Maynard Ferguson Albums (47)
'M.F. Horn, Vol. 3/M.F. Horn, Vols. 4-5: Live at Jimmy's'
Release Date 3/20/2007
Tracks 17
Label Dutton Laboratories
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What The Critics Say
Several years before cornering the disco market with his Conquistador LP, trumpeter Maynard Ferguson cut a series of jazz/rock/funk fusion albums, each bearing the phrase "M.F. Horn" in the title. The first two volumes, dating from 1970 and 1972, demonstrated Ferguson's growing interest in contemporary pop music, rather than the older pop repertoire that had ripened into jazz standards during the '50s and early '60s. M.F. Horn, Vol. 3 contained a larger quantity of original works, refreshingly funky in texture. On July 10, 1973 Ferguson and his big band recorded enough music to fill a double-album LP, soon issued by Columbia as M.F. Horn, Vols. 4-5: Live at Jimmy's. Produced by Teo Macero, this amazing session took place in front of an audience almost entirely comprised of jazz columnists and CBS employees. Jimmy's, a nightclub specializing in jazz, was located on West 52nd Street in New York City. M. F. Horn, Vols. 4-5 is still considered to be Maynard Ferguson's best -- and jazziest -- big-band album of the '70s. In 2007, the British Dutton Vocalion Laboratories remastered and reissued M.F. Horn, Vol. 3/M.F. Horn, Vols. 4-5 in a double-CD that is guaranteed to please those who aren't too uptight to enjoy a bit of funk, electric keyboards and rock drumming with their big-band jazz. The trick photography used on the packaging typifies the wild and sometimes outrageous sort of pseudo-hallucinatory album cover art that popped up everywhere during the mid-'70s. Ferguson, seemingly grown taller than a parking garage, is seen wandering between skyscrapers and planting his butt on top of a restaurant, grinning broadly and waving his trumpet at the tiny pedestrians below. The neighborhood chosen for these visual shenanigans appears to have been near the intersection of 52nd Street and the Avenue of the Americas, not far from CBS headquarters and Jimmy's jazz club. ~ arwulf arwulf, All Music Guide
'M.F. Horn, Vol. 2'
Release Date 2/27/2007
Tracks 8
Label Wounded Bird
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What The Critics Say
During his period on Columbia, Maynard Ferguson showed a willingness (and sometimes even an eagerness) to record pop material. His trumpet playing is frequently brilliant throughout this LP with his English orchestra, but not too many jazz purists will be thrilled with his renditions of "Theme from Shaft," "Spinning Wheel," and "Hey Jude." The music is actually better than it seems, but do not look here for any bop. ~ Scott Yanow, All Music Guide
'M.F. Horn, Vol. 3'
Release Date 2/20/2007
Tracks 7
Label Wounded Bird Records
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What The Critics Say
Some jazz purists are still whining about records made during the 1970s by Canadian trumpeter Maynard Ferguson, damning him with faint praise and acting righteously indignant as if jazz and pop haven't fed off of each other since before the First World War. Recorded in 1973 both in London and New York while Ferguson was wrapping up his five-year residency in England and preparing to reestablish himself in the U.S., the music on this album is an exciting reminder of just how diverse the music scene really was during the early to mid-'70s, even if pigeonholers didn't yet have a controllable category for some of the sounds that were in the air at that time. Bear in mind what Donald Byrd, Brother Jack McDuff, Miles Davis, Yusef Lateef, Freddie Hubbard, Rahsaan Roland Kirk, and dozens of other major modern musicians were up to during that same time period. The fact that Ferguson and his keyboardist, Pete Jackson, were actively combining jazz with elements of pop, rock, and funk hardly seems objectionable from a 21st century standpoint. If during the late '70s and early '80s Ferguson attempted to ensure his own financial stability by making records that would appeal to an even wider audience -- that was his choice. As for the music on this album, it's much better than most jazz critics have ever admitted in writing. "Nice 'n Juicy," "Pocahontas," and Jackson's "Mother Fingers," "S.M.O.F.," and "Awright, Awright" are superbly funky big-band jams that work uncommonly well as soundtracks for cruise-control freeway driving, thanks in large part to electric bassist Dave Markee, drummer Randy Jones, New Zealand baritone saxophonist Bruce Johnstone, and Ferguson's wild brass section. (Listen also for Vemu Mukunda strumming the veena, or South Indian lute, during "S.M.O.F.") This album, originally issued as M.F. Horn, Vol. 3, has been reissued in a double-disc set with M.F. Horn, Vols. 4-5: Live at Jimmy's by the English Dutton Vocalion label. ~ arwulf arwulf, All Music Guide
'A Message from Newport'
Release Date 1/1/2007
Tracks 12
Label Enigma
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'The One and Only'
Release Date 1/1/2007
Tracks 9
Label Maynard Ferguson Trust
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What The Critics Say
Maynard Ferguson's sudden passing in the summer of 2006 was a surprise to many jazz fans, as the always upbeat bandleader seemed indestructible. Just a few weeks prior to his death, the trumpeter took his Big Bop Noveau into the studio to record what evidently is his final album. With a number of creative arrangements and original compositions contributed for the recording by Ferguson's bandmembers, the players took to each of them with the same enthusiasm that their leader showed on a everyday basis. Every track should be considered a highlight of the CD, though saxophonist Chip McNeil's scoring of the standard "Without a Song," trombonist Steve Wiest's percolating arrangement of Bill Withers' often bland "Ain't No Sunshine When She's Gone," and Denis DiBlasio's hip setting of Henry Mancini's "Days of Wine and Roses" merit strong praise. Ferguson's son-in-law (and former pianist) Christian Jacob makes a guest appearance on "Lost Horizon," a captivating original ballad that he wrote especially for his former boss. The leader is featured on both trumpet and flugelhorn, along with trumpeter Wayne Bergeron and the composer; after a mellow introduction, it turns into a driving cooker. Always one to show off his incredible range on his instrument, Maynard Ferguson ended his career with one of his very best recordings, so it is not a cliché to say that he finished on top! ~ Ken Dryden, All Music Guide
'M.F. Horn, Vol. 6: Live at Ronnie's'
Release Date 12/26/2006
Tracks 9
Label BCD Music Group
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'M.F. Horn, Vol. 2/The Ballad Style of Maynard Ferguson'
Release Date 9/12/2006
Tracks 19
Label Dutton Vocalion
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'Live at Peacock Lane 1956'
Release Date 11/16/2004
Tracks 25
Label Fresh Sound
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What The Critics Say
An all-star cast assists Maynard Ferguson in this disco-tinged big-band outing. Ferguson's trademark trumpet playing is featured in all its screaming glory, and Mark Colby contributes a couple of high-energy sax solos. "Primal Scream" and "Invitation" sound as though they were lifted right off the mid-'70s disco dancefloor, complete with T.S.O.P.-type strings and pulsing rhythms. "Pagliacci," too, has the disco beat pounding underneath a Jay Chattaway adaptation of an operatic melody, with Bobby Militello featured on an energetic, overblown flute solo. Chick Corea's "The Cheshire Cat Walk" sounds like latter-day Return to Forever, as Corea's synth trades licks with Ferguson's horn over a familiar RTF rhythmic/chordal bassline sequence. The final cut, Eric Gale's "Swamp," stands out because of its reggae beat. This album was an obvious attempt to jump on the disco-funk bandwagon, and serves as a well-played, though dated, document of that era. ~ Jim Newsom, All Music Guide
