Personnel: Ronnie Laws (tenor saxophone, soprano saxophone, flute), Bobby Lyle, Donald Hepburn, Michael Hepburn (keyboards), Marlon The Magician (guitar), Wilton Felder, Nathaniel Phillips (bass), Bruce Carter, Steve Guiterrez (drums), Tony Ben (congas), Bruce Smith (percussion).
Strings: Carroll Stephens, Murray Adler, Bonnie Douglas, Henry Ferber, Elliott Fisher, Ronald Folsom, James Getzoff, William Kurasch, Joy Lyle, Gordon Marron, Paul C. Shure, Felix Sitjar (violins), Jesse Ehrliect, Nathan Gershman, Raymond J. Kelly, Victor Sazer (cellos).
Background vocals: Augie Johnson, Esau Joyner, Deborah Shotlow, Douglas Thomas, Michael Miller, Ronald Coleman.
Personnel: Ronnie Laws (vocals, flute, soprano saxophone, tenor saxophone); Marlon The Magician (guitar); James Getzoff, Ronald Folsom, Elliott Fisher, Joy Lyle, Carroll Stephens, Henry Ferber, Murray Adler, Felix Sitjar, Bonnie Douglas, Gordon Marron Strings, William Kurash (violin); Nathan Gershman, Victor Sazer, Ray Kelley (cello); Michael Hepburn, Donald Hepburn, Bobby Lyle (electric piano, Clavinet, clavichord, keyboards, synthesizer, ARP synthesizer); Nathaniel Phillips (electric bass); Steven Guittierrez, Bruce Carter (drums); Tony Ben (congas); Bruce Smith (percussion); Deborah Shotlow, Michael Miller , Esau Joyner, Ronald Coleman, Augie Johnson (background vocals).
Audio Remixer: Wayne Henderson .
Recording information: Total Experience Records (01/19/1976-03/??/1976).
Photographer: Doug Metzler.
When Ronnie Laws first started recording as a leader in 1975, one of the saxman's strongest allies was Wayne Henderson. That trombonist and founding member of the Crusaders (originally the Jazz Crusaders) was an expert when it came to combining the accessibility of soul and funk with the freedom of jazz, and his guidance proved to be a definite asset when he produced early Laws albums like Pressure Sensitive (1975) and Fever (1976). The popular Grover Washington, Jr. was a strong influence on Laws, whose appreciation of Mr. Magic asserts itself on everything from the funky "Let's Keep It Together" and the gritty "Captain Midnite" to Bobby Lyle's alluring "Night Breeze." This isn't to say that Laws was a Washington clone, or that he unaware of other soul-jazz saxmen like Eddie Harris and David "Fathead" Newman. Laws, in fact, was quite recognizable himself on both tenor and soprano. One tune that definitely isn't in the soul-jazz vein is "From Ronnie with Love," an angular, cerebral post-bop offering that isn't unlike something Jackie McLean would do. Because Laws has recorded so many throwaways, one has to approach his catalog with caution; but rest assured that Fever puts his talent to work instead of wasting it. ~ Alex Henderson