Earl Klugh - Earl Klugh (1976)/Living Inside Your Love (1976)/Magic In Your Eyes (1978)

UK Import

You didn't ask, but at some point during my usual morning routine I'll sit down at the computer with a cup of black coffee or espresso lungo and play a few games (Wordle, Byrdle, Bandle, sudoku, daily challenges, etc) to get the ol' brain up and running again. The music soundtrack for these action-packed mornings is usually quite sedate - Rock You Like A Hurricane need not apply. I've got a playlist I've simply titled "Mornin'" and yes it includes the Al Jarreau song with which it shares a title. Oftentimes, however, I'll simply pull up Earl Klugh tunes, click the shuffle button, and have the fates determine which of the 160+ tracks I'll hear. It's all good stuff, perfect for my mornings. So when I saw yet another great Klugh threefer from BGO, I didn't hesitate. And with that purchase (my third such Klugh set), I completed my Klugh discography 1976-1995 while providing more songs for the morning shuffle.

Klugh was classically trained and has had a successful career using playing this music using that technique. I like it all and have liked the smooth sound since I first heard Klugh in the mid-'80s. The usual beef comes from people who feel the need the categorize: the music is too easy listening to be jazz and too jazzy to be easy listening. I couldn't care less.

It should go without saying that the remastering here by BGO sounds fantastic, but I'm going to mention it anyway because it does.

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EARL KLUGH (1976)
8 tracks, 39 minutes

Recorded when Klugh was 22 years old but already a veteran in the field, most notably as part of George Benson's band. This album was originally released on the Blue Note label and produced by Dave Grusin and Larry Rosen. Guests include Lee Ritenour, Harvey Mason, and Pete Christlieb. Grusin's arrangements often overpower the acoustic guitar, but that's a minor complaint.

Reviews/ratings:

• Record World: "An across the board winner."
• CashBox: "His deft handling of the classical guitar lends a rich elegance to pop hits"
• Downbeat (★★★½): "Melodic interpretation would seem to be Klugh's strong point."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #124
• Billboard Jazz: #16
• CashBox: #189
• CashBox Jazz: #19
• Record World Jazz: #22

Tracks: 8 tracks, including 3 Klugh originals. The best cut is a beautiful take on the Bill Evans standard, Waltz For Debby. Other highlights are the covers of Could It Be I'm Falling In Love and Laughter In The Rain plus the Klugh original Angelina.

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LIVING INSIDE YOUR LOVE (1976)
7 tracks, 37 minutes

Sounds much like its predecessor because this album Blue Note release was again produced by Dave Grusin and Larry Rosen. Guests include Ralph MacDonald, Eddie Daniels, and Steve Gadd. Maybe some "sophomore slump" but the drop in quality is negligible.

Reviews/ratings:

• Stereo Review: "The selections here are generally ho-hum stuff, and they're played accordingly."
• Record World: "the finesse of his playing is his most convincing selling point."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #188
• Billboard Jazz: #8
• Billboard R&B: #58
• CashBox: #182
• CashBox Jazz: #12
• Record World Jazz: #13

Tracks: The best tracks are the originals Felicia, the title track, and the subtle take on Bacharach's The April Fools. The cover of I Heard It Through The Grapevine falls flat.

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MAGIC IN YOUR EYES (1978)
9 tracks, 33 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

This album is slightly different than the other two because of production by the legendary Booker T. Jones, who did the producing and some string arrangements, but no playing. I would have asked for at least one organ solo, but I guess that wasn't a priority for either Earl or Booker. Jones's production brings Klugh to the front and lessens the emphasis on strings. This would become what I consider to be Klugh's signature sound. Guests include Greg Phillinganes, Paulinho da Costa, and one of Klugh's major influences, Chet Atkins. And, if I'm not mistaken, this album introduced Gene Dunlap as Klugh's regular drummer. There's steel guitar on three tracks, but it never sounds like it belongs.

Reviews/ratings:

• CashBox: "Klugh continues to impress"
• Billboard: "mellow, lyrical instrumental in a pop/jazz vein."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #139
• Billboard Jazz: #4
• CashBox: #137
• CashBox Jazz: #6
• Record World Jazz: #8

Tracks: 9 tracks including 6 Klugh originals. The best track is the title track, followed by Julie, Rose Hips, Cry A Little While, and the cover of Guaraldi's standard, Cast Your Fate To The Wind. Good Time Charlie's Got The Blues is a - errrrr - interesting choice for a cover track, but contributions by Atkins saves the thing.

Previously revisited for the blog:

Move (1994)	Collaboration (1987)
Cool (1992)	Soda Fountain Shuffle (1985)
Midnight in San Juan (1991)	Nightsongs (1984)
Volume One (1991)	Two of a Kind (1982)
The Best of Earl Klugh (1991)	Late Night Guitar (1980)
Whispers & Promises (1989)	How To Beat The High Cost Of Living (1980)
Solo Guitar (1989)
Dream Come True (1980)/Crazy For You (1981)/Low Ride (1983)
Finger Paintings (1977)/Heart String (1979)/Wishful Thinking (1984)

Various Artists - The Traditional Sounds Of Christmas (1992)

A reissue grouping of three previously released albums, put together by the GSC Music label. In fact, it appears they just took the leftover, unsold CDs and put them in a bulky three-fer jewel case with minimal listings (below) and no liner note booklet. The 'traditional' part of title rings true even if the 'Christmas' part just misses: the newest tune in the compilation is Leroy Anderson's 1948 piece Sleigh Ride and that's a winter snow song not a Christmas song. The rest of the tunes are older - some several centuries older - and mostly feature somewhat yule-ish lyrics. Perfect for your next church choir Christmas party.

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YULETIDE CLASSICS (1988)
12 tracks, 41 minutes

This appears to be a compilation CD and it's included in a compilation. The instrumental orchestral pieces lean a little too much toward Mantovanian/Muzak arrangements, but I nevertheless enjoy the mix of orchestras, chorus, church organs, and brass ensembles, especially highlights from The Messiah.

Tracks:

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AN OLDE-FASHIONED CHRISTMAS (1987)
20 tracks, 52 minutes

An odd pairing of timbres. Tracks alternate between choral and brass arrangements. With the exception of Silent Night, the choral work is mostly full throttle and that lack of subtley and variety gets old very quickly. In contrast, the brass arrangements are lively, tasteful, and quite enjoyable. And if you're looking for a track that has both brass and voice, fuggitaboutit.

Tracks:

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A CLASSICAL CHRISTMAS (1988)
16 tracks, 52 minutes

This wild compilation is the best of the three discs. Orchestras, a capella choirs, brass quintets, even a jazzy trio of electric piano, acoustic guitar, and flute. Some big names here - Bernstein, Ormandy, Previn, Szell - alongside the likes of The Texas Boys Choir and Rita Ford's Music Boxes. I'm not a fan of operatic sopranos warbling carols atop dense orchestrations and there's a couple of those. But there's enough variety here to keep things interesting plus near the end we hear to Julie Andrews sing the seldom-heard French carol Patapan in a sixtieslicious arrangement, and that's a real treat. I'll even excuse the inclusion of The Hallelujah Chorus (I'm just nit-picking because that chorus closes the Easter section of the oratorio, but I understand the attraction as a stand alone piece as there's no denying it's a masterwork).

Tracks:

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Personal Memory Associated with this CD: So many of these old hymns take me right back to my carefree school days; as much comfort can be found in those memories as is in these uplifting lyrics.

Tom Scott - Blow It Out (1977)/Intimate Strangers (1978)/Street Beat (1979)

UK Import

I discovered Tom Scott in the early '80s through his live album, Apple Juice. I eventually picked up most of his back catalog on vinyl, including these three albums. That made this 2013 BGO set an easy purchase decision.

Excellent remastering job on these plus a fantastic liner note booklet that includes full credits and original liner notes by Lee Underwood of DownBeat magazine as well as a comprehensive essay by Charles Waring, jazz columnist for Record Collector and contributor to MOJO and Wax Poetics. Well done.

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BLOW IT OUT (1977)
8 tracks, 42 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

Not much jazz here; it's more like instrumental pop-rock-funklite performed by the finest session musicians in the business including Steve Gadd, Hugh McCracken, Eric Gale, Will Lee, Rick Marotta, Ralph MacDonald, Chuck Rainey, and one of my all-time favorites, Richard Tee who steals the show on many tracks. There's a bit too much use of the Lyricon over traditional saxophone for my taste, but I understand Scott's desire to be on the cutting edge of musical technology. Nevertheless, the whole thing is highly melodic and I enjoy the eight tunes here.

Reviews/ratings:

• CashBox: "Scott continues his march into the mainstream"
• Billboard: "a tender and melodic instrumental excursion"
• Record World: "an exemplary instrumental lp"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard 200: #87
• Billboard Jazz: #5
• Billboard R&B: #39
• CashBox: #83
• CashBox Jazz: #2

Tracks: Track 1, Gotcha (Theme From "Starsky & Hutch"), was released as a (sadly unsuccessful) single, but almost all the tracks are good so I'm not picking favorites on this one. I do recommend skipping track 7, Down To Your Soul, not because it's a bad tune, but rather due to the fact that Scott decides to sing on it.

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INTIMATE STRANGERS (1978)
7 tracks, 47 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

An odd attempt at a concept album, I really didn't like this album at first listen because the "suite" that takes up side one turned me off to the whole thing. Fortunately for me, I gave the album a few more listens and realized that the second half is quite enjoyable and the first half isn't as bad as I initially feared. The same great backing band as above, but this time there are also contributions from Toto members Steve Porcaro and David Paich, as well as a beautiful cameo from legendary bassist Jaco Pastorius.

Original liner notes here. Album press release below (click to enlarge):

Reviews/ratings:

• CashBox: "Scott's sax and lyricon work is up to his usual highest-quality standards"
• Billboard: "a multi-textured, multi-mood musical package"
• Record World: "a skillfully crafted blend of jazz, disco and funk"
• DownBeat (★★½): "high-rent wallpaper"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #123
• Billboard Jazz: #6
• CashBox: #123
• CashBox Jazz: #5

Tracks: Side one is a forced effort to musically describe a one night stand between a saxophone player and "that lovely lady on the front row" complete with occasional canned applause and crowd noise. Taking up the whole of side one on the vinyl album, the suite's three parts are titled Sudden Attraction, A Day & Nite Out Together, and Loving & Leaving. Not bad even though there's a bit of Scott's singing again; but I greatly prefer what was side 2 (tracks 1-4 on disc two here) which is typical Scott fare. The final track, Beautiful Music, which was co-written by Ralph MacDonald, features a tasty flugelhorn solo from Chuck Findley, and was released as a (sadly unsuccessful) single.

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STREET BEAT (1979)
8 tracks, 42 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

Scott wrote or co-wrote all 8 tracks here and, frankly, the material just isn't as good as the other two albums in this set. Scott was writing quite a bit of music for movies and TV shows, so not surprisingly, some of the tunes sound like they come from that genre. One track actually does come from a movie: Car Wars was on the soundtrack to Americathon, a movie I've never seen, but stars such actors as Elvis Costello, Tommy Lasorda, and Meat Loaf.

Also, this album utilizes a somewhat different set of backing musicians from other albums in this set:

Notes on above credits:

1. I had to look up what an "ARP Quandra" is and discovered it is simply an analog synth keyboard. 
2. Notably, Scott brought in other vocalists here. Smart move.
3. I'm pretty sure that "BS trombone" is an abbreviation for "bass trombone" but can neither confirm nor deny.

Reviews/ratings:

• CashBox: "diverse, perceptive mainstream jazz offering"
• Billboard: "He has done better with previous offerings"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #162
• Billboard Jazz: #7
• CashBox: #131
• CashBox Jazz: #8

Tracks: The best tracks here are We Can Fly and the title track, the latter of which was released as a (sadly unsuccessful) single.

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Previously revisited for the blog:
Smokin' Section (1999)
Night Creatures (1995)
Reed My Lips (1994)
Target (1983)
Apple Juice (1981)

Joe Sample - Rainbow Seeker (1978)/Carmel (1979)/Voices In The Rain (1981)

UK Import

Three albums on 2 CDs from the Robinsongs imprint of Cherry Red Records. This compilation was released in 2021 and it is prime Sample. Considering Sample was putting out these fine solo albums around the time The Crusaders were releasing their best albums (e.g., Free As The Wind, Street Life) is absolutely mind-blowing. Recommended.

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RAINBOW SEEKER (1978)
8 tracks, 44 minutes

Not his first album apart from The Crusaders, but it probably counts as his first solo release. Eight Sample originals performed with the help of a couple of Crusaders: Pops Popwell on bass and Stix Hooper on drums. Also some top studio help from Ernie Watts, Ray Parker, Jr., Dean Parks, and Paulinho De Costa. It's lightly funky and uses a few timely disco tropes but doesn't rely much on them. I wish someone had played this for me in '78 - the timing was right as I was just discovering smooth jazz/instrumental pop around that time.

Press of the time:

• Billboard: "range from light and sassy to funky and reflective"
• CashBox: "all the cuts are exemplary"
• High Fidelity: "Much of this is attractive, above-average stuff"
• Record World: "lilting jazz album that shows off his talents to the fullest."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard Top 200: #62
• Billboard Jazz: #3
• CashBox: #60
• CashBox Jazz: #2

Tracks: Nothing to skip here. In All My Wildest Dreams has gone on to be widely sampled. Track 4, the mid-tempo Melodies Of Love, was the single and Sample glides effortlessly between piano and Fender Rhodes over a lush bed of strings. The album ends with a beautiful solo piano ballad, Together We'll Find A Way.

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CARMEL (1979)
7 tracks, 40 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

The first Sample solo album I heard, so probably my favorite. Most tracks have a bit of a Latin flavor. Very little Fender Rhodes, Sample displays his unique style of "showing off without showing off" on acoustic piano. Joined again by Hooper, Parks, and De Costa. Also on board are flautist Hubert Laws and Abraham Laboriel on bass.

On a marginally related note, my wife and I visited Carmel back in March of 1992 and found it, as well as the entire Monterey Peninsula, to be quite breathtaking. Would love to return to the lovely 17-Mile Drive and the Hog's Breath Inn with this album playing.

Your humble blogger walking off
the 18th green at Pebble Beach.
Carmel is on the left.

Press of the time:

• Billboard: "quite appealing"
• CashBox: "a romantic tribute to this coastal paradise"
• Record World: "playing owes more to mainstream jazz than fusion music"
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard Top 200: #56
• Billboard Jazz: #1
• Billboard R&B: #25
• CashBox: #58
• CashBox Jazz: #1
• Rolling Stone: #26

Tracks: I enjoy all seven, but my favorite is the samba-ish title track followed by Paintings and A Rainy Day In Monterey.

The first six of the seven album cuts are on the first CD with the remaining track - More Beautiful Each Day - leading off the second CD before moving on to...

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VOICES IN THE RAIN (1981)
7 tracks, 41 minutes

Note: this release was originally purchased as a iTunes download, later replaced by this CD set.

Slightly different from the other two albums here in that there is an increased use of synths (it was 1981, after all, so to be expected) and there's a couple of vocal tracks. Not a bad album by any means, but it doesn't quite measure up to the previous two.

Press of the time:

• CashBox: "another brilliant, light jazz fusion outing"
• Billboard: "keyboard wizardry in varying moods"
• Stereo Review: "everything tumbles down in confusion"
• Record World: "Another glossy package of tasteful pop-jazz"
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard Top 200: #65
• Billboard Jazz: #2
• Billboard R&B: #29
• CashBox: #70
• CashBox Jazz: #2
• Rolling Stone: #39

Tracks: One of the vocal tracks, Burning Up The Carnival, with vocals by Josie James, is quite tasty and my favorite track on the album. Of the instrumental tracks, my picks are Greener Grass and Dream Of Dreams.

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The CD set ends with three bonus tracks, the single edits of Melodies Of Love (from Rainbow Seeker), plus Burning Up The Carnival and Dream Of Dreams (from Voices In The Rain).

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Previously revisited for the blog:
The Best of Joe Sample (1998)

The Clarke/Duke Project - Volumes I, II & III (1981, 1983, 1990)

EU Import

A 3-fer set from BGO Records. Clarke is a bass player who was a founding member of the jazz fusion group Return To Forever. Duke was a keyboard player whose background was with Frank Zappa and Jean-Luc Ponty and would go on to work with the likes of A Taste of Honey, Jeffrey Osborne, Deniece Williams, Anita Baker, The Pointer Sisters, Smokey Robinson, et. al. Solo artists in their own right, these three efforts saw the duo striving for a more mainstream, commercial, R&B sound.

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Volume 1 (1981)
9 tracks, 37 minutes

A mixed bag, but not too bad overall. Starts off with a funky little instrumental, followed by one of the more puzzling covers of Louie Louie I've ever heard, followed by one the "shoulda charted higher" singles of '81. That single is Sweet Baby (#19 pop, #6 R&B), four minutes of smooth goodness written and sung by Duke and featuring one of the few Top 40 appearances of an electric sitar solo (courtesy of Clarke). Of the remaining tracks, I don't care much for Let's Get Started, despite a nice chorus. I was previously familiar with track 8, the ballad Touch And Go, from it's inclusion on the Clarke-produced album, Hollywood, by Maynard Ferguson. I dig the album closer, Find My Way, an uplifting tune both lyrically and musically.

This album was nominated for Grammy Award for Best R&B Performance by a Duo or Group with Vocals, eventually losing to The Dude.

Press of the time:

• Stereo Review: Best of the month

Album chart peaks:

• US Billboard Top 200: #33
• Billboard Jazz: #1
• Billboard R&B: #7
• CashBox: #31
• CashBox Jazz: #1

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Volume 2 (1983)
9 tracks, 38 minutes

The duo adds some New Wave sounds/drum machine/production - reminds me quite a bit of Richard Perry's production on Pointer Sisters releases of the time. The opener, Put It On The Line, is high energy and wouldn't have been out of place on the '84 Olympic compilation album. The singles released from this album were The Good Times and Heroes (#37 R&B) and, like most of the album, are pleasant, just not very memorable. For me, the highlight of the album is I've Got Every Reason To Smile. Not only is it an upbeat tune with great bass work from Clarke, we treated to vocals from Jefferey Osborne, Howard Hewlett of Shalamar, and Lynn Davis. It's so good that even the kid 'vocals' don't bother me much. Again, the album closer is a winner - this one a pulsating instrumental from Clarke.

About this album, Duke once wrote,

Although there were some special moments on this LP, overall it didn't make a statement and as a result was a failure as far as I'm concerned. The year was 1983. I was exerting so much energy producing Deniece Williams, Jeffrey Osborne and others, that in terms of focus, I let this one slip away.

Press of the time:

• Billboard: "fresh fusions with dazzling virtuosity"

Album chart peaks:

• US Billboard Top 200: #146
• Billboard Jazz: #19
• Billboard R&B: #44
• CashBox: #133
• CashBox Jazz: #3

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3 (1990)
12 tracks, 46 minutes

Music of its time, the first half of this album is heavily-produced dance late '80s R&B/hip-hop/rap. Things calm down and get slightly more jazzy in the second half, but the sweet spot here is tracks 5-8: a cover of Parliament's Mothership Connection, Right By My Side with vocals from Gerald Alston (The Manhattans), a tasty but brief Clarke instrumental titled From The Deepest Corner Of My Heart, and a smooth Duke feature, Lady.

Press of the time:

• CashBox: "boasts some dope R&B thangz"

Album chart peaks:

• US Billboard Top 200: Did not chart
• Billboard Contemporary Jazz: #7
• Billboard R&B: #52

Personal Memory Associated with this CD: None, although I really don't have a good excuse as to why I didn't buy the Sweet Baby single back in '81.

Previously revisited for the blog:
Hideaway (1986)
A Brazilian Love Affair (1980)

Chuck Mangione - Love Notes (1982)/Disguise (1984)/Save Tonight For Me (1986)

UK Import

Three albums on 2 CDs from Mangione who, at the time, had switched labels from A&M to Columbia and was slowly fading from charts and radio playlists.

Excellent remastering job and thorough liner notes. Well done, BGO. In 2019, The New York Times Magazine listed Mangione among hundreds of artists whose material was reportedly destroyed in the 2008 Universal Studios fire.

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LOVE NOTES (1982)
5 tracks, 41 minutes

I'm not sure why I didn't pick this up in '82. I wasn't finished buying new Mangione releases at that time - I bought Journey To A Rainbow the following year. But Mangione albums didn't exactly fit into the pseudo-New Wave hipster image I was trying (and failing) to cultivate in '82 so that might have had something to do with it.

Any of the 5 tracks wouldn't have been out of place on his earlier few albums. It's all melodic, pleasant, and well-performed, but not very memorable. Still, fans of his Feels So Good and Fun & Games albums weren't disappointed.

Album chart peaks:

• US Billboard 200: #83
• Billboard Jazz: #8
• Billboard R&B: #53
• CashBox: #103
• CashBox Jazz: #4

Tracks: The opener, Steppin' Out, is the best tune on the album and bears more than a passing resemblance to the Feel So Good single. Columbia released it as a single and it saw a little action on the R&B chart, peaking at #80. I have a problem with the second track, No Problem, in that it works for 13+ minutes and never goes anywhere. It's not bad, just too long - just when you think it's finally over, someone else gets a solo turn. The remaining three tracks are, as stated earlier, pleasant enough but I won't be whistling them later.

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DISGUISE (1984)
7 tracks, 39 minutes

In which Mangione jettisons his band, teams up with Juicy and producer Deodato, and discovers synths and drum machines. And the cover photo ain't doing anybody any favors. Enter at your own risk.

Album chart peaks:

• US Billboard 200: #148
• Billboard Jazz: #26
• CashBox: #145
• CashBox Jazz: #9

Tracks: Mostly failed attempts at updating the sound for a younger market (hey, it worked for Herbie Hancock a year earlier, so why not?). The most traditional Mangione pieces are Josephine and Love Theme From 'London And Davis In New York,' the theme for a failed CBS TV pilot about a crime-solving photographer. However, there's also a track with Shirley MacLaine rapping which will surely knock your chakras out of alignment.

Would I have preferred the inclusion of the aforementioned Journey To A Rainbow (1983) in lieu of Disguise in this three-fer? Without question.

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SAVE TONIGHT FOR ME (1986)
8 tracks, 42 minutes

The synths and LinnDrums also appear on this album, but their sound is slightly more understated (as understated as synth drums could possibly be, anyway), thanks to producer Morris "Butch" Stewart. It's all very generic DX7 smooth jazz that immediately dates itself to the mid-'80s. Still, it's better than Disguise.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #28
• CashBox Jazz: #12

Tracks: Secret of Love - with vocals by Brenda Mitchell Stewart (the producer's wife) - is the cream. Rockin' At Red Rocks can actually be an enjoyable funk tune once I'm able to get past Chuck's rap. The more traditional, familiar Mangione sound is available here on Sweet Cheryl Lynn.

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Previously revisited for the blog:
Everything For Love (2000)
Classics, Volume 6 (1987)
An Evening of Magic: Live at The Hollywood Bowl (1979)
Feels So Good (1977)
Land Of Make Believe (1973)

Earl Klugh - Dream Come True (1980)/Crazy For You (1981)/Low Ride (1983)

UK Import

Three albums on 2 CDs from the master of nylon string guitar smooth jazz. Thanks, BGO. In 1984, I discovered Klugh while a freshman in college and I've been a fan ever since. I find it impossible to stay in a bad mood while listening to Klugh play guitar. Sure, the music can be lightweight at times, but sometimes that's just what you need.

Excellent remastering job. Well done.

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DREAM COME TRUE (1980)
8 tracks, 36 minutes

Album chart peaks:

• US Billboard 200: #42
• Billboard: #4
• Billboard R&B: #22
• CashBox: #58
• CashBox Jazz: #2
• Record World Jazz: #3

CashBox, April 5, 1980, p. 11

Tracks: Nothing worth skipping, but my top picks are If It's In Your Heart (It's In Your Smile), Amazon, Spellbound (a great uptempo track nicely hijacked by a Greg Phillinganes solo), and the relaxing title track.

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CRAZY FOR YOU (1981)
8 tracks, 38 minutes

Album chart peaks:

• US Billboard 200: #53
• Billboard Jazz: #2
• Billboard R&B: #14
• CashBox: #59
• CashBox Jazz: #3
• Record World Jazz: #3

Billboard, November 7, 1981, p. 78

Tracks: So many good tracks here, all written by Klugh himself, nice variety of styles. I wouldn't skip any but will single out the lead track, I'm Ready For Your Love as well as Twinkle (with a great bass solo from Louis Johnson of the Brothers Johnson).

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LOW RIDE (1983)
8 tracks, 37 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

Album chart peaks:

• US Billboard 200: #38
• Billboard Jazz: #2
• Billboard R&B: #27
• CashBox: #40
• CashBox Jazz: #1
• Radio & Records Jazz Radio National Airplay: #1

CashBox, May 21, 1983, p. 12

Tracks: This album leans a little more R&B than smooth jazz, but when the lead instrument is acoustic guitar it never really crosses the line. Again, don't skip any tracks. I like the funky (If You Want To) Be My Love, the title track, and the beautiful ballad Christina.

Previously revisited for the blog:

Move (1994)	Collaboration (1987)
Midnight in San Juan (1991)	Soda Fountain Shuffle (1985)
The Best of Earl Klugh (1991)	Two of a Kind (1982)
Volume One (1991)	Late Night Guitar (1980)
Finger Paintings (1977)/Heart String (1979)/Wishful Thinking (1984)

Maynard Ferguson - Chameleon (1974)/Conquistador (1977)/Hot (1979)

UK Import

Three albums on 2 CDs from the master of the stratospheric trumpet. Thanks, BGO. Almost 40 years ago, I discovered Ferguson while in high school through a greatest hits cassette. We (me and my fellow trumpeters) loved Maynard in high school, but my college trumpet-playing friends looked down on him. I continued to listen to him anyway and then Maynard came to our college campus in 1986 and all of a sudden these same jazz snobs were on the Maynard bandwagon. Shameless. Here's a photo taken at that show. Maynard is the one with the towel and white pants after Labor Day.

Excellent remastering job on these plus a fantastic liner note booklet that includes full credits as well as a nice essay by Charles Waring, jazz columnist for Record Collector and contributor to MOJO and Wax Poetics. Well done.

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CHAMELEON (1974)
8 tracks, 41 minutes

My on-again-off-again high school girlfriend had this on vinyl and I dubbed the good stuff to a cassette. Mostly covers, this thing's hit or miss, but I literally wore out that cassette.

CashBox, August 31, 1974, p. 22

Album chart peaks:

• US Billboard Top 200: Did not chart
• Billboard Jazz: #13

Tracks: Choice cuts are the title track (by Herbie Hancock), Gospel John (an original by Jeff Steinberg), a high energy cover of McCartney's Jet and, my pick for top track: La Fiesta (by Chick Corea). Avoid Maynard's take on The Way We Were and his vocals on I Can't Get Started. Speaking of not getting started: the arrangement of Stevie Wonder's Living For The City. The title track, which came out within a year of Hancock's original, is now a jazz/funk standard and remains popular with high school marching band and jazz bands.

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CONQUISTADOR (1977)
6 tracks, 36 minutes

Famous for its lead track, Gonna Fly Now, which became Ferguson's biggest hit (#28 pop, #46 adult contemporary) and a signature tune for the pop/disco/Columbia Records phase of his career. Not surprisingly, this is also Maynard's all-time top selling album.

CashBox, March 19, 1977, p. 14

According to the liner notes, Gonna Fly Now was a last second addition at the recommendation of a record executive that had just seen the first Rocky movie. Hey! A record exec got something right! But he wasn't the only one: the tune is unique in that it had recordings by 4 different artists charting at the same time: Ferguson's peaked at #28, Bill Conti's original which was #1 for one week, while versions from Rhythm Heritage and Current both peaked at #94.

Album chart peaks:

• US Billboard Top 200: #22
• Billboard Jazz: #1
• CashBox: #45
• CashBox Jazz: #5

Tracks: My picks are Gonna Fly Now (natch), Mister Mellow with a tasty extended solo from George Benson, and Soar Like an Eagle which is a Bob James tune and in case you couldn't tell that from the very first measure, James contributes a nice electric piano solo. And even though the Theme From Star Trek is all cheese, I can't help but love it probably because it was on the aforementioned greatest hits cassette I bought in high school. People buying the album because they liked the Rocky theme were probably disappointed by the title track and the throwaway experiment, The Fly.

Exclusive CD longbox photo courtesy of
Dirk Digglinator of the Hambonian Archives.

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HOT (1979)
7 tracks, 42 minutes

Note: this release was originally purchased as a LP (twice), later replaced by this CD set.

This album contains Maynard's second (of only two) pop chart appearance; an attempt to cash in on the movie sequel, Rocky II.


If you believe that label (and I have no reason not to), the album was originally slated to be titled Blow Your Own Horn.

Of the album, in a one star review/pan, Allmusic writes:

"Hot could be the absolute worst of trumpeter Maynard Ferguson's '70s recordings. It's not just that it contains more over the top versions of theme songs -- "Rocky II Disco" anyone? -- and generally vomitive dancefloor-ready production, but more to the point, 'ol MF just doesn't sound good.

It's hard to argue any of that, but when the album brings back memories of high school, none of that matters. At least CashBox tried to put a good spin on things:

Cash Box, August 4, 1979, p. 17

To tell the truth, I never woulda picked up this LP (heck, I think I had it special ordered!), if I hadn't happened across the following sheet music in 1979 or 1980 at the local music shop (click images to enlarge):


So I had the sheet music and wanted to hear what it sounded like, so I got the album. Yes, I still have the sheet music but I don't think the value has appreciated much.

Album chart peaks:

• US Billboard Top 200: #188
• Billboard Jazz: #14
• CashBox: #175
• CashBox Jazz: #9

Tracks: There's not much to recommend here, to be honest, not even the aforementioned Rocky II Disco. I listen for purposes of nostalgia. The rehash of Gospel John (from the Chameleon album above) is titled Gabriel and is possibly the only instrumental disco funk gospel tune I've ever heard so there's that. Even though it's silly disco filler, my favorite track might be Topa-Topa Woman.

And what's Theme From Star Trek doing on here? Wasn't it also on Conquistador? Yes, it's the same recording, only shorter. The liner notes characterize the inclusion of the Star Trek theme as "a blatant attempt to capitalise on the release of the first Star Trek movie."

Previously revisited for the blog:
Master of the Stratosphere (1997)
Hollywood (1982)
The Best Of Maynard Ferguson (1980)