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Chick Corea & Béla Fleck: Two

 A l b u m   D e t a i l s


Label: Concord Jazz
Released: 2015.09.15
Time:
 50:45 / 54:30
Category: Jazz, Fusion, Post-Bop
Producer(s): Béla Fleck, Chick Corea
Rating:
Media type: CD
Web address: www.concordmusicgroup.com
Appears with: Béla Fleck
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


Disc 1

[1] CC's Intro - 0:52
[2] Señorita (Chick Corea) - 8:25
[3] Menagerie (Béla Fleck) - 10:26
[4] BF on the Waltse - 1:00
[5] Waltse for Abby (Béla Fleck) - 8:25
[6] CC and BF on Joban - 1:37
[7] Joban Dna Nopia (Chick Corea) - 9:19
[8] The Climb (Béla Fleck) - 3:43
[9] Mountain (Béla Fleck) - 5:30

Disc 2

[1] Brazil (Ary Barroso / Sidney Russell) - 9:01
[2] The Enchantment (Chick Corea) - 9:46
[3] BF on Bugle Call - 0:16
[4] Bugle Call Rag (Billy Meyers / Jack Pettis / Elmer Schoebel) - 3:38
[5] CC and BF on Dutilleux - 1:01
[6] Prelude en Berceuse [from Au Gré des Ondes] (Henri Dutilleux) - 3:35
[7] Children's Song No. 6 (Chick Corea) - 14:48
[8] CC and BF on Spectacle - 2:22
[9] Spectacle (Béla Fleck) - 6:34
[10] Sunset Road (Chick Corea) - 10:30
[11] Armando's Rhumba (Chick Corea) - 3:51

 A r t i s t s ,   P e r s o n n e l


Chick Corea - Piano, Liner Notes, Co-Producer
Béla Fleck - Banjo, Liner Notes, Mixing, Producer

Bernie Kirsh - Engineer
Brian Vibberts - Mixing
Paul Blakemore - Mastering
Marc Bessant - Cover Design
C. Taylor Crothers - Photography
Josie Hoggard - Background Photos
Joel Malizia - Background Photos
Mike Delevante - Package Design
Dan Muse - Package Coordinator
Julie Rooney - Package Coordinator
David Bendett - Management
Bill Rooney - Management
Brian Alexander - Piano Technician
Armando Antonio Zacone - Liner Notes
Kris Campbell - Tour Manager

 C o m m e n t s ,   N o t e s


Mastered at CMG Mastering.


To David Bendett and Bill Rooney, Julie Rooney, and all our friends at Ted Kurland, and Concord Records - thank you for all you do on our behalf!
To Kris Campbell, Bernie Kirsh, and the entire CC team for making our time on tour together so positive and special.
To Abigail and Juno, for love, understanding, and forgiveness for my occasional absences.
To our listeners, who enable us to live music.
And especially to Chick Corea, for deep inspiration and friendship.

– BÉLA



First to Béla for his amazing creative spirit, dedication to our art-form and especially for our growing friendship. Also for his care of the production of this package for our listeners
To Bernie Kirsh for his gentle soundcrafting artistry in the recording and live mixing and for his constant positive support of our music
To Bill Rooney, Evelyn Brechtlein, Julie Rooney, Kris Campbell, The Kurland Agency, Yamaha and all our management team who back us up so caringly
To my soulmate Gayle for her constant love and support
And a personal thank you to L. Ron Hubbard for his continual inspiration

– CHICK



The collaboration of pianist/composer Chick Corea and banjoist/composer Bela Fleck is a magnificent meeting of the minds, one as unlikely as jazz of any era is likely to see and hear. The ever-so-serious and often precious approach of the former is largely contrasted by the playful, though occasionally cute-to-a-fault latter, but the complementary nature of their playing together renders those blemishes of attitude moot precisely because, based largely in the spontaneity of the moments as captured on this set, the duo don't have the time to think too much about what they're doing.

It makes perfect sense, then, for the two to release a live album and in this double CD expanse, Corea and Fleck offer the buying public what they have the concertgoer over the past few years, that is, an enthralling encounter with improvisation that reminds not just how difficult it is to play music well—and in turn how much more difficult it is to play well with others —but just how inspiring it can be at its highest level of execution. In challenging each other, Corea and Fleck transcend preconceptions and dodge expectations, of their own and the audience, generating a series of instrumental epiphanies that become self-renewing.

Interestingly, it takes the pair, like a larger ensemble, some moments to pick up steam, their momentum delayed early on, during "Senorita" and "Menagerie," by between song patter, ingratiating to a fault on both sides, that interrupts the atmosphere generated by "Waltse for Abby," tellingly, a Fleck original recorded for the aforementioned studio album. By the time Corea and Fleck engage in some truly intricate interplay on, appropriately enough, "Mountain," the set unfortunately comes to a close, at least on this first disc. But from a broad perspective, to whet the audience's appetite in such a way is a most pragmatic move, and not an altogether surprising one from two musicians as seasoned as these.

The newly-established partnership pick up where they left off as the opening of "Brazil" on CD two is nothing more or less than the sound of a giant music box playing variations of melody simultaneously, with the two musicians in uncanny sync: Corea and Fleck sound almost as if they are rendering charts rather than playing off each other in the spirit of the moment(s). Still, the sense of liberation shared by the two is palpable on the title tune from their record and the performance of "Bugle Call Rag, " abbreviated though it may be, has its own share of swoops, dives, swerves and straight-on full speeds ahead.

If Chick Corea and Gary Burton's collaborations, such as Crystal Silence (ECM, 1972) and Hot House (Concord, 2012) are the definition of convention, albeit exquisitely wrought, then the former's work with Bela Fleck is the essence of unconventional thinking in concept, while the musicians' execution exhibits comparable formalism, shot through with a whimsy that is utterly winning. The seeds of this ever-so-fruitful mutually invigorating partnership, first planted on Fleck's Tales From the Acoustic Planet (Warner Bros., 1995), nurtured on their studio collaboration The Enchantment (Concord, 2006) found full bloom during the roadwork that is the foundation of this set.

The sterling recording quality it deserves comes courtesy Corea's long-time technical guru Bernie Kirsch who preserves a ringing clarity to hear that belies the diminutive size of the 'band,' but nevertheless enhances the detail and subtlety of the musicianship on display.

All About Jazz rating 4.5 out of 5

DOUG COLLETTE - September 22, 201
© 2015 All About Jazz



Béla Fleck credits Chick Corea as a major influence on his genre-defying improvisational abilities. The pianist guested on two Flecktones recordings, and Corea invited the banjoist to play on his Rendezvous in New York DVD. It wasn't until 2006, however, that they became duo partners. They collaborated on The Enchantment, issued the following year -- it won a Latin Grammy in 2008. Many tours followed over the next seven years. They cemented a playing relationship that stretched each man musically. As a result of their nightly high-wire act, they became close friends. That relationship is reflected on Two. It was compiled from listening to over 55 shows from that seven-year period. Ten performances are of tunes from The Enchantment, all of them radically reworked. An additional ten tunes on this two-disc set are individual compositions and standards they performed. The Enchantment's opening track, "Señorita," is also the kickoff here, but this version weaves through slippery blues, darkly tinged improvisation, flashy counterpoint, and scalar exploration before the nuevo flamenco melody emerges. On "Waltse for Abby" the pair dialogue through various folk styles, creating a sunny, open country feel. Corea's signature knottiness is replaced by tender lyricism. Fleck's solo piece "The Climb" is brief but powerful, digging through country blues yet leaving nothing but a skeleton as he emerges with a series of arpeggios and modes that come through Andalusian and North African music. Corea's "Joban Dna Nopia" uses Latin syncopations and Spanish melodies in a fleet dialogue that revolves around classical counterpoint and jazz harmonies. In the Flatt & Scruggs standard "Bugle Call Rag," bluegrass is turned inside out to reveal elemental swing. Corea's "Children's Song No. 6," the set's longest track, commences with a long, complex, captivating piano intro before Fleck enters in sharp counterpoint; the conversation moves from inquisitive to incendiary. Fleck's "Sunset Road" -- also quite long -- comes out of the blues, but Corea digs into his piano, yanks hard on the bass strings, then shifts the focus to post-bop; the result recalls the dialogue of Bill Evans and Jim Hall. Two provides the listener with an aural snapshot of brilliant musicians engaged in egoless, intimate communication. They share clarity, focus, and inspiration simultaneously. In most of these tracks, they deliver a sense of what is possible in the moment of creation when this openness occurs.

Thom Jurek - All Music Guide



Chick Corea & Béla Fleck, two master songwriters, musicians, and band leaders meet once again in a historic duet of piano and banjo. The Grammy-winning duet, combine Corea and Fleck s classic tunes with the music from their Grammy-winning album The Enchantment! With a mix of jazz and pop standards, crossing a myriad of genres, from jazz, bluegrass, rock, flamenco and gospel, this album captures the casual, intimate playing by both legends from different musical worlds. Fans of legendary jazz pianist Chick Corea and bebop/bluegrass banjo virtuoso Béla Fleck are well aware of the pair's previous collaborations (Corea guests on two Flecktones albums, and Fleck appears on Corea's Rendezvous in New York DVD), but on their full-length release in 2007, The Enchantment, the two went into the project with an intense seriousness of purpose.

On Two, they continue to push each other in a live setting, adapting their instruments to genres (bluegrass, country, Latin, ragtime, classical, blues, and world) normally outside their idioms, Corea playing 'grassy banjo patterns on the piano on Fleck's mournful "Mountain" and Fleck stretching on Corea's suite-like "Joban Dna Nopia." With few exceptions, the compositions are only frameworks for vast improvisation, which might be expected. But instead of setting each other up for extended solos, Corea and Fleck join together with breathtaking precision and verve, weaving and intertwining through remarkable contrapuntal excursions, only to break and meet up again in perfect sync.

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