Glenn Zottola, Chick Corea - The Legend & I

Styles: Trumpet And Piano Jazz
File: MP3@320K/s
Time: 54:21
Size: 125,0 MB
Art: Front

( 9:50) 1. But Not For Me
( 3:57) 2. Crystal Silence
( 5:14) 3. Autumn Leaves
( 3:46) 4. Z-Mother Test Project
( 5:33) 5. Skylark
( 5:38) 6. Moog 1 Arp Project
( 2:32) 7. You Go To My Head
(12:01) 8. Gliden Not Haydn
( 5:46) 9. Bonus Track - Crystal Silence

There have been several musical tributes to the late great Armando Anthony "Chick" Corea since his untimely passing in February, 2021, mostly from fellow musicians. However, The Legend and I is an intimate musical portrait from LA multi-instrumentalist Glenn Zottola who just happened to be one of Corea's best long-time personal friends. As Zottola affirms "He was my best friend and is dearly missed, but I know he will continue to create as that was his relentless purpose in life." The album features nine previously unreleased tracks of music in which both Corea and Zottola collaborate in laying down fresh new interpretations of familiar standards, four Corea originals and two versions of Corea's classic electronic "Crystal Silence."

Zottola plays the trumpet, his preferred instrument, on five of the nine tracks on the album, while performing on tenor and alto saxophones on the balance of the tunes. The pianist documents his talents on the piano, keyboards, marimba, bass, programming and even drums on "Autumn Leaves." Other musicians gracing this tribute include bassist Avishai Cohen and drummer Adam Cruz. There is one particular track in which the legend does not appear, and that is on the second version (bonus track) of "Crystal Silence," arranged by guitarist Romero Lubambo who plays the guitar and is accompanied by Pamela Driggs on vocals, singing the lyrics penned in 1972 by Neville Potter, another close friend of Corea.

Though he is gone but not forgotten, Corea's music now lives on forever and this homage, while including a somewhat personal touch, actually affirms that his incredible music now belongs to us all. Zottola's warm trumpet and saxophone voice is a perfect vehicle for expressing Corea's music. Zottola also stated that, in his opinion, Corea was the "greatest artist of the 20th century." Well, I believe that Corea would have argued with that conclusion; after all, he was around for 20 years in the 21st century.By Edward Blanco https://www.allaboutjazz.com/the-legend-and-i-glenn-zottola-and-chick-corea-self-produced

Personnel: Glenn Zottola: trumpet; Chick Corea: piano; Avishai Cohen: bass; Adam Cruz: drums; Romero Lubambo: guitar; Pamela Driggs: voice / vocals.

Additional Instrumentation: Glenn Zottola: tenor saxophone, alto saxophone; Chick Corea: keyboards, programming, marimba, bass, drums; Romero Lubambo: programming.

The Legend & I

---

Chick Corea Akoustic Band with John Patitucci & Dave Weckl - Live

Styles: Piano, Bop
Year: 2021
File: MP3@320K/s
Time: 134:43
Size: 312,4 MB
Art: Front

( 9:22) 1. Morning Sprite
( 7:30) 2. Japanese Waltz
( 7:13) 3. That Old Feeling
( 9:27) 4. In A Sentimental Mood
(14:22) 5. Rhumba Flamenco
(12:43) 6. Summer Night
( 7:30) 7. Humpty Dumpty
( 9:20) 8. On Green Dolphin Street
(11:44) 9. Eternal Child
(14:23) 10. You And The Night And The Music
( 8:31) 11. Monk's Mood
(12:08) 12. Humpty Dumpty
(10:25) 13. You’re Everything

A posthumous review of a live record sounds like an oxymoron. Particularly when it seems that Chick Corea was with us only yesterday. The sound of this record is lively, bright, and imbued with a richness of colors. The trio of Corea, bassist John Patitucci, and drummer Dave Weckl can take your breath away in an instant. This addition to their rich library is played with as much enthusiasm as it is heart, and with as much passion as it is a sense of fun. The question becomes is it good or is it great? That is for the listener to decide. This is a two live CD set, with only one song, "Humpty Dumpty," emerging from both sets. The trio dug in and played long and creative versions of just about everything, with each set featuring over an hour of hearty improvisational jazz.

Corea kicks off lightly with Patitucci and Weckl soon to follow in a modern take on the Corea composition "Morning Sprite." The nine plus minutes take touched on almost every edge and every corner of what was to come. It was a taste of what was in store. Corea was always concerned about setting the mood and having everyone feeling comfortable. Now placed in a receptive environment, the trio dances into Corea's "Japanese Waltz." Fluid and evenly paced this waltz has Patitucci in duo, with Weckl on brushes, inside the larger hypnotic and interactive trio movement. The pace is lifted as they groove into "That Old Feeling" with a bounce in their step. Weckl concludes with high end artistry that wasn't rushed despite the fiery bebop lines of Patitucci leading him in. Corea's note selection creatively had a Freddie Hubbardesque horn cadence to it. Like most musicians, he did a lot of transcribing. We can wonder if the progressions were knowingly horn centric or if they had just become a part of him.

Just at a moment when the trio could have raised the temperature a bit more, Corea slyly went the other direction with Duke Ellington's "In a Sentimental Mood." The familiar romantic theme is reset with warm lines and soft colors by Corea in solo. He gravitated ever so slightly back to the melody as his mates climbed on board. Their collective note selections and exchanges seem to make the tune melt around you. In no rush, the luscious serenade wrapped just under the ten minute mark. That pales in comparison to the over fourteen minutes of Corea's Latin laced "Rhumba Flamenco." Starting out close to the vest, the song bursted exponentially moments in with a Weckl pop that was pounced on by Corea and Patitucci. The beauty of improvised music. It could just as easily been Corea or Patitucci that led the direction, or the direction could have been different. No matter, they chase after each other with equal skill, passion, and fun. Three masters in their domain racing into a cloud of thunder. A jaw-dropped audience erupted at the conclusion of the driving selection that included an exquisite drum take from Weckl, Patitucci's powerful and tenacious grooves, and eight thousand (slight exaggeration) directional changes by Corea. This piece had show closer written all over it. But not on this night. Not with two more pieces on the playlist. Or was there a playlist? Maybe they were just calling out tunes. Either way, "Summer Night" was up next. The warm sensation of one of those summer nights that you wish would never end was encapsulated in a thirteen minutes plus treatment that has Patitucci finely fingering gently into a warm abyss. Corea embraced it moving with gradual advance into a seamless full swing trio. Corea's flurry of note selections were vivid and energizing, with Weckl and Patitucci playing in kind. "Summer Night" was the delicate balance of upper shelf performance and having a blast doing it. "Humpty Dumpty" made an appearance, with Patitucci and Weckl quickly out the gate in driving swing. The Corea classic found the master jetting on his keyboards with high speed changes on the fly, in a vast array of directions. The show closed with Patitucci really feeling and pushing the groove and Weckl furiously zinging around his kit in unison. Corea reengaged the melody again and again, buzzing mercurial lines of expression in between until it was time for Humpty to fall and call it a night.

Set two, also known as disc two, finds the trio in immediate full swing and groove. Their improvisational graces filling every lane "On Green Dolphin Street." The oft traveled road has been driven at many speeds by a litany of jazz greats over the years. Miles Davis, along with Bill Evans, and John Coltrane recorded what is often referred to as the definitive version in the late 1950's. Spirits were high right out the starting gate, this second night playing live at SPC Music Hall in St. Petersburg, Florida in 2018. Patitucci smoldering, with Weckl in hot pursuit, paved the way for Corea's customarily relentless pursuit of innovation. Polishing every corner at every seamlessly navigated turn, Corea shined brightly, leaving no doubt he was plugged in this night. With Patitucci's solo a taut extension of where he had been throughout the tune and Weckl's remarkable ability to play with robust energy while maintaining a balance in not overpowering his bandmates, this was an opening number of note. This was followed by Patitucci taking his bow to his strings. What emanated was a dark yet elegant pathway delving into Corea's "Eternal Child." The mood was dramatically set for Corea to solo from ground zero. In no rush, he exposes his deep emotional pallet with heart and sincerity. Patitucci and Weckl quietly emerge in support and the trio gently brings the poignant ballad to a close. The feel of a ballad continues with "You and The Night and The Music." That mood shifts quickly, however, when a more rapid tempo emerges. Corea pounces like white on rice and locks into a fourteen minutes plus riveting piece that thrusts open the floodgates of Corea's fertile imagination. The tune is also a showpiece for Weckl's explosive and fiery drumming. While he again demonstrates his command of power and finesse, it's the recipe that makes it cook. Weckl's bold and recognizable signature sound is defined by his dynamic blend of components forged inside the temperament of a refined artist.

A Thelonious Monk composition seemed inevitable. After all, the telepathic connection between Corea and Monk has long been discussed. "Monk's Mood" was instantly recognizable, with Corea well acquainted with the curiously melodic muse of Monk. His frameless approach seemed to invite the playful and quirky measures of Monk. Not surprisingly, Corea's soloing was at part an immersion into dissonance, while also an integration of their styles. It is easy to become so fixated that you hardly notice Patitucci and Weckl sliding in. Patitucci adds his own spice and quirk to the mix, elevating the epic piece even further. "Humpty Dumpty" is back in the house, and this time sticks around a bit longer. Part of the extension is at the front end, with Corea deftly soloing into a potent wonderland. Now into his own world, free of any boundaries, he spins a fantastical journey before Humpty even began to swing. Even more playful than before, Corea was having about as much as fun as possible, playfully engaging Patitucci and Weckl into interplay that was equally inventive, fun, rhythmic, and energetic. A highly intelligent conversation from the masterful trio. On this night "Humpty Dumpty" did not close out the show. Instead Corea invited his wife and singer Gayle Moran Corea on to the stage, as he had done so many times over the years. She took on the challenge of a very demanding ballad. Corea's composition "You're Everything" covers a lot of range even more when Corea is being playful with it. Half way through the first verse, she laughed and said "My those notes are hard to sing." After an instrumental run, she blistered the second verse with some astonishing high notes. The crowd erupted. Initially for Mrs. Corea's efforts, but then loud and genuine in appreciation of the evening's sensational serenade. Three elite musicians reuniting with the sole purpose of having fun. A celebration of life with longtime friends. The kind of evenings that could be magical...RIP Chick Corea.
~ Jim Worsleyhttps://www.allaboutjazz.com/live-chick-corea-concord-music-group

Personnel: Chick Corea: piano; John Patitucci: bass, acoustic; Dave Weckl: drums; Gayle Moran Corea: voice / vocals.

LIVE

---

Chick Corea - The Mad Hatter

Styles: Piano Jazz   
Year: 1978
File: MP3@320K/s
Time: 50:02
Size: 115,4 MB
Art: Front

( 4:25)  1. The Woods
( 1:08)  2. Tweedle Dee
( 1:39)  3. The Trial
( 6:30)  4. Humpty Dumpty
( 1:19)  5. Prelude To Falling Alice
( 8:17)  6. Falling Alice
( 2:50)  7. Tweedle Dum
(13:07)  8. Dear Alice
(10:43)  9. The Mad Hatter Rhapsody

This post-Return to Forever Chick Corea LP is a bit of a mixed bag. Corea is heard on his many keyboards during an atmospheric "The Woods," interacts with a string section on "Tweedle Dee," features a larger band plus singer Gayle Moran on a few other songs and even welcomes fellow keyboardist Herbie Hancock for the "Mad Hatter Rhapsody." The most interesting selection, a quartet rendition of "Humpty Dumpty" with tenorman Joe Farrell set the stage for his next project, Friends. Overall, this is an interesting and generally enjoyable release.~ Scott Yanow https://www.allmusic.com/album/the-mad-hatter-mw0000105344

Personnel: Chick Corea - piano, synthesizer, marimba, percussion, vocals, arrangement;  Joe Farrell - tenor saxophone, flute, piccolo;  Herbie Hancock - electric piano on Falling Alice and The Mad Hatter Rhapsody;  Jamie Faunt - bass;  Eddie Gómez - bass;  Steve Gadd - drums;  Harvey Mason - drum;  Gayle Moran - vocals

The Mad Hatter

---

Stanley Clarke - Children of Forever

Styles: Jazz Fusion
Year: 1973
Time: 47:57
File: MP3 @ VBR ~160K/s
Size: 54,0 MB
Art: Front

(10:42) 1. Children of Forever
( 5:53) 2. Unexpected Days
( 8:00) 3. Bass Folk Song
( 6:53) 4. Butterfly Dreams
(16:28) 5. Sea Journey

First solo album of RTF's bassist, the Chick Corea-produced Children Of Forever is very much a product of its time, with its cosmic gatefold artwork and its peace & love title, and it was recorded between the first two phases of Return To Forever (the exiting Moreira/Farrell and incoming Bill Connors and the album was released on the Polydor label), so it's quite obvious the mother project's paw is all over this jam-packed album (around 25 minutes aside). I believe this is around the time where Chick Corea told Stanley to move onto the electric bass guitar, or else he would be changing RTF's bassist, so Clarke obliged ? and luckily so for him and us),, since he became a master at it. But in the present album, he plays the contrabass on all tracks except the extravaganza piece closing the first side. The album also features a good flute, but obviously not the former RTF Joe Farrell's, but Arthur Webb's.

Amazingly enough this album starts with a very Kobaian near-11 mins title track piece, as Vander's bunch could easily claim it as theirs; from the electric piano led jazz-rock (courtesy of RTF's Corea) to the Vander-like drumming (courtesy of RTG's White) to very Orffian-like chants (almost incantations) and only Clarke's very strolling bass can effectively instil a doubt that you're not on Seventh Record label product. The following Unexpected Days is a bit less Zeuhl-ish, but the general mood can still evoke it, since the lingering impressions from the preceding piece are still alive. Andy Bey and Bridgewater's vocals are definitely more jazzy (Dee Dee sometimes close to crooning). Don't be fooled by the name of the following almost-instrumental track, which has nothing to do with folk, but everything to do with a bass guitar extravaganza, an awesome showpiece, where Clarke scats a bit like lionel Hampton did on his albums.

The flipside only features two tracks, opening with the album's jazziest 7-mins Butterfly Dreams, and it is the album's low point, not helped by the cheesy Bey vocals. The 17- mins+ Sea Journey starts very much in the mood of its predecessor, but evolves soon into an outstanding excursion in the depths of the oceans, floating on a superb lengthy bowed bass stroll, before leaving guitarist Martino some breathing space. Only the vocals are a bit cumbersome, but don't really hinder the moods either. Let's just say that I'd have no problems with having this CPF album as totally instrumental, because it could stand it easily without modifications.

Strangely enough, this debut solo album is often overlooked by fans (and sometimes books and websites), as my utterances are the first on this page, whereas the other albums are much more reviewed. This is a bit sad, because COF is a great album, despite the fact that Stanley doesn't use the electric bass, which would make him a celebrity. Maybe this is why JR/F fans tend to ignore (their losses) this excellent album.https://www.progarchives.com/Review.asp?id=310321

Personnel: Stanley Clarke / bass fiddle, electric bass, arrangements; Dee Dee Bridgewater / vocals; Andy Bey / vocals; Pat Martino / electric & 12-string guitars; Chick Corea / electric & acoustic pianos, clavinet, arrangements producer; Arthur Webb / fluteLenny White / drums, tambourine

Children of Forever

---

Chick Corea & Gary Burton - Hot House

Styles: Piano And Vibraphone Jazz
Year: 2012
File: MP3@320K/s
Time: 75:04
Size: 172,7 MB
Art: Front

( 7:26)  1. Can't We Be Friends
( 7:01)  2. Eleanor Rigby
(10:46)  3. Chega de Saudade
( 6:13)  4. Time Remembered
( 3:54)  5. Hot House
( 7:06)  6. Strange Meadow Lark
( 6:04)  7. Light Blue
( 7:22)  8. Once I Loved
(11:53)  9. My Ship
( 7:14) 10. Mozart Goes Dancing

The creative connection upon which vibraphonist Gary Burton ruminates to such length, in his essay for Hot House, is evident from the first instrumental exchanges with longtime collaborator, pianist Chick Corea. Burton and Corea complete each others' thoughts throughout "Can't We Be Friends," sounding as effortless and natural arguably more so as the seamless improvisations that earmarked their very first recorded project together forty years ago, Crystal Silence (ECM, 1972). The symbiosis recurs throughout the ten tracks here, which span standards from pianist Bill Evans' "Time Remembered" to The Beatles' "Eleanor Rigby," where the duo merely hints at the famous tune, preferring, instead, to search out and explore countermelodies for which their respective instruments are particularly suited. The moments when the grand piano and vibes play in unison echo the sublime moments in the original when Paul McCartney's multi-tracked vocals billow through the refrain. At 11:30, "My Ship" is the longest track on the CD, yet it is no more a complete statement than the rest, most of which clock in the six to eight minute range. It's indicative of the unusually deep friendships musicians can enjoy that Burton and Corea can draw upon their shared history, both directly and indirectly. 

Two Antonio Carlos Jobim compositions, "Chega de Saudade" and "Once I Loved," were both part of saxophonist Stan Getz's repertoire during the time when these men were members of his group in the 1960s. As the interplay unfolds, the depth of feeling and the nuance that arises are the instrumental counterpart of conversational reminiscence, in which the two compare and contrast their experiences with the formidable saxophonist. Comparing the level of detail in "Strange Meadowlark" reveals how the relationship between Burton and Corea has grown over the years as they have collaborated, not just with each other, but also in tandem with the likes of bassist/composer Dave Holland. The knowledge and experience they have gained by stretching themselves, individually and together, outside their proverbial comfort zone, is on display here to a great degree, via the sound of the recording itself. The work of longtime recording engineer Bernie Kirsh, whom Corea thanks in his own essay within the CD booklet, the impeccable audio quality captures the fulsome textures of the respective instruments in such a way as to mirror the musicians' thoughts in action.

In a preview of their next recording project, "Mozart Goes Dancing" concludes Hot House and finds Burton and Corea in the presence of the Harlem String Quartet, the spare accompaniment of which mirrors the deceptive simplicity of the pair's playing together. It is altogether preferable to the wash of orchestration that overwhelmed the duo in their last anniversary commemoration five years ago, The New Crystal Silence (Concord, 2008) and whets the appetite for further adventures of a twosome that relishes their mutual inspiration the longer it goes on.
By Doug Collette http://www.allaboutjazz.com/chick-corea-and-gary-burton-hot-house-chick-corea-concord-records-review-by-doug-collette.php

Personnel: Chick Corea: piano; Gary Burton: vibraphone; Ilmar Gavilán: violin (10); Melissa White: violin (10); Juan Miguel Hernandez: viola (10); Paul Wiancko: cello (10).

Hot House

---

Chick Corea Band Feat. Sadao Watanabe - Live Under the Sky...80

Styles: Piano And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 46:32
Size: 106,7 MB
Art: Front

(12:26) 1. Nice Shot
(11:52) 2. Someday My Prince Will Come
(16:17) 3. 500 Miles High
( 5:56) 4. Piano Solo

The Chick Corea Band featured here is a high energy quartet plus saxophonist Sadao Watanabe. In fact, the concert feels at times like a showcase for the world's preeminent Japanese jazz musician who was very much a local hero. The music is electric jazz with heavy Latin and funk elements rather than high concept fusion.

Bunny Brunel on fretless bass and Tom Brechtlein on drums were Corea regulars at the time and the addition of legendary (even then) percussionist Don Alias makes this 1980 Live Under The Sky performance something special. Performed at the Denen Coliseum, Tokyo, Japan, 27 July 1980 and originally broadcast on NHK radio.By Editorial Reviews https://www.amazon.com/Under-Chick-Watanabe-Sadao-Corea

Personnel: Chick Corea(p, key), Sadao Watanabe(sax), Bunny Brunel(b), Tom Brechtlein(ds), Don Alias(perc)

Live Under the Sky...80

---

Chick Corea - The Montreux Years

Styles: Piano Jazz
File: MP3@320K/s
Time: 84:26
Size: 193,9 MB
Art: Front

( 7:51) 1. Fingerprints
(13:41) 2. Bud Powell
(11:46) 3. Quartet No. 2 (Pt. 1)
( 4:31) 4. Interlude
( 4:41) 5. Who’s Inside the Piano
( 7:14) 6. Dignity
(10:07) 7. America (Continents Pt. 4)
(14:10) 8. New Waltz
(10:19) 9. Trinkle Tinkle

If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for collaborations in all manner of settings.

Eight cuts from six performances, with a running time of about seventy-four minutes, somewhat belies the twelve year chronology of The Montreaux Years. The late esteemed musician first appeared at the iconic festival in 1972, then almost two dozen times thereafter, an extended sequence of events which lent itself to exactly the kind of rotating presentations of which this set is a microcosm.

Corea's inimitable combination of formality and playfulness is potent throughout. And it is not just readily on the Akoustic Band's "Quartet #2 (Pt. 1)," but also (literally) at the opposite end of the musical spectrum on "Interlude;" unfortunately, this overlong audience call-and-response, in the company of the Elektric Band, illustrates the man's penchant for crowd-pleasing as an end in itself. As throughout this CD, on "America (Continents Pt.4)" the sound of the recording has all the realism of the room in which the musicians are playing, no doubt due to the MOA process used in the restoration and mastering of the audio by Tony Cousins.

That latter cut is the closest this anthology gets to a solo piano piece here but, fortunately, a snippet of the man alone at the ivories at the outset of "Dignity" mitigates the absence of such a track. On this dedication to the author's mother, the invigorating interplay with drummer Jeff Ballard and bassist Avishai Cohen balances the tranquility of the leader's interval, while saxophonist Bob Berg's high-flying interlude during the final track, just over fourteen minutes of "New Waltz," also makes for a fittingly rousing close.

The liner notes for The Montreaux Years could have been better conceived and executed to more fully align with the music to which they are devoted. Rather than filling many of the fourteen pages inside the hardbound covers with sentimental reminiscences, more pertinent details about the respective timelines of the groups that appear in the set (and perhaps even some discographical info) would accurately place the ensembles within the chronology of Corea's career; such scholarly information would have been more in line with the borderline deluxe design of the package with its 3D lettering on the outer front cover alongside Joe Weghon's colorful art (which also appears on the compact disc itself).

Fortunately, such academic criticism becomes moot when listening to the likes of the easy-going shuffle of The Freedom Band's take on "Bud Powell," especially as it so dramatically contrasts the New Trio's rollicking opening of "Fingerprints." The Montreux Years is a suitably celebratory historical homage to one of the most iconic jazz musicians of our time. By Doug Collette https://www.allaboutjazz.com/the-montreux-years-chick-corea-bmg/

Personnel: Chick Corea: piano; Frank Gambale: guitar; Eric Marienthal: saxophone, soprano; Bob Berg: saxophone; Kenny Garrett: saxophone, alto; Tim Garland: saxophone; Hans Glawischnig: bass; Christian McBride: bass; John Patitucci: bass, acoustic; Avishai Cohen: bass; Marcus Gilmore: drums; Dave Weckl: drums; Roy Haynes: drums; Jeff Ballard: drums; Tom Brechtlein: drums; Gary Novak: drums.

The Montreux Years

---

Gerry Gibbs Thrasher Dream Trios - Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

Album: Songs From My Father: The Music Of Terry Gibbs Disc 1
Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 48:11
Size: 110,5 MB
Art: Front

(5:05) 1. Kick Those Feet
(5:07) 2. Smoke em Up
(4:04) 3. Bopstacle Course
(4:19) 4. Nutty Notes
(4:13) 5. Take It from Me
(7:54) 6. Sweet Young Song of Love
(5:03) 7. The Fat Man
(6:54) 8. Lonely Days
(5:27) 9. Hey Chick

---

Album: Songs From My Father: The Music Of Terry Gibbs Disc 2
Time: 48:34
Size: 111,5 MB

(5:06) 1. Townhouse 3
(5:43) 2. T & S
(3:25) 3. 4 AM
(3:28) 4. Waltz For My Children
(4:35) 5. Hippie Twist
(5:53) 6. Lonely Dreams
(4:56) 7. For Keeps
(5:05) 8. Pretty Blue Eyes
(4:21) 9. Gibberish
(5:57) 10. Tango For Terry

Songs from My Father. What a marvelous idea! and not simply for the sentiment. Drummer Gerry Gibbs' father happens to be Hall of Fame vibraphonist (and sometime song writer) Terry Gibbs, who is still on the scene at ninety-seven (and, in fact, making a guest appearance on the first disc of this superlative two-CD set). Eighteen of the elder Gibbs' songs, written between 1949 and 1985 (and one more, "Tango for Terry," by the late Chick Corea) are performed by four of his son's well-chosen (and well-named) Thrasher Dream Trios, whose members include pianists Kenny Barron, Patrice Rushen, Geoff Keezer, Corea (the last recorded appearance before his passing in February 2021), organist Larry Goldings and bassists Ron Carter, Buster Williams and Christian McBride most, if not all, of whom will one day earn the same Hall of Fame status accorded Terry Gibbs.

As the elder Gibbs came of age in the bop era—gigging with a Who's Who of jazz luminaries including Woody Herman, Buddy Rich, Benny Goodman, Chubby Jackson, Mel Torme and Louie Bellson, and later leading his Los Angeles-based Dream Band most of his engaging themes can trace their roots to bop, and the trios take to them like ducks to water. The line-ups are traditional piano-bass-drums save for Dream Trio 3, on which Goldings' Hammond B3 organ complements Gibbs and pianist Rushen. Their appearances are close to evenly divided, with Trios 1 and 2 performing on four tracks each, Trios 3 and 4 on five apiece, and everyone (plus Terry Gibbs, whose extended vibes solo is as sharp and resourceful as ever) having an absolute blast on "Hey Chick," which closes the first disc. The title is no doubt coincidental, as the tune was written in 1961 when Corea was a mere twenty years old.

"Hey Chick" follows "Lonely Days," the nearest pretense to a ballad on the first disc. The same holds true for the most part on the second disc, as swinging is what Terry Gibbs was (and is) about. Trio 3 comes out blazing on the disc's sunny, samba-like opener, "Townhouse," wherein Goldings adds color with some bird-like special effects, as does Trio 2 on the lively "T&S," as Barron crafts a stunning solo while Gibbs and Williams lend rhythmic backbone. Gibbs, Keezer and McBride keep the fire burning on "4 AM," as they do on "For Keeps" and "Gibberish." "Waltz for My Children" (Trio 1), the disc's lone serenade, showcases Corea in typically masterful form. The first seven tracks on the first disc from "Kick Those Feet" (1964) to "The Fat Man" (1958) are exemplary, as are the others on the second disc, from the dynamic "Hippie Twist" to the well-grooved "For Keeps," and especially the melodious "Pretty Blue Eyes." While none has entered the rarefied pantheon of jazz standards, several could and even should be gauged by that barometer. At the very least, they should be played more often; they are that good. And so, it goes without saying, are the trios Gerry Gibbs has assembled to give them life. Songs from My Father is more than a marvelous idea; it is a musical treat from end to end, and a well-deserved show of appreciation from son to father for the guidance and wisdom that have assuredly helped shape his impressive career. By Jack Bowers https://www.allaboutjazz.com/songs-from-my-father-gerry-gibbs-thrasher-dream-trios-whaling-city-sound

Personnel: Gerry Gibbs: drums; Chick Corea: piano; Kenny Barron: piano; Patrice Rushen: keyboards; Geoffrey Keezer: keyboards; Larry Goldings: organ, Hammond B3; Ron Carter: bass; Buster Williams: bass; Christian McBride: bass; Terry Gibbs: vibraphone.

Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

---

Joe Henderson, Ron Carter, Chick Corea, Billy Higgins - Mirror, Mirror

Styles: Jazz, Post Bop
Year: 1980
File: MP3@320K/s
Time: 43:42
Size: 102,0 MB
Art: Front

(5:55) 1. Mirror, Mirror
(6:17) 2. Candlelight
(9:45) 3. Keystone
(9:44) 4. Joe's Bolero
(4:00) 5. What's New
(7:59) 6. Blues for Liebestraum

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New."~Scott Yanowhttps://www.allmusic.com/album/release/mirror-mirror-mr0004590662

Personnel: Tenor Saxophone – Joe Henderson; Bass – Ron Carter; Drums – Billy Higgins; Piano – Chick Corea

Mirror, Mirror

---

Herbie Hancock - Gershwin's World

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 67:39
Size: 155,2 MB
Art: Front

( 0:56)  1. Overture (Fascinating Rhythm)
( 4:48)  2. It Ain't Necessarily So
( 5:58)  3. The Man I Love
( 4:00)  4. Here Come De Honey Man
( 5:51)  5. St. Louis Blues
(11:05)  6. Lullaby
( 3:31)  7. Blueberry Rhyme
( 1:26)  8. It Ain't Necessarily So (Interlude)
( 4:45)  9. Cotton Tail
( 4:43) 10. Summertime
( 1:56) 11. My Man's Gone Now
( 4:44) 12. Prelude in C# Minor
( 9:13) 13. Concerto for Piano and Orchestra in G, 2nd Mvt
( 4:38) 14. Embraceable You

Gershwin's World is a tour de force for Herbie Hancock, transcending genre and label, and ranking among the finest recordings of his lengthy career. Released to coincide with the 100th anniversary of George Gershwin's birth, this disc features jazzman Hancock with a classy collection of special guests. The most surprising of Hancock's guest stars is Joni Mitchell, who delivers a gorgeously sensual vocal on "The Man I Love," then provides an airy, worldly take on "Summertime." On these two tracks, she shows she has come a long way from her folksinger beginnings to become a first-class jazz singer in her own right. Stevie Wonder's unmistakable harmonica complements Mitchell's singing on "Summertime" and shares lead instrument space with his own voice on the W.C. Handy classic "St. Louis Blues." Jazzman extraordinaire Wayne Shorter smokes a solo spot on Duke Ellington's "Cotton Tail" and carves out some space for his soprano saxophone in the midst of "Summertime." 

A number of the young lions of jazz are featured on various cuts, and Herbie's old pal Chick Corea joins the leader for a piano duet of James P. Johnson's "Blueberry Rhyme." Gershwin's wonderful, extended "Lullaby" finds Hancock teamed with the Orpheus Chamber Orchestra, as does an attractive arrangement of a "Concerto for Piano and Orchestra" by Maurice Ravel, whose jazz influence can be heard on the piece. In addition, one of the most beautiful tracks on the album places star soprano Kathleen Battle's voice at the forefront of Gershwin's own "Prelude in C# Minor." Yet with all the fine performances by his guests, Gershwin's World remains Hancock's show, and he plays magnificently throughout. From beautiful to funky, percussive to melodic, improvisational to tightly arranged, Hancock and cohorts take a wondrous journey through the music and world of Gershwin. ~ Jim Newsom  http://www.allmusic.com/album/gershwins-world-mw0000038316

Personnel: Herbie Hancock, Chick Corea: Piano; Madou Dembelle: Djembe; Massamba Diop: Talking Drum; Cryo Baptista, Bireyma Guiye, Cheik Mbaye: Percussion; Eddie Henderson: Trumpet; Kenny Garrett: Alto Saxophone; James Carter: Tenor and Soprano Saxophones, Wayne Shorter: Tenor Saxophone; Bakithi Kumalo: Bass and Guitar; Ira Coleman: Bass; Terri-Lynn Carrington: Drums, Marlon Graves: Guitar, Robert Sadin: Percussion Programming; Stevie Wonder: Harmonica and Vocals; Charles Curtis: Cello, The Orpheus Chamber Orchestra, Kathleen Battle: Vocals, Joni Mitchell: Vocals.

Gershwin's World

---

Miles Davis - The Lost Quintet

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:11
Size: 133,7 MB
Art: Front

( 7:18) 1. Directions
(10:27) 2. Bitches Brew
(25:26) 3. Sanctuary
(14:59) 4. Masqualero

Miles Davis (tpt), Wayne Shorter (ten, sop), Chick Corea (fender rhodes), Dave Holland (bs), Jack De Johnette (drs)

This is the long awaited release of Miles "Lost Quintet" recordings of 1969 on the occasion of its fiftieth anniversary. The recording date and venue was November 9th 1969 in Rotterdam just three months after the "Bitches Brew" original studio takes with the full band that were not released until March 1970. That incredible two disc recording followed the earlier game changer"In A Silent Way"in the same year and changed the career outcome of every single one of the players involved and as some would say "The whole face of jazz forever". The performance on this album was the last of a ten gig European tour which included two nights in London on the first and second of the month. The gathering of this core group from the earlier albums was the last ever time Miles would record with a small conventional group of instruments during the rest of his career.

The fifty eight minutes of live music here is just what you might expect from these five incredibly talented and creative musicians with the performance of Chick Corea perhaps the one that stands out slightly above the others. Things kick off with "Directions", a piece that Miles often opened up with during this period including the Copenhagen concert of the same year and released on the fortieth anniversary triple album edition of Bitches Brew and of course the subtitle of the original album. Here the rhythm instruments set the mode for the leaders fiery extended excursion into the far reaches of the trumpets capability. Wayne answers Miles, as he often did, within his self titled style of "egg scrambling" leaving no possible corner of the much hidden theme unexplored. All this rides above the increasingly violent but logical assault by Jack De Johnette on his heavy duty drum kit. Emerging from the hectic maelstrom of all that follows a re-visit to "Bitches Brew". At just over ten minutes long this seems a more considered version than the original studio recording which took up a full side on the vinyl edition. Miles opening solo, when did he ever not go first?, is almost from the fifties style, but soon drops into the more fragmented grove of the times over rolling drums along with probing inlays from Chick's keyboard plus a wonderful interlude from Wayne, again on tenor. Rampant applause ensues from the ecstatic Belgian masses.

Wayne Shorter, by common consent is a wonderful jazz composer as well as a master saxophonist. He has created some real masterpieces over the years, none greater than the wonderful "Sanctuary". This appears on a number of albums including B.B. plus a particularly fine take on Circle In The Round by the second great quintet with George Benson guesting. However none of them get such a thorough investigation as the twenty five minute plus version here. Miles is in his "Picasso like" sketching mode early on with Dave Holland in support, soon you realise that this is nothing at all like other versions of the piece as the leader upgrades both the tempo and tension over increasingly frantic drumming which continues under Wayne's soprano solo until things fall away with bass and drums having the final say. Perhaps this take is not the easiest listen of the piece, Miles always had the ability to shock and surprise and we must thank him for that. The closing cut of the album "Mastuero" is the standout track and seems to draw on many of the finest traits from earlier performances during 69. Miles un-muted solo is profound and purposeful over the rarely subdued rhythm team. Chick's contribution is hypnotic, everyone seems to be listening to each other here and although the overall style is entirely different there are times when the listener is reminded of Miles second great quintet with Coltrane. This disk is a heady reminder of the time back in the late sixties when Miles changed the shape of jazz once again, and is a valuable addition to any collection of the great man's music.~Jim Burlonghttps://www.jazzviews.net/miles-davis---the-lost-quintet.html

The Lost Quintet

---

Chick Corea - Delphi I

Album: Delphi I Side 1
Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 21:39
Size: 49,6 MB
Art: Front

(3:23) 1. Delphi I
(0:46) 2. Delphi II
(1:13) 3. Delphi III
(2:49) 4. Delphi IV
(0:58) 5. Delphi V
(1:49) 6. Delphi VI
(2:09) 7. Delphi VII
(1:28) 8. Delphi VIII
(4:59) 9. Children's Song #20
(2:03) 10. Stride I

---

Album: Delphi I Side 2
Time: 24:16
Size: 55,6 MB

(5:44) 1. Stride II
(3:00) 2. Stride III
(4:02) 3. Stride IV
(1:13) 4. Stride V
(1:27) 5. Stride VI
(8:48) 6. Stride VII

This set of acoustic piano improvisations by Chick Corea (the eight-part Delphi series, "Children's Song #20" and the seven-part "Stride Time") is surprisingly dull. In the liner notes, Corea states that whatever the message is that he is trying to get across with this music is not complete without the next two volumes. To date they have never been released. This disappointing LP can be safely passed by.~ Scott Yanow https://www.allmusic.com/album/delphi-i-solo-piano-improvisations-mw0000870554

Personnel: Chick Corea - Piano

R.I.P.

Delphi I

---

Chick Corea - Delphi 2 & 3

Album: Delphi 2 Side One
Styles: Piano Jazz
Year: 1980
File: MP3@256K/s
Time: 23:06
Size: 44,0 MB
Art: Front

(1:06) 1. New World I
(0:45) 2. New World II
(1:30) 3. New World III
(1:14) 4. New World IV
(1:30) 5. New World V
(1:07) 6. New World VI
(9:42) 7. Sad Song
(2:40) 8. Samba
(3:28) 9. North Brasil

---

Album: Delphi 2 Side Two
Time: 26:30
Size: 49,7 MB

(6:36) 1. Mountain Top
(2:46) 2. Voices
(7:22) 3. Spirits
(4:59) 4. Waltze For My Folks
(2:23) 5. Unicorns I
(2:21) 6. Unicorns II

---

Album: Delphi 3 Side One
Time: 26:43
Size: 51,8 MB

(4:05) 1. Mime I
(4:57) 2. Mime II
(2:43) 3. Ballet I
(0:38) 4. Ballet II
(3:05) 5. Ballet III
(1:10) 6. Ballet IV
(0:32) 7. Ballet V
(1:50) 8. Ballet VI
(0:31) 9. Ballet VII
(0:26) 10. Ballet VIII
(0:20) 11. Ballet IX
(0:55) 12. Ballet X
(0:41) 13. Ballet XI
(0:39) 14. Ballet XII
(4:03) 15. Poem I

---

Album: Delphi 3 Side Two
Time: 27:09
Size: 50,7 MB

(11:33) 1. Concerto Flamenco
( 3:22) 2. Poem II (Liana)
( 3:34) 3. Poem III (Thaddeus)
( 4:59) 4. Poem IV (Remember The Hearts)
( 3:39) 5. Poem V (Remember The Hearts

Innovator and Pioneer:
Since embarking on a solo career in 1966, Chick has been at the forefront of jazz, both as a renowned pianist forging new ground with his acoustic jazz bands and as an innovative electric keyboardist with Return to Forever, the Elektric Band, and now the electro/acoustic Vigil. His extensive discography boasts numerous albums, beginning with his 1968 classic, Now He Sings, Now He Sobs.

Renowned Pianist-Composer Chick Corea - A Prolific Explorer Of Jazz And Classical Music

A DownBeat Hall of Famer and NEA Jazz Master, 23-time Grammy winner, and keyboard virtuoso, Chick Corea has attained living legend status after five decades of unparalleled creativity and an artistic output that is simply staggering. Chick is the fourth-most-nominated artist in the history of the Grammys, with 65 nominations. He's also earned 3 Latin Grammy Awards, the most of any artist in the Best Instrumental Album category.

From straight ahead to avant-garde, bebop to fusion, children's songs to chamber music, along with some far-reaching forays into symphonic works, Chick has touched an astonishing number of musical bases in his illustrious career while maintaining a standard of excellence that is awe-inspiring. A tirelessly creative spirit, Chick continues to forge ahead, continually reinventing himself in the process. https://chickcorea.com/about-chick/

Piano – Chick Corea

R.I.P.

Chick Corea - Plays

Album: Plays Disc 1
Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 58:09
Size: 135,6 MB
Art: Front

(2:12) 1. Chick Talks Mozart and Gershwin
(4:18) 2. Mozart: Piano Sonata in F, KV332 (2nd Part - Adagio) - Live in Clearwater / 2018
(7:39) 3. Someone To Watch Over Me - Live in Clearwater / 2018
(2:18) 4. Improvisation on Scarlatti - Live in Paris / 2018
(2:07) 5. Scarlatti: Sonata in D minor K9, L413 Allegro - Live in Paris / 2018
(5:39) 6. Yesterdays - Live in Paris / 2018
(0:41) 7. Chick Talks Bill Evans and Antonio Jobim - Live in Berlin / 2018
(7:22) 8. Waltz For Debby - Live in Berlin / 2018
(5:06) 9. Desafinado - Live in Berlin / 2018
(4:14) 10. Chopin: Prelude Op. 28 #4 - Live in Paris / 2018
(5:00) 11. Scriabin: Prelude Op. 11 (Part 1) #4 - Live in Paris / 2018
(0:20) 12. Chick Talks Monk - Live in Berlin / 2018
(4:13) 13. Pannonica - Live in Berlin / 2018
(2:33) 14. Trinkle Tinkle - Live in Berlin / 2018
(4:20) 15. Blue Monk - Live in Berlin / 2018

---

Album: Plays Disc 2
Time: 53:54
Size: 126,3 MB

(5:55) 1. Pastime Paradise - Live in Clearwater / 2018
(0:46) 2. Chick Talks Paco - Live in Clearwater / 2018
(9:33) 3. The Yellow Nimbus - Live in Paris / 2018
(0:58) 4. Chick Talks Portraits - Live in Paris / 2018
(2:22) 5. Portrait: Henrietta - Live in Paris / 2018
(2:08) 6. Portrait: Chris - Live in Paris / 2018
(0:22) 7. Chick Talks Duets - Live in Paris / 2018
(3:57) 8. Duet: Yaron - Live in Paris / 2018
(3:06) 9. Duet: Charles - Live in Paris / 2018
(0:42) 10. Chick Talks Children's Songs - Live in Paris / 2018
(1:43) 11. Children's Song No. 1 - Live in Paris / 2018
(1:12) 12. Children's Song No. 3 - Live in Paris / 2018
(2:36) 13. Children's Song No. 4 - Live in Paris / 2018
(1:24) 14. Children's Song No. 9 - Live in Paris / 2018
(3:49) 15. Children's Song No. 10 - Live in Paris / 2018
(1:33) 16. Children's Song No. 15 - Live in Paris / 2018
(3:43) 17. Children's Song No. 17 - Live in Paris / 2018
(7:57) 18. Children's Song No. 12 - Live in Paris / 2018

As we huddle and binge on our national and moral failings, having as buoyant and engaging an artist come into our homes, as Chick Corea does on Plays, is simply a great, beautiful thing, and one of the core reasons that, even in the face of the daily ire, the majority of us hold tight the better part of ourselves in order to share it with the greater whole. It is not a matter of greatest performance of this or that or whatever, it is a matter of the honesty ringing forth as Corea, seemingly without effort, glides, leaps and bounds, across a host of his inspirations. Featuring agile illuminations of, among others, Scarlatti, Chopin, Bill Evans, George Gershwin, Antonio Carlos Jobim, Stevie Wonder, Thelonious Monk, Corea, his ageless touch and positivity on full display, crafts a shimmering Indra's web that connects the life force that composer has given to the player so that he can now connect deeply with his thankful audience. Music to feel, dance with, make love with, and create.

But that doesn't make any of Plays twenty-six performances (it's a double disc set) background music to the new normal. This gig plays like you're sitting (or standing) in any of the venues where this witty, whimsical set of animated miniatures was captured for posterity. A sincerely warm host, Corea explains his thinking that delights in pairing Mozart with Gershwin, Evans with Jobim. He spontaneously creates tone poems for two audience members. He improvises with two other audience participants who, it was later discovered, were French pianist Charles Heisser, and French-Israeli jazz pianist Yaron Herman. His Cirque du Soleil-styled ballet through three by Monk, "Pannonica," "Trinkle Tinkle," "Blue Monk," deliciously sum up the whole of Plays: It's great to be alive and listening.~ Mike Jurkovic https://www.allaboutjazz.com/plays-chick-corea-concord-jazz

Personnel: Chick Corea: piano

R.I.P.
Born: June 12, 1941, Chelsea, Massachusetts, United States

Died: February 9, 2021

Plays

---

Sonny Stitt - Stitt Goes Latin

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 39:59
Size: 94,1 MB
Art: Front

(3:36) 1. Are You Listening
(4:42) 2. Amigos
(4:10) 3. My Little Red Suede Shoes
(6:11) 4. Ritmo Bobo
(5:25) 5. I Told You So
(5:19) 6. Chic
(5:16) 7. Senor Jones
(5:15) 8. Autumn Leaves

Musically born in the great tradition of Charlie Parker, Sonny Stitt was one of the alto sax giants in Jazz history. Recorded in 1963 and originally released on the Roost label, Stitt Goes Latin catches him at the head of an all-star line-up, a highly distinctive combo in full Latin mood, featuring Thad Jones on trumpet, a young Chick Corea on piano, Larry Gales on bass and a fabulous drums and percussion section with the great Willie Bobo on drums, Carlos "Patato" Valdes - congas, bongos and Osvaldo "Chihuahua" Martinez - cowbell, maracas. Needless to add that on this fine disc the music flies high through a series of catchy elegant tunes and highly sophisticated and yet infectious Afro-Latin grooves. https://www.roughtrade.com/gb/sonny-stitt/stitt-goes-latin

Personnel: Sonny Stitt - alto saxophone, tenor saxophone; Thad Jones - trumpet; Chick Corea - piano; Larry Gales - bass; Willie Bobo - drums; Carlos "Patato" Valdes - congas, bongos; Osvaldo "Chihuahua" Martinez - cowbell, maracas, jawbone

Stitt Goes Latin

---

Ernie Watts & Chick Corea - 4Tune

Styles: Saxophone And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 66:52
Size: 153,6 MB
Art: Front

(9:27) 1. Swing Dentz Swing
(5:57) 2. My One And Only Love
(2:52) 3. Boom Bap
(7:00) 4. Miyako
(7:19) 5. Night And Day
(6:53) 6. Invitation
(6:39) 7. Blues For John C
(7:38) 8. Bud Powell
(3:57) 9. Sifu
(2:31) 10. Andy Meets Chick
(6:35) 11. Oleo

Originally released on the RealTime label as a double LP, this CD (which contains 11 of the 14 selections) is quite notable for containing some brilliant playing by Ernie Watts (during a period when his own recordings were very commercial). Chick Corea (sticking to acoustic piano) is also in excellent form as are bassist Andy Simpkins and drummer John Dentz (who was the actual leader). Although a few of the shorter numbers have their free moments, the highpoints are "My One and Only Love," "Night and Day," "Invitation," "Blues for John C.," "Bud Powell" and "Oleo," intense straightahead explorations that allow Watts and Corea opportunities to stretch out. ~Scott Yanow https://www.allmusic.com/album/release/four-tune-mr0000093637

Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz

4Tune

---

Chick Corea Elektric Band - Eye of the Beholder

Styles: Piano Jazz 
Year: 1988
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(2:43)  1. Home Universe
(4:51)  2. Eternal Child
(2:58)  3. Forgotten Past
(4:55)  4. Passage
(7:55)  5. Beauty
(1:53)  6. Cascade - Part I
(5:18)  7. Cascade - Part II
(5:50)  8. Trance Dance
(6:38)  9. Eye of the Beholder
(6:54) 10. Ezinda
(3:26) 11. Amnesia

During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s. ~ Scott Yanow  https://www.allmusic.com/album/eye-of-the-beholder-mw0000652324

Personnel: Chick Corea – synthesizer, piano, arranger, keyboards, producer, engineer, liner notes, mixing; Frank Gambale – guitar; Eric Marienthal – saxophone; John Novello – synthesizer (track 2 only); John Patitucci – bass;  Dave Weckl – drums

Eye of the Beholder

---

Chick Corea Elektric Band - Paint the World

Styles: Piano
Year: 1993
File: MP3@320K/s
Time: 74:33
Size: 171,1 MB
Art: Front

(3:58)  1. Paint the World
(5:32)  2. Blue Miles
(6:51)  3. Tone Poem
(5:49)  4. CTA
(1:43)  5. Silhouette
(6:08)  6. Space
(7:32)  7. The Ant & The Elephant
(5:58)  8. Tumba Island
(7:37)  9. Ritual
(7:18) 10. Ished
(8:10) 11. Spanish Sketch
(5:01) 12. Final Frontier
(2:50) 13. Reprise

Chick Corea's Elektric Band II found bassist John Patitucci, drummer Dave Weckl and guitarist Frank Gambale going out on their own and being replaced by Jimmy Earl, Gary Novak and Mike Miller. Saxophonist Eric Marienthal was the only sideman from the first Elektric Band to stick with Corea. Although the new members are not as distinctive as their predecessors, the high-quality material played on this release (which includes Jimmy Heath's "CTA," "Blue Miles" and a variety of Corea originals) is very jazz-oriented and occasionally there are straightahead sections. This set is recommended even to listeners who have not yet acquired a taste for fusion. ~ Scott Yanow https://www.allmusic.com/album/paint-the-world-mw0000101865

Personnel: Piano, Keyboards, Programmed By [Synth], Composed By, Mixed By, Liner Notes, Producer – Chick Corea; Saxophone – Eric Marienthal; Bass – Jimmy Earl; Drums – Gary Novak. 

Paint the World

---

Bobby McFerrin - Beyond Words

Styles: Vocal, Keyboards, Jazz
Year: 2002
File: MP3@320K/s
Time: 55:43
Size: 129,7 MB
Art: Front

(7:10)  1. Invocation
(3:40)  2. Kalimba Suite
(4:28)  3. A Silken Road
(4:39)  4. Fertile Field
(2:15)  5. Dervishes
(5:20)  6. Ziggurat
(1:22)  7. Sisters
(1:14)  8. Circlings
(1:30)  9. Chanson
(4:01) 10. Windows
(4:08) 11. Marlowe
(2:40) 12. Mass
(2:11) 13. Pat And Joe
(4:22) 14. Taylor Made
(3:47) 15. A Piece, A Chord
(2:48) 16. Monks/The Shepherd

How does one write about the ineffable? It is, after all, Beyond Words ... We must, however, reflect on Bobby McFerrin’s Beyond Words. There is a certain degree of serendipity in the fact that this recording is being capitalized upon, in the best economic system the world has ever known, through the marketing efforts of both Blue Note and Angel Records as in Classical music, the "grace note" is what in Jazz is known as a "blue note." Beyond Words is an album from the world to the world, encompassing the fleeting hallowedness that structures the allure and effect of a graceful blue note. Hence, it is not for the faint of sensibility and intelligence. Although not a difficult work, without recurring to popish sentimentality or facility in its accessibility, it does require a certain level of engagement in order to disengage the listener from preconceptions and expectations that would mar the delight on musical idioms beyond any evocative or explanatory measure. McFerrin’s latest is “deep,” as musicians are fond of saying when referring to outstanding music. It would be rather tempting to play a game of “Where’s Waldo?” when trying to document the various musical, cultural or aesthetic influences present in this compact disc, although that would be infelicitous and beside the point. 

As mentioned before, this is an album from the world to the world. Creative, or so-called creative endeavors, nonetheless, often times end up as mere masturbatory efforts that have more to do with inbred narcissism than true originality. McFerrin is not affianced in self-pleasure in this Blue Note/Angel release. He wants to gratify his audience with an anointing dipped into one of the widest palettes available for worldwide consumption in contemporary musical markets. Beyond Words has a wide and fun emotional range that swings in saintly depth. The arrangements, vocalizations, and compositions, as well as the performances of the musicians, have a refreshing sense of cultural innocence and curiosity in their tales. With the exception of “Windows,” a Chick Corea composition, reinterpreted here in historical fashion by McFerrin, the rest of the oeuvre was penned by him. Having Corea playing in this recording was a prudent decision as he has an authentic and imaginative record of accomplishment in various musical worlds. The same is true of most of the rest of the crew that gave rise to the beautiful blessing that is Beyond Words. McFerrin’s latest also hits the mark with the integrity of the 16 pictorials poured in this recording. From the short-lived “Circlings,” to the beefier “Invocation,” Beyond Words manages to say what needs saying without recourse to vocal or instrumental logorrhea. The whole of Beyond Words is known through its wholesome parts, duration notwithstanding. All told, Beyond Words says a lot. You had better listen...~ Javier AQ Ortiz https://www.allaboutjazz.com/beyond-words-bobby-mcferrin-review-by-javier-aq-ortiz.php

Personnel: Bobby McFerrin: Vocals, Keyboards;  Richard Bona: Bass; Cyro Baptista: Percussion; Chick Corea: Piano & Keyboards; Gil Goldstein: Accordion & Fender Rhodes; Omar Hakim: Drums; Taylor McFerrin: Beatbox; Keith Underwood: Flutes.

Beyond Words

---

Joe Henderson - Relaxin' At Camarillo

Styles: Saxophone Jazz 
Year: 1981
File: MP3@320K/s
Time: 45:06
Size: 103,7 MB
Art: Front

(11:40)  1. Y Todavia La Quiero
(10:01)  2. My One And Only Love
( 5:23)  3. Crimson Lake
( 8:37)  4. Yes, My Dear
( 9:23)  5. Relaxin' At Camarillo

Henderson had been doing quality work for years on numerous independent and foreign labels, and 1979's Relaxin' at Camarillo, is just one among many examples of that. There are five selections, only one less than eight minutes long, with the usual Henderson attributes: full, deep tone, keen ideas, and an ability to sweep through registers and across octaves with ease. Chick Corea made an excellent partner, playing with none of the self-consciousness that crops up repeatedly in his fusion and electric fare. Bassists and drummers were interchangeable, although you can certainly tell Tony Williams from Peter Erskine (and that's no knock on Erskine). ~ Ron Wynn https://www.allmusic.com/album/relaxin-at-camarillo-mw0000619558

Personnel: Joe Henderson – tenor saxophone; Chick Corea – piano; Richard Davis;  Tony Dumas  – bass; Peter Erskine, Tony Williams  – drums

Relaxin' At Camarillo

---