The Chuck Mangione Quartet – Speakers Corner Records

The Chuck Mangione Quartet – Mercury Records SRM 1-631 (1972)/Speakers Corner Records (2013) 180-gram stereo vinyl, 43:12 ****1/2:

(Chuck Mangione – flugelhorn, electric piano, percussion; Gary Niewood – flute, soprano saxophone, tuba, guiro; Joel DiBartolo – bass; Ron Davis – drums, percussion)

A native of Rochester New York, trumpeter Chuck Mangione began his career with his brother Gap. The Mangione Brothers sextet recorded three albums with Riverside in the early 1960’s. Mangione’s first gig with a major ensemble came as a member of Art Blakey’s Jazz Messengers. This lofty perch had been previously occupied by Clifford Brown, Freddie Hubbard, Kenny Dorham and Lee Morgan. The Chuck Mangione Quartet established his credentials as a composer, band leader and instrumentalist. He often played flugelhorn and garnered his first Grammy in 1977 for Best Instrumental Composition (“Bellavia”). Other career highlights included “Chase The Clouds Away” which was used at the 1976 Montreal Summer Olympics. In 1980, “Give It All You Got” was the theme of the 1980 Winter Olympics in Lake Placid, New York. His soundtrack for the film The Children Of Sanchez won a second Grammy. But Mangione’s major breakthrough came in the late 70-s and early 80’s as a contemporary jazz artist. In particular the song “Feels So Good”. The song hit #4 on the Billboard Hot 100 and topped the Easy Listening Chart. Mangione was a frequent guest on television and was known for his affable demeanor. He continued to record and perform for decades.

Speakers Corner Records has re-mastered Mangione’s 1972 album, The Chuck Mangione Quartet to 180-gram vinyl. At one point, this album had been out of print for three decades. Now the more traditional straight-ahead jazz pedigree of Mangione is revisited. Side A opens with a buoyant Latin jam, “Land Of Make Believe”. Against a cohesive bass/percussion (Joel DiBartolo/Ron Davis) backdrop, Mangione infuses harmonic shades and a single note sustain counterpoint. Gerry Niewood contributes an agile, sparkling run on soprano saxophone. He pushes the tonality, but manages to avoid any heavy shrillness. Mangione (who also provides a layer of electric piano) takes over with an energetic, creative flugelhorn solo. The overall musical expression feels more like bop than the misnomer easy listening. There are punctuated rhythms, precise harmony and a subtle horn/bass wind down. Of course, the mellow vibe underscores the fury of the quartet. “Self Portrait” establishes another Latin-based framework with a bluesy electric piano and conga. Niewood’s lyrical flute is atmospheric and is positioned against a crisp rhythm section. This extended solo is both lilting and startling as it develops. Mangione takes over and distills a traditional horn run with complex flourishes. Davis gets a brisk conga solo and is joined by DiBartolo in an hypnotic super-groove. Eventually, the group makes a fluid transition to the melody verse.

Side B offers different jazz stylings. On Freddie Hubbard’s modal 1967 composition “Little Sunflower” (from the Backlash album), the jam begins with a moody electric piano surrounded by an understated pulse. Mangione’s concise harmony (with slight vibrato) is reminiscent of 60’s Blue More recordings. His solo intermingles tone mellowness with slightly piercing notation, showcasing a significant amount of higher-register. Bass and drums (with excellent cymbal work) anchor the solo. As Niewood intones on soprano, he expands the tonal extremes and explores exotic imagery. “Floating” is a modified jazz waltz which features Niewood’s versatility on soprano saxophone. In this configuration, Mangione (on electric piano) supports the rhythm section with a carefree medium swing. His E.P. solo is swaying and ethereal with fusion shadings. Luis Bonfa’s unforgettable “Manha De Carnival” gets underway with a compelling flugelhorn/flute counterpoint. Mangione’s solo is detailed with more staccato emphasis as the tempo increases. Niewood is radiant and evocative. It is a fitting conclusion to a very good jazz album.