Chick Corea — The Mad Hatter

★★★★★

   In the middle of 1970’s decade Chick Corea was one of best recognized musicians on jazz scene. He was appreciated as pianist, composer, arranger, improviser and leader. He was known for his band and artists he played with. But first of all he was famous for his own style. Since his first fusion experiments in late sixties, Chick Corea was artist connecting and melting Spanish music idioms with elements of jazz genre. First great work, opening the sequence of such productions was Stan Getz’s Captain Marvel recorded in 1972 where Corea composed almost complete material. Musicians involved in recording sessions with Stan Getz, the same time were creating first album of Return to Forever – the band aiming to take vanguard position in jazz-rock of seventies. 

   Time spend with Return to Forever was this period when Corea has focused on symphonic type of arrangement. This was idea clearly taken from progressive rock. In 1976 composer of La Fiesta published groundbreaking double LP album My Spanish Heart where he developed great new vision of Latin jazz. Two years later in 1978 Chick Corea released next album experimenting with jazz-rock and fusion genres, combining jazz elements with progressive rock ideas. Titled The Mad Hatter this was a concept album with lyrics written by Gale Moran and clearly connected by some symbolic, graphic and narrative ideas with Alice’s Adventures in Wonderland by Lewis Carroll. And the tendency of creating intricate concept albums with plenty of references was further evidence for strong bonds between fusion jazz and progressive rock.

Chick Corea — The Mad Hatter (1978)

   Chick Corea released The Mad Hatter album in 1978. It was recorded in Kendun Recorders studios in Burbank with jazz line-up and chamber sections. Jazz section were Joe Farrell (tenor saxophone, flute, piccolo), Herbie Hancock (electric piano), Jamie Faunt, Eddie Gómez (basses), Steve Gadd, Harvey Mason (drums) and Gayle Moran (vocals). Brass parts were played by Stewart Blumberg, John Rosenburg, John Thomas (trumpets) and Ron Moss (trombone) and string section was Charles Veal and Kenneth Yerke (violins), Denyse Buffum and Michael Nowack (violas), Dennis Karmazyn (cello). The leader himself played piano, electric piano (Fender Rhodes), synthesizers (Mini-moog, Poly-moog, Moog 15, Moog Sample & Hold, Arp Odyssey, Oberheim 8 Voice, Mxr Digital Delay, Eventide Harmonizer) and percussion (African shaker, marimba, cymbal and cowbell). He was also composer and arranger.
   As it has been indicated above, main contribution of progressive rock into jazz-rock crossover style was symphonic narrative and orchestral structure of arrangements. One of consequences of this attitude was concept album idea, which was not used before but so often convention in mainstream jazz. Chick Corea as pianist and composer was always closer to classical music than rock, especially in his sound ideas. In his albums he was constantly developing structural means giving in result various kinds of closed compositions and cycles. This feature played decided role also in construction of The Mad Hatter album. It is so rich in qualities, ideas and conceptions, fragments of modal improvisations are entwined with modernistic chamber arrangements and neoclassicist elements of compositions, it’s just perfect subject for structural analysis. Nonetheless all of these make this album more ambitious than it was acceptable in 1978. Four stars is lowest grade for such ambitious and well done project. Fifth star I am giving for my personal reasons - it was just one of my high-school favorite albums.

Fuse One — Fuse One

★★★★

   In late seventies, when fusion music was still noted as a top style for musical quality and for various technical reasons, jazz-rock and other ambitious genres were losing their previous substantial positions for disco and other popular genres. Many formal ideas were checked in jazz arrangements and used in best pop productions as many jazz musicians were working as session men for studio productions. Although jazz and rock were more and more marginalized, becoming niche styles, musicians were still trying to find a new way to take previous social positions. In the end of seventies jazz was no longer trendy. Even the name “jazz” was gradually omitted. Traditional meaning of the band also had changed and many professional musicians were playing in various groups and orchestras as well as many were hired for studio recording or touring with pop music performers.
   In such situation in April 1980 group of prominent jazz musicians started recording sessions in Evergreen Studio and Westlake Audio with engineer Tom Vicari. The producer Creed Taylor, founder of CTI Records, ask Rudy Van Gelder to work on his new project so he was the engineer of May and June sessions that have been being taped at Van Gelder's Studio in Englewood Cliffs. The project was called Fuse One. This was not a traditional band, rather studio all-star band without constant line-up. Cover note about project said: “Fuse One is conceived as a forum in which major contemporary musicians perform according to their own musical disciplines and interact without the constraints that accompany leader responsibilities. Each player brings in new compositions and ideas”. 

Fuse One — Fuse One (1980)

   It’s meaningful the word “jazz” is not present at any point of this album. And only jazz connection are musicians' names. Just like the genre was out of date. Tendency to cross the borders of styles and play music more open way was presented the style of presented compositions, rhythmic and melodic idioms shown in solos and arrangements. These elements can convince this is an all-star project. And stars engaged in the project were really bright. Saxophonist Joe Farrell, guitarists John McLaughlin, Larry Coryell and harmonica player Hugh McCracken, acoustic piano, synthesizers and Fender Rhodes piano players Ronnie Foster, Victor Feldman, Jeremy Wall, Jorge Dalto, bassists Stanley Clarke, Will Lee, drummers Tony Williams, Lenny White, Ndugu Leon Chancler and percussionists Paulinho Da Costa, Roger Squitero – all performers were playing with discipline and straight sound.
   Generally music of Fuse One is fusion with elements of smooth jazz. Themes are melodious, rhythms are decided, arrangements are easy and solos are restrained. Most pieces are conventional joyous jazz typical for fusion jazz light music. These are Ronnie Foster’s Grand Prix and Stanley Clarke’s Sunshine Lady. In Double Steal by Jeremy Wall and Taxi Blues by Stanley Clarke popular music of disco era is augmented by electronics and by harmonica in Taxi Blues with strong rock solo by Larry Coryell. Most popular Waterside is just an arrangement of The Moldau theme by Bedrich Smetana made by Jeremy Wall. Two interesting pieces composed by John McLaughlin are postmodern To Whom All Things Concern and referring to Spanish traditional music Friendship. Electric sound and strong rhythmic patterns are foundations to this exposure. Three and half of star for perfect performance.

Chick Corea – Return to Forever

★★★★★

   In 1972 ECM Records published new album of Chick Corea – Return to Forever. Partners of the leader were vocalist Flora Purim, saxophonist Joe Ferrell, bassist Stanley Clarke and percussionist Airto Moreira. The new jazz band took its name from the title of the album and shortly became one of best recognized ensembles of fusion jazz. Releasing of this record was one of groundbreaking moments in history of jazz. The unpretentional cover is showing lonely bird flying over the sea surface. It was like an opening of the new space – everything in this album was fresh, open and promising. When ECM published Chick Corea’s album Return to Forever it was 22nd album in catalogue of this small and ambitious label. And Chick Corea has brought a sizeable contribution into production of early ECM label. In 1971 Manfred Eicher’s recording company published Corea’s solo Piano Improvisations vol. 1, album A.R.C. by trio Corea, Holland and Altschul and double LP Paris Concert of Circle. Next year ECM published two albums by Chick Corea: Piano Improvisations vol. 2 and Return to Forever.
   The breaking moment of Chick Corea’s career was in the beginning of the seventies. He was ready to start the whole new idea of fusion, connected to Mexican folk music and Latin trends in American rock. In the moment of creating the new band, called after the title of first album, Return to Forever, Corea was involved in new project where he was composing for Stan Getz. This moment was connected to the history of ECM as well. The rest is the great story of contemporary jazz, famous jazz-rock band and the company established and run by Manfred Eicher. In fact this early Return to Forever survived only first year and shortly was replaced by the new band with Corea and Clarke as only musicians common to both line-ups. Manfred Eicher’s ECM became most famous recording company in European jazz. The name of the company was abbreviation of Edition of Contemporary Music and simplicity was the hallmark. Jazz, world music and contemporary music were main directions. And in Corea’s recordings all directions, jazz, world music and the contemporary music were linked.

Chick Corea – Return to Forever (1972)

   The moment was special. Even if it looked like only two days of session enough to create the whole new idea of jazz fusion. Tendency was already visible, after Miles Davis’ In a Silent Way and Bitches Brew, jazz was wide open for new crossover idea giving the possibility of joining jazz, rock and elements of various traditions. Chick Corea has prior experiences playing with Miles Davis recording above-mentioned albums as well as Water Babies (recorded in 1968 and released 1976), Filles de Kilimanjaro and some live gigs edited later and also known from records like Black Beauty – Life at the Fillmore West or Miles Davis at Fillmore – Life at the Fillmore East. In 1970 he started work with avant-garde group Circle with Anthony Braxton, Dave Holland and Barry Altschul recording for ECM Records.
   In February 2nd and 3rd in 1972, at A&R Studios in New York City had met Chick Corea, bass player Stanley Clarke and percussionist Airto Moreira. They had already plans of recording session for Stan Getz new album Captain Marvel, where Corea was composer. For his new band Corea invited Moreira’s wife Flora Purim and Joe Farrell, saxophonist who’s first two albums Corea was involved as composer and pianist. These five musicians created band of legendary sound. Although they recorded only two albums, in various lineups they were working in future Corea’s bands and many elements of this experience influenced next productions. A lot of space between notes, light vocal themes perfectly performed by phenomenal Flora Purim, rhythmic intensity of Latin motifs, all in this album works for its historic position. Chick Corea as the author of whole concept and all four compositions was undoubtedly the hero of this project. He decided to start the band and the band was one of most famous bands in history. And the record is full five of five stars tray, just must have for every self-respecting jazz listener.

Chick Corea – Tap Step

★★★★

   Born in late sixties from modal jazz and harsh rock sound, in the seventies jazz rock was evolved from early sound experiments and rhythmic patterns to firmly conventionalized set of means creating whole new vocabulary of jazz. First were derived from the sixties idea of fusion between totally different worlds of musical sensitivity. Last was the collection of sound and rhythmic patterns presented on albums and concerts of dozens of performers. One of musicians who took part in jazz rock revolutionary forms of jazz-rock was Chick Corea. But he was too much creative to reside in style losing its creative momentum. In 1978 Corea had disbanded Return to Forever, but still working with its musicians he was experimenting with various line-ups and forms.
   Chick Corea was searching for best possible vehicles for his musical ideas. He always was creative, but this moment was the moment of almost complete creative freedom. No matter it was the time of Return to Forever, his Elektric Band or Akoustic Band, he was working on solo albums, various duets, jazz combos or bands with various musicians, even some recordings with symphonic orchestra and repertoire of purely classical music. The same year, in 1978 he published three great albums made with extended personnel (The Mad Hatter, Secret Agent, Friends) and double live album with Herbie Hancock In Concert. Next year he released three albums (one solo, and two in duets) and in 1980 five albums (two live recordings). These albums as well as disbanding Return to Forever can be seen as effects of Corea’s explorations. 

Chick Corea – Tap Step (1980)

   One of most significant tendencies in Chick Corea’s creative history were his experiments with various line-ups after Return to Forever. And Tap Step album was project characteristic for this period. And it was not understand by many critics, what was also typical for the moment. The open idea of this album shows various attitudes, from dance music to modal jazz and back to rhythmic and melodic diversity. It was published in 1980, two years after what was then considered as artist’s extreme activity. Variety of musicians and arrangements suggests album could be a compilation of different recordings, but nothing of the kind was happened here. Recording sessions took place in Love Castle Studio in Los Angeles between December 1979 and January 1980. Those, who looking for jazz solo players, shouldn’t be disappointed. Joe Farrell’s tenor and soprano saxes are part of sound specific for this period. Hubert Laws on flute and Joe Henderson on tenor saxophone and Also Al Vizzutti on trumpets and flugelhorns made strong appearance.
   Album is just bursting with ideas. Main contrast lies between rhythmicity and melodiousness. The title speaks for itself. As samba rhythms and cover photo of pianist with surdo drum show, percussion was the main part of featured band. Four drummers Airto Moreira, Laudir Oliveira, Tom Brechtlein and Don Alias are appearing in different settings. In The Slide Chick Corea played with all four percussionists and two bassists Bunny Brunel and Jamie Faunt and this track is undeniably rhythmic culmination of the album. Rhodes electric piano with its percussive sound emphasizes this effect. In opening Samba L.A. four vocalists Flora Purim, Gayle Moran, Shelby Flint and Nani Villa Brunel create main line of musical crowd. Lyrical and narrative soprano by Gayle Moran gives The Embrace power remembered from My Spanish Heart and The Mad Hatter. Beautiful title track Tap Step is so fresh in sound we can forget it’s quite traditional in its construction. Solos by Al Vizzutti and Joe Farrell are just perfect. Just as acoustic piano solo by Corea in Magic Carpet or his Rhodes piano and Moog synthesizer solos in The Slide. For these solos and for synergic teaming of all musicians this album is worth much more than in reviews repeated without listening. These four stars counts as a masterpiece.

Chick Corea & Return To Forever – Light as a Feather

   The Return To Forever was Chick Corea’s main project in seventies. Music he made with this band claimed an international recognition, and as style of the group was crossover, the new public was much wider than prior jazz-only auditorium. In span of few years Return To Forever became one of most successful brands in jazz and in a way in new world music. This was the era of new ideas breaking frontiers of styles and genres. Return To Forever along with Weather Report and Mahavishnu Orchestra were synonymous of the fusion jazz and jazz-rock, opening jazz for listeners of progressive rock, psychedelic rock and even some kinds of artistic pop music.

   Second album by Chick Corea and Return To Forever has been recorded in October and released one month later in November 1972. This time the cover indicated distinctly the name of the band and album title – Light as a Feather. Title of this album was taken from song composed by Stanley Clarke to Flora Purim’s lyrics. All other songs were composed by Chick Corea, two of them with lyrics by Neville Potter. While the first record was released in Europe by the ECM and it was not available at this time in the U.S. Thus Light as a Feather published by Polydor was still entirely new vision of fusion music. For many listeners it was actually the American debut of the band. And as it turned out, it was also the last album Return To Forever recorded with this lineup.

Chick Corea & Return To Forever – Light as a Feather (1972)

   Return To Forever was the band changing constantly. The first lineup of Return To Forever was active for the short period of time only. And according to many it was most succesfull as it had greatest artistic achievements. In fact it was the group of great personalities. Bright star was Flora Purim, born in Rio de Janeiro, singing with perfectly clear voice and instrumental precision. Starting international career with Return To Forever she became quickly number one singer of the seventies. And Light as a Feather was her great gig. In many fragments she sings without words in unison with Chick Corea’s electric piano phrases or with flute themes played by Joe Farrell. 

   The flute played by Joe Farrell was perfect match for electric piano so on first Return To Forever Farrell was switching only to soprano saxophone. Here he played with tenor saxophone and his sound is as warm as light. Stanley Clarke who played double bass with virtuosity and inspiration gave Corea counterbalance – both are great and their lines are completing and spinning together like a twin star – Corea’s distance and serenity met with more profound attitude of Clarke. 

   This group of stars was completed by Airto Moreira – probably the best drummer and percussionist of the fusion era since Miles Davis Bitches Brew, through Weather Report to Return To Forever, his contribution was clear. The trio Corea-Clarke-Moreira was basic personnel in Stan Getz Captain Marvel album, the project of great importance for  Return To Forever musicians. As Flora Purim and Airto Moreira were from Brasilia, this lineup of Return To Forever was sometimes called “Latin”. Maybe on second album it was still hart to notice, but main creative characters were Chick Corea and Stanley Clarke. And this two artists were axis of all turns, as well on first edition of the group as in future.