Chick Corea and Bela Fleck Two

What at first sight might seem like an unlikely pairing of talents, Chick Corea and Bela Fleck, developed into one of the most musical collaborations. Both are major talents on their instrument; Corea on piano and keyboards and Fleck on the banjo. It was Corea who recruited Fleck for an album "The Enchantment" and now Concord has just issued a double CD, "Two," taken from a variety of performances from their eight years of touring together which includes songs from that album and others.

The two perform a variety of songs from both performers' pen on the over two hours of music to be heard. There is plenty of Corea's romanticism and the strong Spanish flavor of his music mixed with Fleck's remarkable banjo playing that goes far beyond his early days in the New Grass Revival. Listening to the exuberance and exhilaration of their musical conversations starting with Corea's flamenco-infused "Senorita," one is struck by the sheer joy and fun they are having without losing the focus of what they are playing. Listening to Fleck here, I might suggest it is not far removed from those Brazilian mandolin players who played such a significant role in 'choro' music, and certainly his mix of banjo runs which slapped notes while Corea dances on the keyboard. In contrast "Waltze For Abby" is a lovely ballad Fleck wrote for his wife during which Corea's restraint and use of silence during much of this merits attention.

The pair's interpretation of the Latin classic "Brazil" opens with a dreamy prelude hinting at the musical theme before the tempo heats up and \ Corea plays the theme with Fleck coloring it and then improvising as Corea imaginatively comps before taking his own spirited lead. Another ballad, "The Enchantment," contrasts with its measured and sober playing and there is a lovely performance of French composer Andre Dutilleux's "Prelude En Berceuse (From Au Gré Des Ondes)" followed by the unusual twist and turns in their handling of Corea's "Children's Song No. 6," the longest performance here. While it is over 14 minutes, the inventiveness of the two sustain one's attention throughout with the performance becoming more spirited as it progresses.

The closing rendition of Corea's iconic "Armando's Rhumba," may be relatively brief, but ends this recording on a strong, euphoric manner that was deservedly received with great enthusiasm. "Two" is one a several extraordinary recent recordings by Corea in a very short time and one has no doubt there will be more superb outings featuring him in the near future. This also will enhance Bela Fleck's well deserved reputation as well.

I received my review copy from the record label. Here is a clip of the two in performance.

The Flecktones Launch New Disc

Its been nearly two decades since Fleck and the original line-up of The Flecktones, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ Drumitarist Roy "Futureman" Wooten, have been in a studio. Rocket Science (Entertainment One Music) Fleck has taken the banjo far from his bluegrass roots in such bands as The New Grass Revival with the Flecktones, who are equally innovative. Levy’s piano roams from hard bop to a Keith Jarrett romanticism while also playing his innovative harmonica with a technique has cast a spell on a wide range of musicians from blues to jazz. Wooten perhaps eschews bass effects here, but lays down some of the funkiest bass one os likely to have heard in some time, while Futureman unleashes here Drumitar, his MIDI-based device that allows him to trigger samples using his fingers and which replaces the original which was on its last legs after two decades.

There are two many joys to be experienced on the performances heard here. Prickly Pair mixes in bluesy guitar sounding playing from Fleck (on an electric Deering Crossfire set against Levy’s harp as Wooten adding a funk bass and Futureman sets out a shuffle beat, with a brief interlude of ragged stride piano (sampled from a recording?). Levy and Fleck collaborated on a suite, Joyful Spring and Life In Eleven, that makes use of the odd time signature of the Bulgarian dance rhythm called Gankino. Levy’s piano has a classicist touch and the performance almost suggests a waltz before Levy kicks off a blistering tempo with his harp on Life in Eleven. The seamless transitions in tempo, themes and mood can be mesmerizing within and between performances. Falling Forward has a lyricism between Levy’s piano, Fleck’s jazzy solo and Wooten’s bass counterpoint that might make a Ron Carter smile.

The fusion of jazz, blues, funk, world, folk, bluegrass and other elements helped establish Bela Fleck & the Flecktones two decades ago as a breath of musical fresh air. They continue to defy categorization and Rocket Science shows that listening to them is as exhilarating as ever.


My review copy was received from a publicist.