A decade ago I interviewed Chick Corea. He called me from a backstage pay phone just prior to a concert appearance at the famous Hollywood Bowl in Southern California. At the time he was promoting his Akoustic (cq) Band, a group that enjoyed a modicum of success while upsetting more than a few of Corea's critics.
He's just released out a new CD entitled "Origin: Live at the Blue Note" (Stretch Records SCD-9018-2). The album was recorded over ten nights late last year at the venerable New York City night club. For a "live album," the technical quality of the sound is outstanding.
The amazing pianist, keyboardist and composer sounds terrific as leader of this accomplished new sextet, which was making its live performance debut that week. That Corea sounded great hardly will surprise anyone who has followed his career throughout his lengthy trek through the halls of Jazzdom.
The seven long cuts--the album contains more than 65 minutes of music--on "Origin" isn,t a dramatic departure from what Corea has done in the past. Despite the record company's claims that it "both culminates and inaugurates unique chapters of Chick's ever-expansive musical saga," the CD contains much that is both familiar and problematic with Corea's work. He remains one of the best pure jazz pianists in existence. His contributions to this album are immense, although his sidemen sometimes receive too much room in which to meander.
Corea's long-stated desire to bring about a coalescence of the jazz and classical genres continues, with occasional wanderings off the appointed path. Corea, who marked his 57th birthday this June, has been performing with the giants of jazz for four decades. Among compatriots were some of the best: Maynard Ferguson, Kenny Dorham, Stan Getz, the Thad Jones/Mel Lewis Big Band, Herbie Mann and Sarah Vaughan. He worked with Miles Davis on such classics as "Bitches Brew" and "In a Silent Way."
Many recall with pleasure his tour of duty with Return to Forever during the 1970s. That innovative band included Stanley Clarke, Joe Farrell, Flora Purim and Airto. Later on, John McLaughlin created a stir with his albums. Chuck liked what he heard and decided to add a guitar to Return to Forever, first Bill Conners and later Al Dimeola. Later Lenny White joined the group and Clarke switched to electric bass, a move that made an immense difference in the group's sound.
Those were heady days, indeed.
Ten years ago, Corea's Akoustic Band debut album reached No. 1 on the Billboard charts. But critics nearly always liked what they heard. As the years passed, Corea created his own record label, the afore-mentioned Stretch, and he continues his undiminished passion for classical music.
The new group pays tribute to various stages of Corea's career. There,s a taste of hard bop, some nifty nods to mellow jazz, and a wonderful 13-minute rendering of the gorgeous old standard by Jimmy Van Heusen and Johnny Burke, "It Could Happen to You." All save the latter are Corea compositions.
The lineup for this album includes gifted players: Bob Sheppard and Steve Wilson on saxes and woodwinds, Avishai Cohen, bass; Adam Cruz, drums, and Steve Davis, trombone.
Problems arise with the compositions that omit melody, include screeching, and at times sound like six musicians playing six different tunes at the same tune. There's no question that dissonance sometimes works. Those old enough to recall the glory days of the Stan Kenton Orchestra know that well. But at times the talent assembled for Origin sounds lost in the wilderness, unable to decide what jazz is and where it should be going. But my carping deserves this caveat: I like tunes I can hum along with. That won't happen while listening to Origin.
Don't get the impression that this isn't a good album. It's impossible to listen to Chick Corea at the piano and not be impressed. The man is a masterful musician, an innovator and a preservationist as well. His contributions to jazz remain indelible.
But Origin requires patience and repeated listening, which--for me, at least--elevated the CD from so-so to pretty good.
Oh, Yes, that conversation of a decade ago. I recall that he was friendly and spoke with enthusiasm about his forthcoming concert date in Columbus. He answered my questions with patience, laughed in all the right places, and altogether seemed a decent guy.
And he's one of the country's best jazzmen, among a group of major figures who have taken jazz into new venues, introduced fresh ideas, and helped shape the music.
Bob Powers also writes about current literature for G21 in his weekly column, "Powersbooks.
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