Retro Reviews: Chuck Mangione: Land Of Make Believe

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

Chuck Mangione – Land of Make Believe* (1973)

****

Producers: Richard Siedel, Chuck Mangione

Musicians: Chuck Mangione, Joseph C. Crupi, Marta Hidy, Gap Mangione, Al Johnson, Joe LaBarbera, Steve Gadd,  Ron Davis, Don Porter, Tom Elliot, John Courtney, David Young, Jack McFadden, Esther Satterfield, Catherine Lehr, Edgar Hayes, Zdenek Konicek, Ned Corman, Paula Elliot, Gordon Johnson, Garry Niewood, Ray Ricker, Joe Romano, Charles Daellenbach, Eugene Watts, Bill Reichenbacj Jr, Janice Robinson, Art Linser, Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar, Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm, Barbara Hustis, Jaroslav Karlosky, Ann Armir, David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margarett Neufeld, Kathryn Wunder, Michel Zaitzeff, Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell, Kathleen Collins, Barbara Hendricks, Terry Lodge, Jan Walp, Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber

Music and Songs: Legend of the One Eyed Sailor, Lullaby For Nancy Carol, El Gato Triste, The Gloria from the Mass Of. St. Bernard, As Long as We’re Together, Land Of Make Believe

Reviewed By Matthew Anthony Allair

    This is probably one of the more unique live jazz fusion concerts I have come across in a while. An event that feature’s Chuck Mangione’s core band with the Hamilton Philharmonic Orchestra, and large vocal choir and Esther Satterfield. Mangione has been something of an anomaly as he wasn’t a part of Miles Davis roster of fusion and jazz players who formed their own projects. There’s at least four vocal pieces and instrumental passages, thus giving the album an accessibility that may draw casual jazz fans who don’t always come on board. It’s to say the least that the playing is exemplary throughout, and vocally there’s some real talent displayed here. Aside the prowess, there’s a positive feeling and sweetness to much of the material. But the closing title track and album closer remains a stunner. The live event is mostly focused on highlighting Chuck’s compositions, thus there are large section of orchestral passages without instrumental soloing. 

    The album opens with a tone setter, “Legend of the One-Eyed Sailor”, a military march guides the opening number before the main theme, and Mangione’s Spanish themed soloing, there’s a freedom to the percussion interplay between Joe LaBarbera and Steve Gadd on this, and it manages some exhilarating moments within. Orchestration supports the sweetness of “Lullaby for Nancy Carol” and Esther Satterfield’s lovely vocal. Another Spanish fanfare opens “El Gato Triste” and is followed by a somber statement, this passage might evoke the feel of material from Davis and Gil Evans Sketches of Spain. A Latin bossa nova eases into the main body with more good playing from Mangione. 

    The second half opens with an overt spiritual, “The Gloria from the Mass Of. St. Bernard”, the entire ensemble is in fine form, once again the LaBarbera and Gadd rhythm section really brings the piece to life. There’s a more laid-back ease to “As Long As We’re Together” while Esther delivers another fine vocal, she’s about the most important figure in these live proceedings. The closer is a slow burn but also a stunner. “Land of Make Believe” has an evocative lyric about what is possible, and the necessary power of imagination. The gradual shuffle drives the number in the midst of the fuller sections. It feels like Mangione has been waiting for this moment to showcase what he can do with the first solo, it’s playful, melodic with some ensemble interplay that heightens it. There’s a lot of push and pull with the piece between the vocal sections, and instrumental passages.  The saxophone work from either Romano or Ricker is pretty stunning, and just as melodic as Mangione’s work. In many respects the number is the culmination of everything that the prior material explored. 

    This is one of the most enjoyable releases I have heard at the start of the year.

* This is one of those albums I have a sense memory with as it was one of my mother's favorites from in the mid-seventies.