Dr. Smooth’s Flashback #7: Cash Box Jazz album chart of March 6, 1982

Spend an hour remembering some of the most popular jazz of late winter 1982 as listed on the Top 30 Jazz Albums chart in the March 6, 1982 issue of Cash Box magazine.

Playlist:

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#30: “Baby, Come to Me” by Patti Austin with James Ingram, from the #30 album of the week, Every Home Should Have One. This smooth single was written by Rod Temperton and produced by Quincy Jones, the duo that would bring the world Michael Jackson’s Thriller album later in the year. It was released without much impact in the spring of ’82, but was re-released in October after being feature on the soap opera General Hospital and became a huge hit on the pop, adult contemporary and R&B charts. The immediately recognizable voice of Michael McDonald sings back up on the chorus. Patti, the goddaughter of Quincy Jones, was the first signee to his new label, Qwest and this album was one of the label’s first releases. This was the album’s last of 19 weeks on the jazz chart.

Cash Box Album Charts:	Peak	Weeks
Top 200 Albums	55	25

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#29: “The Man With the Horn” by Miles Davis, from the #29 album of the week, The Man With the Horn. This title track, a tribute to Davis himself (“His music sets the pace but masters never have to race”), features lead vocals by Randy Hall and trumpet work by Miles filtered through some sort of wa-wa synthesizer throughout. The album, Davis’s first new release since 1975 following a six-year reclusive retirement, was not well-received by critics but spent over 30 weeks on the Cash Box jazz chart, peaking at #1 back around September, 1981.

Cash Box Album Charts:	Peak	Weeks
Top Albums	40	16

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#28: “It’s for You” by Pat Metheny & Lyle Mays, from the #28 album of the week, As Falls Wichita, So Falls Wichita Falls. Side one of this album features the  epic 20 minute title track; this song from side two, however, became one of the more popular cuts on the album, having later been covered by several artists and appearing in the 1985 Kevin Costner movie, Fandango. The album is notable as one of the few albums in which Metheny, in addition to his signature guitar work, also plays bass. The album had peaked on the chart at #2 in August, 1981.

Cash Box Album Charts:	Peak	Weeks
Top Albums	61	20

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#21: “Telluride” by Spyro Gyra from the #21 album, Freetime. This cut from the group’s 1981 album features mallet work by Dave Samuels and a saxophone solo from band leader/composer/producer Jay Beckenstein. The album, the group’s fifth, had peaked at #3 in early October, 1981.

Cash Box Album Charts:	Peak	Weeks
Top Albums	40	29

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#19: “Segue/There’s a Way” by Ronnie Laws from the #19 album, Solid Ground. The second and third tracks on Laws’ 1981 album. “There’s a Way” features vocals and sax work by Laws. After attending Stephen F. Austin State University in Nacogdoches, Texas, Laws was briefly a member of Earth, Wind & Fire and the influence of Maurice White is evident on this track. This album was Laws’ sixth solo effort and had previously peaked at #5 on the jazz albums chart.

Cash Box Album Charts:	Peak	Weeks
Top Albums	55	22

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#15: “Valdez in the Country” by the Ernie Watts from the #15 album, Chariots of Fire. This cover of a 1973 Donny Hathaway instrumental leads off side two of this album, Watts’ first solo album on the aforementioned Qwest label. In addition to tenor sax work from Watts, the track features a synth solo by Don Grusin and trumpet arrangements by studio legend Jerry Hey. Half of the album’s eight tracks are covers of music from Vangelis’ soundtrack to Chariots of Fire.

Cash Box Album Charts:	Peak	Weeks
Top Albums	156	9

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#10: “Sleepwalk” by Larry Carlton from the #10 album, Sleepwalk. This title track is a cover of the instrumental by Santo & Johnny that hit #1 in 1959. The song features Carlton on his  Valley Arts Stratocaster and was released as a single and briefly placed on the adult contemporary charts in ’82.

Cash Box Album Charts:	Peak	Weeks
Top Albums	88	10

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#9: “As” by Jean-Luc Ponty from the #9 album, Mystical Adventures. The third consecutive cover on this compilation is fusion cover of Stevie Wonder’s “As.” The song features solos by Ponty on electric violin and Jamie Glaser on guitar; Ponty also tries his hand at the vocoder. The bass player on this cut is Randy Jackson, who would go on to become a judge on American Idol.

Cash Box Album Charts:	Peak	Weeks
Top Albums	68	15

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#8: “Time to Say Goodbye” by Angela Bofill from the #8 album, Something About You. The ballad, written by Bofill, closed this 1981 album, produced by Narada Michael Walden. It was selected as the B-side for two of the album’s three singles. Like our previous Ponty cut, this song features Randy Jackson on bass. On this date, the album had been on the jazz album chart for 17 weeks and had begun its descent from a peak at #5.

Cash Box Album Charts:	Peak	Weeks
Top Albums	66	26

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#5: “Twinkle” by Earl Klugh from the #5 album, Crazy for You. This upbeat piece features Klugh on acoustic guitar, Paulinho Da Costa on percussion, and Louis Johnson (of The Brothers Johnson) on bass. Klugh solos on guitar and Greg Phillinganes contributes an electric piano solo. The album, Klugh’s eighth, had earlier peaked at #3 in late January.

Cash Box Album Charts:	Peak	Weeks
Top Albums	59	26

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#2: “Turn Your Love Around” by George Benson from the #2 album, The George Benson Collection. This hit single, the lead track from the 1981 greatest hits 2 LP set was written by Bill Champlin of Chicago, guitarist Steve Lukather of Toto and producer/guitarist Jay Graydon. The song won a Grammy award for Best R&B Song. The album, which earlier spent 5 weeks in the #1 spot, was a compilation of Benson’s best work from the years 1969-1981.

Cash Box Album Charts:	Peak	Weeks
Top Albums	17	30

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#1: “Jamming” by Grover Washington, Jr. from the #1 album, Come Morning.  This cover of a 1977 Bob Marley tune smooths out the original’s reggae lilt and opened side two of the album. The album features an all-star cast of musicians including Steve Gadd, Marcus Miller, Richard Tee, and Eric Gale. This chart marked the album’s fifth consecutive week in the top position. The song was released as a single b/w “East River Drive.”

Cash Box Album Charts:	Peak	Weeks
Top Albums	31	27

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback #6: Billboard Contemporary Jazz chart of August 20, 1988

Spend an hour remembering some of the most popular jazz of late summer 1988 as listed on the Top Contemporary Jazz Albums chart in the August 20, 1988 issue of Billboard magazine.

Playlist:

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#25: “Put It Where You Want It” by George Shaw and Jetstream, from the #25 album of the week, Skywalkers. This classic Crusaders tune was the lead track from this covers album; that’s the Crusaders’ Wilton Felder on saxophone. The album had premiered on the Contemporary Jazz chart on July 9; this week marked its final appearance.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	19	8

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#24: “Spread Love” by Take 6, from the #24 album of the week, Take 6. The a capella gospel album premiered on the chart this week before having a surprising ten week. The album spent 2 full years on a Billboard chart that went through 3 names during those two years: “Spiritual,” “Inspirational,” and, finally, “Contemporary Christian.” The album won a Grammy award for Best Soul Gospel Performance by a Duo or Group, Choir or Chorus while this song won for Best Jazz Vocal Performance, Duo or Group.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	19	10
Billboard 200	71	19
R&B	41	22
Spiritual/Inspirational	3	104

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#23: “River Song” by Dave Grusin and Don Grusin, from the #23 album of the week, Sticks and Stones.  Keyboardists Dave and younger brother Don put out this album on Dave’s GRP label (Dave is the G in GRP). This album only charted for 2½ months, but Dave was too busy to mind – he won the best original score Oscar in 1988 for his soundtrack to The Milagro Beanfield War.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	14	10

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#22: “Nothing Can Come Between Us” by Sade from the #22 album, Stronger Than Pride. This was a successful single from a huge album – the single peaked at #3 R&B and #21 Adult Contemporary. Despite the fact that only lead singer Sade Adu appears on the album covers, the label and musicians insist that Sade is a band name.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	21	12
Billboard 200	7	45
R&B	3	44

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#19: “Smoke Gets in Your Eyes” by Patti Austin from the #19 album, The Real Me. This album, Austin’s seventh, consists mainly of standards updated with modern arrangements. This cut was written by composer Jerome Kern and lyricist Otto Harbach for the 1933 musical Roberta. This version was arranged and produced by David Pack (Ambrosia) and features sax work from Ernie Watts.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	7	16
R&B	56	14

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#16: “Los Cabos” by the Rippingtons from the #16 album, Kilimanjaro. The band’s second album, this album had debuted on the Contemporary Jazz chart at #9 on April 30; it was near the end of its chart run on this date.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	3	20
Billboard 200	110	15
1988 Jazz Year End	14

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#14: “The Power of Suggestion” by Richard Elliot from the #14 album, The Power of Suggestion. The title track from this instrumental pop album was featured on many of the emerging smooth jazz radio stations at the time. That’s bassist Cliff Hugo doing his best imitation of Jimmy Haslip of the Yellowjackets. The album premiered on the Contemporary Jazz chart July 23 and was still on its ascent.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	12	14

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#13: “Coulda’, Woulda’, Shoulda'” by The Crusaders from the #13 album, Life in the Modern World.  The band was well into its third decade at this point and its popularity was waning. This track  features the usual stellar performances from pianist Joe Sample and the aforementioned Felder. This week, the album’s fifth on the chart, marked its peak.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	13	10

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#9: “The Key to You” by David Benoit from the #9 album, Every Step of the Way. David Pack makes a second appearance on this flashback playlist, this time as songwriter and vocalist on this track which dented the Adult Contemporary chart, peaking at #40. The song was co-written by Benoit, who contributes several piano solos. The album, Benoit’s eleventh, was nominated for a Best Jazz Fusion Performance Grammy award.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	4	22
Billboard 200	129	14
1988 Jazz Year End	15

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#7: “Local Hero” by Yellowjackets from the #7 album, Politics. This was the album’s seventh week on the chart and was still climbing. This album won the Grammy award for Best Jazz Fusion Performance. On their 1992 live album, Live Wires, the band would rename this song “The Dream” and feature Michael Franks on vocals.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	5	20
1988 Jazz Year End	20

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#4: “Drive My Car” by Bobby McFerrin from the #4 album, Simple Pleasures.  A Beatles cover from a huge summer album. The album would hold the #1 spot on the Contemporary Jazz chart for 4 weeks, June 11 – July 8 and later for 6 weeks, October 1 – November 11, but wouldn’t exit the chart until the following May.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	1	54
Billboard 200	5	55
R&B	12	41
1988 Jazz Year End	3

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#3: “Claire’s Dream” by Spyro Gyra from the #3 album, Rites of Summer. The lead track from the group’s 1988 offering, this track was written by saxophonist/producer Jay Beckenstein. Following this week at #3, the album would spend 4 weeks in the top spot before being ousted by the above McFerrin album.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	1	20
Billboard 200	104	8
1988 Jazz Year End	12

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#2: “Time and Tide” by Basia from the #2 album, Tide and Tide. The video for this track received some airplay on MTV and boosted the single to several charts: #19 Adult Contemporary, #26 pop. The album spent the month prior to this August 20 chart in the #1 spot. It charted a remarkable 62 consecutive weeks, from February 20, 1988 through April 15, 1989.

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	1	62
Billboard 200	36	77
1988 Jazz Year End	2

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#1: “Lesley Ann” by David Sanborn from the #1 album, Close-Up.  In the top spot in only its fifth week on the chart, this would be its only appearance at #1. It would remain on the Contemporary Jazz chart, however, through April 1989. This track features guitarist Hiram Bullock, producer/bassist Marcus Miller, and vocals by Michael Ruff. The album won the Grammy award for Best Pop Instrumental Performance (Orchestra, Group or Soloist).

Billboard Album Charts:	Peak	Weeks
Contemporary Jazz	1	40
Billboard 200	59	28
R&B	38	19
1988 Jazz Year End	9

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback #5: Billboard chart of October 26, 1985

Spend an hour remembering some of the most popular jazz of Autumn 1985 as listed on the Top Jazz Albums chart in the October 26, 1985 issue of Billboard magazine.

Playlist:

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#39: “Endangered Species” by Wayne Shorter, from the #39 album of the week, Atlantis. While Atlantis was Shorter’s 16th solo album, it was his first since 1974. During the intervening years, Shorter had mainly recorded as a member of Weather Report. This week marked the album’s debut on the jazz chart. Trivia: the pastel portrait of Shorter on the album cover was composed by actor Billy Dee Williams.

Billboard Album Charts:	Peak	Weeks
Jazz	32	10

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#38: “It’s All for You” by Herb Alpert, from the #38 album of the week, Wild Romance. The album had debuted on the jazz chart on September 14; this week would mark its last appearance on the jazz chart, although it had a slightly longer run on the Billboard 200.

Billboard Album Charts:	Peak	Weeks
Jazz	35	8
Billboard 200	151	10

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#37: “Imagination” by Al Jarreau from the #37 album, High Crime. This album, his fourth with producer Jay Graydon, was released in late 1984 and had debuted on the jazz chart on December 1, 1984. The album was nearing the end of its chart run on this date, having been on the chart for 48 weeks.

Billboard Album Charts:	Peak	Weeks
Jazz	2	53
Billboard 200	49	35
R&B	12	33
1985 Jazz Year End	7

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#30: “If I Could” by the Pat Metheny Group from the #30 album, First Circle. By this point, this album had been on the jazz chart for 54 weeks, having debuted more than a year earlier. It quickly rose to the #2 position, kept from the top spot by Wynton Marsalis’ Hot House Flowers album. It would retain a spot in the low 30’s on the album chart for a few months before falling off in March 1986. In February 1985, the album won the Grammy award for Best Jazz Fusion Performance.

Billboard Album Charts:	Peak	Weeks
Jazz	2	75
Billboard 200	91	35
1985 Jazz Year End	3

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#23: “Beyond the Sea” by George Benson from the #23 album, 20/20. Benson’s big band take on this standard from 1946 was the last track on side one of this album and features Benson on a scat guitar solo, a rarity in the mid-80s. On this week, 20/20 was nearing the end its run on the jazz chart, having debuted back on February 16.

Billboard Album Charts:	Peak	Weeks
Jazz	3	48
Billboard 200	45	32
R&B	20	34
1985 Jazz Year End	5

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#22: “Smooth Operator” by Sade from the #22 album, Diamond Life. This song was a #5 single on the Billboard Hot 100. This album, the band’s debut, debuted on the jazz chart on March 30 and was enjoying its 31st week on the chart. However, it was nowhere near the end of its chart run, which ultimately ended in June 1986.

Billboard Album Charts:	Peak	Weeks
Jazz	5	66
Billboard 200	5	81
R&B	3	76
1985 Jazz Year End	14

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#20: “Run for Cover” by David Sanborn from the #20 album, Straight from the Heart. Recorded live in studio in front of a small crowd, this album mixes some songs from Sanborn’s earlier albums along with a few covers. The studio version of “Run for Cover” was released in 1981 on Sanborn’s Voyeur album. The song was written by, and features, bassist Marcus Miller. The album was number one on the jazz chart for 6 weeks in late March and April of 1985. In February 1986, the album would win the Grammy award for Best Jazz Fusion Performance.

Billboard Album Charts:	Peak	Weeks
Jazz	1	74
Billboard 200	64	32
R&B	31	20
1985 Jazz Year End	4

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#17: “Aural Oasis” by Wynton Marsalis from the #17 album, Black Codes (from the Underground).  This post-bop album was the highest charting debut on this October 26 chart. In February 1986, the album would win two Grammy awards: Best Jazz Instrumental Performance, Soloist, and Best Jazz Instrumental Performance Group. Black Codes would go on to spend an incredible 30+ weeks in the top ten of the jazz chart, including 4 weeks at the #2 position (Stanley Jordan’s Magic Touch album was at #1 during those weeks – see #1, below).

Billboard Album Charts:	Peak	Weeks
Jazz	2	42
Billboard 200	118	10

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#14: “Oops!” by Rare Silk from the #14 album, American Eyes. This vocalized cover of Steps Ahead’s “Oops!” leads off this album, the quartet’s second. The album debuted on the jazz chart on April 13; on this date, the album was on its slow chart descent after spending the summer in the chart’s top ten.

Billboard Album Charts:	Peak	Weeks
Jazz	4	44
1985 Jazz Year End	10

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#8: “Moonlight Dancing” by Earl Klugh from the #8 album, Soda Fountain Shuffle. Guitarist Earl Klugh has been a staple on the jazz charts since 1976. This 12th studio album, which debuted on May 11, had peaked on the chart a few months earlier, but was still enjoying top ten status. Klugh wrote and produced all ten songs on the album, including “Moonlight Dancing” which was track 4 on side one.

Billboard Album Charts:	Peak	Weeks
Jazz	3	44
Billboard 200	110	17
R&B	23	21
1985 Jazz Year End	13

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#2: “Love Will Find a Way” by George Howard from the #2 album, Dancing in the Sun. This song, the album’s lead track, is an instrumental cover of a song which original appeared on Lionel Richie’s Can’t Slow Down album. The album debuted on May 11 and had spent the 6 weeks previous to this October 26 chart in the #1 spot. It wouldn’t exit the chart until June 1986.

Billboard Album Charts:	Peak	Weeks
Jazz	1	62
Billboard 200	169	4
R&B	47	25
1985 Jazz Year End	6

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#1: “The Lady in My Life” by Stanley Jordan from the #1 album, Magic Touch.
This Rod Temperton tune originally closed out Michael Jackson’s Thriller album. Magic Touch was Jordan’s major label debut and spent a remarkable 46 non-consecutive weeks in the #1 spot.

Billboard Album Charts:	Peak	Weeks
Jazz	1	86
Billboard 200	64	66
R&B	31	61
1985 Jazz Year End	2

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback #4: Billboard chart of December 6, 1980

Spend an hour remembering some of the most popular jazz of late Autumn 1980 as listed on the Jazz LPs chart in the December 6, 1980 issue of Billboard magazine.

Playlist:

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#47: “Inflation” by Stanley Turrentine, from the #47 album of the week, Inflation.  This album, on the Elektra label was in the latter third of its chart run on this date.  However, his newer release on the Fantasy label, Use the Stairs, was at #33 in the first weeks of its chart run.

Billboard Album Charts:	Peak	Weeks
Jazz	17	38
Billboard 200	209	1
R&B	65	3

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#44: “Bud Powell” by Chick Corea and Gary Burton from the #44 album, In Concert, Zürich, October 28, 1979. This ECM album was premiering on the Jazz Charts this week and would go on to win the Grammy Award for Best Jazz Instrumental Album, Individual or Group.

Billboard Album Charts:	Peak	Weeks
Jazz	23	19

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#38: “Midnight Parade” by Larry Carlton from the #38 album, Strikes Twice. This track is the third track on the album, which was Carlton’s fifth solo release. This week, the album was headed down the charts, having peaked back on the October 4 chart.

Billboard Album Charts:	Peak	Weeks
Jazz	8	22
Billboard 200	138	8

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#29: “Hideaway” by David Sanborn from the #29 album, Hideaway. The lead and title track from his breakthrough album. Sanborn would remain a staple on the jazz charts throughout his career. By this point, the album was almost halfway from its 86 week chart run.  It was in its 41st week on the chart, having premiered at #18 on March 1.

Billboard Album Charts:	Peak	Weeks
Jazz	2	86
Billboard 200	63	19
R&B	33	14

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#28: “Who’ll Be The Fool Tonight” by the Larsen-Feiten Band from the #28 album, Larsen-Feiten Band. This single by a group of well-known session musicians (led by keyboardist Neil Larsen and guitarist Buzz Feiten) hit #29 in the Billboard Top 40 in October 1980.

Billboard Album Charts:	Peak	Weeks
Jazz	16	12
Billboard 200	142	10

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#20: “East Side Strut” by Deodato from the #20 album, Night Cruiser. The second track on the album, this funk song features bass playing by Gary Grainger. The album debuted at #40 on the chart in late August before peaking at #7 in mid-October.

Billboard Album Charts:	Peak	Weeks
Jazz	7	33
Billboard 200	186	3
R&B	53	8

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#15: “The Two of Us” by Seawind from the #15 album, Seawind.  Seawind was a fusion group from Hawaii; this, their most popular album, was their only release on the A&M label and was produced by George Duke. This west coast/AOR song features vocals by Pauline Wilson and Carl Carlwell on vocals as well as the signature horn licks of Jerry Hey. The album first appeared on the chart on October 11, had peaked in November, and was just starting its move down the charts on this date.

Billboard Album Charts:	Peak	Weeks
Jazz	13	30
Billboard 200	83	11
R&B	20	21

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#11: “Your Sweet Love” by Al Jarreau from the #11 album, This Time. The album, produced by Jay Graydon, moved away from jazz towards a more adult R&B sound. The move was rewarded with chart success. This song again treats us to more Jerry Hey horns along with lots of electric piano from Tom Canning. This album held the #1 spot on the Jazz charts from for 3 weeks in July before being knocked off by The Crusaders’ Rhapsody and Blues.

Billboard Album Charts:	Peak	Weeks
Jazz	1	82
Billboard 200	27	35
R&B	6	39

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#10: “Funkin’ for Jamaica” by Tom Browne from the #10 album, Love Approach. This funk song hit #1 on the R&B charts and #9 on the Disco charts yet didn’t crack the Hot 100.  Vocals provided by Toni Smith. This album held down the #1 spot on the Jazz album chart for just one week, November 8.

Billboard Album Charts:	Peak	Weeks
Jazz	1	45
Billboard 200	18	26
R&B	1	32

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#6: “Let it Flow (For Dr. J)” by Grover Washington, Jr. from the #6 album, Winelight.  This album would go on to spend 31 weeks at #1 on the jazz charts and yield the #2 pop single “Just the Two of Us,” featuring vocals by Bill Withers.  Washington was from the Philadelphia area and was a huge fan of the 76ers basketball team and often performed the national anthem before games.  This love of the game led him to write this piece for Hall of Famer Julius Irving, star of the 76ers at the time.  Grover’s previous album, Baddest,  a double LP “best of” compilation on the Motown label, was also on this week’s chart, placing at #21.

Billboard Album Charts:	Peak	Weeks
Jazz	1	183
Billboard 200	5	52
R&B	2	49

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#2: “Bittersweet” by Spyro Gyra from the #2 album, Carnaval.   This was this particular album’s 5th week on the chart; it spent a total of five weeks at #2 behind George Benson’s Give Me the Night.  The group had two albums on the chart this week, their previous album, Catching the Sun, was at #31 in it’s 37th week on the chart.

Billboard Album Charts:	Peak	Weeks
Jazz	2	34
Billboard 200	49	30
R&B	24	23

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#1: “Dinorah, Dinorah” by George Benson from the #1 album, Give Me the Night.
A huge crossover hit on both the pop and R&B charts, this album spent 17 non-consecutive weeks in the #1 spot. Produced by Quincy Jones, this Brazilian composition by Ivan Lins and Vitor Martins features  some familiar names including Herbie Hancock, Patti Austin, Greg Phillinganes, and Jerry Hey (yet again). The album debuted on the Jazz chart on August 9, was at #1 the following week, and stayed on the chart until August of the following year. It also topped the R&B album chart for 4 weeks.

Billboard Album Charts:	Peak	Weeks
Jazz	1	53
Billboard 200	3	38
R&B	1	37

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback #3: Billboard chart of July 26, 1975

Spend an hour remembering some of the most popular jazz of Summer 1975 as listed on the Jazz LPs chart in the July 26, 1975 issue of Billboard magazine.

Playlist:

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#37: “Milonga Triste” by Gato Barbieri, from the #37 album of the week, Chapter Four: Alive in New York. In 1973, Argentinian saxophonist Gato Barbieri started a four-part Latin American cycle of albums.  This album, recorded at The Bottom Line in New York City on February 20–23, 1975, marked the end of that cycle.  As is often the case, these albums are regarded by critics as Barbieri’s best work but they didn’t sell as well as the more commercial albums that were to follow  This track features Eddie Martinez on electric piano and Ron Carter on bass.

Billboard Album Charts:	Peak	Weeks
Jazz	31	6

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#31: “Greasy Spoon” by The Crusaders from the #31 album, Southern Comfort. The second track on the album, this brief down-and-dirty funk tune, written by drummer Stix Hooper,  features guitarist Larry Carlton.  This would be the album’s last week on the jazz charts.

Billboard Album Charts:	Peak	Weeks
Jazz	3	39
Billboard 200	38	18
R&B	3	24

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#24: “That’s the Way of the World” by Roy Ayers Ubiquity from the #24 album, A Tear to a Smile.  A mellow cover of the Earth, Wind & Fire hit, this finds Ayers in fine form on vibraphone throughout.  On this date, the album had been on the chart 5 weeks and was steadily ascending to the top ten.

Billboard Album Charts:	Peak	Weeks
Jazz	8	20

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#22: “If You’ve Got It, You’ll Get It” by The Headhunters from the #22 album, Survival of the Fittest.  Herbie Hancock’s band steps out on their own; Hancock produced but did not perform on this space-funk album.  This track, with an insistent bass line sometimes doubled on bass clarinet, contains an infectious singalong chant.  This is the album’s closing track and features guitarist DeWayne “Blackbird” McKnight on a trippy solo that could only come from the ’70s.  The album had peaked at #12 on the previous chart and was starting its quick descent.

Billboard Album Charts:	Peak	Weeks
Jazz	12	17
Billboard 200	126	10
R&B	34	6

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#19: “I Love the Girl” by Donald Byrd from the #19 album, Stepping Into Tomorrow. Another album closer, this mid-tempo song features keyboardist Jerry Peters and Byrd on trumpet on top of an odd string arrangement.   Also on the track are session giants Harvey Mason on drums and Chuck Rainey on bass.  This album had its ups and downs on the chart.  On the previous chart, this album was at #5 and the following week it would chart at #8.

Billboard Album Charts:	Peak	Weeks
Jazz	2	33
Billboard 200	42	19
R&B	7	18

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#17: “Carnival” by Eddie Harris from the #17 album, I Need Some Money. This song starts off as a noodling experiment with saxophone/synthesizers but develops into a fun tune that wouldn’t be out of place at the street celebration suggested by the title.  Credits on this song include “Electronic Rhythm Machine” and “Eddie Harris attachment & reed trumpet.”  I’m guessing the Eddie Harris attachment is what links the saxophone to the synth while casual research shows that the reed trumpet is simply a regular trumpet played with a saxophone mouthpiece.

Billboard Album Charts:	Peak	Weeks
Jazz	9	22
Billboard 200	125	9
R&B	36	9

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#11: “Loving You was Like a Party” by Marlena Shaw from the #11 album, Who is This Bitch, Anyway? This track is more quiet storm R&B than jazz, but it’s such a great song and it’s on the Blue Note label, so we’ll call it whatever they want.  This sultry song, written by producer Bernard Ighner, also features Harvey Mason on drums and Chuck Rainey on bass.  Nice synth solo from Larry Nash.

Billboard Album Charts:	Peak	Weeks
Jazz	8	22
Billboard 200	159	5
R&B	47	3

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#8: “Midnight at the Oasis” by Hubert Laws from the #8 album, The Chicago Theme. A wannabe funky cover of the tune that was a pop hit for Maria Muldaur.  The Bob James arrangement is somewhat dated, but features a tasty guitar solo from George Benson.  On this date, the album had been on the jazz chart for only 3 weeks and was steadily ascending.

Billboard Album Charts:	Peak	Weeks
Jazz	2	31
Billboard 200	42	18
R&B	18	9

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#6: “Sneakin’ Up Behind You” by The Brecker Brothers from the #6 album, The Brecker Brothers. The brothers called their music “skunk funk” and you can hear that on this track.   In addition to brothers Michael (saxophone) and Randy (trumpet), this track features bassist Will Lee, phaser-drenched keyboards by Don Grolnick, and alto sax work from David Sanborn.

Billboard Album Charts:	Peak	Weeks
Jazz	5	22
Billboard 200	102	13
R&B	25	12

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#1: “Mister Magic” by Grover Washington, Jr. from the #1 album, Mister Magic. Washington’s most beloved track from his days with Kudu/Motown, this track features Bob James on electric piano, Eric Gale on guitar, and Harvey Mason on drums.  A very successful album, it was #1 on the jazz chart from April 12 until September 27, 1975.

Billboard Album Charts:	Peak	Weeks
Jazz	1	64
Billboard 200	10	34
R&B	1	34

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback #2: Billboard chart of January 28, 1978

Spend an hour remembering some of the most popular jazz of early 1978 as listed on the Jazz LPs chart in the January 28, 1978 issue of Billboard magazine.

Playlist:

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#39: “This One’s for You” by Stuff, from the #39 album of the week, More Stuff.  Stuff was a jazz-funk group made up of prominent New York session musicians, including keyboardist Richard Tee and drummer Steve Gadd.  Tee wrote this song, the lead cut from the group’s second album.  The album had premiered on the Jazz LPs chart back on 8/20/1977; this issue marked its final appearance.

Billboard Album Charts:	Peak	Weeks
Jazz	7	25
Billboard 200	61	13
R&B	43	7

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#37: “Byablue” by Keith Jarrett from the #37 album, Byablue.  An album on the ABC/Impulse label by pianist Keith Jarrett’s “American Quartet,” it features performances by Jarrett, Dewey Redman (sax), Charlie Haden (bass), and Paul Motian (drums).  This title track was written by Motian.  Byablue was Jarrett’s highest peaking album on the Billboard 200.

Billboard Album Charts:	Peak	Weeks
Jazz	11	16
Billboard 200	117	6

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#34: “Virginia Sunday” by Doc Severinsen from the #34 album, Brand New Thing.  Like the first track on this playlist, this song was written by Richard Tee.  This album was produced by Tom Scott and features other session musicians such as Tee, Eric Gale, Lee Ritenour, and Ralph MacDonald.  This was this album’s final week on the Jazz LPs chart.

Billboard Album Charts:	Peak	Weeks
Jazz	30	11

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#26: “Playera” by Dave Grusin from the #26 album, One of a Kind.  This track features sax work from Grover Washington, Jr. amid a dreamy atmosphere reminiscent of Grusin’s soundtrack work.  Another album that features the top session musicians of the day, including the aforementioned Gadd, MacDonald, and Ritenour, as well as flutist Dave Valentin and bassist Ron Carter.  On this date, the album was ascending up the chart, it would peak at #11 on the next chart.

Billboard Album Charts:	Peak	Weeks
Jazz	11	14

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#23: “Living for the City” by Noel Pointer from the #23 album, Phantazia.  Violinist Pointer’s debut album, it featured a cover of this Stevie Wonder tune as the third track on side one.  This week marked the album’s 34th week on the chart, having debuted on 6/11/1977.  This is yet another track on this playlist that features Steve Gadd and Ralph MacDonald as well as Dave Grusin and guitarist Earl Klugh.

Billboard Album Charts:	Peak	Weeks
Jazz	8	48
Billboard 200	144	8
R&B	45	3

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#21: “Gotcha” by the Tom Scott from the #21 album, Blow It Out.  This song was the theme song to the Starsky & Hutch TV series beginning in that show’s second season which explains its sales success.  Again, we’re treated to drum and percussion work from Gadd and MacDonald, respectively.  Richard Tee is back again, as well, along with Ray Parker, Jr. on guitar.  In its 19th week on the chart, this album had begun its descent down the Jazz LPs chart.

Billboard Album Charts:	Peak	Weeks
Jazz	5	32
Billboard 200	87	14
R&B	39	5

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#16: “Teen Town” by Weather Report from the #16 album, Heavy Weather.  This album is the fusion group’s best-seller and includes their best known hit, “Birdland.” It was the band’s second album with legendary jazz bassist Jaco Pastorius, who wrote “Teen Town.”  The album premiered on the Jazz LPs chart at #5 on 4/9/77 and had spent two weeks in the #1 spot.  In February 2011, Heavy Weather was inducted in the Grammy Hall of Fame.

Billboard Album Charts:	Peak	Weeks
Jazz	1	60
Billboard 200	30	22
R&B	33	3

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#11: “One of a Kind” by V.S.O.P. from the #11 album, The Quintet. Back-to-back songs featuring Wayne Shorter.  This time, Shorter joins other jazz giants in a supergroup that included Herbie Hancock (keyboards), Freddie Hubbard (trumpet), Tony Williams (drums), and Ron Carter (bass). This line-up was identical to the Miles Davis Quintet of the 1960s, with the only difference being Hubbard, rather than Davis, on trumpet (Davis declined to participate). The album, originally released in October 1977 as a 2-disc LP, was compiled from two concert performances: one at the Greek Theatre, University of California, Berkeley, on July 16, 1977; the other at the San Diego Civic Theatre on July 18, 1977.  It had peaked on the charts in late December 1977, but was listed as the #20 jazz album for 1977 in Billboard’s year-end chart.

Billboard Album Charts:	Peak	Weeks
Jazz	3	23
Billboard 200	123	5

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#5: “Tequila Mockingbird” by Ramsey Lewis from the #5 album, Tequila Mockingbird.  If this sounds somewhat like an Earth, Wind & Fire instrumental, that’s not a coincidence.  This track was written and produced by EWF keyboardist Larry Dunn and he brings in some of his bandmates to perform, including Philip Bailey, Al McKay, and Verdin White.  In addition to piano solos from Lewis, Ronnie Laws solos on soprano saxophone.  On its way up the charts at this point, it would peak at #3 on the next chart in the 2/11/78 issue.

Billboard Album Charts:	Peak	Weeks
Jazz	3	24
Billboard 200	111	9

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#2: “Theme from ‘Side Street'” by Chuck Mangione from the #2 album, Feels So Good.  This short track (side A, track 3) was the theme music to a Canadian TV police drama that ran from 1975-1978.  The album would sit in the top 5 for many weeks before spending July in the #1 spot.

Billboard Album Charts:	Peak	Weeks
Jazz	1	98
Billboard 200	2	88

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#1: “We’re All Alone” by Bob James from the #1 album, Heads.  An uptempo cover of the Boz Scaggs ballad.  James solos on electric piano, Mike Mainieri takes a turn on vibraphone.  Steve Gadd and Richard Tee appear on this track, as well.  James’ fifth album, it was his first record released on his newly formed Tappan Zee label, which was distributed at the time by Columbia Records.

Billboard Album Charts:	Peak	Weeks
Jazz	1	42
Billboard 200	47	31

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As always, thanks to Herc of Herc’s Hideaway for research assistance and support.

Dr. Smooth’s Flashback: Billboard chart of October 15, 1983

Spend an hour remembering some of the most popular jazz of Autumn 1983 as listed on the Jazz LPs chart in the October 15, 1983 issue of Billboard magazine.

Playlist:

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#44:  “Last Exit” by Spyro Gyra, the lead cut from the #44 album of the week, Incognito.  The album peaked at #2 on the chart back on January 8.  This chart marked the album’s last appearance on the Jazz LPs chart; it charted for a total of 53 weeks.   The group had two albums on the chart on October 15: in addition to Incognito at #44, their more recent release, City Kids, was at the #2 position that week.

Billboard Album Charts:	Peak	Weeks
Jazz	2	53
Billboard 200	26	24
R&B	39	18

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#43:  “Rainbow Sleeves” by Rickie Lee Jones from the #43 album, Girl at Her Volcano.  A 7 song EP, it contains three live recordings, a few new studio ones and recordings left over from earlier studio sessions.

Billboard Album Charts:	Peak	Weeks
Jazz	36	12
Billboard 200	39	16

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#38:  “Admiral’s Horn” by Maynard Ferguson from the #38 album, Storm. This album was Ferguson’s first release on the Palo Alto label (he was previously on Columbia from 1970-1982). Storm spent 8 weeks on the Jazz charts, peaking at #38.

Billboard Album Charts:	Peak	Weeks
Jazz	38	8

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#37:  “In the Name of Love” by Grover Washington, Jr. from the #37 album, Winelight. By this time, Winelight had spent 151 weeks on the chart, having debuted on November 22, 1980. It would ultimately spend 183 consecutive weeks on the chart, including 29 weeks at the #1 spot. On this same week, Washington’s 1982 album The Best is Yet to Come was also on the chart at #30.

Billboard Album Charts:	Peak	Weeks
Jazz	1	183
Billboard 200	5	52
R&B	2	49

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#34:  “Whiplash” by Earl Klugh & Bob James from the #34 album, Two of a Kind. By this date, the album had already spent 18 weeks in the #1 spot and had begun its slow descent down the chart. Bob James had an additional three albums on the chart on October 15, 1983: Hands Down (#49), Foxie (#27), and The Genie (#25). Earl Klugh also had a solo album on the chart that week: Low Ride (#11). The two accounted for 10% of the albums on the chart that week.

Billboard Album Charts:	Peak	Weeks
Jazz	1	66
Billboard 200	44	29
R&B	23	26

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#28:  “Why Not! (Manhattan Carnival) by The Manhattan Transfer from the #28 album, Bodies and Souls. This week marked the album’s debut on the chart. The vocal quartet’s first album with producer Richard Rudolph, it took the Manhattan Transfer in a slightly different direction from their previous releases with Jay Graydon.  There are collaborations with several artists on this album including Stevie Wonder, Rod Temperton, and Jeremy Lubbock.  This has been the only Manhattan Transfer album to chart on the R&B albums chart.

Billboard Album Charts:	Peak	Weeks
Jazz	10	48
Billboard 200	52	27
R&B	38	13

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#24:  “Are You Going With Me” by the Pat Metheny Group from the #24 album, Offramp. This album won the Grammy Award for Best Jazz Fusion Performance. It debuted on the Jazz chart at #5 on June 5, 1982 and would ultimately stay on the chart for 117 weeks, until August 1984.  This same week, Metheny held two additional spots on the Jazz LPs chart: the #14 album, Travels, and the #45 album, As Falls Wichita, So Falls Wichita Falls.

Billboard Album Charts:	Peak	Weeks
Jazz	1	117
Billboard 200	50	28
R&B	43	19

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#20:  “I Got Rhythm” by Yellowjackets from the #20 album, Mirage à Trois. This version of George & Ira Gershwin’s “I Got Rhythm” was the third cut on side A of Mirage à Trois.

Billboard Album Charts:	Peak	Weeks
Jazz	7	28

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#14: “Blues for T.J.” by Larry Carlton from the #14 album, Friends.  This particular track is a duet with B.B. King.

Billboard Album Charts:	Peak	Weeks
Jazz	6	45
Billboard 200	126	11

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#13:  “Roof Garden” by Herb Alpert from the #13 album, Blow Your Own Horn. The album debuted on the Jazz LPs chart on October 1, 1983 and spawned this single, which spent 4 weeks on the Hot 100, reaching only the #81 position.

Billboard Album Charts:	Peak	Weeks
Jazz	13	25
Billboard 200	120	8
R&B	49	9

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#7:  “Rockit” by Herbie Hancock from the #7 album, Future Shock. Helped by a groundbreaking video, this song was a crossover hit for Hancock: #1 Dance, #6 R&B, #71 Pop.   The album was Hancock’s thirty-fifth and became a million-selling Platinum-certified disc.

Billboard Album Charts:	Peak	Weeks
Jazz	2	72
Billboard 200	43	65
R&B	10	60

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#1:  “Lady Love Me (One More Time)” by George Benson from the #1 album, In Your Eyes. This album spent 19 of its 55 weeks on the Jazz LPs chart in the top position. This particular song, written by James Newton-Howard and David Paich, reached #30 on the pop charts, #4 on the Adult Contemporary chart, and #21 on the R&B chart.

Billboard Album Charts:	Peak	Weeks
Jazz	1	55
Billboard 200	27	35
R&B	6	33

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Thanks to Herc of Herc’s Hideaway for research assistance and support.