Spain [arranged for Sextet and Orchestra]:
[1] I. Openeing and Introduction (Ch.Corea) - 9:08
[2] II. Spain Theme (Ch.Corea) - 11:23
[3] III. Conclusion (Ch.Corea) - 2:40
Concerto No.1 (for Piano and Orchestra):
[4] I. Part One (Ch.Corea) - 11:07
[5] II. Part Two (Ch.Corea) - 9:36
[6] III. Part Three (Ch.Corea) - 10:17
LONDON PHILHARMONIC ORCHESTRA - Orchestra
STEVEN MERCURIO - Conductor
Origin are:
AVISHAI COHEN - Double Bass
JEFF BALLARD - Drums
BOB SHEPPARD - Flute, Tenor Saxophone
STEVE WILSON - Soprano Saxophone
STEVE DAVIS - Trombone
RON MOSS - Executive Producer
RICHARD KING - Recording Engineer
ANDY GRANGER - Tech./Ass. Engineer
JAKE JACKSON - Assistant Engineer
ROBERT WOLFF - Editing Engineer
ALAN TITMUSS - Photography
GIULIO TURTURRO - Art Direction
"Spain" is probably Chick Corea's best-known composition. Written in
1971, it was first introduced by his Return to Forever band and played
frequently by many other Corea-led groups, including his 1988 Akoustic
Band trio. Here it appears again — and arguably, for all time
— in a powerful, extended form through the efforts of the London
Philharmonic Orchestra, conductor Steven Mercurio, Corea, and five
other members of the group Origin. Combining the sounds of Spain, Cuba,
Brazil, Argentina, and New York with a whiff of Gershwin and Ravel full
of whispers and thunder, Corea's arrangement won the 2000 Grammy.
"Spain" is divided into a nine-minute introduction, 11 minutes of theme
statement and improvisation, and a magnificent conclusion, weaving
classical and jazz elements together in the tune's ultimate
fulfillment. The second Corea composition on this CD, his "Piano
Concerto No. 1," was supposedly modeled after the style of Mozart,
although Wolfgang never had this much fire and passion. With Corea on
piano, Origin veterans Avishai Cohen on double bass and Jeff Ballard on
drums fronting the Philharmonic, the concerto contains over 30 minutes
of musical textures, with beautifully melodic piano interludes and a
recurring Latin pulse. This is the kind of intricate, multi-layered CD
that sparkles brighter with each hearing; the "Spain" arrangement alone
is worth the price of admission. All told, it's more evidence of
Corea's restless and brilliant talent; fans who've followed his winding
artistic path for decades may well see this CD as a clear monument, if
not a peak.
Jazz pianist Chick Corea offers two pieces here: "Spain for Sextet
& Orchestra" and "Piano Concerto No. 1." Jazz fans know "Spain"
from Corea's 1972 Return to Forever album Light As A Feather. What
we're presented with here is Corea's orchestral elaboration of "Spain,"
initially performed in Japan in 1995. Opening and closing orchestral
arrangements now bracket an 11-minute "Spain theme." Probably the most
striking thing about Corea's new "Spain" is the seamless way in which
he has integrated his sextet with the London Philharmonic Orchestra.
The opening movement hints at the main theme, while incisive solos from
Bob Sheppard (flute), Steve Davis (trombone), and Steve Wilson (soprano
sax) lead the way in "Spain theme." Corea's fluid, probing piano closes
this middle section. The concluding movement is a bit bombastic. "Piano
Concerto No. 1" is a modernist piece in three movements, combining
Corea's jazz chops with his more recently acquired penchant for
classical music.
Chick Corea's opening piano chords on his original recording of "Spain"
suggest an entire orchestration themselves. So, it's easy to hear how
he could arrange his ideas for the london philharmonic, fleshing out
his widely known "Return to Forever" tune. Stravinsky and Ravel
strongly influence this arrangement, yet Corea keeps a spirit of
improvisation embedded throughout. As on Corea's first CD for Sony
Classical, with Bobby McFerrin, The Mozart Sessions, this is jazz
swimming in a classical environment. The result is gorgeous.
The second piece, "Concerto No. 1," is both lush and percussive, much
like Corea's piano stylings. Again, the jazz influence pervades the
theme, improvised cadenzas, and the question-and-answer sessions
between piano and orchestra. Particularly notable is the piece's third
part, a Copland-esque movement studded with Corea's meticulously
precise performance and powerful interplay with full orchestra.