Chick Corea & Stefano Bollani-Orvieto (2011)

Chick Corea & Stefano Bollani-Orvieto (2011)

Track Listings

1. Part I. Orvieto Improvisation No. 1

2. Portrait In Black And White

3. If I Should Lose You

4. Doralice

5. Jitterbug Waltz

6. A Valsa da Paula

7. Part II. Orvieto Improvisation No. 2 / Nardis

8. Este Seu Olhar

9. Darn That Dream

10. Tirititran

11. Armando's Rhumba

12. Blues In F

Chick Corea (b. 1941) and Stefano Bollani (b. 1972), the master and the new talent, the American of Sicilian and Spanish descent on one piano, the Italian from Tuscany on the other piano, recorded live in concert at Umbria Jazz Winter in Orvieto, on December 30, 2010. 

A travel into jazz in 75 minutes, from free improvised moments to well-know standards, from original compositions to the blues. Excluding two free improvisations (Orvieto Improvisation N.1 and Orvieto Improvisation N.2) that work as introductory pieces, tempi are mostly fast. Still, there is a sort of laidback approach, with the music coming out very naturally, without any apparent effort. Both pianists have huge technical abilities, yet their virtuosity is here always focused to just one goal, produce beautiful, lyrical, stylish and sophisticated as well as entertaining music, and never as a show off to impress the listener. If you are after special effects and keyboards on fire, you will be disappointed. If you are after jazz piano music to discover and enjoy more and more at every listening session, then this work should definitely deserve your attention.

The recording quality is excellent as usual from ECM. Not only the two pianos, but all noises during the concert were recorded as well. The first time I was listening this CD on my hi-fi system at a realistic volume I was thinking someone was punching the floor of my apartment from downstairs... luckily that was just the pianists stomping their feet on the stage. Impressing indeed. 

Chick Corea: Return to Forever (1972)

Chick Corea: Return to Forever (1972)

Amazon.com essential recording

The soul of fusion lies not in the barrage of note clusters played through overdriven amplifiers but in the arresting beauty of Return to Forever's lucid vision of music without boundaries. The stunningly virtuosic pianist Chick Corea had already gone through an exploration of free jazz with Circle, tutelage in the Miles Davis Academy of New Electric Music and the soul-searching of "Piano Improvisations" when he arrived at his most brilliant conception. Corea and bassist Stanley Clarke fly through the proceedings, supporting Joe Farrell's flute and soprano sax playing in what may have been the performance of his life. Flora Purim's vocals and Airto Moreira's drums and percussion work discretely in service of the music's serenity. --John Swenson


Corea was at his peak with this '70s release, which brought together his Latin-flavored compositions and writing for singer Flora Purim with his liquid electric piano, Airto's varied gifts on percussion, and the late great Joe Farrell's facility on flute and sax.

One of the approaches to jazz that has unfortunately seemed to pass by the boards is what I'll call extended comp/improv, a blend of formal composition, passages for improvisation and sections that allow for free group interaction. Sonny Rollins and Max Roach were modernists who plowed early ground in this area, and they were followed by, among others, McCoy Tyner, John Handy, the Art Ensemble of Chicago, Jack DeJonette, and of course, the master of the form, Charles Mingus. Corea makes a fine contribution to the informal canon with "Sometime Ago/La Fiesta," a hypnotic 23-minute excursion.

For the extended comp/improv to work, all the musicians have to be headed in the same direction without ever losing the sense that there are many paths toward the same goal. "Sometime Ago/La Fiesta" illustrates the beauty of this ideal. Corea, Farrell, and bassist Stanley Clarke all prove their mettle in long, lyrical passages in which they both play and respond to one another. Farrell is particularly inspired on flute and soprano sax, but Clarke will startle you as well with the sounds he gets from his bass.

The rest of the CD? Fine as well, although you might find Purim's vocals an acquired taste. For me, a little generally goes a long way, but on this CD, her voice is tightly interwoven into the compositions and is an asset rather than a distraction.

Those who think of Return to Forever as a rock band will find this record a surprise -- one way or the other. For me, it's vastly superior to the fusion records Corea turned out later in the '70s.

1-Return to Forever
2-Crystal Silence
3-What game shall we play Today
4-Sometime Ago-La Fiesta

Chick Corea: electric piano
Joe Farrell: flutes, soprano saxophone
Flora Purim: vocal, percussion
Stanley Clarke: bass
Airto Moreira: drums, percussion

John Patitucci: On the Corner (1989)- (New Link)

John Patitucci: On the corner

Label: GRP Records 

Year: 1989

Track Title
1. On the corner
2. Avenue "D"
3. Venetian moonlight
4. A better mousetrap
5. Vaya con dios
6. Kingstone blues
7. Painting
8. Strength to the weak
9. Flatbush ave
10. The storyteller
11. Bertha's bop

Credits

Bass - John Patitucci
Drums - Al Foster (tracks: 3, 11) , Alex Acuna* (tracks: 5, 7) , Vinnie Colaiuta (tracks: 2, 6, 10)
Drums, Percussion - Dave Weckl (tracks: 1, 4, 8, 9)
Electronics - Judd Miller (tracks: 1, 9)
Guitar - Paul Jackson Jr. (tracks: 6)
Percussion - Jay Oliver (tracks: 4)
Piano - Chick Corea (tracks: 3, 11)
Piano, Synthesizer - John Beasley (tracks: 1, 2, 7 to 10)
Saxophone [Soprano] - Eric Marienthal (tracks: 6)
Saxophone [Tenor] - Kirk Whalum (tracks: 8) , Michael Brecker (tracks: 2)
Synthesizer - David Witham (tracks: 1 to 10)
Vocals - Alfie Silas (tracks: 6) , Howard McCrary (tracks: 6) , Phyllis St. James (tracks: 6) , Rick Riso (tracks: 6)

Dynamite bass work (as always), contemporary (but not "smooth", though not quite straight ahead either), stacked with excellent players: Chick Corea, Michael Brecker, Al Foster, Dave Weckl, Alex Acuna, Vinnie Colaiuta, Eric Marienthal, etc., each selected to contribute to the style and sound of particular songs. A good effort.

Return to Forever: Hymn of the Seventh Galaxy (1973)

Return To Forever : Hymn of the Seventh Galaxy (1973)

Studio Album, released in 1973

Songs / Tracks Listing

1. Hymn of the Seventh Galaxy (3:31)

2. After the Cosmic Rain (8:25)

3. Captain Señor Mouse (9:01)

4. Theme to the Mothership (8:49)

5. Space Circus, Pt. 1 & Pt. 2 (5:42)

6. Game Maker (6:46)

Total Time: 42:14

Line-up / Musicians

- Chick Corea / organ, piano, composer, gongs, harpsichord) 

- Bill Connors / guitar, electric guitar

- Stanley Clarke / bass, arranger, composer, guitar

- Lenny White / percussion, bongos, conga, drums

Another raw, uncompromising fusion classic that still sounds wonderfully fresh now, some 30 years after it was unleashed on an unsuspecting public. 

I'm sure this outing dropped some jaws in its day, especially considering that the 2 previous RTF discs (Return to Forever, Light As A Feather) were steeped in airy Brazilian jazz-samba sensibilities. Here, Chick Corea and his trusty bassist Stanley Clarke (just returning to electric bass) would change their whole sound and direction, adding in heavy rock and more orchestrated ensemble playing. An early lineup (which included drummer Steve Gadd, percussionist Mingo Lewis and guitarist Earl Klugh) gave way to the scorching lineup of Corea, Clarke, drummer Lenny White and a young unknown guitarist in the person of Bill Connors. Chick and Stanley's new musings were well served by the 2 new members. Lenny White's drumming combined the best aspects of a great jazz drummer, the ferocious power of a rocker and the funkiness of Clyde Stubblefield (James Brown) or Bernard Purdie. Bill Connors bought to the table a yearning to combine John Coltrane and Cream-period Eric Clapton into a unique musical voice. The new band was NEVER shy about flexing its musical muscles or taking chances right and left. 

The opening title cut makes it screamingly clear that this was a band of great musical minds to be reckoned with, highlighted by tight ensemble passages and reckless abandon working together in amazing ways. The song has a very endearing hanging on for dear life quality to it. "After The Cosmic Rain" gives bassist Stanley Clarke a chance to shine with thick fuzzy propulsive bass lines and a nasty, snarly solo, not unlike a more manic Jack Bruce (in fact, Stanley used the same bass as Jack, a Gibson EB-3, famous for its fuzzy somewhat muddy sound. Shortly after these recordings, Stanley would trade it in for the crisp, crackling Alembic sound that would become his stock in trade.) 

"Captain Señor Mouse" is a classic Corea musing featuring a manic and beautiful flamenco-inspired melody line and a dizzying variety of time changes, plus crafty use of exaggerated dynamics and tight, passionate ensemble work from everybody. "Theme To The Mothership" by stark contrast is a more open-ended full-throttle piece, giving Bill Connors a chance to unleash a soaring melodic solo, beginning with thick slicing sustained notes and gradually building to a barely controlled fury before miraculously landing right on the next ensemble passage. After this, Corea lets forth a brilliant ring-modulated Fender Rhodes solo that would have been right at home on a Soft Machine or Hatfield and the North disc. 

"Space Circus" begins with low-key child-like whimsy before charging into a full-on funk workout, with everybody trading off searing phrases like Muhammad Ali and Joe Frasier in the ring. "The Gamemaker" sneaks up on you with a mysterious series of organ chords and Corea gently musing over the top of it gradually morphing into a repeating keyboard figure that frames the piece that the band picks up on and adds momentum to. From that point, Corea and Connors engage in a duel to the death, beating each other creatively silly as Clarke and White drive it along at a furious pace, leading to a nail-biting unison-passage ending. 

This is a disc that will leave you exhausted in a wonderful way, kind of like a good downhill ski run or roller coaster ride. This is tightly played and orchestrated fusion at its boldest, rawest and uncompromising for its time. While subsequent RTF albums were more refined, and guitarist Al DiMeola may have been a superior technician/chopsmeister, Bill Connors just had a raw soulfulness and passionate abandon that DiMeola could never get close to (plus I happen to LOVE that thick, slicing tone of Bill's). The album's raw, in-your-face production just adds to the charm of hearing a new band flexing its musical muscles and breaking new ground. 

Chick Corea & Origin: Change (1999)

CHICK COREA & ORIGIN: CHANGE (1999)

Track listing

"Wigwam" (Corea) – 6:56
"Armando's Tango" – 5:54
"Little Flamenco" – 6:42
"Early Afternoon Blues" – 6:37
"Before Your Eyes" – 5:08
"L.A. Scenes" – 5:36
"Home" – 7:51
"The Spinner" – 7:56
"Compassion [Ballad]" – 7:47
"Night (Lyla)" (Cohen) – 3:02
"Awakening" – 6:17

Personnel

Avishai Cohen – acoustic bass
Chick Corea – piano, marimba, handclapping
Jeff Ballard – drums, handclapping
Bob Sheppard – bass clarinet, flute, baritone saxophone, soprano saxophone, tenor saxophone
Steve Wilson – clarinet, flute, alto saxophone, soprano saxophone
Steve Davis – trombone

If you dig Chick Corea but haven’t yet heard Origin, run — don’t walk — and pick up this record. And pick up their debut record from last year while you’re at it. It’s the most exciting stuff Chick has done in years. His bandmates in Origin are primarily young, up-and-coming, straight-ahead jazz musicians. And that’s refreshing. Origin’s music is not a mere showcase for hotshot soloists. Chick’s last acoustic jazz outing, his Bud Powell tribute band, was wonderful. But in the final analysis, it was a handful of amazing, famous players getting together and playing Bud Powell tunes. Origin has a sound. And it’s not a sound you’ve heard from Chick Corea before, although it bears his unmistakable stamp, and thankfully so.
An important facet of Origin’s unique sound is its multiple horns. There’s Steve Wilson on soprano and alto saxophones, clarinet, and flute; Bob Sheppard on tenor sax, bass clarinet, and flute; and Steve Davis on trombone. These combinations of horns call forth some beautiful textures, especially on "Armando’s Tango," "L.A. Scenes," and "Home." Other highlights include the shout chorus that sets up Chick’s piano solo on "Wigwam," the Kind of Blue -style harmonies of "Early Afternoon Blues," the intricate horn/rhythm section interplay of "Before Your Eyes," and the forceful melody and quasi-chamber music ending of "Awakening." All these guys are strong soloists, of course, but it’s the tight horn charts — and the equally tight counterpoint of bassist Avishai Cohen and drummer Jeff Ballard — that provide a lot of the excitement on this disc.

Overall, it’s safe to say this is some of the most ambitious writing of Chick’s career. He’s outdone himself. Surprises abound: the curious atmosphere of early jazz on the eclectic and contemporary "Armando’s Tango"; Chicks’s use of the marimba on "Wigwam" and "L.A. Scenes"; the overdubbed handclaps on "Little Flamenco" (the best track on the record, in my opinion); the stop-start form of "The Spinner," a tune that is simply uncategorizable; and the haunting melodies of "Home" and "Night (Lylah)," the latter composed by bassist Cohen. And yet amid all the newness and originality, there are nods to Chick’s classic moments: the 3/4 minor blues of "Wigwam" is strongly reminiscent of the "Now He Sings, Now He Sobs" era; the use of flute in "Little Flamenco" recalls his work with Joe Farrell and Steve Kujala; and the wonderful grandiosity of "Awakening" is, well, it’s pure Chick. There’s also a nice piano trio feature, "Compassion (Ballad)," which is based on the standard "It Could Happen To You." Origin played Chick’s up-tempo arrangement of the standard on its debut record, so "Compassion" is an interesting contrast.

Amazingly, all the songs were recorded in Chick’s living room with no headphones and no overdubbing, save for the aforementioned handclaps and one marimba part. "All takes are complete takes from beginning to end," writes Chick in the liner notes. The band thus achieves a perfect balance between spontaneity and rehearsed cohesion. It’s marvelous to hear, and although Chick has a constant need to Change, let’s hope he sticks with this band for a while.

Chick Corea & Gary Burton: Native Sense (1997)

Chick Corea and Gary Burton: Native Sense-The New Duets  (1997)

Chick Corea (Piano); Gary Burton (Vibes & Marimba)

Pianist Chick Corea and Gary Burton (vibes and marimba) have put together a new disc of duets, Native Sense, and it can be summed up in one word: lovely. This is the fifth duet recording from these two; their interaction shows the ease and comfort of a long association, even though the last release was twelve years ago. For Native Sense, Corea tells us in his liner notes, he wrote two new melodies: "Post Script" and "Rhumbata." Three other numbers, "Love Castle," "No Mystery," and "Duende" were, says the pianist, "previously written and recorded by myself with other groups but never performed very much afterwards." "Armando's Rhumba" is a piece the two have been performing live for a few years. "Tango '92" is an unused soundtrack piece. For dessert, Corea and Burton turn in a delightful version of Thelonious Monk's "Four in One."

The centerpiece of this album is a pair of two bagatelles by the Hungarian classical composer Béla Bartók. With "Post Script" sandwiched between them, they form a mini-suite reminiscent of Keith Jarrett's tackling of another great classical modernist, Dmitri Shostakovich. On these brief pieces, where Burton shimmers with seemingly impossible delicacy, Corea makes a tentative return to territory he has scarcely visited at all in the nearly thirty years since the demise of his avant-jazz quartet with Anthony Braxton, Circle. Bartók has just the sort of harmonic sensibility that Braxton has mined so doggedly since Chick took off for the more fertile pastures of Scientology and Return to Forever; Bartók's "Bagatelle #2" sounds like the lighter side of, say, "Composition 40F." Here Corea's butterfly-wing lightness, however, demonstrates his long-standing commitment to lyricism at whatever cost.

Armando Corea's Spanish roots are very much in evidence. "Armando's Rhumba" and "Rhumbata," "Tango '92," "Duende," and "Post Script" are all light (always light) Latin rhythms; in fact, scarcely anything on the album lacks a Spanish feel, whether in rhythm or a light (again) flamenco-tinged rumble from one of the principals. Even Monk's "Four In One" sounds like something Tito Puente could sink his teeth into; maybe it's the company, or Burton's spirited attack on the vibes. Both his solo and Corea's, meanwhile, seem to nod to another Monk tune, "Trinkle Tinkle," here and there.

The placement of the Monk piece at the end of the album points up how much ground the two have actually covered in one CD's length. Yet from rhumbas to Bartók to Monk, they remain unruffled, pleasant, and assured. While never losing their light touch, on Native Sense they a clearly enjoying the fruits of a long and rewarding partnership.

Return to Forever: Romantic Warrior (1976)

Some history first. I remember the sadness I experienced upon hearing Bill Connors had left RTF and that this flashy Al Di Meola had replaced Connors—RTF was just not the same. I essentially shunned them. Even though I continued buying releases, sampling RTF members’ solo offerings, I never heard that same magical fire that Connors had lended. On another front The Mahavishnu Orchestra fizzled out into fusion confusion. What was happening here? The ‘70's fusion-fest seemed to be passing into mundane oblivion or mutating into something worse. Then this release came along. I was amazed and thrilled. It wasn’t all I expected. It was more. Everyone on this release performed magically. Jazz rock fusion had reached another pinnacle. Compositions were unbelievably complex and beautiful, unison lines moving wildly, solos inspired and superb, and the artistic soulfire was at maximum. RTF was peaking all sysytems.

There was a playful yet forceful punch happening here. Chick Corea‘s keys were perfect cool, Al DiMeola’s guitar voicings, phrasings, and leads awesome, Stanley Clarke’s bass playing went beyond the mere words’ description, and Lenny White’s drums as usual, superbly jazzy grooves. Also impressive; each member wrote at least one song of the six offered. Amazingly, this release was 100% cohesive, like movements of varying force in one stream of thought. Nothing was lacking, nothing was excess, Romantic Warrior remains to this day, a diamond, exuding flawless beauty. Yes, it grew out of the jazz rock fusion genre but it’s fine art that outlives its hey day, an example of just how incredibly wonderful fusion can be. Strangely enough, Romantic Warrior was this incarnation of RTF’s last true hurrah. Nothing else afterwards ever came close. It was as if RTF was saying goodbye and thank you creating a monument to a fading era, a waning passion.

For those of you wondering if this remastered, re-release is technologically superior in sound quality to prior releases and worth grabbing—listen up. Yes, no doubt about it. For those of you never even hearing of this until now—this is a jazz/ jazz fusion fan must-have. It is a unique classic that never grows old. Like steak and wine by candle light after a long hard day, Romantic Warrior is a very, very good experience. Highest recommendations.

The Chick Corea New Trio: Past, Present & Futures (2001)

Track Listing:

1. Fingerprints

2. Jitterbug Waltz

3. Cloud Candy

4. Dignity

5. Rhumba Flamenco

6. Anna's Tango

7. The Chelsea Shuffle

8. Nostalgia

9. The Revolving Door

10. Past, Present & Futures

11. Life Line

Personnel: Chick Corea, piano; Avishai Cohen, acoustic bass; Jeff Ballard, drums

Putting Origin on the shelf for a moment, Chick Corea sets about getting intimate with the band's rhythm section on this invigorating trio release. Corea also takes this opportunity to premiere 10 entirely new compositions as well as a lively reading of Fats Waller's "Jitterbug Waltz." Together with the phenomenal Avishai Cohen on bass and Jeff Ballard on drums, Corea continues with the kind forward-thinking acoustic jazz that has made Origin so appealing over the last several years. The opening minor blues, "Fingerprints," strongly recalls his first classic trio with Miroslav Vitous and Roy Haynes . "Rhumba Flamenco," "Anna's Tango," and the closing "Life Line" are typical of the Spanish-tinged lexicon he's been developing since early on, but most recently with Origin and Gary Burton.

If anything, Corea's new music is more heavily composed than usual. Its involved, tightly executed passages evoke a sort of chamber-jazz feel that brackets relatively short episodes of fiery, free-flowing improvisation. But "The Chelsea Shuffle" and "Cloud Candy" open up a bit more, while "Nostalgia" changes the pace with its mellow, semi-classical feel.

Like Pat Metheny, who recently formed a trio with Larry Grenadier and Bill Stewart, Corea recognizes the importance of forming deep associations with the new generation of jazz greats. Of course, Avishai Cohen and Jeff Ballard gain enormous prestige through their work with Chick. But Chick also keeps himself fresh and on his toes by working with these younger stalwarts.

Larry Coryell: Spaces (1970)

Larry Coryell
Spaces

Vanguard (79345)
USA 1970

Larry Coryell, guitars; John McLaughlin, guitars; Miroslav Vitous, bass; Billy Cobham, drums; Chick Corea, electric piano

Tracklist:
1.  Spaces (Infinite) — 9:16
2.  Rene's Theme — 4:06
3.  Gloria's Step — 4:29
4.  Wrong is Right — 9:00
5.  Chris — 9:31
6.  New Year's Day in Los Angeles -- 1968 — 0:20

total time 36:42

Larry Coryell's Spaces is an excellent early fusion album that tends to go overlooked. Recorded in late 1969 but not released until 1974, Spaces features Coryell surrounding himself with some top talent: John McLaughlin, Billy Cobham (both later of Mahavishnu Orchestra) and Miroslav Vitous (later of Weather Report). Chick Corea joins the group on electric piano for one track, "Chris."

Truth be told, this sounds more like jazz than jazz-rock. Only the great title track has rock rhythms; the rest of it is "rock" mostly by virtue of the electric guitars (which nevertheless are set to a minimal amount of distortion). It's difficult for me to discern which guitarist is playing at any particular time, although the liner notes indicate that Coryell does the majority of the soloing. Miroslav Vitous was an excellent choice of bassist for this kind of music and he demonstrates his versatility by playing with a bow on some passages. "Chris," on which Chick Corea sits in, is another hightlight. Corea's electric piano is primarily used for atmosphere while Coryell and McLaughlin engage in some of their most diverse playing on the record, drawing on a wealth of influences in their quick-picked passages. "Renee's Theme," a tribute to jazz guitar legend Django Reinhardt, is consistently cited by fans of the album as a favorite. Somewhat different in character from the rest of the pieces, it's a fleet-fingered acoustic guitar duet with head-turning speed and precision.

It's the interweaving guitar improvisations of Coryell and McLaughlin that make Spaces such an interesting, distinctive album. I think it is one of Coryell's best releases and it makes for a good first pick when starting to explore the guitarist's large catalog.

Chick Corea & Friends: Remembering Bud Powell (1997)

Tracks

1. Bouncin' With Bud 8:01
2. Mediocre 8:52   
3. Willow Grove 9:55
4. Dusk In Sandi 8:06   
5. Oblivion 7:14   
6. Bud Powell 6:02
7. I'll Keep Loving You 9:06
8. Glass Enclosure 3:02
9. Tempus Fugit 9:28
10. Celia 3:00


Saluting the genius of jazz piano icon Bud Powell, jazz piano innovator Chick Corea puts his indelible stamp on Powell's music, in a collection of inspired and insightful performances. With the help of his friend - a phenomenal all-star ensemble boasting the remarkable talents of Roy Haynes, Kenny Garrett, Christian McBride, Joshua Redman, and Wallace Roney - Chick Corea has delivered a recording that instantly takes its palace among st the most treasured of modern acoustic jazz masterpieces. Recorded upon completion of a highly lauded world tour, Remembering Bud Powell captures not only a rare grouping of individual musicians, but also a spirited and cohesive ensemble with a special musical communication that can only be described as telepathic.

FEATURING:
Chick Corea - piano
Roy Haynes - drums
Kenny Garrett - alto saxophone
Christian McBride - bass
Joshua Redman - tenor saxophone
Wallace Roney - trumpet