It is not necessary to play all of the time. If one looks to speech patterns, one notices the pauses and breaks between spoken phrases. The ability to use space effectively helps communicate musical

25 “Down Beat 1975 poll-winners’ show: ‘Spain.’,” YouTube, accessed January 2, 2016, https://www.youtube.com/watch?v=1RHzCQIvMyo. 37 Spain Hubert Laws Flute Transcription Oliver Nelson Jr Chick Corea G²F©Þ ^ ^ ^œ ^œ ^ ^ ^ ^œ ^œ œ # 3 #œ œ#œ ^ #œ #œ & #4 ∑ Ò ∑ Ó œ 4 2–4 5 6 7 8

E‹Þ AÞ œ ™ œ nœ bœ # œ œ ^ ^œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ & # J ‰ J œ Œ œ 9101112

D²G² ^ ^œ ^ œ œ œ œ œ œ ^œ œ œ œ ^ # ^œ ^ œ œ œ J œ & # #œ œ nœ ∑ ‰ 13 14 15 16 C©ÞF©Þ ^ ^œ ^œ œ ^ œ ^œ œ ^ œ ^œ œ œ ^œ œ œ ^œ ^œ # #œ œ J #œ J #œ J J J & # ‰ ‰ ‰ ‰‰ 17 18 19 20 B‹ÞBÞ œ 2 œ œ œ œ Spain œ œ ^ ^œ ^œ œ # œ œ œ œ œ œ œ bœ œ bœ # E‹Þ^ J J AJÞ 3 & œ ÓŒ‰œ ‰ ‰ bœ ^œ œ 21œ œ œ 22^œ œ œ bœ 23nœ bœ nœ nœ bœ œ 24œ ## J J J œ œ nœ#œ & G² ‰ ‰ œ ‰ Œ œ œ nœ 33œ œ œ 34œ œ œ 35œ œ œ 36œ œ œ # œ nœ œ œ œ & # J‰J ‰ J ‰ J ‰ ‰ J J ‰Œ Œ ‰ J ‰ J J ‰ D²25 26G² 27 28 ^ F©Þ œ nœ #œ œ œ œ œ œ ^œ œ bœ nœ bœ thoughts# toœ the audienceœ#œ with greater impact. Miles^œ Davis, for instance,œ œ wasœ œa masterœ œ of the use & # œ^^œ ŒŒ #œ 37œ 38#œ 39 40œ of space,# and his solo on “So What” is a classic example ofJ this technique. J & # ‰ ‰ C©MeasuresÞ 30-32 contain an example of triple29 tonguingF©Þ (see Figure 30). bœ bœ nœ bœ n^œ ™ nœ ^ ^œ # bœ 3 œ œ œ œ 3 œ nœ ^ ^ bœ bœ bœ # 3 nœ 3 #œ 3 œ 3 3J 3J & #œ #œ œ œ #œ œ œ œ Œ‰ 3 3 41œ œ œ 42œ œ œ œ œ œ œ œ œ 43œ œ œ œ œ œ œ œ 44œ œ œ œ # J & # B‹Œ‰ÞBÞ 30 31 32 ^ n^œ ^œ œ œ œ œ œ œ œ œ œ œ # ^œ œ œ œ œ œ œ œ & # ‰ J Figure 30 - Triple‰-tonguingJ in Laws's solo‰ onJ "Spain." ‰ J Œ 45 46 47 48 The starting pitches of each triplet starting from the high A-sharp down to E are a whole tone apart andG² make up a tritone. This creates a unique sound when played over the F-sharp7. œ œ œ œ œ œ œ œ ^œ ^ œ œ ^ œ œ œ œ ^ In the second chorus œover the F-sharp7 œ(mm. 53-56),œ Laws changesœ thingsœ a bit with aœ # J J J J J J & # ‰ ‰ ‰ ‰ ‰ ‰ three-note motive 49and the use of double 50tonguing (see Figure 5131). 52

Figure 31 - Mm. 53-56 of Laws's solo on "Spain." E‹ÞAÞ 3 4 nLaws’s^œ ^ ability to play a continuingœ œ phrase in the highest œregisterœ bforœ a œsustainedœ period is œ ^œ œ œ œ œ œ nœ œ nœ bœ shown# in measures 73-77 (see Figure 32). Sustaining the momentum of a passage like this & # ‰ J ÓŒ 57 58 59 60 requires quite a bit of air, and combined with the double tonguing, this is a challenging passage indeed.D The² woodwind specialist and jazz flutist willG n²eed to slowly develop the double tonguing œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ ˙ skills# to be ableJ to executeJ this passageJ with consistently.œ In transcribingœ œ œ this section,œ œ it was & # ‰ ‰ ‰ J 61 62 63 64 necessary to practice it many times before it was possible to come close to the speed and accuracy with which Laws executes it.

B‹Þ BÞ ^ ^œ #œ œ œ ^ ^œ œ œ œ ^œ œ œ œ ^œ ^œ # #^œ œ œ ^œ œ & # ≈ ‰ J ‰ J ‰ J 69 70 71 72

G² Spain œ œ œ œ œ œ œ œ œ œ œ œ œ Hubertœ œ œLawsœ Fluteœ œ Transcriptionœ œ œ œ œ œ # œ œ œ Oliver Nelson Jr œ œ Chick Corea & # Œ G²F©Þ 73 74 75^ 76 ^ ^ 3 #^œ ^œ œ ^ ^ #^œ ^œ œ œ # Ò œ#œ ^ #œ F©Þ & #4 ∑ ∑ Ó œ #œ œ 2–4 5#œ œ 6#œ œ 7 8 œ œ œ œ #œ œ4œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ # #œ œ J & # E‹Þ Œ‰ AÞ 77œ ™ 78 79œ 80 bœ œ œ ^ ^œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ ## J ‰ J œ Œ œ œ œ Figure& 32 - Phrasing in the highest register in Laws's solo on "Spain." E‹Þ9101112AÞ nAsœ statedœ œ before, Laws was moving away from the bebop-based language and œ œ œDœ² œ œ œ œ œ bœ nœ bœ bœ nœ bœ œ ## J J œ œ œ œ œnœ#œ substituting& pentatonic‰ scales# ^œwhere‰ bebop^œ scales≈ could^ have been used. An^ example of this œcannœ 81& # 82#œ 83œ nœ 84 ∑ be found measures 15 and 16 (see Figure 33). 13 14 D²G² G²^ C©Þ ^ œ œœ œ œ^ ^ ^ œ ^ # ^ œ œœ œ œ œœ œ ^œ œ œœ œ ^ œ#^œ ^œ œ œ ^œ œ œ œ #^œ œ & # œ Œ‰ œ œ#œ œ œœ œœ J ‰ œœ ŒŒŒ J J 85& # 86‰ 87J 88 ‰ ‰ 15 16 17 18

C©ÞF©Þ F©Þ B‹Þ Figure 33 - Substituting pentatonic for bebop scales in mm. 15-6 of Laws's solo on "Spain." œ ^œ ^œ ^œ^ œ ^œ œ ^œ ^œ œ œ œ ^œ ^ œ œ # The# beautyœ nœ of jazz# improvisation^œ œ #œ is œthat# œone has choices.œ As Laws^ puts it, “a œclassicalœ & # ‰ œ # ŒŒŒ‰ J J ‰‰Jœ ‰ œ œ Ó ÓŒ‰J ‰ J ‰ J 89&J 90 91 92 player has to yield his will.”26 One must19 determine what to say 20 musically,J which in 21turn affects 22 BÞ whetherB‹ oneÞ will chose a bebop or pentatonic sound. It is so importantBÞ toG know² the sound œ œ œ ^ ^œ ^œ œ œ œ œ œ œ # œ œ œ œ œ bœ œ bœ œ nœ œ œ œ harmonically# ^œ œso that one canœ# make^ the most appropriate musical decision J‰spontaneously.J ‰ J ‰ J ‰ ‰ J & # #œ ‰&J œ ‰ nœ œ œ œ œ ∑∑ 9323J 94 24 95 25 96 26 As in past solos, Laws seems to gravitate toward a particular scale sound over a particularF©Þ chord or chord progression and uses it in the same way every time. In measures 35-36, he uses^^ an œ œ œ œ œ œ œ œ #œ œ #œ œ A diminished scale starting# onJ the 6th degree of the scale over an A7 chordJ (seeJ FiJgure 34). J J & # ‰Œ Œ ‰ ‰ ‰ ‰ ‰ 27 28 29

3 26 Phone interview with the author, August 25, 2015. 3 3 3 3 3 3 3 3 #œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ 39œ œ œ œ œ œ œ œ œ # J & # Œ‰ 30 31 32 Spain 3 G² C©Þ ˙ œ œ ™ œ ^ ^ # œ œ œ œ œ œ œ œ œ œ bœ bœ œ bœ bœ nœ & # ‰ J œ ‰ J ‰ J ‰ J J 63 64 65 66

BÞ G² 2 ^ œ œ ^ œ œ ^ Spain^œ œ œ œ œ E‹œÞ œ œ œ œ^ œ œ œ œ œ œ œ œ œ œ ## Jœ J œ & ^œ œ ‰ ‰œ œ Œ œ ^œ ## 71J 72J 73J 74 & ‰ ‰ ‰ Œ 33F©Þ 34 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ # œ œ #œ œ # 3 & AÞD² ^ Œ 75nœ bœ bœ nœ 76 77#œ œ œ 78 # œ œ œ œ bœ nœ bœ œ œnœ œ œ#œ œ nœ œ œ œ ^œ & # #œ œnœ E‹œÞ œ 35 36œ 37 38 œ œ #œ œ #œ œ œ œ #œ œ #œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ # FigureJ 34 - Mm. 35-6 of Laws's solo on "Spain." J J & #G²‰ C©Þ ‰ ‰ ≈ 79 80 81 82 Another example is found in^ measures 83-84 (see Figure 35).b œ nœ bœ bœ bœ nœ bœ bœ ^ # œ œ œ œ œ œ œ œ œ œ œ œ nœ œ nœ & # AÞŒŒ D² #œ œ 39nœ bœ bœ nœ 40 41 42 œ # œ œ œ œ bœ bœ œ œnœ ^ œ œ œ œ œ œ # #œ œnœ œ Œ‰ œ œ œ œ œ & F©ÞB‹Þ Spain 83 84 85 86 Hubert LawsG Flute² Transcriptionn^œ ™ nœ ^ ^œ ^ ^ ^Figure 35 - Mm.bœ 83-4 of Laws'sbœ solo onbœ "Spain." nœ ^ œ œ œ œ œ œ #Oliverœ Nelson Jr J J Chick œCorea œ œ œ & # ^ Œ‰ ‰ J ‰ J Interestingly, however, in the œsame A437 progressionœ of the 44last half of measure 10 45 (along with ^ 46 G²F©Þ # œ œ œ &^ #^ ^ ^ ‰ ^œ measures3 11-12), Laws#^œ connectsœ œ both^ pentatonic and diminished^ # ^œscaleœ sounds,87œG² thereby givingJ it a # Ò œ#œ ^ #œ & #4 ∑ BÞ ∑ C©Ó Þœ ^ œ œ œ œ œ F©Þ œ œ ^œ 2–4 5 6 7œ 8 œ œ ^œ 4 unique twist (see Figure 36# ). œ œ ^œ œ ^ œ ^ ## œ ‰ œ œ œ ‰#œœ nœ Œ ^œ #^œ ‰ Jœ ‰œ J ^ & # AÞ J J œ œ ‰ œ œ E‹Þ & ŒŒŒ47 48‰ J ŒŒŒ 49 50 œ ™ œ ^ œ œ œ88 89bœ nœ bœ 90 91 J # œ ^ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F©Þ & # J ‰ J œ Œ œ B‹Þ BÞ 9101112œ ^ œ ^ œ ^ # œ ^œ œ œœ œ ^œ œœ ^œ ^ #œ ^œ #^œ #œ œ #œ œ #œ œ # Ó œœ #œ ‰ J œ ‰ nœ œ œ œ œ ∑ D²Figure 36 &- Pentatonic#G² and diminishedJ scales in mm.J 10-12J of Laws'sJ solo on "Spain." J J & # 92‰ ‰ ‰ 93‰ J Œ‰ 94‰ 95 ^ 51œ œ œ ^ 52^œ 53 54 # œ ^œ ^ Finally,^ I would suggest listenœ œingœ to theœ original versionœ of “Spain”œ œ ^onœ Corea’s Light as a # #œ nœ ∑ œ œ ‰ J & œ E‹Þ 13Feather album. Joe 14 Farrell plays flute 15on this recording. Both versions 16 contain a wealth of C©Þ#œ œ F©Þ œ œ #œ œ œ œ œ œ ^ œ #œ œ œ œ #œ œ nœ ^œ ^ œ œ œ œ information that ca^n be used# by both^ woodwind specialist^ and jazz flutist.^ ^ œ #^œ ^œ ^œ œ ^œ œ œ œ #^œ# œ œ œ #œ œ œ œ œ œ œ ‰ J Ó # J & J J J J & # ‰ ‰ 55‰ ‰‰ 56 57 58 17 18 19 20 B‹ÞBÞ 3 4 D² œ œ AÞœ œ œ œ œ^ b^œ œ œ nœ œ œ œ œ œ œ œ œ ^œ œ œ œ œ œ œœnœœbbœœ œ b™œ œ œ œ œ œ œ œ # J J# J œ J J J œ & # ÓŒ‰‰& #‰Œ ‰ ‰ 21 2259 23 60 24 61 62 40 G² œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ nœ œ œ œ & # J‰J ‰ J ‰ J ‰ ‰ J J ‰Œ Œ ‰ J ‰ J J ‰ 25 26 27 28 F©Þ #^^œ œ #œ œ # J J & # ‰ ‰ 29

3 3 3 3 3 3 #œ #œ œ œ #œ œ œ 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # J & # Œ‰ 30 31 32

Conclusion

Hubert Laws is one of the most accomplished and versatile jazz flutists of his generation.

He went through a development process similar to most, if not all, great musicians, spending time listening to and emulating the most important and influential classical flutists and jazz improvisers during his early years. During this development process, he performed with a variety of groups, thus opening his eyes to a variety of musical styles. After Julliard, he was willing to continue to explore numerous musical avenues, which prepared him for additional opportunities.

As his early recordings reveal, his command of the flute put him in a very special group of jazz flutists. He continued to develop as an improviser, going from bebop to post-bop to jazz fusion, funk, rhythm and blues. By 1975, Laws had exposed his fans to his unique ability to perform at a high level no matter what musical genre he came in contact with.

The six transcriptions included in this essay show how his improvisational development evolved. From the beginning of his recording career with “Bessie’s Blues” to his 1975 video of

“Spain,” the fundamentals of tone and classical technique have been an integral part of his jazz improvisations. This essay identified and discussed his ideas on tone, as well as the thoughts of several woodwind specialists and jazz flutists, the methods he used for tone development, and the resources that are available to help the woodwind specialist and jazz flutist acquire a solid flute tone. The classical flute techniques he used were also identified, along with the recourses necessary to develop it within one’s own playing. This essay analyzed his improvisations utilizing jazz theory and demonstrated how and why they were musically effective. Most importantly, this essay demonstrated how classical flute training can be combined with solid jazz skills to produce very creative jazz improvisations.

There is much to be learned from studying his recordings and approach to both flute and improvisation. Firstly, Laws is a student of music, embracing numerous musical genres and utilizing them both in his compositions and performances. Secondly, he is a student of traditional classical flute literature, taking the time and energy to absorb the necessary skills that allowed him to perform with major symphony orchestras and other classical ensembles. Thirdly, he is student of jazz improvisation, which allows him to perform at the highest level with the best and most recognized jazz artists in the world.

The analysis of his tone, technique, and jazz improvisations addressed in this essay will assist the woodwind specialist and jazz flutist in becoming better musicians and jazz players; however, the ideas and techniques discussed serve no useful purpose without also adopting one of Laws’s greatest attributes: his work ethic. In an interview, Laws stated that, “in order to be extraordinary, you have to do extraordinary things.”

Hubert Laws was recently honored in the 80th annual Dowbeat Magazine readers poll, winning in the flute category. He has received this honor for seven consecutive years. In an article entitled “Beneficiary of Circumstances,” he explains how being prepared for circumstances is beneficial.

I was a beneficiary of circumstances. Things happened spontaneously, from being in the right place at the right time. It wasn’t really planned. In New York, I recorded a lot of jingles and television commercials, then Broadway shows, and then the Philharmonic. No one was saying ‘Ok, you should go do this or that.’ I got calls to do it. But I always practiced very hard, because I wanted to develop my skill, and when the time came for me to perform, I wanted to be prepared. That’s why I practice so much, even to this day. In November, I’m playing a concert of that [Claude] Bolling suite in New York. It’s a demanding piece. I have to play the notes that were written for me, so I devote some time to keeping it under my fingers so I can play within a certain level of performance. 27

27 Ted Panken, Downbeat 82, no. 12 (2015): 48. 42

In order to achieve musical success, the woodwind specialist and jazz flutist must take a similar approach. Musical opportunities will present themselves and one must prepare through hard work. It will take time to master the skills addressed here; however, the reward for this effort is found in being able to express oneself musically and convincingly in a variety of ways.

Appendix 1 – Transcriptions

Insert list of all transcriptions including recording dates, album titles, and personnel.

Song: “Bessie’s Blues” Album: Album Title Date: 1964 Album Artist: Hubert Laws Composer: Hubert Laws Personnel: - Hubert Laws, flute - Chick Corea, Piano - Richard Davis, Bass - Jimmy Cobb, Drums

Song: “Shades of Light” Album: Laws Cause Date: 1968 Album Artist: Hubert Laws Composer: Hubert Laws Personnel: - Hubert Laws, flute - Kenny Burrell, Guitar - Karl Porter, Bassoon - Jimmy Owens, Flugelhorn - Chick Corea, Piano - Ron Carter, Bass - Grady Tate, Drums

Song: “Windows” Album: Laws Cause Date: 1968 Album Artist: Composer: Personnel: - Hubert Laws, flute - Chick Corea, Piano - Ron Carter, Bass - Grady Tate, Drums

Song: “Killer Joe” Album: Walking In Space Date: 1969 Album Artist: Quincy Jones 44

Composer: Benny Golson Personnel: - Hubert Laws, flute - Bob James, Electric Piano - Ray Brown, Bass - Grady Tate, Drums - Big Band

Song: “Along Came Betty” Album: Body Heat Date: 1974 Album Artist: Quincy Jones Composer: Benny Golson Personnel: - Hubert Laws, flute - Bob James, Piano - Chuck Rainey, Bass - Grady Tate. Drums - Big Band

Song: “Spain” Album: Album Title Date: 1975 Album Artist: Chick Corea Composer: Chick Corea Personnel: - Hubert Laws, flute - Chick Corea, piano - George Benson, Guitar - Bill Watrous, Trombone - Stanley Clarke, Bass - Lenny White, Drums

Bessie's Blues (Lead Sheet) Hubert Laws

F² E7(b5) A7 D‹7 D¨7 4 3 ° &b Ó Œ ™ œbœ œ œ œ Œ ‰ j œbœ œ œ œ Œ ‰ j œbœ œ œ œ œ œ œ œ œ 4 œ œ œ¢ œ œ œ œ œ œ

5 C‹7 F7 B¨² E¨7 3 œ b bœ œ œ Œ bœ œ Œ ‰ j bœ œ Œ ‰ j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

8 F7 E7 E¨7 D7 BØ7 œ E7 b œ œ œ ‰ j œ œ œ ‰ œ œ ™ œ & œbœ œ œ œ œ œ œ œ œ œbœ œ œ œ œ nœ J J 3 11 C‹7 F7 B¨7 E7 A‹7 D7 A¨7 G‹7 C7 b œ œ œ Œ œ œ œ 3 œ œ œ œ œ nœ#œ œ œ j‰ & œ œ œ œ bœ œ œ œ œ œ œ 3 3 3 3

Shades of Light Lead Sheet Hubert Laws

œ ™ œ œ ° A˙‹7™ D7 œ œ F˙‹7™ B¨7œ G¨7 G7 A¨7œ ™ œ œ A˙‹7™ D7 œ œ F˙‹7™ B¨7œ 4 ‰ ™ œ w ‰ œ &4 ¢ ™

Windows Lead Sheet Chick Corea

10 A‹7/D EŒ„Š7(b5) ™ ™ bœ ™ #œ ™ œ œ œ œ ˙ ˙ Œ Œ œ œ œ ˙ ™ b˙ ™ &<#>˙ ™ #˙ ™ #˙ ™ 3 20 A¨7#œ A7™ A¨7#œ A7™ < > ™ ™ bœ ™ œ ™ bœ œ #œ nœ ™ bœ #œ nœ ™ & b ˙ #˙ ™ œ #˙ ™ Œ ‰ J ‰ ‰ J Œ bœ 29 A¨7 œ A7 ™ A7 œ œ A7 A¨7 E² D©‹7 C©‹7 C©‹7/B bœ #œ J nœ ™#œ #œ J œ #œnœbœ#œ œ œnœ b˙ ™ ˙ ™ œ ™ nœ ™ #œ ™ ™ & J ‰ ‰ J œ 3 3

37 B¨‹7(b5) B¨7(b5)/A¨ E¨7/G E¨7 A¨‹7 A¨‹7/G¨ #˙ ™ ˙ ™ œ ™ bœ ™ ™ ™ ™ ™ & œ bœ n˙ ˙

Killer Joe Hubert Laws Flute Transcription Oliver Nelson Jr Benny Golson C7 B¨7 C7 B¨7 C7 ^ 3 3 4 Ó œ Œ ‰ j bœ ™ j Ó bœ ‰ œ œ bœ &4 œ œ œ œ œ œ œ œ ˙ ™ œ œ œ œ œ J œ 6 B¨7 C7 B¨7 bœ bœ nœ œ bœ bœ œ bœ nœ œ jbœ œ œ œnœ œ œ œ œ bœbœ œbœ nœ œ & Œ ‰bœ œbœ nœbœ bœ œnœ nœ œ

C7 B¨7 C7 B¨7 nœ> œ ^œ œ œ bœ bœ ^œ ^ 9 ^œ bœ œ ^œ œ n^œ ^œ bœ 3œ œ -œ ^ & ‰ J ‰ J ‰ J ‰ ‰ J œ J ‰ J

C7 3 B¨7 C7 B¨7 . œ. œ. œ. 3 3œ. œ. 3 œ. 3œ. œ. 3 œ 13 œ . 3...... ^œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ -œ bœ œ ^œ bœ œ œ & ‰ J ‰ J Œ ‰ J

EØ7 A7(b9) E¨‹ A¨7 17 > nœ bœ3 œ œ œ bœ œ ™ œ œ J bœnœ bœ œbœbœ & J ‰ J Œ Œ ‰ bœbœ bœ ™ œ bœ bœ ˙

21 A7 œ A¨7 bœ bœ nœ bœ bœ bœ œ œ bœ #œ œ nœ #œ œ bœ nœ bœ bœ œ bœ bœ & Œ nœ nœ œ œ œ ≈

23 E‹ A7 nœ n^œ #œ œ œ œ œ œ ^ nœ #œ #œ #œ nœ œ & nœ nœ nœ œ nœ œ #œ œ bœ nœ #œ #œ bœ œ

25 C7 B¨7 C7 B¨7 ^ ^œ nœ œ nœ œ œ œ#œ nœ ^œ œ 3 - ^ - & nœ nœ J ‰ œ œ œ œ ™ œ bœ œ ˙ bœ œ œ œ œ œbœ œ

29 C7 B¨7 C7 œ œ bœ Bœ¨7 bœ bœ bœ C7 œ œ œ œ nœ œ œ bœ œ œ œ œ œ j &#œ œ ‰ nœ b˙ J‰ J‰ ≈ œ œ nœ ‰ Œ Ó

Killer Joe Lead Sheet Benny Golson

C7 œ œ Bw¨7 C˙7 B¨7 C7 œ œ B˙¨7™ œ Cw7 4 Ó œ œ œbœ w Ó œ œ &4

8 B¨7 C7 B¨7 C7 B¨7 C7 B¨7™ C7 w œ œ œ w ˙ œ œ œ œ œ ˙ œ œ w & Ó bœ w Ó

16 B˙¨7™ EØ7 A7(b9) E¨‹ A¨7 A7 A¨7 E‹ ˙ #w ˙ b˙ nw & Œ w ˙ ˙ bw ˙

24 A7 C7 B¨7 C7 ˙ ™ œ œ œ w ˙ œ œ & Œ Ó bœ

28 B¨7 C7 B¨7 C7 B¨7 œ œ œ ˙ ™ œ œ w w &w Ó

Spain Lead Sheet Chick Corea

19 ## œ œ œ œ œ j œ œ j j œ œ œ œ œ œ & œ ‰ J Œ ‰ J œ ‰ œ Œ ‰ J Œ œ œ œ œ œ ‰ J

24 # œ j j œ œ & # œ œ œ œ œ ‰ j ‰ œ Œ™ #œ œ#œ ‰ j #œ #œnœ œ J Œ œ œ œ œ J œ œ œ œ œ œ

37 E‹7 A7 D² ## ˙ œ ™ œ œ 3 œ œ œ œ ™ œ œ œ w & Ó J œ w w Œ œ œ J 3

49 B‹ B7 ## ˙ ˙ ˙ ™ & Ó œ w w ˙ Ó 3

Bibliography

Books Gridley, Mark C. Jazz Styles. Englewood Cliffs, New Jersey: Prentice-Hall, 1978. Jones, Quincy. Q: The Autobiography of Quincy Jones. New York: Doubleday, 2001. Kahn, Ashley. The House That Trane Built. New York: W.W. Norton & Company Ltd, 2006. Owens, Thomas. Bebop. New York: Oxford University Press, 1995. Powell, Ardal. The Flute. New Haven: Yale University Press Publications, 2002. Sinclair, John D. Flute Stories 101. Malibu, CA: Windplayer Publications, 2003. Stoune, Michael, ed. The Flutist's Handbook A Pedagogy Anthology. Santa Clarita, CA: The National Flute Association Inc, 1998.

Thesis Walker, Vanessa G. Hubert Laws - Observations of His Life, Philosophy, and Jazz Improvisational Techniques Masters. Masters Thesis. Bowling Green State University, 1980.

Journal and Magazine Articles Albertson, Chris. "Hubert Laws, Flutist.” Stereo Review, November, 1974. Berg, Chuck. "The Pied Piper of Houston.” Downbeat, May 20, 1977. Fiofori, Tam. "Mr. Flute." Melody Maker, December 23, 1972. Jicha, Victoria. “Hubert Laws Was the First Classically Trained Flutist” Flute Talk, September, 2003: 7-10. Klee, Joe H. "Hubert Laws Record Reviews: Afro Classic.” Downbeat, May 27, 1971. Schaffet, Jim. "Hubert Laws In Review.” Downbeat, October 11, 1973. Suber, Charles. "Jazz Flute." The Instrumentalist, November, 1972.

Web Sources “Flute Improvisation By Hubert Laws.” Keynotes: Conn Selmer Inc. Accessed April 2, 2015. http://ws.conn-selmer.com/archives/keynotesmagazine/article/?uid=278.

Discography

Basie, Count. Afrique. Flying Dutchman, 1971. CD. Corea, Chick. Inner Space. Atlantic Recording Company, 1988. LP. Jones, Quincy. Body Heat. A&M Records, 1974. LP. Jones, Quincy. Gula Matari. A&M Records, 1970. LP. Jones, Quincy. Mellow Madness. A&M Records, 1975. LP. Jones, Quincy. Smackwater Jack. A&M Records, 1971. LP. Jones, Quincy. Walking In Space. A&M Records, 1969. LP. Laws, Hubert. Afro Classic. CTI, 1970. LP. Laws, Hubert. Crying Song. CTI, 1969. LP. Laws, Hubert. Flute By Laws. Atlantic Recording Company, 1966. LP. 71

Laws, Hubert. In The Beginning. CTI, 1974. LP. Laws, Hubert. Law's Cause. Atlantic Recording Company, 1968. LP. Laws, Hubert. The Laws of Jazz. Atlantic Recording Company, 1965. LP. Laws, Hubert. The Rite of Spring. CTI, 1971. LP. Stokes, Carl. The Mayor and the People. Flying Dutchman, 1970. CD.