John Devitt

Personal information
Full name	John Thomas Devitt
Nationality	Australia
Born	(1937-02-04) 4 February 1937 (age 75) Granville, New South Wales
Height	1.85 m (6 ft 1 in)
Sport
Sport	Swimming
Stroke(s)	freestyle
Club	Queensland
Medal record Men’s Swimming Competitor for  Australia Olympic Games Gold 1956 Melbourne 4×200 m freestyle Gold 1960 Rome 100 m freestyle Silver 1956 Melbourne 100 m freestyle Bronze 1960 Rome 4×200 m freestyle

John Thomas Devitt (born 4 February 1937 in Granville, New South Wales) was an Australian sprint freestyle swimmer of the 1960s, who won a gold medal in the 100 m freestyle at the 1960 Summer Olympics in Rome. He won in controversial circumstances, being awarded the gold medal despite the timekeepers recording a slower time than the silver medallist Lance Larson of the United States. He also claimed a gold medal at the 1956 Summer Olympics in Melbourne, in the 4×200 m freestyle relay.

Growing up just 250 m from the Granville Olympic Pool, Devitt learnt to swim as part of the government-funded Learn to Swim program. He was educated first at Trongate School, and later at Parramatta Marist High School in Parramatta. Both were Roman Catholic schools, where he also swum competitively for the school team. Devitt was initially trained by Tom Penny at the Clyde Swim Club, based at the Granville Pool, until it disbanded in 1947 and he moved to Manly Swim Club along with Penny. Devitt remains a member of the Swim Club. Penny often allowed his swimmers to train in warm waters by having them swim against the current of discharged water from a power plant. Devitt believed that such training gave him an advantage as it taught him to be unaffected by "rain, heat, currents or any other natural or unnatural variables".

Devitt's first forays into national competition were at the 1952 Australian Championships, where he was continually in the shadow of club-mate Barry Darke, who set five Australian records in their age group. Devitt trailed Darke again at the 1953 championships, but Darke retired afterwards to become a mechanic, leaving Devitt to dominate his age group. However, in the open ranks, he was often beaten by Jon Henricks in the sprint events, and Gary Chapman and Murray Rose in the longer events. Rose and Henricks went on to claim individual gold at the 1956 Summer Olympics. At the age of 18, with Henricks initially sidelined by injury, Devitt was named as the captain of the New South Wales team for the 1955 Australian Championships. However, Henricks recovered and relegated Devitt to silver in the 110yd freestyle. He claimed silver in the 220yd freestyle, behind Rose. Devitt's decision to concentrate on sprinting led to conflict with Penny, and he then left Penny and began self-coaching. After beginning to regress, Devitt considered retirement, until he joined Sam Herford at the Spit Baths alongside Murray Rose.

At the 1956 Australian Championships, Devitt finished third in the 110yd behind Henricks and Chapman, and fifth in the 220yd behind Chapman to gain Olympic selection. After a ten-week national training camp at the Tobruk Pool in Townsville, Queensland, Devitt was named as the national captain for the 1956 Summer Olympics in Melbourne. Devitt's first event was the 100 m freestyle, where he won his heat and then his semi-final to qualify in second place for the final, where he matched Henricks for the first 80 m, before Henricks surged to claim gold. Chapman completed an Australian sweep by finishing third. For the 4×200 m freestyle relay, Devitt had clocked the fourth fastest time at the Australian Championships. After swimming the fastest leg in the heats of the relay, he was selected along with Rose, Henricks and Kevin O'Halloran for the final. The Australians won the gold medal in a world record time, with Devitt clocking the fastest leg in the whole race.

In January 1957, Devitt set a world record in both the 100 m and 110yd freestyle, and lowered the 100 m freestyle world record to 54.6s later that month at the Queensland Championships. He then won his first individual Australian title in the 110yd freestyle. With Henricks and Rose swimming and studying in the United States, Devitt became the dominant Australian freestyler, and decided to continue his career until the 1960 Summer Olympics, supporting himself as a health inspector for the Townsville City Council. In 1958, after claiming the Australian 110yd title, he claimed three golds at the 1958 British Empire and Commonwealth Games in Cardiff in the 110yd freestyle, and the 4×110yd freestyle and medley relays. In 1959, Devitt again lowered the 110yd freestyle, but was later defeated at the Australian Championships by John Konrads, who won every freestyle title from the 110yd to 1650yd events.

In 1960 Devitt reclaimed his 110yd Australian title, and at the pre-1960 Summer Olympics camp in Townsville, broke the 4×100yd freestyle relay along with Henricks, Geoff Shipton and David Dickson. At the 110yd freestyle trial, he came third behind Henricks and Shipton, and was controversially selected as the second Australian representative, by selectors who ignored Shipton. He also finished fifth in the 220yd freestyle and was initially left out of the 4×200 m freestyle relay team. Devitt was again named the national captain.

On arrival in Rome, Henricks was forced to withdraw from competition after falling ill. Devitt held a solid lead until the last 10 m when Larson surged and both appeared to have touched the wall together. Of the three judges who determined the first-place winner, two awarded Devitt as the winner. However, of the three judges assigned to allocate the second-place winner, two believed Devitt to have come second. Moreover, the three timekeepers assigned to the contest all believed Larson had won, giving times of 55.0s, 55.1s and 55.1s, while awarding three 55.2s for Devitt. Nevertheless, the chief judge overruled the timekeepers, setting Devitt and Larson's times to 55.2s each and allocating the gold to Devitt on the evidence of the first-place judges. Multiple protests by the Americans continued for several years, to no avail. Devitt also competed in the 4×200 m freestyle with Rose, Konrads and Dickson, winning a bronze medal.

Upon returning to Australia, Devitt retired and began working for Speedo. He rose from a salesman to become the European manager, and later, manager of the International section. In 1979, he combined with Terry Gathercole to begin their own aquatic equipment firm. In the 1980s, he became an Olympic administrator, serving on the Australian Olympic Committee executive. He was involved in Sydney's winning bid for the 2000 Summer Olympics and was the Australian team manager for the 2006 Commonwealth Games.

References[link]

• sports-reference
• Andrews, Malcolm (2000). Australia at the Olympic Games. Sydney, New South Wales: ABC Books. pp. 129–131. ISBN 0-7333-0884-8. 
• Howell, Max (1986). Aussie Gold. Albion, Queensland: Brooks Waterloo. pp. 142–146. ISBN 0-86440-680-0. 

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2010)

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Armando Anthony "Chick" Corea (born June 12, 1941)^[2] is an American jazz pianist, keyboardist, and composer.

Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.^[2] Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.^[3]

His career has been driven by his will to operate as a free agent and compulsively explore different avenues of music making. This hunger has positioned him as an important catalyst in the world of serious, mainstream acoustic jazz, and he is one of the most influential and widely studied figures in the last 40 years.^[4]

Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy,^[5] and is a Scientologist.^[6]

Life and career[link]

Youth[link]

Armando Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.^[7] His father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for the Knights of St. Rose, a drum and bugle corps based in Chelsea.

Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club.

He eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.

Early career[link]

Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.)

His first album as a leader was Tones for Joan's Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums and Miroslav Vitouš on bass.^[2]

He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).^[2]

Avant garde period[link]

Chick Corea, 2007

From 1968 to 1971 Corea had associations with avant garde players and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell's Song of the Wind album on CTI Records.

In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way, and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland, and Jack DeJohnette combined elements of free jazz improvisation and rock music.^{[citation needed]} Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano.

In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.^[2]

Holland and Corea left to form their own group, Circle, active in 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972 Corea struck out on his own.

The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.^[8]

Jazz fusion[link]

Bobby McFerrin and Chick Corea, New Orleans Jazz and Heritage Festival in 2008

In the early 1970s Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums. Corea's compositions for this group often had a Brazilian tinge. In 1972 Corea played many of the early Return to Forever songs in a group he put together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name.

Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977 named "Romantic Warrior". Thereafter, Corea focused on solo projects.^[2]

Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album Play. Corea usually performs "Spain" with a prelude based on Joaquín Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".

In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electric violinist Jean-Luc Ponty.The record was somewhat misunderstood at the time but it is considered nowadays as a true example of Corea's ability to write fussion material. The album combined jazz, flamenco, supported by plenty of mini- moog backup and a powerful horn section.

The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Corea's influence in the genre.

Duet projects[link]

In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.

Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók.

In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.^[9] Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."^[10]

In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.^[11]

Later work[link]

Corea performs with Béla Fleck, March 1, 2008

Corea's other bands include the Elektric Band, the Akoustic Band, and Origin.

The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker.

In 1992 Corea started his own label, Stretch Records.^[2]

In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album Past, Present & Futures. The 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals.

He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums.

Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto – and an adaptation of his signature piece, Spain, for a full symphony orchestra – and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1 was specifically written for the Orion String Quartet and performed by them on 2004's Summerfest.

Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.

In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications.^[12] Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.

A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin, began a world tour in October 2008. Corea had previously worked with McLaughlin in Miles Davis' late 1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.

Scientology[link]

Corea says that Scientology has helped deepen his relationships with others, and helped him find a renewed path.^[3] Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."^[6]

Corea said that Scientology became a profound influence on his musical direction in the early 1970s:

I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people.^[13]

Due to Corea's religious affiliation, he was banned from performing in a concert to be held in Stuttgart, Germany, on August 15, 1993.^[14] Members of the U.S. Congress sent letters to the German government concerning a violation of basic human rights that are upheld by the German Constitution. The ban was not upheld, and in later years Corea performed in festivals in Germany, including several times at the government-supported International Jazz Festival in Burghausen where he was awarded a plaque in Burghausen's "Street of Fame" in 2011.^[15]

In 1998, Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, D.C., to honor 11 human rights activists.^[16]

Discography[link]

Awards[link]

Over the years, he has been nominated for 51 Grammy Awards out of which he has won 18:

Corea has also won two Latin Grammy Awards.

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.

In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).^[17]

See also[link]

	Biography portal
	Jazz portal
	Scientology portal

Wikiquote has a collection of quotations related to: Chick Corea

• Analog synthesizer

References[link]

External links[link]

• Official site
• Official discography
• Jazzreview.com biography
• Verve Records Archived October 13, 2007 at the Wayback Machine
• An Interview with Chick Corea by Bob Rosenbaum, July 1974 (PDF file) "You put these notes together and you come out with that sound, and isn't it beautiful. So what? What does it do to another person? What does it do to your neighborhood?"
• Chick Corea talks to Michael J Stewart about his Piano Concerto

Hubert Laws
Background information
Born	(1939-11-10) November 10, 1939 (age 72)
Origin	Houston, Texas, United States
Genres	Jazz, classical
Occupations	Musician
Instruments	Flute
Years active	1964–present
Labels	RKO/Unique, Sony, Music Masters Jazz, CTI, Columbia
Website	www.HubertLaws.com

Hubert Laws (born November 10, 1939)^[1] is an American flutist and saxophonist with a career spanning over 40 years in jazz, classical, and other music genres. Alongside Herbie Mann, Laws is probably the most recognized and respected jazz flutist. 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.^[2]

Biography[link]

Hubert Laws, Jr. was born November 10, 1939, in the Studewood section of Houston, Texas, the second of eight children to Hubert Laws, Sr. and Miola Luverta Donahue.^[1] Many of his siblings also entered the music industry, including saxophonist Ronnie and vocalists Eloise, Debra and Johnnie Laws. He began playing flute in high school after volunteering to substitute for the school orchestra's regular flutist. He became adept at jazz improvisation by playing in the Houston-area jazz group the Swingsters, which eventually evolved into the Modern Jazz Sextet, the Night Hawks, and The Crusaders. At age 15, was a member of the early Jazz Crusaders while in Texas (1954–1960), and he also played classical music during those years.

Winning a scholarship to New York's Juilliard School of Music in 1960, he studied music both in the classroom and with master flutist Julius Baker, and played with both the New York Metropolitan Opera Orchestra (member) and the New York Philharmonic Orchestra, 1969-72. In this period his renditions of classical compositions by Gabriel Fauré, Stravinsky, Debussy, and Bach on the 1971 CTI recording Rite of Spring—with a string section and such jazz stalwarts as Airto Moreira, Jack DeJohnette, Bob James, and Ron Carter—earned him an audience of classical music aficionados. He would return to this genre in 1976 with a recording of Tchaikovsky's Romeo and Juliet.

While at Juillard, Laws played flute during the evenings with several acts, including Mongo Santamaría, 1963–67 and in 1964 began recording as a bandleader for the Atlantic label, and he released the albums The Laws of Jazz, Flute By-Laws, and Laws Cause. He guested on albums by Ashford and Simpson, Chet Baker, and George Benson. He also recorded with younger brother Ronnie Laws album The Laws in the early 1970s. He also played flute on Gil Scott-Heron's 1971 album Pieces of a Man, which featured the jazz poem "The Revolution Will Not Be Televised." During the 1970s he was a member of the New York Jazz Quartet. He can also be heard playing tenor saxophone on some records from the Seventies.

In the 1990s Laws resumed his career, playing on the 1991 Spirituals in Concert recording by opera singers Kathleen Battle and Jessye Norman. His albums on the Music Masters label—My Time Will Come in 1990 and, more particularly, Storm Then Calm in 1994—are regarded by critics as a return to the form he exhibited on his early 1970s albums. He also recorded a tribute album to jazz pianist and pop-music vocalist Nat King Cole, Hubert Laws Remembers the Unforgettable Nat King Cole, which received critical accolades. Among the many artists he has played and recorded with are Herbie Hancock, McCoy Tyner, Nancy Wilson, Quincy Jones, Paul McCartney, Paul Simon, Aretha Franklin, Ella Fitzgerald, Sarah Vaughn, Lena Horne, Leonard Bernstein, James Moody, Jaco Pastorius, Sérgio Mendes, Bob James, Carly Simon, George Benson, Clark Terry, Stevie Wonder, J. J. Johnson, and The Rascals.^[3] In 1998, Laws recorded with Morcheeba for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.

The 2006 video Hubert Laws Live 30-year Video Retrospective, available only at hubertlaws.com, includes "Red Hot & Cool" with Nancy Wilson, Performance in Brazil, Johnny Carson Show Appearance, The 1975 Downbeat Reader's Poll Awards, Performance in Japan, and Performance in Germany.

Awards and honors[link]

In June 2010, Laws received a lifetime achievement award from the National Endowment for the Arts in the field of jazz.^[4]

Laws is a recipient of the 2011 NEA Jazz Masters Award.^[5]

Discography[link]

As leader[link]

As sideman[link]

With Chet Baker

• She Was Good to Me (1972)
• Studio Trieste (1982)

With George Benson

• Tell It Like It Is (A&M/CTI, 1969)
• The Other Side of Abbey Road (CTI, 1969)
• White Rabbit (CTI, 1972)
• Good King Bad (CTI, 1975)
• In Concert-Carnegie Hall (CTI, 1975)
• Pacific Fire (1983)

With Kenny Burrell

• God Bless the Child (CTI, 1971)

With Ron Carter

• Uptown Conversation (1970)
• Blues Farm (CTI, 1973)
• Spanish Blue (CTI, 1974)
• Anything Goes (Kudu, 1975)

With Chick Corea

• The Complete "Is" Sessions (1969)
• Tap Step (1980)

With Paul Desmond

• From the Hot Afternoon (A&M/CTI, 1969)

With Astrud Gilberto

• Gilberto with Turrentine with Stanley Turrentine (CTI, 1971)

With Grant Green

• The Main Attraction (CTI, 1976)

With Freddie Hubbard

• First Light (CTI, 1971)
• Skydive (CTI, 1972)

With Bobby Hutcherson

• Highway One (Columbia, 1978)
• Conception: The Gift of Love (Columbia, 1979)

With Solomon Ilori

• African High Life (Blue Note, 1964)

With Jackie and Roy

• Time & Love (CTI, 1972)
• A Wilder Alias (CTI, 1973)

With Milt Jackson

• Milt Jackson and the Hip String Quartet (Verve, 1968)
• Goodbye (CTI, 1973)

With Quincy Jones

• Walking in Space (1969)

With Harold Mabern

• Greasy Kid Stuff! (1970)

With Herbie Mann

• Glory of Love (CTI, 1967)

With Gary McFarland

• America The Beautiful, Am Account of its Disappearance (1968)

With Airto Moreira

• Free (CTI, 1972)

With Alphonse Mouzon

• Morning Sun (1981)

With Milton Nascimento

• Courage (A&M/CTI, 1969)

With Jaco Pastorius

• Jaco Pastorius (Epic, 1976)

With Mongo Santamaria

• Mongomania (Colombia, 1967)

With Lalo Schifrin

• Black Widow (CTI, 1976)

With Don Sebesky

• Giant Box (CTI, 1973)

With Gábor Szabó

• Mizrab (CTI, 1972)

With Bobby Timmons

• Got to Get It! (Milestone, 1967)

With Stanley Turrentine

• If I Could (1993)

With McCoy Tyner

• Together (1978)
• La Leyenda de La Hora (1981)

With Walter Wanderley

• When It Was Done (A&M/CTI, 1968)
• Moondreams (A&M/CTI, 1969)

With Randy Weston

• Blue Moses (CTI, 1972)

References[link]

External links[link]

• Hubert Laws official website
• Hubert Laws
• Allmusic