CD Land of Make Believe (CD 248195),
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Land of Make Believe

  • 1. Legend of the One-Eyed Sailor
    2. Lullaby for Nancy Carol
    3. Gato Triste, El
    4. Gloria from the Mass of St. Bernard, The - (from "The Mass Of St. Bernard")
    5. As Long as We're Together
    6. Land of Make Believe
  • Additional Info
    Manufacturer Part Number (MPN): 822539-2

  • Credits
    ProducerRichard Seidel; Chuck Mangione
    EngineerDave Greene; Phil Ramone

    Personnel includes: Chuck Mangione (flugelhorn); Esther Satterfield (vocals); Gerry Niewood (soprano saxophone, flute, alto flute); Ray Ricker, Joe Romano (tenor saxophone, flute); Ned Corman (baritone saxophone, flute); Jon Faddis, Jeff Tkazyik (trumpet); Janice Robinson, Bill Reichenbach Jr., Art Linsner III (trombone); Cathie Lehr (cello); Gap Mangione (electric piano); Don Potter (acoustic guitar); Al Johnson (electric bass); Joe LaBarbera (drums); John Beck (timpani, percussion); Steve Gadd (timpani); Horseheads Chamber Singers; The Hamilton Philharmonic Orchestra.
    Recorded live at Massey Hall, Toronto, Canada.
    Personnel: Chuck Mangione (flugelhorn); Esther Satterfield (vocals); Jan Walp (soprano); Ronny Berger, Scott Bump, Ron Berger, Jeff Bowlby, Steve Russell (tenor); Jeff Wilber, Russ Cembrinski, Jim Wilber, Jim Smith, Michael Cleveland (bass voice); Don Potter (guitar, acoustic guitar, electric piano); Gordon Johnson (acoustic guitar, flute, piccolo); Margaret Neufeld, Michel Zaitzeff, Beth Gorevic, David Hung, Christine Haarvig, Jacqueline Tarry, Rudolph Kalup, Kathryn Wunder, Natalie Mysko, Yiu Man Chung, Milan Vitek, Marta Hidy (violin); Jaroslav Karlovsky, Ann Armin, Barbara Hustis (viola); Edgar Hayes, Zdenek Konicek, Cathie Lehr (cello); Gerry Niewood (flute, alto flute, soprano saxophone); Jeff Tkazyik, Jon Faddis (flute, piccolo, trumpet); Paul Elliott (flute, piccolo); Ned Corman (flute, saxophone, timpani); Ray Ricker, Joe Romano (flute, tenor saxophone, trombone); Ron Davis (flute, tenor saxophone, congas, bongos, timbales, percussion); Sandy Watts (oboe, English horn); John Courtney, Tom Elliot (bassoon); Janice Robinson, Bill Reichenbach Jr. (trumpet, trombone); Arthur Linsner, Fred Mills , Ronald Romm (trumpet); Gregory Hustis, Graeme Page, Brad Warnaar, Robert Hansen (French horn); Art Linser III, Eugene Watts (trombone); Charles Daellenbach (tuba); Gap Mangione (electric piano); Al Johnson , Albert Johnson (electric bass); Joe La Barbera (drums); John Beck (congas, bongos, timbales, timpani, percussion); David Mancini, Steve Gadd (timpani, percussion).
    Audio Mixers: Richie Blakin; Phil Ramone; Chuck Mangione.
    Audio Remixer: Dennis Drake.
    Recording information: Massey Hall, Toronto, Ontario, Canada.
    Director: Joseph C. Crupi.
    Editors: Richie Blakin; Phil Ramone; Chuck Mangione.
    Unknown Contributor Roles: Don Potter; Horsehead Chamber Singers; Hamilton Philharmonic Orchestra.
    Arranger: Chuck Mangione.
    Though much less expansive than Mangione's other Mercury concerts (only 37 minutes on a single CD or LP), Land of Make Believe is the most successful of the lot, a winning combination of attractive tunes, big-thinking orchestrations, just enough jazz content, and a genuinely felt sense of idealism. Here there is no dead weight; all of the material is very engaging and the combined forces of Mangione's quartet and the Hamilton (Ontario) Philharmonic are on fire. The performance of Mangione's "Legend of the One-Eyed Sailor" still exerts a ferocious jolt of life-affirming energy, "El Gato Triste" is an attractive Latin number, and the buoyant "Gloria" from The Mass of St. Bernard with the Horsehead Chamber Singers makes one want to hear more. The childlike title tune has both a touching sense of navet and a lot of drive in key spots -- credit expert drummer Joe LaBarbera with the latter -- and Esther Satterfield's clear-eyed Nancy Wilson-like vocals made her famous for a time. This would be Mangione's most irresistible attempt at embracing the whole world of music -- and for awhile, it was possible to believe that he would become a major unifying figure in American music. Alas, thus far this would be the last full flowering of that promise. ~ Richard S. Ginell

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