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
players,
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
'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
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
"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
roots and discard the "hip" pretensions governing most of the material. In fact, the brief duet between
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