A key figure in the development of jazz's new direction in the late '60s and '70s (thanks in large part to his contributions to Miles Davis' pioneering fusion work), Chick Corea has since become one of the most influential musicians of the genre. The tracks on EARLY DAYS were recorded in 1969. Around the same time, the Davis Quintet was recording the epochal IN A SILENT WAY and BITCHES BREW. The material here, featuring sidemen Woody Shaw, Jack De Johnette, and Bennie Maupin, explores similarly abstract rhythmic excursions that favor texture and atmosphere over conventional song structure.

After the success of 1970's Afro-Classic, Hubert Laws re-teamed with arranger/conductor Don Sebesky for 1972's Morning Star, his third date for producer Creed Taylor's CTI. Laws' sidemen for the date included Ron Carter on bass, Bob James on electric piano, Billy Cobham and Ralph McDonald on drums, guitarist John Tropea, and vibraphonist/percussionist Dave Friedman. Rather than follow up Afro-Classic with another program of primarily classical numbers, Taylor, Laws, and Sebesky employed a large string, wind, and brass ensemble and went to the pop-jazz side of the spectrum. The title track of this gorgeous set is a laid-back, lilting jazz tune with Laws' flute introducing the melody, followed by a tight, economical yet lengthy and expressive James solo and the winds flowing in momentarily before the brass explodes into a gorgeous swing before disappearing again very quickly…

This is also known as Piano Greats (according to Amazon). the album consists of three sides by Corea (featuring Hubert Laws, Woody Shaw , Bennie Maupin , Dave Holland , Jack DeJohnette , and …), and three sides by Mike Longo – to provide, according to the sleeve notes, "a brief rest between the more demanding works composed by Chick Corea".

Wonderful sounds from Hubert Laws – and like some of his best CTI work of a few years before, a set that really goes way beyond any easy expectations! There's moments of ambition here that really link the record to Laws' CTI sides – that mix of fuller arrangements and higher-concept sounds that are a perfect fit for his careful tone on flute – sitting nicely alongside more easygoing fusion number that really flesh out the sound – some of those sparkling Columbia Records grooves from the start of the 80s that mix together acoustic and electric instrumentation! The album features Fender Rhodes and acoustic piano from Bobby Lyle, drums from Leon Ndugu Chancler, and bass from Nathan East – plus a bit of acoustic piano from Chick Corea, and guest vocals on one cut from Deborah Laws!

This album captured the event that more or less shouted the existence of the CTI label - previously little-known outside of musician circles - to the world. Along with veterans such as Stanley Turrentine and Hank Crawford, the album showcased the playing of Billy Cobham - about to emerge from the Mahavishnu Orchestra in a big way (stealing most of that band's energy and excitement with him when he left) - and comparatively new talents such as George Benson. Not all of the music has aged well - "Blues West" was definitely of its time, though it's still a great showcase for Benson's guitar and Freddie Hubbard's trumpet and, perhaps a little less enduringly so, Hubert Laws' flute. But "Fire and Rain" (a great jazz take on James Taylor's song), "Red Clay," and "Sugar" need no justification for a return visit four decades after the fact, with solos and explorations that will always stand the test of time.

Hubert Laws (born November 10, 1939) is an American flutist and saxophonist with a career spanning over 50 years in jazz, classical, and other music genres. Considering the artistry of the late Eric Dolphy and the popularity of the late Herbie Mann, Laws is notably in the company of the most recognized and respected jazz flutists in the history of jazz, (also the most imitated). Laws is one of the few classical artists who has also mastered jazz, pop, and rhythm-and-blues genres, moving effortlessly from one repertory to another…

Studio Trieste is an album by trumpeter Chet Baker, guitarist Jim Hall and flautist Hubert Laws which was recorded in 1982 and released on the CTI label. Chet Baker's CTI recordings (which were usually arranged by Don Sebesky) always came off well. For what would be his final CTI date, he was matched with guitarist Jim Hall, flutist Hubert Laws and a fine rhythm section for two jazz standards ("Django" and "All Blues") and a pair of unusual pieces ("Malaguena" and "Swan Lake"). Throughout, Sebesky's charts favorably showcase Baker's lyrical trumpet, making this a recommended LP.