This very attractive five-CD set does an excellent job of summing up the rather productive career of pianist-keyboardist Chick Corea. The first two discs have highlights from the 1964-1982 period including a few sideman appearances, a previously unissued version of "Windows" played with Stan Getz, the original version of "Spain," four pieces from the Return to Forever days, and numbers from his freelance projects of the late '70s (highlighted by the exciting "Central Park"). The third disc concentrates on Corea's GRP projects (1986-1994), particularly his Elektric and Akoustic Bands (two selections were previously unissued), while the fourth CD is quite a grab-bag that includes collaborations with Herbie Hancock (a version of "Liza" that progresses from stride to free), Gayle Moran, John McLaughlin, Paco DeLucia, Gary Burton, Bobby McFerrin, and Miles Davis (a new duet version of "I Fall in Love So Easily" from 1969).
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.
A mixture of Latin and Flamenco with jazz was pianist Chick Corea's strategy for this 2007 Barcelona concert from the Palau de Musica.
Chick Corea may have formed a new band, but still has ghosts from the Return to Forever reunion on his mind. Just check out the cover of The Vigil (named for this group) with its obviously L. Ron-inspired theme and track list ("Galaxy 32 Star 4"?). What year is this? That's not to make light of the music. Corea's international ensemble includes drummer Marcus Gilmore, French bassist Hadrien Feraud, Britain's Tim Garland on reeds and winds, and guitarist Charles Altura.
Believed to have been composed between August 1775 and January 1777, the Concerto In E Flat Major for two pianos technically counts as being the tenth of Mozart's twenty-seven concertos, that huge and prodigious body that would set the standards for all piano concertos from Mozart's time forward. Although it is not performed with the same frequency as his later works (especially the final eight concertos, 20-27), this "Double" piano concerto, believed to have been composed by Mozart for performance by him and his sister Maria Anna ("Nannerl"), is nevertheless a fascinating experiment of Mozart's, one that requires a pair of solid keyboard virtuosos to do (and for the composer's Seventh piano concerto, you needed three soloists). Fortunately on this 1984 Teldec recording, we have the required two keyboard virtuosos, both of whom come from very divergent musical backgrounds. Austrian-born pianist Friedrich Gulda came from a classical music background and began exploring jazz later on in his life; while Chick Corea is one of the best-known pianists in American jazz music, and, like fellow jazz musicians Wynton Marsalis and Herbie Hancock, developed a great feel for classical music.
For Crystal Silence, the first of several partnerships between Chick Corea and vibraphonist Gary Burton in the 1970s, the two musicians selected an interesting array of material. The compositions on this record are all modern ones, either by Steve Swallow, Mike Gibbs, or Corea himself. It is a mostly down-tempo affair, which allows each player to stretch out and play highly melodic solos over the often difficult changes. In keeping with most ECM releases, there is a distinct presence of European elements to the improvisations. There are few overt blues or bebop phrases, Corea and Burton opting instead for modern melodies to fuel their improvisations. Burton has managed to internalize the Spanish and modal implications of Corea's tunes with little difficulty, and solos with joyful ease through such tracks as "Seсor Mouse."
"…The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed." ~allmusicguide