Chick Corea: The Ultimate Adventure (2006)

Just as some books need to be edited for length, so do some albums inspired by works of literature. At least that's the case with The Ultimate Adventure, Chick Corea's second straight album project derived from a novel by his late Scientology mentor L. Ron Hubbard. Dubbed a tone poem by Corea, the nearly 75-minute work has some of his airiest, most cooly fluent music in some time. With its distinctive electric piano punctuation and contributions by flutist Hubert Laws and RTF percussionist Airto Moreira, the lyrical passages have echoes of his much-loved band of the seventies, Return to Forever. And the Spanish tinge for which he is known gravitates winningly south to Arabic North Africa. Ultimately, though, not all of the album's chapters are equally lively: the "Adventure" goes on a bit much for those who aren't using it as a soundtrack to the plot about a boy on a self-actualization quest, and even for some who are. But Corea has never negotiated the acoustic-electric (or, in his parlance, akoustic/elektric) divide as well as he does here and his ability to command a large cast including saxophonist Tim Garland and guitarist Frank Gambale is impressive. --Lloyd Sachs

Tracklist:
1. Three Ghouls-Part 1 1:38
2. Three Ghouls-Part 2 4:02
3. Three Ghouls-Part 3 3:11
4. City Of Brass 6:38
5. Queen Tedmur 5:15
6. El Stephen-Part 1 6:39
7. El Stephen-Part 2 1:47
8. King & Queen 6:06
9. Moseb The Executioner-Part 1 1:39
10. Moseb The Executioner-Part 2 2:20
11. Moseb The Executioner-Part 3 1:54
12. North Africa 6:24
13. Flight From Karoof-Part 1 6:11
14. Flight From Karoof-Part 2 1:35
15. Plane Of Existence-Part 1 5:25
16. Arabian Nights-Part 1 4:31   
17. Arabian Nights-Part 2 2:38
18. Gods & Devils 2:15  
19. Plane Of Existence-Part 2 2:52
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Carles Benavent & Josemi Carmona: Sumando (2006)

Carles Benavent and Josemi Carmona have locked themselves up in a recording studio and have recorded "Sumando", a happy encounter between flamenco and jazz. Each of them contributes what he has learnt during a long musical career; the end product are nine songs that do not stray from the rhytmic pattern or the emotion of flamenco. Chick Corea and Diego are featured as special guest artists.

"Sumando" (Adding) is the first joint work by Carles Benavent and Josemi Carmona. The jazz bass player and the guitarist of Ketama have brought together their wide-ranging musical experiences to bring to life a flamenco-jazz record. It features nine themes that were composed and performed by themselves, with the accompaniment of other renowned musicians, from both the jazz and flamenco scenes, among whom those who stand out are Chick Corea and Diego el Cigala.

In "Sumando", the bass and guitar are the protagonists of this happy coming together. However, these instruments and musicians are backed by other musicians such as Jorge Pardo (flute), Tino di Geraldo (drum kit), Juan Carmona Jr. (percussion), Bandolero (palmas, rhythmic hand-clapping) and Piraña (percussion). Moreover, Carles Benavent also plays the Ebow, keyboards, mandola and cittern; and Josemi Carmona plays the flamenco guitar, the acoustic guitar, the mandola and palmas.

Benavent and Carmona contribute everything they have learnt during their long musical careers to "Sumando". Carles started to open up new horizons for current Spanish music in the 1970s with the band Música Urbana. Since then, he has become a reference on the jazz and flamenco-jazz scenes. His works have had an international repercussion through his cooperation with Miles Davis, Paco de Lucía, Quincy Jones and Chick Corea.

Josemi Carmona possesses all the flamenco flavour of the Habichuelas and contributes all the baggage from his time in Ketama. And Josemi was able to add the experience of his encounters with international musicians like Toumani Diabate, Danny Thompson, Michel Camilo, Cheb Khaled and Caetano Veloso, among others, to the cross-breeding that Ketama’s flamencoised salsa pop already represented. Furthermore, "Sumando" is Josemi’s first recording work after Ketama.

Tracklist:
01. Sencillito 3:01
(J. M. Carmona)
Josemi, guitarra y palmas
Carles, bajo
Bandolero, percusión
Joselin Vargas y Bandolero, palmas
02. La garza 6:22
(C. Benavent)
Carles, bajo, ebow y teclados
Josemi, guitarra
Chaboli, percusión
Tino Di Geraldo, batería
03. Dama 4:46
(J. M. Carmona - V. Castro)
Josemi, guitarra, guitarra acústica, coros y palmas
Carles, bajo y coros
Diego el Cigala, cante
Piraña, percusión
Joselin Vargas y Bandolero, palmas
04. Skely 3:37
(C. Benavent)
Carles, bajo, cittern y silbido
Josemi, guitarra, programación, teclados y palmas
Juan Carmona Jr., percusión
Joselin Vargas y Bandolero, palmas
05. Soleó 5:05
(J. M. Carmona)
Josemi, guitarra, guitarra acústica, teclados, programación y palmas
Carles, bajo
Chick Corea, piano eléctrico
06. Amic Joan 4:32
(C. Benavent)
Carles, bajo
Josemi, guitarra y palmas
Jorge Pardo, flauta
Bandolero, percusión
Joselin Vargas y Bandolero, palmas
07. El Galleta 4:31
(J. M. Carmona - J. A. Sánchez - J. Carmona)
Josemi, guitarra, guitarra acústica, mandola, programación, teclados y palmas
Carles, bajo
Paquete, voz
Bandolero, percusión
Joselin Vargas y Bandolero, palmas
08. Okinawa 3:45
(C. Benavent)
Carles, bajo y mandola
Josemi, guitarra, guitarra acústica y programación
Tino Di Geraldo, batería
09. Lupeando (a la memoria de Jaco) 3:29
(C. Benavent)
Carles, bajo y programación
Josemi, guitarra acústica, programación y palmas
Tino Di Geraldo, batería
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Return to Forever: Mothership Returns (2012) [2 CD]

When keyboardist Chick Corea announced—following a successful world tour of his reunited 1970s-era fusion juggernaut Return to Forever, which, featuring guitarist Al Di Meola, bassist Stanley Clarke and drummer Lenny White, included a high octane 2008 performance that was one of the best-attended in the Ottawa International Jazz Festival's three-decade history—that he'd be reuniting the earlier incarnation of the group responsible for Hymn of the Seventh Galaxy (Polydor, 1973), there was plenty of buzz.

He ultimately became the better-known of RTF's two guitarists—releasing three albums with the group, from 1974's Where Have I Known You Before (Polydor) to one of the decade's stone cold fusion classics, Romantic Warrior (Columbia, 1976)—yet there was still a significant contingent who favored Bill Connors' soulful, visceral approach over Di Meola's more technically proficient but often clinical gymnastics. Add to that Di Meola's well-publicized issues with the 2008 tour, along with a very decided avoidance of all but one track from Hymn and Corea's promise that this second reunion tour would right that wrong, and it seemed that 2011 was going to be a very exciting year for fusion fans.

Unfortunately, it was not to be. While Connors rehearsed with the rest of RTF—some of the results available on the bonus second disc to Forever (Concord, 2011), which documents an all-acoustic trio tour that Corea, Clarke and White embarked upon in 2009—health issues ultimately scuttled his return to the road. We may never know how well a reunited Hymn-era RTF would have been but, based on The Mothership Returns, we may never miss it.

Faced with a spot to fill in the guitar department (Di Meola was completely off the table), Corea called up old friend Frank Gambale, who'd played with the keyboardist in his late 1980s Elektric Band, and that might have been enough, since the Australian guitarist was a big fan of Hymn-era RTF and more than capable of cutting it. However, back when Connors played at the special Hollywood Bowl RTF show in 2009, for which the Forever rehearsals were conducted, Corea had also invited a couple of other guests, including violinist {Jean-Luc Ponty, another '70s-era fusion star.

The idea of expanding RTF to a quintet seemed like an inspired one, and it was; the subsequent 2011 tour, including another stop in Ottawa, found a much more relaxed Return to Forever IV—even its more casual dress reflected a show that was less an event and more about a group of friends getting together to revisit some music from the past, albeit often with new and/or expanded arrangements.

The Mothership Returns' two CDs document much of the music performed during that 2011 tour, and are a refreshing reminder why it was a more enjoyable tour than the 2008 Di Meola reunion. For a set list that, in addition to two iconic tracks from Hymn— Clarke's anthemic "After the Cosmic Rain" and Corea's often-covered "Senor Mouse"—also culls materials from Where Have I Known You Before and Romantic Warrior, Gambale may actually be a better choice than either Di Meola or Connors.

Possessing grit and grease that Di Meola lacks and technical chops that were, for Connors, deficiency at the time of Hymn—though his feel more than made up for it—Gambale's more substantial jazz credentials and ability to play changes (for which Di Meola usually substituted speed and cold precision) are in full display on an 18-minute version of Romantic Warrior's title track that smokes the two versions on Returns (Eagle Rock, 2009), the live album from the 2008 reunion tour.

It's also great to hear Hymn's tracks 40 years on; at the time of its recording, Clarke had yet to ncorporate the thumb-popping and slapping technique that he began to use on Where Have I Known You Before; instead, his Gibson bass (a predecessor to the much cleaner and funkier Alembic that he'd begin using on subsequent RTF recordings) was a heavily overdriven, thunderous sound that left little room for subtlety. Not that Clarke's testosterone-filled playing on The Mothership Returns is understated; but there is a greater sense of dynamics on "After the Cosmic Rain," which runs the gamut from its original rock-edged (and, at times, Latin-tinged) power during Ponty's exhilarating solo, to a surprisingly swinging groove when the spotlight turns to Corea and his Fender Rhodes.

Tracklist:

CD 1
1. Medieval Overture
2. Senor Mouse
3. The Shadow Of Lo / Sorceress
4. Renaissance

CD 2
1. After The Cosmic Rain
2. The Romantic Warrior
3. Spain
4. School Days
5. Beyond The Seventh Galaxy

Personnel:

Chick Corea / piano & keyboard
Stanley Clarke / electric & acoustic bass
Jean-Luc Ponty / electric & acoustic violin
Frank Gambale / electric & acoustic guitar
Lenny White / drums

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Chick Corea/Gary Burton: Hot House (2012)

With a partnership lasting longer than most marriages, pianist Chick Corea and vibraphonist Gary Burton know what it takes to keep things fresh. Since the release of Crystal Silence (ECM, 1973), they have toured virtually every year, but record far less frequently, with only six albums to their credit, most recently The New Crystal Silence (Concord, 2008). With the pianist especially busy these days—his The Continents: Music for Jazz Quartet & Chamber Orchestra (Deutsche Grammophon, 2012) just out and a live set from his 2011 Return to Forever IV tour, The Mothership Returns (Concord, 2012), on the near horizon—anytime Corea enters the studio with Burton is worthy of celebration.

Traditionally, the duo has focused largely on music from the pianist's pen and from Burton collaborators like bassist Steve Swallow and composer/arranger Michael Gibbs. Shifting gears for Hot House, the pair covers music from the 1940s through the 1960s, by well-known names ranging from pianists Art Tatum, Bill Evans, Dave Brubeck, Tadd Dameron and Thelonious Monk to The Beatles' Paul McCartney and Antonio Carlos Jobim—though the songs chosen by the vibraphonist and pianist are a little further off the beaten path.

While not exactly unfamiliar, "Eleanor Rigby" hasn't received much interpretation in the jazz world. Still, after Tatum's jovial opener, "Can't We Be Friends"—the pianist moving from facile swing to strong-handed stride—it demonstrates Corea and Burton's seemingly effortless ability to draw music from external sources into their own complex yet accessible musical universe. A relentless left-hand pattern gives the song a far brighter pulse than the original, with Corea's right hand mirroring Burton before leading to a solo that demonstrates how, as he approaches 70 in 2013, the vibraphonist has lost none of his impeccable ability to shape flawless long-form narratives with exhilarating spontaneity. Corea, too, solos with the same kind of reckless in-the-moment spirit.

Two Jobim tracks run the gamut from the effervescent "Chega de Saudade" to "Once I Loved," which begins in ethereal atmospherics, but assumes a more propulsive stance in short order. It's no surprise to hear Corea play with quirky tongue in cheek on Monk's "Light Blue," but Burton is equally idiosyncratic, while a relatively brief look at Dameron's fiery title track is the result of Burton and Corea being uncertain as to who is to solo first, with a result that's all the more impressive for their ability to interact in rapid-fire fashion without ever stepping on each other's toes.

Two Corea originals close the set: "My Ship" has been expanded significantly from Expressions: Solo Piano (GRP, 1994), a brief descending pattern redolent of "Falling Alice," from the pianist's The Mad Hatter (Polydor, 1978). Augmented by The Harlem String Quartet, the episodic "One for Mozart" harkens back to the duo's Lyric Suite for Sextet (ECM, 1982), while presaging the duo's next CD, which will return to that expanded format.

Another CD already in the planning stages is terrific news from one of the longest-lasting partnerships in jazz. Familiarity needn't always breed contempt and Hot House proves it needn't spoil the thrill of discovery either—or the ability to just have some flat-out fun.

Tracklist:01. Can't We Be Friends (7:27)
02. Eleanor Rigby (7:02)
03. Chega de Saudade (10:47)
04. Time Remembered (6:14)
05. Hot House (3:55)
06. Strange Meadow Lark (7:06)
07. Light Blue (6:04)
08. Once I Loved (7:23)
09. My Ship (11:54)
10. Mozart Goes Dancing (7:14)

Personnel:

Chick Corea - piano;
Gary Burton - vibraphone;
Ilmar Gavilan - violin (10);
Melissa White - violin (10);
Juan Miguel Hernandez - viola (10);
Paul Wiancko - cello (10)

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Chick Corea / Stefano Bollani: Orvieto (2011)

Chick Corea has long been a master of improvisation. Whether in a solo or group context, his abilities to create magic out of thin air have never failed to impress. He also pioneered the relatively recent development of two-piano improvisation, by working with players such as Herbie Hancock, Friedrich Gulda, Nicolas Economou, and Gonzalo Rubalcaba. For his first ECM recording in 27 years, Corea was teamed with Stefano Bollani for an advanced class in two-piano improvisation.

The two have been playing together since 2009, mostly at Italian jazz festivals. The performances captured on Orvieto are from the Umbria Jazz Winter Festival, where the duo played several nights of concerts. The musical program they have chosen reflects their eclectic roots. Between such Corea/Bollani originals as the opening “Orvieto Impression No. 1” and closing “Blues In F,” the pair cover a great deal of stylistic ground.

The first of these is the bossa nova king Antonio Carlos Jobim, and his “Retrato Em Branco E Preto.” Corea and Bollani’s fingers seem to dance around each other in the first few bars of the tune, then settle in for a riveting display of the melody, all the while never losing sight of what the other is doing. The near-telepathic interplay between the two is fully on display here. As Bollani has stated, “It is as if one mind were controlling four hands.”

An early highlight comes when the two tackle Fats Waller’s classic “Jitterbug Waltz.” The tune has always been a great piano showcase, and in this environment, both Corea and Bollani give it their all. Another universally acclaimed jazz legend is Miles Davis, and he is honored here with a rendition of “Nardis.”

Both Chick Corea and Stefano Bollani seem to have been looking toward South America a bit this night. They include a second Antonio Carlos Jobim track here, “Este Seu Olhar,” as well as a Corea original, “Armando’s Rhumba.”

With their concluding “Blues In F,” the two finish as they began, with some wonderfully inventive improvisation. Their styles run the artistic gamut and are on display not only on this final piece, but throughout the 75-minute concert. Chick Corea and Stefano Bollani are both outstanding improvisers, and the proof of it is right here on Orvieto. Here’s hoping they get out of Italy for a bit, and bring some of this magic to a US tour soon.

Tracklist:

1. 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. Orvieto Improvisation No. 2
8. Este Seu Olhar
9. Darn That Dream
10. Tirititran
11. Armando's Rhumba
12. Blues In F

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Chick Corea & Hiromi Uehara: Duet (2008)

Apparently Chick Corea and Hiromi push each other's creative buttons. Corea is always reliable, but on this recording he sounds like he's 25 again. And Hiromi rose to the challenge of playing with such a legend. What's surprising is how seamless their playing is. Individually they have very distinctive approaches to the piano, but here they often sound like one person with four hands.

Not every cut is equally bracing. There are a few that sound more like the players are coasting through old standards, but many of the pieces here are surprisingly bold, thorny, and out on the edge (which is just the way I like it). At times they sound like Cecil Taylor, which is quite welcome, but very surprising. "Spain" hasn't sounded this fresh in decades. What's perhaps most notable about the performance is the communication and interplay between Corea and Hiromi. They're playing in hair-trigger mode all the time, following each other's lead so instantaneously that at times it seems as though they're playing written-out parts in unison (though this happens in such unlikely places that you know it is in fact improvised). And that kind of super-alert attitude gives all the playing a tremendous immediacy and vitality. All in all a very rewarding CD.

Tracklist:

CD1:

01. Very Early

02. How Insensitive

03. Deja Vu
04. Fool on the Hill
05. Humpty Dumpty
06. Bolivar Blues
CD2:
01. Windows
02. Old Castle, by the river, in the middle of a forest
03. Summertime
04. Place To Be
05. Do Mo (Children's Song #12)
06. Concierto de Aranjuez / Spain
Duet: Chick & Hiromi
Fileserve: Part 1 - Part 2 / Uploading: Part 1 - Part 2 @ 320K