Chuck Mangione: Live at the Palais Des Festivals Hall, Cannes, 1989 Quantum Leap DVD (2004) $19.95 Ben Sidran: Live at the Palais Des Festivals Hall, Cannes, 1989 Quantum Leap DVD (2004) $19.95

After a journeyman stage as a bebopper, flugelhornist Mangione had a significant crossover career in the seventies, penning such hits as "Feel So Good". While his star lost considerable luster in the eighties and nineties, recent cameos on King of the Hill and several "comeback tours" have returned Mangione to the periphery of public awareness, if not the limelight. His set here consists of little straight-ahead jazz, but some instrumental numbers cook along with flashy, if not particularly substantive, solos. "Land of Make Believe" features fine playing from Mangione and acoustic guitarist Mark Manetta. Manetta is doubly impressive playing fusion-style electric guitar solos on "Hot Consuela", a tune that also showcases the considerable energy of percussionist Billy Martin. Mangione frequently plays keyboards for this show (perhaps to give his horn chops a rest), which proves somewhat disappointing compared to his flugelhorn performances.

While "smooth jazz" and "light fusion" are not my bag, I could live with most of the DVD's instrumentals, but Mangione and company don't quit while they're ahead. The focus instead is often on pop crossover material, including a number of tunes with vocals -- and this is where it all goes horribly awry. Not only is this material featherweight at best, but the vocalists, Rob Mathes and Gordon Johnson, are strictly part-timers, culled from the keyboard and bass chairs in Mangione's band. Their efforts border on embarrassing, horribly out of tune and filled with mannered growls, scoops and yelps. For a moment, you might wonder if this is a put on, but three numbers filled with this "singing" prove that these fellows are deadly serious. Even "Feel So Good", easily Mangione's most memorable and tuneful hit, is marred by a sung introduction before its usual instrumental rendition.

Sidran's set fares better, but has similar problematic issues. Best known as a producer of and sideman for both rock and jazz artists, including Diana Ross, Van Morrison, Tony Williams and Steve Miller, Sidran proclaims in his introductory remarks, "I'm not a vocalist ... I'm a pianist who sings." His post-Beat patter style of vocalization bears more than a passing resemblance to Mose Allison (another artist he has produced), but Allison's singing swings better and has far more character. Sidran's original material, mostly consisting of brief songs, is not dissimilar to Allison's brand of folksy blues, although he also adds a pinch of lounge-style pop to the mix, which doesn't really do anything to perk it up.

While I wasn't moved by any of the songs themselves, the main problem is Sidran as a front-man. While he is quite a formidable pianist, he simply doesn't have a sufficiently charismatic voice to be the center of attention. Over much of the set, his piano-playing takes on a subordinate role relative to his singing; he relies upon stock cocktail jazz riffs and tame swing shuffles. When Sidran finally lets 'er rip on "Riffing with Biff", his virtuosic stride solo and imaginative comping will make you wish that the set had many more instrumentals. His band-members seem to be equally grateful for the opportunity to really play; they prove to have far more potential than the nightclub act role they have adopted for most of the evening.

Both of these sets demonstrate the signature peril facing crossover artists. When mixing genres works, it can greatly widen a musician's fan base. When it doesn't, the results can be quite mawkish, as both of these DVDs unfortunately demonstrate. Why on earth were they re-released?

-- Christian Carey