FunkFreak75
Released in April of 1971, Bill Chase was a Schillinger House of Music (later renamed the Berklee College of Music)-trained jazz trumpeter who had cut his teeth in the 1950s playing for Maynard Ferguson, Stan Kenton, and Woody Herman's Thundering Herd. He is often seen on lists of the greatest trumpeters of all-time. This band and album was Bill's attempt to give the "hot ticket" of jazz-rock a try. Sadly, Bill died only three years later in a plane crash at the young age of 40.
1. "Open Up Wide" (3:48) amazing full-throttle brass rock. (8.875/10)
2. "Livin' In Heat" (2:54) a little Broadway musical feel to this one (as well as BS&T). I guess the lead vocals hear must be attributed to Dennis Johnson. (8.875/10)
3. "Hello Groceries" (2:56) R&B brass rock. Jerry Van Blair's lead vocal is pure R&B. (8.75/10)
4. "Handbags and Gladrags" (3:23) slowed down New Orleans funereal music start turns into New York City open air style jazz-rock. Love the wavy, layered horn arrangements in the back ground. Lead vocalist Ted Piercefield sure sounds like David Clayton Thomas. (9/10)
5. "Get It On" (2:59) (8.666667/10)
6. "Boys and Girls Together" (2:56) Ted Piercefield again in the lead vocals. (8.666667/10)
7. "Invitation to a River" (14:13) so much like the soundtrack and arias from a single act of a Broadway musical. Even so, it would be considered great, moving theater music. (27.75/30) a) "Two Minds Meet" - Dennis Johnson again on lead vocals? b) "Stay" - slow and atmospheric with choral background vocals supporting Dennis' plaintive lead. c) "Paint It Sad" - there's that David Clayton Thomas sound and feel again. d) "Reflections" (ad lib) - Astounding horn play--especially from lead trumpeter Bill Chase. e) "River" - more akin to the slow and plaintive music and lyrics of the second movement.
Total time - 33:09
This is an album that sounds as if the Don Ellis Orchestra produced Blood Sweat and Tears and they composed for Broadway musicals. The horn play is amazing throughout this album--so crisp and clear, creative and powerful--but the songs aren't always as engaging and are rarely inventive or forward-thinking (except for the horn arrangements) as some of the other J-R Fusion artists of the day. I feel that Bill and company's compositional and stylistic orientations are quite similar to the music Stephen Schwartz was doing for musical theater.
A-/five stars; a minor masterpiece of theatric brass rock.