The Manhattan Transfer re-emerged as a four-piece, with
With personnel in place, they began to build a following at all of the hip New York clubs: Max's Kansas City, Reno Sweeney's, Cafe Carlyle, etc. Atlantic's
Cheryl Bentyne joined in 1979. Her father had been a jazz bandleader and she had sung with him, developing a technical facility that she would need with the Transfer. Her audition pieces were “You Can Depend On Me” and “Candy.” With Cheryl in the group, the group went forward with their next record: “Extensions.” It was a hit and the group were swept up in the disco craze with the single “Twilight Zone/Twilight Tone.” In addition, “Extensions” included “Birdland,” the Weather Report composition that became a Manhattan Transfer signature tune. The group won two Grammy's for that album, the first of many.
“Mecca For Moderns” followed, which included
Atlantic released their first greatest hits album, while the group went to work on “Bodies and Souls.” The record company's agenda, which necessitated more pop hits, prevailed, but the record did not do well and the group wasn't musically satisfied. The record that followed it, “Bop Doo Wopp,” included some live recordings of standards and doo-wop classics, but didn't connect with its audience either. Given the disappointing sales, the group saw no reason to pursue a commercial direction, but decided to go back to the music that they felt was their strongest suit, and for which they had a demonstrated ability unlike any of their contemporaries. With collaborators Jon Hendricks and
“Brasil” was an exploration of the textures and rhythms of world music, juxtaposed with jazz. The group worked with Brazilian songwriters such as
The group went to Columbia for two releases: “The Offbeat of Avenues,” which was a mostly self- written collection, and their Christmas record. Unfortunately, “Avenues” did not get the attention it deserved. The group members also ventured out on a variety of solo projects, including movie soundtracks, and guest starred on the TV series, “Home Improvement.”
The group's next project was a children's album, “Tubby The Tuba.” The group played all the parts for this charming story of an insecure tuba searching for a melody. Then, after returning to Atlantic, the Manhattan Transfer produced “Tonin',” featuring such luminaries as Laura Nyro, Frankie Valli, James Taylor and Chaka Khan, singing classic pop hits. A most entertaining record, it nonetheless didn't break any new ground musically for the group. Their latest recording, “Swing,” was a tribute to the music of the 1930's and 1940's, and no one could do it better than America's preeminent purveyors of vocal harmony. They reinterpreted several tracks, such as “Java Jive,” specially for this recording, which debuted at #1 on the Billboard Jazz Chart.
What now, after so many years of success? Only time will tell, of course, but the four singers continue to be partners personally and professionally, and certainly an inspiration to all who hear them. Whatever it is, it'll be done as only the Manhattan Transfer can do it!
Members - Tim Hauser, Janis Segal, Alan Paul, Cheryl Bentyne
Read the fantastic review of The Manhattan Transfer's latest album "The Chick Corea Song Book" in All About Jazz
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The Manhattan Transfer's Website
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