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London Latin Jazz Fest LP REVIEW: Hubert Laws – LondonJazz - Facebook Afro Classic
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LondonJazz 1h News @LondonJazz Does anyone know if this report on Wilton Felder passing away is true or false? Hubert Laws – Afro Classic houstonpress.com/music/legendar (Speakers Corner/CTI 6006. LP review by Andrew Cartmel) Show Summary
LondonJazz Another classic from the CTI (Creed Taylor Incorporated) catalogue, revived on state 2h Broadbent Mancio Songbook News of the art vinyl by Speakers Corner. These are beautiful, lucid recordings engineered @LondonJazz by the great Rudy Van Gelder in December 1970, featuring flautist Hubert Laws as Newsweek feature about leader. Laws had begun recording his own albums at Atlantic (also the home of @gregoryporter Herbie Mann, the other leading exponent of jazz flute) before being lured away by newsweek.com/2015/10/09/rb- Creed Taylor. Laws’s jazz credentials are flawless, but he also had a considerable Show Summary presence in the world of classical music — having studied at Juilliard before playing orphy 9h with the New York Philharmonic and Metropolitan Opera orchestras. The ‘Classic’ in @Orphyvibes the title alludes to Laws’s interest in classical music, and in this pursuit he’s aided Magic Science Quartet - signifcantly by Don Sebesky, one of CTI’s cornerstone arrangers. Sebesky was a Marshall Allen & Henry graduate of the Tommy Dorsey and Stan Kenton big bands and had already scored Grimes with Black Top this Weds at 11.30 p.m. big (in every sense) for Creed Taylor with his work on some bestselling Wes Tweet to @LondonJazz Montgomery albums.
But before the classical explorations we’re treat to an astonishing version of James Taylor’s Fire and Rain. The hesitant lyricism of Laws’s flute sings the theme against IN THE TOP TEN PRS For Music Foundation a menacing drone of the bass (Ron Carter) and some ominous fragments of percussion (Airto and Richie ‘Pablo’ Landrum) which suggest the darker aspects of the song, before the childlike purity of electric piano by Bob James, echoed by Laws’s flute, profoundly changes the mood. A staccato stutter of military drums (Fred Waits) and fluttering flute effect another transformation. A sustained linear note from Laws fractures into coloured shards and precedes the most striking development in the piece. The song turns into an hallucinogenic tapestry of electronica, combining Gene Bertoncini’s guitar, David Friedman’s fuzz pedal vibes and Bob James’s keyboards and ends with an amazing, sustained electronic shimmer. An acid era masterpiece. Links We Like - UK Jazz Bach’s Passacaglia In C Minor opens with the powerful, dark murmurings of Ron bebop spoken here Jason Isaacs @ Bonbar, Carter’s bass, which provides soft shadowed slopes for the bright skating of Bob Newcastle - Sept. 27 James’ electric piano. Gene Bertoncini is also a master of the acoustic guitar, as he The Jazz Mann demonstrates here, and he’s accompanied by Carter doubling on electric cello. Michael Janisch - Michael Bertoncini’s strumming, Laws’s downward-spiralling flute and Bob James’s Janisch’s Paradigm Shift, Leam Jazz, Leamington Spa Rugby descending scales on the electric piano intertwine virtuosically. Meanwhile Airto and Club, Leamington Spa, Landrum’s catchy ethnic percussion provide some of the ‘Afro’ of the album’s title. 23/09/2015.
James plays his keyboards with a forceful percussive drive which pushes them to thebluemoment.com the edge of distortion and Fred Waits works alchemy with his drum kit. Bertoncini Discreet Music: 40 years on
swaps to electric guitar, Carter saws sour-sweet country licks on the electric cello. The Jazz Breakfast Then frayed, worrying phrases played by Laws on electric flute take the piece in a Liane Carroll – Seaside
fascinating new direction. Bertoncini returns for a lonely coda on acoustic guitar, Jazz Yorkshire ghosted by Carter’s bass before the ensemble returns, joined by Friedman’s vibes. Laura Kinsella and Ben UA Launch United Music Crosland premiere new work at Marsden Jazz Festival Attempts at ‘jazz meets classical music’ can go horribly wrong, but the poised Liam Noble's Brother Face beauty and understated elegance of the Passacaglia suggests that it’s a viable form blog after all. This entire album is also noteworthy for highlighting how effective and The Quiet Coach utterly musical even the oddest electric instruments can be, when used by the right Corey Mwamba's players working with the right arranger. This is a 1970s classic reborn on vinyl and Cognizance sounding superb. Voluntary jazz promotion in England: Questionnaire for musicians On Sunday, September 27, 2015 Jazzshaped The Neil Cowley Trio 'Touch and Flee' - Exceptional In Any Situation
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