Chuck Mangione
1973
Land Of Make Believe... A Chuck Mangione Concert
01. Legend Of The One-Eyed Sailor 7:20
02. Lullaby For Nancy Carol 3:17
03. El Gato Triste 7:04
04. The Gloria From The Mass Of St. Bernard 3:53
05. As Long As We're Together 3:32
06. Land Of Make Believe 11:58
Featuring – Chuck Mangione Quartet, Hamilton Philharmonic Orchestra, Horseheads Chamber Singers
Recorded in concert at Massey Hall, Toronto, Canada
Charles Frank "Chuck" Mangione was born on November 29, 1940, in Rochester, New York, to Italian-American parents, Frank and Nancy (Bellavia) Mangione. Growing up in a household steeped in jazz, Chuck and his older brother, Gap, were exposed to the genre through their father's extensive record collection and his habit of inviting jazz luminaries like Dizzy Gillespie, Art Blakey, and Carmen McRae to their home for dinner and impromptu jam sessions. These experiences profoundly shaped Mangione’s musical trajectory. His father, who worked at Eastman Kodak and later ran Mangione’s Market with his wife, fostered a nurturing environment where jazz was a constant presence, contrasting with the rock 'n' roll popular among their peers.
Mangione began formal music lessons at age eight, starting with the piano before switching to the trumpet at ten, inspired by the 1950 film Young Man with a Horn, which depicted a trumpeter’s life. By high school, at Franklin High School in Rochester, he and Gap formed the Jazz Brothers, a quintet that leaned into the bebop style. At 15, Mangione’s talent impressed Dizzy Gillespie, who gifted him an upswept trumpet, a gesture that solidified Gillespie’s role as Mangione’s "musical father." The brothers performed locally, often sitting in with jazz greats at Rochester’s Ridgecrest Inn, where their father introduced them to artists like Miles Davis and Sam Jones.
Education and Early Career
Mangione enrolled at the Eastman School of Music in Rochester from 1958 to 1963, earning a bachelor’s degree in music. It was here that he first picked up the flugelhorn, an instrument that would become his signature. During his time at Eastman, he continued performing with the Jazz Brothers, which recorded three albums for Riverside Records: The Jazz Brothers (1960), Hey Baby (1961), and Spring Fever (1961). One of his compositions, "Something Different," caught the attention of saxophonist Cannonball Adderley, who recorded it on his 1961 album African Waltz. This early recognition highlighted Mangione’s compositional talent.
After graduating, Mangione moved to New York City in 1965, joining Art Blakey’s Jazz Messengers as a trumpeter, filling a prestigious chair previously held by legends like Clifford Brown, Freddie Hubbard, and Lee Morgan. He also played with the big bands of Woody Herman and Maynard Ferguson during this period, honing his skills in the hard bop and big band scenes. From 1968 to 1972, Mangione returned to Rochester to serve as the director of the Eastman jazz ensemble, further embedding himself in the city’s musical community. During this time, he was also a member of the National Gallery, a band that released the 1968 album Performing Musical Interpretations of the Paintings of Paul Klee.
Rise to Prominence
In 1970, Mangione recorded Friends and Love, a concert album with the Rochester Philharmonic Orchestra and guest performers, initially released independently. Its regional success led Mercury Records to pick it up, earning Mangione his first Grammy nomination for the track "Hill Where the Lord Hides" in 1971. This marked the beginning of his solo career, characterized by a blend of jazz and orchestral elements. His quartet, featuring childhood friend and saxophonist Gerry Niewood, became a staple of his sound in the 1970s. The 1973 album Land of Make Believe, recorded with the Hamilton Philharmonic Orchestra and vocalist Esther Satterfield, garnered two Grammy nominations, showcasing Mangione’s ability to merge jazz with broader musical textures.
Mangione’s breakthrough came in 1977 with the album Feels So Good, released on A&M Records after Herb Alpert signed him to the label. The title track, a jazz-pop single, reached No. 1 on the Billboard Easy Listening Singles chart on May 13, 1978, and No. 4 on the Billboard Hot 100, becoming one of the most recognizable instrumental hits of the era. The album itself hit No. 2 on the Billboard albums chart and went double platinum, cementing Mangione’s status as a crossover star. In 1980, Current Biography magazine called "Feels So Good" the most recognized tune since The Beatles’ "Michelle." Its light, melodic style, infused with Flamenco-inspired guitar and a disco backbeat, defined the emerging smooth jazz genre, though some critics dismissed it as "bubblegum jazz" for its accessibility.
Grammy Wins and Major Works
Mangione’s compositional prowess earned him two Grammy Awards. The first, in 1977, was for Best Instrumental Composition for "Bellavia," a piece dedicated to his mother, recorded with his quartet featuring Gerry Niewood. The second came in 1979 for Best Pop Instrumental Performance for the title track of The Children of Sanchez, the soundtrack for the 1978 film starring Anthony Quinn. This album showcased Mangione’s ability to blend emotional depth with complex arrangements, further solidifying his reputation. His composition "Chase the Clouds Away" was used as background music for the 1976 Montreal Summer Olympics, and "Give It All You Got" served as the theme for the 1980 Winter Olympics in Lake Placid, New York, where Mangione performed it live during the closing ceremonies to a global audience.
Throughout the 1970s and 1980s, Mangione’s ensemble, including Chris Vadala on saxophones, Grant Geissman on guitars, Charles Meeks on bass, and James Bradley Jr. on drums, toured extensively and recorded successful albums like Fun and Games (1980). His music bridged jazz and pop, appealing to mainstream audiences while retaining jazz roots, though some purists criticized its lack of improvisation. Mangione, unfazed by such critiques, told the Los Angeles Times in 1988, “I don’t respond to pressure from record companies or critics; my reviewers are the audiences, and besides, my only severe critic is me.”
Television and Film Contributions
Beyond music, Mangione made notable appearances in television and film. He had a recurring role on the animated series King of the Hill from 1997 to 2009, voicing himself as a celebrity spokesperson for the fictional Mega Lo Mart. A running gag had him playing "Feels So Good" regardless of the intended tune, even the National Anthem. His likeness, often depicted in the white and red jacket from the Feels So Good album cover, appeared in 11 episodes, with an original score composed for his debut in 1997. Mangione also appeared in a 1983 episode of Magnum, P.I. as a nightclub bandleader, performed on Sharon, Lois & Bram’s Elephant Show in 1988 as "Little Boy Blue," and provided music for films like Fargo (1996), Zombieland (2009), Doctor Strange (2016), and Spiderhead (2022). In 1983, he played the National Anthem at a New York Yankees game, joining the broadcast booth afterward.
Later Career and Philanthropy
Mangione continued releasing albums through the 1980s, moving to CBS Records in 1982, with works like Love Notes (1982) and Eyes of the Veiled Temptress (1988). His output slowed in the 1990s, but he remained active, releasing Everything For Love in 2000, which included a track titled "Peggy Hill" as a nod to King of the Hill. A 2000 concert at Rochester’s Eastman Theatre for his 60th birthday raised over $50,000 for St. John’s Nursing Home, reflecting his commitment to his community. In 2009, he donated music memorabilia to the Smithsonian National Museum of American History, and in 2012, he was inducted into the Rochester Music Hall of Fame.
Mangione was deeply invested in music education, teaching at the Eastman School of Music and founding its jazz program. He performed with high school bands and invited young musicians to join him onstage during children’s matinee concerts, fostering the next generation of talent. His family noted his “boundless energy, unabashed enthusiasm, and pure joy” on stage, qualities that endeared him to fans worldwide.
Personal Life and Legacy
Mangione was married three times: to Rosemarie Accardi, who passed away in 2015, Junie Emerson Curry (Osaki), and Judith Margaret "Judi" Barone. He had two daughters, Nancy Mangione-Piraino and Diana Smith, and was survived by them, his brother Gap, sister Josephine Shank, grandchildren, great-grandchildren, and extended family. A lifelong New York Yankees fan, Mangione’s personal warmth was evident in stories like his mother preparing dinner for 35 orchestra members on short notice, a testament to the family’s hospitality.
Tragically, two members of Mangione’s band, Gerry Niewood and Coleman Mellett, died in the 2009 crash of Colgan Air Flight 3407 near Buffalo, New York, en route to a performance. This loss deeply affected Mangione, who had collaborated with Niewood since childhood.
Death and Impact
Chuck Mangione passed away in his sleep on July 22, 2025, at his home in Rochester, New York, at the age of 84. His family announced his death on July 24, requesting privacy and encouraging fans to honor his memory by listening to his music. With over 30 albums, 14 Grammy nominations, and two wins, Mangione’s legacy is defined by his ability to make jazz accessible to millions. His smooth jazz style, marked by lyrical flugelhorn melodies, influenced the genre’s development, though it sparked debate among purists. As one Reddit user noted in 2023, “Mangione had some hits, but also music of real depth… He’s certainly better and more successful than anyone I know personally.” His work with jazz giants, his crossover success, and his cultural presence—bolstered by his iconic fedora and King of the Hill cameos—ensured his lasting impact.
Mangione’s net worth was estimated at $10 million in 2024, derived from album sales, performances, and licensing deals. His music continues to resonate in films, commercials, and radio, with "Feels So Good" often cited as a timeless jazz-pop classic. His family’s statement emphasized his connection with fans, noting how he would sign autographs for hours after concerts, a reflection of his genuine appreciation for his audience.
Released in 1973 by Mercury Records, Land of Make Believe... A Chuck Mangione Concert captures Chuck Mangione at a pivotal moment in his career, blending jazz, pop, classical, and orchestral elements in a live setting. Recorded at Massey Hall in Toronto with the Hamilton Philharmonic Orchestra, this album showcases Mangione’s ambition to transcend traditional jazz boundaries. Featuring his quartet, guest vocalist Esther Satterfield, and a rich ensemble of orchestral and percussion musicians, the album is a vibrant tapestry of sound that reflects Mangione’s vision of accessible, emotive music.
By 1973, Chuck Mangione was already a respected figure in jazz, having emerged from Rochester, New York, with a foundation in hard bop as a member of Art Blakey’s Jazz Messengers in the 1960s. His work with his brother Gap Mangione in the Jazz Brothers and his role as director of the Eastman School of Music’s jazz ensemble (1968–1972) established him as a versatile musician and educator. Mangione’s earlier live album, Friends and Love (1970), recorded with the Rochester Philharmonic Orchestra, hinted at his interest in large-scale, orchestral jazz. Land of Make Believe builds on this, showcasing his ability to fuse jazz improvisation with orchestral grandeur and pop sensibilities, a precursor to his later mainstream success with Feels So Good (1977). The album’s release on Mercury Records, before Mangione’s move to A&M, marks it as a transitional work, bridging his jazz roots with broader commercial appeal.
Land of Make Believe contains six tracks, totaling approximately 39 minutes, and was produced, arranged, and conducted by Mangione himself. Recorded live with minimal post-production, the album captures the energy and spontaneity of the performance, engineered by Phil Ramone with associate engineer Dave Greene.
Land of Make Believe is a bold experiment in orchestral jazz, characterized by Mangione’s lyrical flugelhorn, intricate arrangements, and a collaborative spirit that allows each musician to shine. The album balances structured compositions with moments of improvisation, creating a cohesive yet dynamic listening experience.
Legend of the One-Eyed Sailor: This track sets the tone with its cinematic quality, evoking a seafaring tale through Mangione’s warm flugelhorn and Niewood’s soaring soprano sax. Jon Faddis’s trumpet section adds intensity, while the orchestra provides a lush backdrop. The piece builds gradually, showcasing Mangione’s knack for storytelling through music.
Lullaby for Nancy Carol: A delicate, heartfelt ballad, this track highlights Satterfield’s nuanced vocal performance. Mangione’s flugelhorn complements her voice with restrained, melodic lines, creating an intimate atmosphere. The orchestral strings add warmth without overwhelming the simplicity of the composition.
El Gato Triste: Featuring Cathie Lehr’s cello, this track introduces Latin rhythms, driven by percussionists Ron Davis, John Beck, and Steve Gadd. The interplay between the cello and percussion creates a lively, danceable groove, with the orchestra adding dramatic flourishes. It’s a standout for its fusion of classical and Latin elements.
Gloria from the Mass of St. Bernard: This track is Mangione’s homage to classical sacred music, featuring the Horseheads Chamber Singers under Joseph C. Crupi’s direction. The 24-voice chorus delivers a solemn yet modern interpretation, with Niewood’s soprano sax providing a subtle jazz counterpoint. Some critics find it less engaging, but it underscores Mangione’s ambition to bridge genres.
As Long As We’re Together: A pop-infused track, this piece showcases Satterfield’s vocal range and Mangione’s ability to craft catchy melodies. The rhythm section, led by Al Johnson’s electric bass and Joe LaBarbera’s drums, provides a funky foundation, making it one of the album’s more accessible tracks.
Land of Make Believe: The title track is a 12-minute tour de force, blending jazz, pop, and orchestral elements with Satterfield’s uplifting vocals. The lyrics, written by Mangione, evoke a utopian world of joy and imagination, resonating with the era’s countercultural optimism. The track’s driving rhythm, propelled by congas and strings, creates a sense of forward motion, while solos from Mangione and Niewood add emotional depth. It’s a fitting closer, encapsulating the album’s themes of hope and musical exploration.
Mangione’s flugelhorn is the album’s emotional core, characterized by its warm, melodic tone. His arrangements skillfully integrate the Hamilton Philharmonic Orchestra, ensuring the strings, brass, and woodwinds enhance rather than overpower the jazz quartet. Satterfield’s vocals, featured on three tracks, add a soulful dimension, while the percussion section injects energy and rhythmic complexity.
Critically, Land of Make Believe received mixed but generally positive reviews. AllMusic praises its ambitious scope, noting Mangione’s ability to blend genres seamlessly, though some critics argue the orchestral elements occasionally overshadow the jazz core. On fan forums like A&M Corner, opinions vary: some laud the album’s energy and Satterfield’s vocals, while others find the choral elements and orchestral augmentation distracting, preferring Mangione’s smaller ensemble works like The Chuck Mangione Quartet.
The album features a diverse ensemble, including Mangione’s quartet, the Hamilton Philharmonic Orchestra, and additional musicians. Below are detailed backgrounds of key contributors, based on available information:
Chuck Mangione (Flugelhorn, Producer, Composer, Arranger, Conductor): Born November 29, 1940, in Rochester, New York, to Italian-American parents, Mangione began playing piano as a child before switching to trumpet, inspired by the film Young Man with a Horn. He studied at the Eastman School of Music (1958–1963) and played with Art Blakey’s Jazz Messengers in the 1960s. With his brother Gap, he co-led the Jazz Brothers, releasing three albums on Riverside Records. Mangione directed the Eastman jazz ensemble (1968–1972) and gained recognition for Friends and Love (1970). His later hits, including Feels So Good (1978), earned him two Grammy Awards. He passed away on July 22, 2025, at age 84.
Esther Satterfield (Vocals): A Chicago-based jazz and soul vocalist, Satterfield was known for her rich, versatile voice. She collaborated with Mangione on several projects, including Chase the Clouds Away (1975). Her performances on Land of Make Believe, particularly the title track and “As Long As We’re Together,” are widely praised for their emotional depth and range. Satterfield also worked with artists like Ramsey Lewis and released solo albums, such as Once I Loved (1974). Her contribution to the album’s crossover appeal cannot be overstated.
Gerry Niewood (Soprano Saxophone, Flute, Alto Flute): A Rochester native and longtime Mangione collaborator, Niewood was a versatile woodwind player known for his lyrical style. He studied at the Eastman School of Music and joined Mangione’s quartet in the late 1960s, appearing on albums like Friends and Love and Feels So Good. His soprano sax solos on Land of Make Believe are a highlight, blending jazz improvisation with orchestral textures. Tragically, Niewood died in the 2009 crash of Colgan Air Flight 3407.
Al Johnson (Electric Bass): Not to be confused with the soul singer of the same name, this Al Johnson was a session bassist active in the 1970s jazz scene. His work with Mangione provided a solid rhythmic foundation, complementing the orchestral and percussion elements. Limited biographical details are available, but his contributions to the album’s groove are evident, particularly on tracks like “As Long As We’re Together.”
Joe LaBarbera (Drums): Born in 1948 in Mount Morris, New York, LaBarbera is a renowned jazz drummer who studied at Berklee College of Music. He played with Mangione in the early 1970s before joining Bill Evans’s trio (1976–1980). His precise, dynamic drumming on Land of Make Believe anchors the rhythm section, especially on the Latin-infused “El Gato Triste.” LaBarbera later worked with artists like Tony Bennett and continues to perform and teach.
Gap Mangione (Electric Piano, Toys): Born in 1938 in Rochester, Gap is Chuck’s older brother and a pianist, composer, and bandleader. He co-led the Jazz Brothers with Chuck in the 1960s and released albums like The Jazz Brothers (1960). His electric piano adds color to Land of Make Believe, and his “toys” (likely auxiliary percussion) contribute to the album’s playful textures. Gap also ran GRC Records, which initially released Friends and Love.
Don Potter (Acoustic Guitar): A Rochester-based guitarist and vocalist, Potter was a frequent collaborator with Mangione in the 1970s. His acoustic guitar work on Land of Make Believe adds a folk-inspired warmth, particularly on quieter tracks like “Lullaby for Nancy Carol.” Potter later pursued a career in Christian music, releasing solo albums and working as a studio musician.
Gordy Johnson (Flute, Piccolo): Limited information is available on Gordy Johnson, but his flute and piccolo contributions enhance the album’s orchestral palette, particularly on “El Gato Triste.” He was likely a member of the Hamilton Philharmonic or a session musician hired for the concert.
Ned Corman (Baritone Saxophone, Flutes): A lesser-documented musician, Corman’s baritone sax and flute work add depth to the woodwind section. His contributions are subtle but integral to the ensemble sound, especially on the title track.
Ron Davis (Congas, Bongos, Timbales, Percussion): Davis’s percussion work, alongside Beck and Gadd, drives the Latin and jazz rhythms, particularly on “El Gato Triste” and “Land of Make Believe.” Biographical details are scarce, but his role in the rhythm section is crucial to the album’s energy.
John Beck (Timpani, Percussion): A percussionist with classical and jazz experience, Beck’s timpani and auxiliary percussion add dramatic flair to the orchestral arrangements. He was likely affiliated with the Hamilton Philharmonic or a regional orchestra.
Dave Mancini (Percussion): Another percussionist contributing to the album’s rhythmic complexity, Mancini’s work complements Davis and Beck. Limited biographical information is available, but his role enhances the live energy.
Steve Gadd (Timpani, Percussion): Born in 1945 in Rochester, Gadd is one of the most celebrated drummers in jazz and pop, known for his work with Paul Simon, Steely Dan, and Chick Corea. His timpani and percussion contributions to Land of Make Believe add sophistication, reflecting his versatility. Gadd’s early collaboration with Mangione highlights his Rochester roots and jazz pedigree.
Cathie Lehr (Cello): Lehr’s cello feature on “El Gato Triste” is a standout, blending classical technique with Latin rhythms. Likely a member of the Hamilton Philharmonic, her performance showcases the orchestra’s individual talent.
Jon Faddis (Trumpet): Born in 1953, Faddis is a jazz trumpet virtuoso known for his high-register playing and work with Dizzy Gillespie. At age 20 during the Land of Make Believe recording, Faddis led the trumpet section, adding brilliance to tracks like “Legend of the One-Eyed Sailor.” He later recorded with artists like Charles Mingus and led his own ensembles.
Joseph C. Crupi (Conductor, Director, Horseheads Chamber Singers): Crupi directed the 24-voice Horseheads Chamber Singers, featured on “Gloria from the Mass of St. Bernard.” His role ensured the choir’s precision, blending classical choral traditions with Mangione’s jazz vision. Biographical details are limited, but his contribution adds a unique dimension.
Hamilton Philharmonic Orchestra (Strings, Brass, Woodwinds): Founded in 1884, the Hamilton Philharmonic is one of Canada’s oldest orchestras, based in Hamilton, Ontario. For Land of Make Believe, the orchestra included violinists David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margaret Neufeld, Kathryn Wunder, and Michel Zaitzeff, among others. Mangione served as guest conductor, guiding the ensemble through his arrangements. The orchestra’s professionalism elevates the album’s grandeur.
The album was recorded live at Massey Hall, a venue renowned for its acoustics and jazz history, including the 1953 Dizzy Gillespie and Charlie Parker concert. Phil Ramone, a legendary producer known for his work with Billy Joel and Frank Sinatra, captured the performance with clarity, though some fans note the need for higher volume to appreciate the orchestral dynamics. Mixing and editing were done at A&R Studios in New York City by Ramone, Rich Blakin, and Mangione, with mastering by Bob Ludwig at Sterling Sound. The production preserves the live atmosphere, with minimal overdubs, reflecting the era’s high-fidelity approach to live recordings.
Land of Make Believe is a milestone in Mangione’s career, showcasing his ability to craft accessible yet sophisticated music. Its influence extends beyond jazz, with the title track’s rhythmic drive earning it a place in New York’s Loft scene, an early incubator of disco. The album’s orchestral jazz approach inspired later artists blending jazz with classical and pop elements, and its crossover appeal foreshadowed Mangione’s mainstream success. For fans, it remains a beloved work, celebrated for its emotional resonance and Satterfield’s vocals.
Despite its achievements, the album is sometimes overshadowed by Mangione’s later hits like Feels So Good. Critics occasionally dismiss it as a stepping stone to his smooth jazz phase, but defenders argue it represents Mangione at his most ambitious, balancing artistic integrity with commercial viability.
Land of Make Believe... A Chuck Mangione Concert is a testament to Chuck Mangione’s vision as a composer, arranger, and bandleader. Recorded live with the Hamilton Philharmonic Orchestra, it captures a moment of musical alchemy, blending jazz, pop, classical, and Latin influences into a cohesive, uplifting whole. Esther Satterfield’s vocals, Gerry Niewood’s woodwinds, and the ensemble’s collective energy make it a standout in Mangione’s discography. The musicians, from jazz luminaries like Steve Gadd and Jon Faddis to the skilled players of the Hamilton Philharmonic, bring depth and vibrancy to the performance. While not without flaws—some tracks feel less essential than others—the album’s title track and overall ambition ensure its enduring appeal. For fans of orchestral jazz and Mangione’s early work, Land of Make Believe is a timeless journey into a world of musical imagination.
