Chuck Mangione discusses 'live' recording versus overdubbing.

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Chuck Mangione discusses his steady rise to fame.

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Chuck Mangione discusses the relationship of music and televison.

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Q: “I don’t think you suspected really, that you were going to have the fame and the wild repute that you do have; so in a way you can be unprepared for it when it does happen - though you, very wisely built it slowly and you’re not a flash in the pan, which probably goes with the fact that you have more talent than flash in the pan people, but it wasn’t just one big hit and then ‘what ever happened to Chuck Mangione’. It has been, if I may use a pun – well orchestrated.”

A: Chuck Mangione: “It's been, you know, what I would call a continuous climb and again, it’s involved, I think, the same amount of time work-wise, but just in different areas. For example, four years ago, we were playing weeks at a time in a town. You know, there were still clubs that you could afford to play and rooms that could hold the necessary number of people and now, it's down to, you know, you're lucky if you can play two nights in a city. I mean, if we go to Los Angeles, we play for 11,000 in two days and come up to Ontario Place and you're playing. There is so many people who want to hear the music that you have to ...”

Interviewer: “That's dictating where you play then, isn't it, too?”

Chuck Mangione: “Really, in a lot of cases, and again, it's kind of like trying to guide it along. We will play a room like the Roxy in L.A. or the Bottom Line in New York to get into a club because I like to feel that kind of thing. But the Village Vanguard appearances and rooms that can only hold 200 people, that's just out of the question today. And you know, for reasons that are affecting everybody, I think the economic factor. You know, with the travel costs and the hotel things, there just aren't any rooms left that people can go on playing a regular calendar of ...”