Popular Music and Society: Stolen Moments

Stolen Moments GAP MANGIONE, 2003 Josh Records, JM 2004

Too often people forget that there are two talented Mangione brothers. Chuck is well known and has been on the big scene for some time, but Gap has chosen to spend most of his time around Rochester, NY, the Mangione Brothers' hometown. He has recorded a number of albums, with and without his younger brother. Each has moments of sparkling brilliance. From time to time he has recorded with a big band, one that he has rehearsed off and on for a number of years.

Gap's first effort on record with a big band was on his Diana in the Autumn Wind, now on CD. That album introduced the world outside Rochester to his brother Chuck's big band orchestrations. Gap is also an orchestrator of note as his last album, Planet Gap, clearly demonstrated. As that album also demonstrated, it pays to have friends around with whom you have rehearsed and performed for a number of years.

A number of world-class musicians have come from Rochester, NY, and nearby towns. Many have passed through the Mangione sphere of influence. Many record with one or both brothers from time to time. Each brother loves to teach and promote fellow musicians. Chuck proudly states that Gap was his first teacher. The closeness between the brothers is genuine and each is the other's greatest fan. Even though Chuck, for example, is not on this recording Gap thanks him for his help.

This family-like feeling is felt on Stolen Moments. The musicians are familiar with each other's work. They are relaxed and that happy relaxation shows through on each piece. The songs are ones that Gap, and many of the members of the band, grew up hearing in their youth. It is an eclectic mix united by the fact that they are all somehow associated with the '60s and thus are "stolen" for this recording. One of the pieces, "The Gap," is even stolen from Gap himself. To see how he has matured over the years into one of our leading pianists I suggest listening to his 1960 work such as And the Kids Call It Boogie (Gap Mangione, Sagoma Records, S/DGM-751), Sing along Junk (Gap Mangione, Mercury Records, SRM 1 647), Diana in the Autumn Wind (Gap Mangione, GRC Records, 9001 and now on CD Josh 2003), as well as the three Jazz Brothers recordings for Mercury with brother Chuck: Spring Fever (The Jazz Brothers, Riverside, LP RLP9405/CD 0JCCD-767-20), Hey Baby! (The Jazz Brothers, Riverside, LP RLP9371/CD 0JCCD-668-2), and The Jazz Brothers (The Jazz Brothers, Riverside, RLP9335). Then listen to him play today. It is a lesson on how early promise has blossomed into maturity. I would also suggest catching him in person as I have had the pleasure of doing and sneak in early while he is playing solo piano and trying out things.

In a Lincoln Center Concert in 1977 Chuck Mangione referred to his brother as "Chuckles" because he is a basically happy outgoing person. It is obvious that he enjoys playing and brings a lift to any group in which he is found. Certainly, his upbeat solo on "The Gap," demonstrates clearly why he has the nickname. Playing with such musicians as Joe Romano, Steve Gadd, Jerry Niewood, Chip Jackson, Grant Geissman, and others would bring a big smile to any musician. However, Gap can be quite introspective.

His work on the title tune, Oliver Nelson's "Stolen Moments," will make a statue weep. His treatment of the Beatles tunes "Fool on the Hill," "And I Love Her," and, to my ears especially, "Golden Slumbers," among others, is a model of delicacy. Gap is able to take the better pop tunes and turn them into jazz pieces. His fine arrangements add to the enjoyment. In fact, he did all the arrangement except for the one on "Scarborough Fair," a fine arrangement by Grant Geissman.

His performance on "And I Love Her," is a lesson to young pianists in how to build a solo. It begins with stark simplicity. Gap uses this foundation to build layer after layer of material. He incorporates rhythms and harmonies and flashes some humor that John Lennon would have appreciated by ending with a brief quote from "Camptown Races." Just to show that he still can groove in a total jazz vein, he romps through "Big P," reminding people that he came of age in the 1950s, the Golden Age of the then still young jazz idiom, a time when Armstrong could and did play with Gillespie and was admired by Miles Davis.

There are many great soloists in this band and Gap gives plenty of room for people to shine. On the title track, "Stolen Moments," Andy Weinzler displays why he deserves much more attention than he has received. His tenor solo blisters as he brings out unexpected depths in this gorgeous Oliver Nelson tune. On "Happy Together" Jerry Niewood displays his prowess. Switching to soprano on "The Fool on the Hill," he demonstrates how it should be played, bringing those wonderful Beatles' chords into the jazz fold. I have never heard Niewood play alto before this recording and I have followed his work live and on recordings with Chuck Mangione's various groups. His solo is a model of hard bop swinging on "Big P." Joe Romano displays his bebop roots on "The Gap" and whispers to get people ready for the fine vocalist Cindy Miller on "The Need to Be."

There are, as I noted, many fine soloists in this band. Grant Geissman is one of them. He is a major contemporary guitarist. He shines on the luscious "And I Love Her" and "Something" and then shows his versatility beefing up "The End" and grooving to "The Gap Theme." Dan Schmitt adds variety with his great soul rock vocals and Cindy Miller not only shines on the moody "The Need to Be," but reminds us that the great jazz pianist-vocalist Nat Cole was also around in the '60s singing a 1940s Vaughan Monroe hit "Dance Ballerina Dance."

There is a feeling in jazz that nothing can beat a working band's recording. As the economics of jazz has changed over the years, there are fewer working bands out there and fewer still that get to record. Gap has worked so long with these musicians that this is a de facto working band. After his early dues paying, arranging for local groups at 15 and playing gigs with and without brother Chuck, he first appeared on the recording scene with the Salt City Six in 1958 on Roulette and then with his younger brother Chuck in the Jazz Brothers for Riverside in 1960 and 1961. This album shows what long association of great musicians can bring to a recording. The sheer pleasure of listening to these fine musicians playing comfortably together and challenging one another to greater heights has become too rare. Let's hear it for Gap Mangione and his fine new CD.

FRANK A. SALAMONE

Iona College, NY