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Chick Corea: corea.concerto

 A l b u m   D e t a i l s

Artist: Chick Corea
Title: corea.concerto
Released: 1999.09.06
Label: Sony Classical
Time: 54:18
Producer(s): Steven Epstein
Appears with:
Category: Classical
Rating: *********. (9/10)
Media type: CD
Purchase date:  2002.08.08
Price in €: 12,99
Web address: www.chickcorea.com

 S o n g s ,   T r a c k s


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

 A r t i s t s ,   P e r s o n n e l


CHICK COREA - Piano, Arranger, Composer, Conductor, Executive Producer

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
 

 C o m m e n t s ,   N o t e s


1999 CD Sony 61799



"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.

Judith Schlesinger - All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



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.

Philip Van Vleck - December 7, 1999
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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.

Norine Castine - April 1, 2000
Jazziz
 

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