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Armando Anthony "Chick" Corea is a living legend. A jazz pianist from Massachusetts with innate talent, he has had a brilliant career in which he has played with iconic figures such as Miles Davis, Roy Haynes, Miroslav Vitous, Dave Holland, Al Di Meola, Herbie Hancock, Jo Patitucci, the late Mick Brecker, Gary Burton, and Pat Metheny (just to name a few).
He has explored various genres: from jazz to blues, from fusion to rock, advancing in his incredible, award-winning career (he won another Grammy in 2007) with the use of synthesizers and introducing electronic sounds since the '70s. During that period, he was a promoter of a strong electronic renewal of jazz (without disavowing its purism) and electronic fusion.
This gentleman, with a bit of Calabrian blood in his name and veins, who has now surpassed sixty years, fifty of which spent in his career, could gather an embarrassing amount of material for a possible best-of. In 1993, however, Blue Note, in agreement with the esteemed pianist, revisits a couple of classics, admittedly rather dated, in "jazz-orchestral" version with a very rich horn section. The other pieces are performed in trio. The result has a fabulous quality and has the aroma of memorabilia of the genre. Unfortunately, the CD does not closely follow the historical-musical evolution of the artist, even if it remains, with its 11 pieces with a credible logical thread, a rich, retro, and very refined work.
It opens with a piece from 1966, "Straight Up and Down", full of energetic swing, with wild rolling and splendid phrases of horns: trumpet, trombone, alto sax, tenor sax, piano, bass, and drums, for a richness and a grandiose orchestration. A historical piece written by Chick that highlights his immense talent and his surprising structural competence. The piece is in history, indeed, it is a classic that makes the history of modern jazz.
The CD continues with the charming "Tones For Joan's Bones" from 1968, set on classical tones, in a splendid complete version with arpeggios. The track dates back to the pianist's beginnings and is somewhat symbolic of avant-garde jazz. In the original piece, the magical Steve Swallow played the bass, also a protagonist of an immense career full of incredible collaborations.
"Matrix", performed in trio, is from 1968, and is interpreted on bass by historical early career companion Miroslav Vitous, with Roy Haynes on drums. A lively and fresh piece, despite its age, where Chick demonstrates, if there was still any need, his ability to make his instrument's strings ignite.
"My One And Only Love" by Melin/Wood is a sweet and refined ballad, again in trio.
"Windows" is another "old" and stylistically formidable piece by Corea, revisited in several versions over the years by various artists.
"Samba Yantra" is pure memorabilia of the early '70s sound. Acidic and vibrant free jazz. Stylistically perfect and with a strong adrenaline charge.
By Thelonius Monk, a master of piano improvisation, hence called "the mad monk of jazz", the excellent and introspective "Pannonica", the name alone is history.
Touching and profoundly deep "Now he Sings, Now he Sobs", written by a young Corea, is a mosaic of melodic interweaving and improvisation. Skill and innovation allow distinguishing Chick's very personal style.
With Dave Holland performing on bass and Barry Altshul on drums follows the playful "Toy Room", a jazz music tale, with rhythmic changes and "playful" phrases.
The vibrant "Blues Contamination" by free-jazz master Ornett Coleman cannot be missed. Following the track for all 7 minutes with maximum attention is not easy. The passages are frenetic and highly refined, typical of the Texan saxophonist's style, who knows how to drive people crazy with his creative and surprising contortions.
This rich CD concludes with a piece by a great like Wayne Shorter, another majestic saxophonist (and former Weather Report) who starred in shocking jam sessions with Miles Davis. The style of the piece "Nefertiti" develops on pentatonic scales and only bass in the central part. Pure and hard free jazz.
The second part of this best is very distant from the central part of pianist Corea's career. In fact, the electronic fusion period of the artist is somewhat a story unto itself, and the line traced by this collection has a well-defined and contained temporal purpose. Bringing these old classics back to life has been a real gift for Chick Corea's fans (and not only), to whom, in his long career, a certain discontinuity must be acknowledged. In any case, tribute to the monk (I quote Symbad).
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