Chuck Mangione - 1972 - Alive!

Chuck Mangione Quartet

1972

Alive!

01. High Heel Sneakers    11:03

02. Legend Of The One-Eyed Sailor    11:27

03. St. Thomas        6:38

04. Sixty-Miles-Young    12:15

Drums – Steve Gadd

Electric Bass – Tony Levin

Flugelhorn, Electric Piano, Producer – Chuck Mangione

Tenor Saxophone, Soprano Saxophone, Flute [Alto] – Gerry Niewood

Released in 1972 on Mercury Records, Alive! by the Chuck Mangione Quartet is a vibrant live album that captures the energy and virtuosity of a band at the peak of its powers. Recorded at the Arts Center on the Nazareth College campus in Rochester, New York, for a flood relief benefit, this album showcases Chuck Mangione on flugelhorn and electric piano, alongside saxophonist Gerry Niewood, bassist Tony Levin, and drummer Steve Gadd. The quartet’s performance, honed by recent appearances at the Montreux Jazz Festival and a three-week residency at Ronnie Scott’s in London, delivers a compelling blend of jazz, fusion, and improvisational flair. This review explores the album’s context, track-by-track analysis, musical strengths, historical significance, and lasting impact, drawing on available sources and critical perspectives.

In 1972, Chuck Mangione was a rising star in the jazz world, having already made a name for himself with his brother Gap in the Jazz Brothers and through his tenure with Art Blakey’s Jazz Messengers. By the early 1970s, Mangione was leading his own quartet, which included longtime collaborator Gerry Niewood, whose saxophone work became a hallmark of Mangione’s sound. The quartet’s 1972 European tour, including a standout performance at Montreux and a residency at Ronnie Scott’s, elevated their confidence and cohesion, as Mangione himself noted in the album’s liner notes: “As the nights went by the band really began to feel at home, and the music felt good.”

Alive! was recorded shortly after their return from Europe, during a benefit concert for flood relief in Rochester, Mangione’s hometown. The album captures a moment when jazz was evolving, with fusion elements gaining traction. Unlike Mangione’s later, more commercial works like Feels So Good (1977), Alive! leans into straightforward jazz with extended improvisations, showcasing the quartet’s technical prowess and creative synergy. The album’s raw, live energy contrasts with the polished jazz-pop sound Mangione would later embrace, making it a unique entry in his discography.

The album comprises four tracks, each allowing the quartet to stretch out with lengthy, improvisational performances. Below is a detailed analysis of each track, based on the tracklist provided by sources such as Sessiondays and Discogs.

1. High Heel Sneakers (Robert Higginbotham) – 10:54

The album opens with a spirited rendition of Robert Higginbotham’s “High Heel Sneakers,” a bluesy jazz standard that sets the tone for the quartet’s dynamic interplay. Mangione’s flugelhorn takes the lead with a warm, lyrical tone, weaving through the melody with a relaxed yet confident swagger. Gerry Niewood’s tenor saxophone adds a fiery edge, his solos brimming with intensity and soul. The rhythm section, featuring Tony Levin’s electric bass and Steve Gadd’s drums, provides a groovy foundation, with Gadd’s inventive fills and Levin’s pulsating basslines driving the track forward. At nearly 11 minutes, the track allows ample room for each musician to shine, with extended solos that balance technical virtuosity and emotional depth. The live setting amplifies the track’s energy, with the audience’s enthusiasm subtly palpable in the recording.

2. Legend of the One-Eyed Sailor (Chuck Mangione) – 11:26

Mangione’s original composition, “Legend of the One-Eyed Sailor,” is a standout, often cited as one of his finest works. This 11-minute epic showcases his compositional strengths, blending lyrical melodies with intricate harmonic progressions. The track begins with a haunting flugelhorn melody, supported by Mangione’s own electric piano comping, which adds a lush, atmospheric texture. Niewood’s soprano saxophone soars over the arrangement, delivering a solo that is both melodic and adventurous. Steve Gadd’s drumming is particularly notable here, with his ability to shift tempos and dynamics seamlessly, creating a sense of narrative arc. Tony Levin’s bass provides a steady anchor, allowing the soloists to explore without losing cohesion. The track’s length and improvisational freedom make it a highlight, capturing the quartet’s ability to blend structure with spontaneity.

3. St. Thomas (Sonny Rollins) – 06:40

The quartet’s take on Sonny Rollins’ “St. Thomas” is a high-energy romp, taken at a brisk tempo that showcases the band’s technical chops. This Caribbean-inflected jazz standard is a perfect vehicle for Niewood’s alto flute, which adds a unique tonal color to the performance. Mangione’s flugelhorn solos are crisp and playful, dancing around the melody with a light touch. The track’s highlight is Steve Gadd’s drum solo, which closes the piece with a virtuosic display of speed and precision, earning praise from reviewers for its intensity. At just under seven minutes, “St. Thomas” is the shortest track on the album but packs a punch, with its fast-paced rhythm and infectious energy making it a crowd favorite.

4. Sixty Miles Young (Chuck Mangione) – 12:02

The album closes with another Mangione original, “Sixty Miles Young,” a 12-minute tour de force that encapsulates the quartet’s improvisational prowess. The track features a driving rhythm section, with Levin and Gadd locking into a tight groove that allows Mangione and Niewood to explore extended solos. Mangione’s flugelhorn work here is particularly expressive, blending soulful phrasing with bursts of technical brilliance. Niewood’s tenor saxophone complements Mangione perfectly, his solos ranging from lyrical to frenetic. The track’s length allows the quartet to build tension and release, creating a sense of journey that culminates in a powerful, cohesive finish. Reviewers have noted the track’s ability to balance accessibility with jazz complexity, making it a fitting closer for the album.

Alive! stands out for several reasons, chief among them the quartet’s exceptional chemistry and virtuosity. Each member brings something unique to the table:

Chuck Mangione: While some critics argue that Mangione’s flugelhorn playing is not his strongest suit compared to his composing, his performance on Alive! is confident and expressive. His electric piano work adds a distinctive texture, particularly on “Legend of the One-Eyed Sailor,” and his leadership unifies the group’s sound.

Gerry Niewood: The late saxophonist is a revelation, with his versatility across tenor, soprano, and alto flute adding depth and variety. Reviewers consistently praise his “madman” energy and soulful solos, which elevate tracks like “St. Thomas” and “Legend of the One-Eyed Sailor.”

Tony Levin: The bassist, later known for his work with King Crimson, provides a rock-solid foundation with a subtle edge. His electric basslines are both supportive and dynamic, contributing to the album’s fusion-leaning sound.

Steve Gadd: Widely regarded as a drumming legend, Gadd’s performance on Alive! is a masterclass in jazz drumming. His ability to navigate complex rhythms and tempos, particularly on “St. Thomas” and “High Heel Sneakers,” is a highlight, with reviewers noting that he “sounds like three drummers” at times.

The live setting enhances the album’s appeal, capturing the quartet’s energy and spontaneity. Unlike Mangione’s later, more polished recordings, Alive! has a raw, unfiltered quality that resonates with jazz purists and casual listeners alike. The album’s improvisational nature, with tracks averaging over 10 minutes, allows the musicians to stretch out, creating a sense of freedom and exploration that is rare in studio recordings.

Some confusion exists about the recording location, with early reviews mistakenly citing Ronnie Scott’s in London. Multiple sources, including Mangione’s official site and fan reviews, clarify that the album w

as recorded in Rochester for flood relief, dispelling the myth. The album’s absence from digital formats is a frequent point of frustration, with fans pleading for a CD reissue: “I would pay well over one hundred bucks for this if released on CD!!!” This scarcity has only added to its cult status among jazz enthusiasts.

Alive! occupies a unique place in Mangione’s discography, bridging his early, straight-ahead jazz roots with the jazz-pop fusion that would define his later career. Recorded before his commercial breakthrough with Feels So Good, the album captures Mangione at a transitional moment, when he was still deeply rooted in jazz but beginning to explore more accessible sounds. The inclusion of fusion elements, such as electric piano and bass, reflects the broader trends of the early 1970s, when artists like Herbie Hancock and Weather Report were pushing jazz into new territories.

The album also showcases the talents of Steve Gadd and Tony Levin, both of whom would go on to become legends in their own right. Gadd’s performance, in particular, is a testament to his early brilliance, as he was still in his “early jazz period” before becoming a sought-after session drummer. The album’s connection to Rochester, Mangione’s hometown, adds a layer of personal significance, with the flood relief concert reflecting his commitment to his community.

While Alive! did not achieve the commercial success of Mangione’s later works, it remains a favorite among jazz aficionados for its raw energy and stellar performances. Its lack of a CD or digital release has preserved its status as a vinyl-era gem, with fans cherishing their copies and lamenting the absence of a remaster. The album’s influence can be seen in Mangione’s subsequent work, particularly in his use of extended compositions and live recordings to capture the spontaneity of his quartet.

For fans of Gerry Niewood, who tragically passed away in 2009, Alive! is a poignant reminder of his talent and his integral role in Mangione’s sound. Reviewers often cite Niewood’s contributions as a key reason to seek out the album, with one noting, “RIP Gerry Niewood. It was a sad day when you passed away.” The album also serves as a snapshot of a “magical era” in jazz, as one reviewer put it, capturing a vibe that “existed then. Not before or since.”

Alive! by the Chuck Mangione Quartet is a testament to the power of live jazz, capturing a moment when four exceptional musicians were firing on all cylinders. With its blend of straight-ahead jazz, fusion elements, and improvisational freedom, the album offers a compelling glimpse into Mangione’s early career and the talents of his quartet. Tracks like “Legend of the One-Eyed Sailor” and “St. Thomas” showcase the group’s virtuosity and chemistry, while the live setting amplifies their energy and connection with the audience. Despite its scarcity in digital formats, Alive! remains a beloved album for jazz fans, its reputation bolstered by glowing reviews and the enduring legacy of its performers. For those lucky enough to own a vinyl copy or find a way to hear it, Alive! is a vibrant, soulful journey that lives up to its name.

Montreaux Jazz Festival

Casino, Montreux

June 23, 1972

01. Here It Is, You Hear?

02. Saint Thomas

03. 60-Miles Young

04. Hill Where The Lord Hides

05. High Heel Sneakers

06. Legend Of The One-Eyed Sailor

Chuck Mangione - flugelhorn, elec piano, percussion

Gerry Niewood - soprano sax, tenor sax, flute, percussion

Tony Levin - electric bass

Steve Gadd - drums

This live recording highlights the quartet at a pivotal moment in their career, delivering a dynamic set rooted in jazz with elements of fusion and mainstream appeal. The performance is notable for its high-energy interplay and the virtuosity of its members, particularly Steve Gadd, whose drumming is a standout feature. The video is a valuable document of Mangione’s early quartet, before his later commercial success with hits like “Feels So Good.”

Gadd’s performance is frequently praised for its intensity and technical prowess, showing strong influences from Elvin Jones. His drum solo in “St. Thomas” (starting around 3:57) is a highlight, demonstrating his innovative style and command of the Gretsch kit, which he reportedly used during this concert.

The quartet, featuring Tony Levin on bass and Gerry Niewood on sax, displays tight musicianship. Levin’s electric bass work, including a notable solo in the 12-bar blues section, adds depth, while Niewood’s saxophone versatility (tenor, soprano, and flute) brings emotional and melodic richness. Reviewers describe the group as “well-rehearsed and in fine form” after their Montreux appearance.

This video is a snapshot of Mangione’s early career, before his mainstream success, and showcases a pivotal moment for jazz in the early 1970s. It also highlights Rochester’s vibrant music scene, with local talents like Gadd and Levin. The performance’s connection to the Alive! album, which remains vinyl-only and highly sought after, adds to its cult status among collectors.

This video is a must-watch for jazz fans, especially those interested in Steve Gadd’s early work or the roots of Chuck Mangione’s career. It’s a high-energy, authentic jazz performance with stellar musicianship, though viewers should expect vintage production quality. The interplay between Mangione, Gadd, Levin, and Niewood makes it a compelling piece of jazz history, best enjoyed by those who appreciate live improvisation and the raw energy of a pre-fusion quartet.