"This double (de originale lp van 1974) album features flutist Hubert Laws at his finest. The music ranges from classical-oriented pieces to straight-ahead jazz with touches of '70s funk included in the mix. The supporting cast includes keyboardist Bob James on most tracks, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie on tenor (his solo on John Coltrane's "Moment's Notice" is arguably Ronnie's best ever on record). Whether it be works by Satie or Sonny Rollins, this recording is one of the most rewarding of Hubert Laws' career." (Allmusic)
Lang voordat Wynton Marsalis zich waagde aan het spelen van klassiek repertoire met een jazz-twist, durfde Hubert Laws het expiriment al aan. Of het resultaat nu echt als muziek in de oren klinkt? Daarover verschillen de meningen nogal. Critici en luisteraars zitten deze keer duidelijk niet op dezelfde golflengte. Wat kan je beter doen dan gewoon zelf gaan luisteren? (GR Muziekbank)
"Some of Hubert Laws' more commercial recordings left much to be desired, but at his best, he's been a highly imaginative soloist who can play jazz, classical and R&B equally well. A fine overview of his CTI efforts of the early to-mid-'70s, The Best of Hubert Laws is an eclectic and unpredictable CD that finds him offering adventurous interpretations of everything from John Coltrane's "Moment's Notice" to classical pieces by Stravinsky ("The Rite of Spring") and Bach ("Allegro from Concerto #3 in D"). While an NAC/smooth jazz artist would play a mindless, note-for-note cover of Maria Muldaur's "Midnight at the Oasis," the flutist insightfully transforms the 1974 pop hit into gritty jazz-funk. Electric keyboardist Bob James performs some excellent solos, which expose and underscore the vacuous and shallow nature of his subsequent work." (Allmusic)
"Issued in 1970 as his second album for Creed Taylor's CTI label, Hubert Laws' Afro-Classic is a classic for the manner in which Laws, with brilliant assistance from arranger Don Sebesky, melded the jazz and classical worlds -- not to mention pop -- into a seamless whole. Laws was the first artist signed to Taylor's imprint. His debut for the label, Crying Song, won critical notice, but it was Afro-Classic that established a new role for the flute in contemporary jazz. Herbie Mann may have been the first, but Laws explored jazz and all the sound worlds that informed it -- especially in the electric domain -- with the kind of grace and innovative vision that made him a mainstay". (Thom Jurek, Allmusic).
"Crying Song is an album by jazz flautist Hubert Laws released on the CTI label featuring performances of popular music (including songs by The Beatles and Pink Floyd) by Laws, recorded in Memphis with Elvis Presley's rhythm section and at Rudy Van Gelder's studio. Hubert Laws (born November 10, 1939) is an American flutist and saxophonist with a career spanning over 40 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 and 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." (Wikipedia)
"Other than a couple of obscure efforts for Buddah in 1970, this was percussionist Airto's debut as a leader, and this is still his most famous record. A brass section arranged by Don Sebesky is heard on two tracks, and such all-stars as keyboardist Chick Corea, flutist Hubert Laws, the reeds of Joe Farrell, and even pianist Keith Jarrett and guitarist George Benson make worthwhile appearances. Flora Purim joins Airto in the one vocal piece ("Free"), and "Return to Forever" receives an early recording. The music combines together jazz, Brazilian music, and aspects of fusion and funk quite successfully." (Scott Yanow, Allmusic; Allmusic rating: 5 uit 5 sterren)
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