Ronnie Laws -

Ronnie Laws is an American jazz-funk flutist and saxophonist who played in the 1972/73 lineup of Earth, Wind & Fire. Between 1975 and 1981, he cut three albums each on Blue Note and UA/Liberty.

His 1975 debut Pressure Sensitive produced “Always There,” while the 1977 album Friends and Strangers earned US gold certification. Laws placed seven albums on the Billboard 200 through 1983 and reached the R&B top 20 with “Every Generation” and “Stay Awake.”

Background

Ronnie Laws was born on October 3, 1950, in Houston, Texas; the fifth of eight children in the musical Laws clan that includes saxist/flutist Hubert Laws (b. 1939), jazz singer Eloise Laws (b. 1943), and R&B singer Debra Laws (b. 1956).

At age 11, Ronnie took up saxophone. For two years, he enrolled at Stephen F. Austin State University in Nacogdoches. In 1971, he moved to Los Angeles, where he joined Earth, Wind & Fire and played on their third album, Last Days and Time. After eighteen months, he embarked on session work.

Ronnie played on Hubert’s 1974 CTI titles In the Beginning and Then There Was Light (Vol. 1 and 2) and Black Jazz Records releases by Walter Bishop and Doug Carn. In 1975, he played on albums by Gene McDaniels and Side Effect.

Pressure Sensitive

Ronnie Laws released his debut album, Pressure Sensitive, in July 1975 on Blue Note.

The album joins eight compact instrumental and vocal pieces around keyboardists Jerry Peters and Joe Sample, guitarist Roland Bautista, bassist Clint Mosley, and drummer Steve Guttierez. Side Effect sings on “Momma,” while Wilton Felder plays bass on “Tidal Wave.” Laws co-wrote “Always There” with William Jeffrey and recorded Stevie Wonder’s “Tell Me Something Good.”

“Always There” locks into a taut rhythm-guitar figure beneath a contoured lead. “Momma” struts through interlocked clavinet and bass lines as group singing punctuates each turn. “Nothing to Lose” drives into Laws’s featured saxophone solo over tight breaks. “Tidal Wave” rolls through sustained strings and an unhurried lead.

A1. “Always There” (4:52) – Jeffrey, Laws
A2. “Momma” (4:20) – Bautista
A3. “Never Be the Same” (4:23) – Bautista, Cavanaugh, Laws
A4. “Tell Me Something Good” (4:50) – Wonder

B1. “Nothing to Lose” (4:54) – Laws
B2. “Tidal Wave” (4:08) – Jeffrey
B3. “Why Do You Laugh at Me?” (3:55) – Henderson
B4. “Mis’ Mary’s Place” (3:32) – Laws

Sessions occurred during March and April 1975 at Angel City Sound in Los Angeles. Blue Note producer George Butler shared production with Crusaders cofounder Wayne Henderson, who also contributed “Why Do You Laugh at Me?”

Blue Note issued “Always There” during 1975 (b/w “Tidal Wave”). The single reached No. 45 on the Billboard Hot Soul Singles chart.

Pressure Sensitive reached No. 73 on the Billboard 200 and No. 25 on the Top Soul Albums chart.

Fever

Ronnie Laws released his second album, Fever, in May 1976 on Blue Note.

The album expands the keyboard cast through Donald Hepburn, Michael Hepburn, and Bobby Lyle. Guitarist Marlin the Magician joins bassists Wilton Felder and Nathaniel Phillips. Laws wrote four titles, while the outside material includes the Eddie Cooley–John Davenport song “Fever,” the Margie Joseph–Arif Mardin composition “Stay Still (And Let Me Love You),” and Lyle’s “Night Breeze.”

“Let’s Keep It Together” stomps through tight accents and a compact lead phrase. “Captain Midnite” grinds through a gritty lead line. “Night Breeze” glides through an alluring lead over spacious accompaniment. “From Ronnie with Love” veers through angular phrases into a freer saxophone solo.

A1. “Let’s Keep It Together” (4:30) – Laws
A2. “Fever” (3:24) – Cooley, Davenport
A3. “All the Time” (4:00) – Jeffrey
A4. “Stay Still (And Let Me Love You)” (7:24) – Joseph, Mardin

B1. “Strugglin’” (4:08) – Murray
B2. “Captain Midnite” (2:58) – Laws
B3. “Karmen” (3:47) – Laws
B4. “Night Breeze” (6:29) – Lyle
B5. “From Ronnie with Love” (4:22) – Laws

Sessions spanned December 1975 through March 1976 at Total Experience Recording Studios in Hollywood. Butler continued as producer, with F. Byron Clark responsible for the recording.

Dale Frank arranged the strings. Bob Cato designed the sleeve during his run as Blue Note art director.

Fever reached No. 46 on the Billboard 200 and No. 13 on the Top Soul LPs chart.

Friends and Strangers

Ronnie Laws released his third album, Friends and Strangers, on April 4, 1977, on Blue Note.

The album reunites Laws with keyboardist Bobby Lyle and guitarist Roland Bautista. Keyboardist Larry Dunn, guitarist Melvin Robinson, bassist Nathaniel Phillips, drummer Steve Guttierez, and percussionist Vance Tenort complete the principal group. Singers Saundra Alexander, Deborah Laws, and Eloise Laws appear across the backing parts. Laws wrote four titles alone and shared the remaining credits with William Jeffrey, Dunn, and Eloise.

“Goodtime Ride” launches on stereo-spread synthesizer figures as Laws trades short phrases with wordless sighs. “Saturday Evening” saunters through a warm sung lead and answering phrases. “Friends and Strangers” settles from a descending opening figure into an easygoing lead. “Nuthin’ ’Bout Nuthin’” sways through a gospel-shaped theme. “New Day” surges through an ardent saxophone statement against springy bass accents. “Life in Paradise” drifts through unhurried phrases and spacious accompaniment.

A1. “Good Time Ride” (5:05) – Jeffrey, Laws
A2. “Saturday Evening” (4:34) – Laws
A3. “Friends and Strangers” (4:49) – Jeffrey
A4. “Nuthin’ ’Bout Nuthin’” (5:11) – Jeffrey, Laws

B1. “New Day” (6:17) – Laws
B2. “Life in Paradise” (7:01) – Laws
B3. “Same Old Story” (4:41) – Laws
B4. “Just Love” (3:25) – Dunn, Eloise Laws, Ronnie Laws

Sessions spanned January through March 1977 at ABC Recording Studios in Los Angeles with producer Wayne Henderson and engineer Mallory Earl. William Jeffrey arranged the strings. Ria Lewerke directed and designed the Blue Note package.

Friends and Strangers reached No. 37 on the Billboard 200 and No. 13 on the Top Soul Albums chart. The Recording Industry Association of America certified the album gold.

Flame

Ronnie Laws released his fourth album, Flame, on September 22, 1978, on United Artists.

The album marks Laws’s first sole production credit on a solo release. He wrote five of the eight titles alone and co-wrote “All for You” and “These Days” with Larry Dunn. Dunn also arranged those pieces and “Living Love,” his composition with Louise Hardy.

“All for You” struts through a light dance chant and smooth ensemble replies. “These Days” circles a recurring riff through a sleek small-group mix. “Flame” surges through an assertive saxophone solo before a midcourse ensemble break. “Living Love” glides across supple harmonies and soft accompaniment.

A1. “All for You” (3:04)
A2. “These Days” (4:35)
A3. “Flame” (7:06)
A4. “Living Love” (4:12)

B1. “Love Is Here” (4:53)
B2. “Grace” (6:02)
B3. “Joy” (5:34)
B4. “Live Your Life Away” (3:40)

Laws recorded Flame at Indigo Ranch in Malibu and produced the sessions under Wayne Henderson’s executive supervision. Bill Burks directed Bob Hickson’s illustrated cover.

“Love Is Here” reached No. 57 on the Billboard Hot Soul Singles chart. During 1979, “All for You” followed at No. 93 on the same chart.

Flame reached No. 51 on the Billboard 200 and No. 16 on the Top Soul Albums chart.

Pressure Featuring Ronnie Laws

During 1979, Laws appeared as the featured saxophonist on the self-titled Far Out album by Pressure. Wayne Henderson produced the eight-track release at Indigo Ranch.

The Pressure project reunited Laws with guitarist-singer Melvin Robinson from Friends and Strangers and engineer Chris Brunt from Flame. Guitarist-singer Pat Kelley, keyboardist Barnaby Finch, bassist Bobby Vega, and drummer-percussionist Art Rodriguez completed the instrumental group. Robinson, Kelley, Finch, and Vega also joined Ronnie on the 1979 Hubert Laws album Land of Passion, which placed both projects within the same Laws-family session circle.

A1. “That’s The Thing to Do” (4:57) – Melvin Robinson
A2. “Hold On” (5:28) – Pat Kelley, Moon Calhoun
A3. “Fantastic Dreams” (6:02) – Robinson
A4. “Can You Feel It” (3:36) – Bobby Vega, Laws

B1. “Shove It In the Oven” (5:04) – Pat Kelley
B2. “Peaceful Stream” (5:33) – Barnaby Finch
B3. “Stay Together” (4:02) – Robinson, Dwight Robinson
B4. “I Promise” (4:48) – Robinson

“That’s the Thing to Do” struts through an earthy dance figure and tight ensemble accents. “Shove It in the Oven” rolls through a sinewy chant and dense rhythmic replies. “Peaceful Stream” drifts from soft-edged passages into firmer syncopation and Brazilian-tinged turns.

Ronnie and his singer-brother Johnnie Laws produced Pressure’s self-titled album at Indigo Ranch Studios in Malibu. LAX Records issued Pressure featuring Ronnie Laws during 1979 through Far Out Productions.

Every Generation

Ronnie Laws released his fifth album, Every Generation, in 1980 on United Artists.

The album moves Laws further into sung material while retaining extended instrumental passages. Flutist Hubert Laws and harpist Dorothy Ashby join keyboardists Larry Dunn and Patrice Rushen. Drummer Ndugu Chancler and percussionist Paulinho da Costa complete the principal auxiliary group. Laws wrote six titles alone, shared “Love’s Victory” with Charlotte Stroud, and recorded William Jeffrey’s “Thoughts & Memories.”

“Young Child” glides through a buoyant dance pattern and bright accents. “Never Get Back to Houston” pleads through an extended, impassioned lead. “Every Generation” swells through tender lines and close harmonies. “Thoughts & Memories” drifts across a hushed instrumental theme. “Love’s Victory” settles into supple syncopation and warm harmonies. “As One” rises through polished phrases and a firm rhythmic bed.

A1. “Young Child” (4:38)
A2. “Never Get Back to Houston” (3:03)
A3. “Every Generation” (5:49)
A4. “Tomorrow” (3:45)

B1. “O.T.B.A. Law (Outta Be a Law)” (4:42)
B2. “Love’s Victory” (4:25)
B3. “Thoughts & Memories” (4:21)
B4. “As One” (4:07)

Laws recorded the album during 1979 at Devlin Sound, Indigo Ranch, and Jennifudy Sound. He produced the sessions with William Jeffrey as assistant producer and Chris Brunt as engineer. Bill Burks directed John Lykes’s sleeve illustration, with photography by Tom Gibson.

United Artists issued “Every Generation” as a 1980 single, which reached No. 12 on the Billboard Hot Soul Singles chart, the highest R&B position of Laws’s career.

Every Generation reached No. 24 on the Billboard 200 and No. 4 on the Top Soul Albums chart.

Solid Ground

Ronnie Laws released his sixth album, Solid Ground, in 1981 on Liberty.

The album retains keyboardist Larry Dunn, guitarist Roland Bautista, and bassist Nathaniel Phillips from the United Artists sessions. Keyboardists Barnaby Finch and Denzil Miller enter the group, while Hubert Laws returns on flute. Debra Laws and Eloise Laws join the backing singers. Ronnie Laws wrote six titles alone and shared “There’s a Way” with Dave Boruff and “Your Stuff” with Miller.

“Heavy on Easy” rolls through a springy synth-bass figure and taut accents. “Segue/There’s a Way” unfolds from a brief introduction into sung lines and saxophone responses. “Solid Ground” glides through a polished arrangement and supple syncopation. “Good Feelings” charges through brisk dance accents and an emphatic lead.

A1. “Heavy on Easy” (4:06)
A2. “There’s a Way” (3:57)
A3. “Stay Awake” (4:09)
A4. “Solid Ground” (4:34)

B1. “Your Stuff” (3:38)
B2. “Just as You Are” (3:59)
B3. “Summer Fool” (4:07)
B4. “Good Feelings” (4:21)

Sessions occurred at Indigo Ranch in Malibu and Concorde Recording Center in Los Angeles. Laws produced the album with chief engineer Chris Brunt; Gerry Brown handled additional overdubs.

Bill Burks carried the sleeve sequence into the Liberty release. Amy Nagasawa designed the inner sleeve, while Tom Gibson supplied the principal photography.

Liberty issued “Stay Awake” during 1981. The single reached No. 60 on the Billboard Hot 100 and No. 19 on the Hot Soul Singles chart. “There’s a Way” followed at No. 75 on the soul chart.

Solid Ground reached No. 51 on the Billboard 200, No. 17 on the Top Black Albums chart, and No. 100 on the UK Albums Chart.

Mr. Nice Guy

Ronnie Laws released his seventh album, Mr. Nice Guy, on September 24, 1983, through Capitol.

The album combines six Laws compositions with three outside selections. Guitarist Paul Jackson Jr., bassist Leon Johnson, keyboardist Larry Dunn, synthesist Michael Boddicker, and percussionist Paulinho da Costa appear in the studio cast. Greg Mathieson and Trevor Veitch wrote and produced “In the Groove,” while Laws produced the remaining tracks.

“Can’t Save Tomorrow” shuffles from plucked bass into metallic synthesizer chords and a fast syncopated figure. “Mr. Nice Guy” struts through brisk singing, electronic chirps, and sweet harmonies. “In the Groove” claps through a joyous lead and answering group phrases. “You” pleads through an impassioned lead as rasping horn accents break across programmed beats.

“Big Stars” drifts across a meandering electronic bed before a soaring saxophone solo. “Rolling” coils through brooding space-age figures and half-spoken phrases. “What Does It Take (To Win Your Love)” glides through a gentle lead and female replies. “Off and On Again” veers through searing guitar figures and near-rapped lines.

A1. “Can’t Save Tomorrow” (4:10)
A2. “Mr. Nice Guy” (3:44)
A3. “In the Groove” (3:33) – Mathieson, Veitch
A4. “Third Hour” (4:55)
A5. “You” (4:05) – English, Johnson

B1. “Big Stars” (5:25)
B2. “Rolling” (3:00)
B3. “What Does It Take (To Win Your Love)” (3:12) – Bristol, Bullock, Fuqua
B4. “Off and On Again” (3:49)

Sessions occurred at Lion Share Recording Studios, Spirit Studio, and Yamaha Research and Development. Laws produced eight tracks, while Mathieson produced “In the Groove.” Gerry Brown engineered and mixed the album.

Bill Burks retained art direction for Laws’s Capitol debut. Mac James designed the package around photography by Bobby Holland.

“In the Groove” reached No. 31 on the Billboard Hot Black Singles chart. “Mr. Nice Guy” followed at No. 80 on the same chart.

Mr. Nice Guy reached No. 98 on the Billboard 200, No. 24 on the Top Black Albums chart, and No. 19 on the Traditional Jazz Albums chart.

Classic Masters

Capitol issued the compilation Classic Masters during 1984.

The collection draws from Laws’s Blue Note and United Artists/Liberty albums and adds two new recordings, “City Girl” and “(You Are) Paradise.” Chris Brunt engineered “City Girl,” which includes keyboards and synthesizers by George Shaw.

“City Girl” reached No. 31 on the Billboard Hot Black Singles chart during 1985. Classic Masters reached No. 33 on the Top Black Albums chart and No. 16 on the Traditional Jazz Albums chart.

Mirror Town

Ronnie Laws released his eighth studio album, Mirror Town, on May 1, 1986, through Columbia.

The album contains eight Laws compositions and “Tell Me,” a song by Peter Becker, Gene McFadden, and John Whitehead. Larry Dunn and Chris Brunt co-produced the Laws material, while David Kershenbaum produced “Tell Me” from an arrangement by Jeff Lorber.

“Like a Crazy Man” coils through heightened percussion and an uneasy atmosphere. “Midnight Side” glides through a smooth, nocturnal lead. “You Have to Be in Love” settles into an urbane slow-song setting as Debra Laws answers Ronnie Laws.

A1. “Come to Me” (4:49)
A2. “Misled” (5:02)
A3. “Tell Me” (3:41) – Becker, McFadden, Whitehead
A4. “Mirror Town” (4:50)
A5. “Like a Crazy Man” (4:09)

B1. “Midnight Side” (5:17)
B2. “Cold Day” (4:26)
B3. “You Have to Be in Love” (4:21)
B4. “Take a Chance” (3:50)

Laws produced eight tracks with Dunn and Brunt. Kershenbaum produced “Tell Me,” which Paul Ratajczak recorded separately from Brunt’s sessions.Tony Lane and Nancy Donald directed the Columbia package.

All Day Rhythm

Ronnie Laws released his ninth studio album, All Day Rhythm, on May 1, 1987, through Columbia.

The album reunites Laws with Wayne Henderson as co-producer. Arrangers Jon Nettlesbey and Terry Marshall contribute synthesizers, while guitarists Craig T. Cooper and Jimmy Haun join bassist Larry Antonino. Debra Laws and Patryce Banks appear among the singers.

“Smoke House” struts through a sleek electronic figure and a prominent saxophone lead. “All Day Rhythm” glides across a gentle, soft-edged figure. “Nite Life” cruises through sequenced accents and a supple solo. “Home Dance” rolls through concise phrases and live ensemble replies.

A1. “Smoke House” (4:03) – Henderson, Laws, Nettlesbey
A2. “The Dreams I Dream” (3:46) – Reswick, Werfel
A3. “All Day Rhythm” (4:19) – Laws
A4. “Rhythm of Romance” (3:56) – Chater, Jay
A5. “Still” (4:16) – Laws

B1. “Junior Boy” (4:19) – Henderson, Laws, Nettlesbey
B2. “Nite Life” (5:07) – Laws, Marshall
B3. “Distant Eyes” (3:40) – Laws
B4. “Arrival” (4:14) – Laws
B5. “Home Dance” (4:35) – Laws

Sessions occurred at Ground Control in Santa Monica and Wide Tracks in Hollywood. Laws and Henderson produced the album, with engineering by Tom Fletcher and Sabrina Buchanek.

Lane and Donald continued as art directors. Bobby Holland returned to the photography credit after his work on Mr. Nice Guy. Columbia reissued All Day Rhythm on CD during 1991.

Discography: