With some exceptions, jazz artists that are considered among the elite of the genre, or even legends, are not known to stray from their clearly marked territory.
When they do appear on recordings outside their realm, such as the worlds of pop, rock or soul, it is often noteworthy. Today, I’d like to highlight some of those appearances, in no particular order.
“Just The Way You Are“
Billy Joel (1977)
Featuring on Alto Saxophone:
Phil Woods
When I was a freshman in high school, one day our jazz band director started talking about the greatness of jazz saxophonist Phil Woods.
He asked if any of us were familiar with his music.
I chimed in that he played on Billy Joel’s “Just the Way You Are.” The director was not overly pleased with this reference and felt the need to point out that it was not nearly representative of just how great of a player he was.
While he may have been technically correct, he failed to understand the importance of Phil’s work on that song to a generation of radio-loving kids.
My younger sister Elise and I once loudly and obnoxiously sang along with the solo at the end, note for every note, while our beleaguered older sister Marybeth was driving us home from a piano lesson. We knew it that well. It put Woods on the map for the masses not schooled in jazz, at least those of us who read the liner notes. As far as I’m concerned, it’s one of the most iconic sax appearances in popular music. Fight me.
“Waiting On a Friend”
The Rolling Stones (1981)
Featuring on Tenor Saxophone:
Sonny Rollins
Mick Jagger is on record as having some trepidation about working with one of the all-time jazz saxophone greats, and Charlie Watts was doubtful Sonny would even agree to it. But he did say yes and ended up overdubbing parts on three tracks for Tattoo You, bringing a unique sound to each one.
His playing on this track is next level.
The solo mid-song fits perfectly with the chill vibe the Stones have going, and not one note is wasted. It’s so melodious and gorgeous.
If that’s not enough, he comes back and plays on the outro at the end and some of those licks are all-timers for me. Just stunningly beautiful.
“Aja”
Steely Dan (1977)
Featuring on Tenor Saxophone:
Wayne Shorter
Though this is a band synonymous with jazz-rock, it should not be seen as a given that a prominent jazz saxophonist who had played with Art Blakey and Miles Davis would be open to working with the Dan.
Having never played on a pop or rock recording, he initially said no, but then later agreed to do it.
Backed by jazz and rock studio legend Steve Gadd’s explosive and groundbreaking drum part, Shorter settles in immediately and just shreds through the complex chord changes.
The group’s solid rootedness in jazz allows him to not stray too far from his bebop orientation, while also appealing to his fusion leanings as the co-founder of Weather Report.
The results are breathtaking. In addition, I’ve been told that legions of jazz drummers were formed by what Steve Gadd does at the end of the song, so stick around for that as well if you are uninitiated.
“As”
Stevie Wonder (1976)
Featuring on Electric Piano:
Herbie Hancock
If a song could be a spirit animal, then “As” quite possibly would be mine. A detail that can get lost in the sheer scope and greatness of this masterpiece is that both Stevie Wonder and Herbie Hancock play electric keyboards on this, with Herbie grabbing a solo midway through.
It’s understated and just a thimble-sized portion of what he is capable of playing, but it slides perfectly into the groove and conspires with Stevie’s vocal to unlock a whole other level of intensity.
“Zanzibar”
Billy Joel (1978)
Featuring on Trumpet:
Freddy Hubbard
Billy Joel again, this time channeling Steely Dan, so of course, a jazz great is needed here, and Freddie Hubbard steps up to the plate. In addition to his own albums, Hubbard was featured on some of the most important jazz recordings of the era, including those by John Coltrane, Ornette Coleman, Wayne Shorter, and Art Blakey.
His two blistering solos here are unlike anything I have ever heard on a pop or rock recording or will likely ever be heard again.
According to Joel himself, after playing with Hubbard, drummer Liberty DeVitto claimed that “now I feel like a grown-up.”
“Poetry Man”
Phoebe Snow (1974)
Featuring on Tenor Saxophone:
Zoot Sims
A veteran of some of the most prominent big bands, and a member of the “Four Brothers” sax section for Woody Herman, Zoot lends his mellow tone to a perfectly articulated 30 second solo that just melts like butter into the vibe of this laid-back jazz-folk classic.
(If you’re wondering if the saxophone player from the Muppet band was named after him, that is indeed true. )
“Sweet Victory”
Twila Paris (1988)
Featuring on Bass Guitar:
John Patitucci
For those unfamiliar with her, Twila Paris was one of the brightest stars in the universe known as Christian contemporary music (CCM), a place where my music tastes primarily dwelled in the late 80s. Upon purchasing For Every Heart on cassette, I read the credits and was shocked to see John Patitucci listed on bass guitar for all but two songs.
A member of Chick Corea’s bands for about a decade starting in the mid-80s, and a monster jazz bassist that had played with anybody and everybody in that scene, he was decidedly not someone you would expect to find playing on a middle-of-the-road CCM album.
Right out of the gate: On this the lead track, he is dialed in and nailing some amazing lines and runs that never detract from the song but rather support its buoyant, uplifting message. It may not stand out as much as some of the other examples here, but hearing his bass on a Twila Paris album resonated deeply with me at the time.
“Englishman in New York”
Sting (1987)
Featuring on Soprano Saxophone:
Branford Marsalis
One of several notable jazz players recruited to be part of Sting’s band as a solo artist, Branford’s lithe soprano sax work really stands out here. He’s playing throughout the entire song, and his instrument is tonally and melodically the perfect complement to Sting’s voice.
He totally accentuates the overlying theme of an English gentleman trying to maintain his sense of dignity and decorum in a place where he seems oddly out of place.
When the Police broke up just two years earlier, I was crushed and angry. I subsequently began a boycott of purchasing any of Sting’s music, which I never officially ended. Including this on the list is perhaps my way of finally letting go. Perhaps.
“So You Want to Be a Rock ‘N’ Roll Star”
The Byrds (1967)
Featuring on Trumpet:
Hugh Masekela
Hugh’s mostly elongated trumpet lines, peppered with occasional double tongue staccatos, are the glue that holds the song together and the perfect foil for the band’s punchy, rollicking groove.
An inspired choice and one that helps this track really stand out amongst its contemporaries.
A year later, the South African would have a #1 smash hit of his own with the pop-jazz leaning “Grazing in the Grass.”
“Another Star”
Stevie Wonder (1976)
Featuring on Flute:
Bobbi Humphrey
A Blue Note recording artist who started out with straight ahead jazz before shifting toward incorporating funk and jazz fusion into her sound, Bobbi guests on this smoking hot Latin-infused track that closes out Songs in the Key of Life.
At about the 6-minute mark, the flute comes scorching in and sets fire to everything in its path for the remaining minute and a half of the song.
An exclamation point on what would go down as one of the greatest albums ever made.
“Street Player”
Chicago (1979)
Featuring on Trumpet:
Maynard Ferguson
In case you missed it, with Chicago 13, the band briefly went disco, and this muscular, rump-shaking opening track is all the evidence needed. Because they apparently didn’t have enough horns as it was, high-octane commercial jazz mainstay Maynard Ferguson joins the party and kicks everything up a notch.
If you want to hear his wailing, higher than high trumpet solo and most of his intermittent squiggly riffage, you have to listen to the nine-minute plus album version.
Chicago 13 was widely panned at the time and has been mostly forgotten, but I love this song. It’s energetic, impressively tight, with just the right amount of cheese to hit me right where I live, which in this case, is apparently somewhere on an abandoned dance floor lost to time. As long as there’s a working mirror ball, I’m down.
“Still Crazy After All These Years”
Paul Simon (1975)
Featuring on Tenor Saxophone:
Michael Brecker
Having played on heaps of pop and rock recordings, but primarily known as a prominent jazz saxophonist, Michael Brecker would be one of the exceptions referenced at the beginning of the article.
His solo on this Paul Simon retrospective hit is brief but memorable and majestically transcendent.
Friends, here is the complete playlist.
If you’d like to mention any additional examples, please make your way to the comment section below.
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Nice selections! I remember an interview with John Patitucci where he mentioned doing some CCM studio work, but that was the last I heard about it. He’s a great, great player.
I know this doesn’t quite fit, since he’s the main artist here rather than a guest, but Maynard Ferguson’s take on the Rocky theme has always been my favorite version.
Maybe not the exact assignment you submitted, but I really love the work Guru did to bring jazz and hip-hop into a shared space and see what emerged. Some of it was pretty great:
https://youtu.be/ZNR2tl6V_uo?si=pm3HJ5UeOprG_P98
Jazz guitarist Pat Metheny did this song with David Bowie
https://www.youtube.com/watch?v=0i_dek_mjXI
I really love this song, and I know the drummer that played on it. I strongly considered adding it, but hesitated, being that Pat’s guitar playing is not really prominent. I probably should have included it anyway.
Great article – TIL about Michael Brecker doing one of my favorite rock / pop solos…
Another one to consider – Chet Baker on “Shipbuilding”
https://youtu.be/l_aLSsjZMr8
I like this topic, and I didn’t know about some of these important guest spots, probably because I don’t have the best handle on all the jazz greats that are out there. But one I did think of that you didn’t mention is Stevie Wonder’s 1982 hit “Do I Do”. The 10 minute album version of the song features a trumpet solo from Dizzy Gillespie. (Although, I have to add, the trumpet solo is followed by a harmonica solo from Stevie that overshadows Dizzy’s, in my opinion.)
I’m glad you included “Street Player”! Maynard is so over the top, but he’s fun. And Chicago 13 is a weird one for sure. It’s like my school pizza analogy. (That is–school pizza is actually tasty, as long as you don’t get hung up on the fact that it has the same name as the much more delicious stuff from Chicago or New York.) Chicago 13 has three or four pretty good songs on it…as long as you don’t get hung up on the fact that they aren’t masterpieces like “Does Anybody Really Know What Time It Is”…&c.
I’m luke warm on a lot of Stones material, but “Waiting on a Friend” is fantastic, and that sax solo is a big reason why.
And here’s “Do I Do” cued up to Dizzy’s solo (enthusiastically introduced by Stevie during the song)
https://youtu.be/FBtUiN_OA9I?si=EVHkrRYxFXLLLJL1&t=250
I knew about this and for some reason didn’t include it, and I’m not sure why.
Thanks for posting it.
Just thought of another one. Stan Getz practically invited himself onto a Huey Lewis song. He plays an extensive solo on “Small World (Part 2)”, which I love.
https://www.youtube.com/watch?v=k5rdXGM0CUE
Never heard this. This is a good one, Link. It’s a really great solo too.
Stan Getz inviting himself to play on a Huey Lewis song somehow sounds about right.
“As” and “Waiting on a Friend” are two of my favorite “should have been bigger hits,” so I loved reading these stories about them I didn’t know about them until now. Great article, rollerboogie!
Thank you, Oz. Agreed on both, particularly “As”. Just transcendent.