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Although trumpeter Maynard Ferguson's mid- to late-'70s catalog was commercially viable, it also reflected the overindulgence that, in essence, defined the decade. By 1974, Ferguson had already become one of the most established figures in contemporary jazz. After performing with Stan Kenton & His Orchestra in 1950, he became a prolific recording artist. Unlike many jazz players, Ferguson maintained his chops, arguably gaining incremental momentum for his trademark high-range blasting, which is evident throughout this LP. Stylistically, Chameleon (1974) is all over the place. The supporting combo -- which includes future Frank Zappa keyboardist Allan Zavod -- provide tastefully executed backing arrangements. Unfortunately, in many cases they are sonically voided by Ferguson's over the top wailing, the most flagrant example being the reworking of "The Way We Were," which features the trumpeter barreling through with the same gusto and attack that he brings to the hard-hitting cover of Stevie Wonder's "Livin' for the City" or the funkified rendering of the Herbie Hancock composition that gives this long-player its name. "Brother John" is notable for Ferguson's gospel-flavored introduction as well as the soulful support of the ensemble once the platter reaches cruising velocity. Less impressive is the brass assault that accompanies Paul McCartney's "Jet." However, the album concludes with the bop-oriented "Superbone Meets the Bad Man." This is one of the unmitigated highlights as the players embrace their jazz roots and discard the "hip" pretensions governing most of the material. In fact, the brief duet between Ferguson and Bruce Johnstone (baritone sax) makes the rest of the disc seem practically irrelevant. The 2003 CD reissue contains remastered sound as well as an extended essay within the 12-page liner booklet. ~ Lindsay Planer
Recorded in April 1974. Originally released on Columbia (90332). Includes liner notes by Dean Pratt.
Personnel: Maynard Ferguson (vocals, trumpet, horns); Andy Mackintosh (soprano saxophone, alto saxophone, flute, cowbell); Brian Smith (tenor saxophone, flute, tambourine); Bruce Johnstone (baritone saxophone, flute, percussion); Stan Mark, Dennis Noday, Lynn Nicholson, Bob Summers (trumpet, flugelhorn, percussion); Randy Purcell, Jerry Johnson (trombone); Alan Zavod (piano, electric piano); Rick Petrone (bass); Dan D'Imperio (drums).
Chameleon Reproductions I grew up 'trying' to play with this album, and by my mid 20's almost doing it, except for Maynards most nut wrenching impossible screams. First with LP's, then tapes, and then a CD. I never realized until I bought Live at Jimmys on CD, and have a really good stereo system how poorly the sound engineering is on Chameleon. So I must agree with other reviewers about that, and will try and get a copy from another label that someone said is a better reproduction. A Japan copy I think they said. Chameleon is still my favorite of them all, I just wish it sounded as good as my LP did. Submitted by johnedr2001 (Lebanon, Pa. USA) Was This Review Helpful? YesNo This review is for a different format.
Horrible remastering as bad as US release I bought this CD because I loved the music but hated the deadened remastering of the US releases and hoped the Japanese CD would be better. It was NOT. Just as dead in an excessive attempt to reduce any tape hiss.
The Wounded Bird label reissues the CDs from the original master tapes and sound great. Columbia botches it badly, here AND in Japan. Submitted by markfdavidson (Detroit Michigan) Was This Review Helpful? YesNo This review is for a different format.
Chameleon Reproductions
Horrible remastering as bad as US release
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