Magic Touch, the debut recording from Stanley Jordan was spending its 11th week at the top of the chart on August 3, 1985. It would dominate the chart for a record 51 weeks. It was one of those rare instrumental recordings that went outside of jazz circles – Magic Touch was certified gold in the U.S., marking over 500,000 sales! It introduced the world to Jordan’s groundbreaking two-handed tapping technique, allowing him to perform melody, chords, and bass lines simultaneously on a single instrument.

The album features inventive takes on jazz standards like “’Round Midnight” and “A Child Is Born,” fresh interpretations of pop songs like “Eleanor Rigby” and “The Lady in My Life,” and Jordan’s own original compositions—all performed with dazzling precision and musicality.

Here are the top 15 recordings from the August 3, 1985 Billboard Top Jazz Chart:

Top Jazz Albums
Week of August 3, 1985

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George Howard passed away on March 20, 1998, at the age of 41 from lymphoma. A popular figure in smooth jazz, known for his signature soprano tone, he had long been a leading figure in smooth jazz, recording for GRP, MCA, Verve Forecast, and finally, for this one album, Blue Note Records. There’s a Riot Goin’ On was the only album he recorded for Blue Note, a label steeped in jazz history — and it was released posthumously, giving the project even more emotional weight.

The original There’s a Riot Goin’ On by Sly and the Family Stone was a defining work of 1970s funk and soul, steeped in political tension and psychedelic grooves. Howard’s take maintains the spirit but filters it through laid-back grooves, saxophone-driven melodies, and lush arrangements. While Sly’s album was confrontational and raw, Howard’s tribute feels reflective and refined — not diluting the message, but presenting it with a smoother, more relaxed touch.

In many ways, this album is a bridge between generations and genres. Jazz and funk have long shared rhythmic foundations — syncopation, call-and-response phrasing, and improvisational structures — but Howard fuses them here with smooth jazz’s polished production and melodic accessibility. His saxophone becomes the voice, translating Sly’s urgent lyrics into instrumental storytelling.

Tracks like “Family Affair” and “(You Caught Me) Smilin’” are instantly familiar yet freshly imagined. Howard doesn’t mimic — he pays homage, building a musical dialogue with the past.

There’s a Riot Goin’ On was among George Howard’s last recordings — and that only deepens its impact. As we remember his legacy, this album stands as a unique punctuation mark — a reinterpretation that feels like a summation.

Listen to it again today.

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