Chick Corea Plays

Chick Corea
Plays
Concord Jazz

On this compilation of mostly solo piano performances, Chick Corea engages audiences with a program that includes surprising pairings of his favorite influences as well as spontaneous improvisations, and his own compositions. Corea, these performances engage with a wide swath of musical history before enthusiastic audiences in concert halls across Europe and the U.S. The performances here are from concerts in Clearwater, Florida; Paris, and Berlin.

There are deep dives in the classical repertoire for pieces by Wolfgang Amadeus Mozart, Domenico Scarlatti, Alexander Scriabin, and Frédéric Chopin. Also performed are compositions by formative jazz influences Bill Evans and Thelonious Monk mixed with the bossa nova beauty of Antônio Carlos Jobim. Corea also explores The Great American Songbook through songs by the Gershwins and Jerome Kern and the more modern pop of Stevie Wonder.

Corea remains a virtuoso, so it is a delight to hear him perform Scarlatti's "Sonata in D Minor K9, L413, Allegro," with a subtle precise touch. He then segues into Kern's "Yesterdays," with equal clarity in an improvisation. It is not the only unexpected delight of mixing the classical tradition with the American songbook. The program started with a Mozart piano sonata transitioning into the Gershwins' "Someone to Watch Over Me." Corea himself has noted, "To me it fit so well, but I found that, to audiences, it was a little unusual for me to put together a Mozart piece with a Gershwin tune. What do Mozart and Gershwin have to do with one another? That's up to you as a listener, but they're analogous to me."

Adding to the charm of many of these performances is Corea's introductions to some of these performances. He talks about finding and displaying links between music such as between Mozart and Gershwin. His brief talks are playful and informative, as he introduces the captivating performances of Bill Evans' "Waltz For Debby" and Antonio Carlos Jobim's "Desafinado." After assured, lovely renditions of pieces from Chopin and Scriabin are followed by a trio of Monk compositions that he introduced as a tribute to Monk. The performance of "Pannonica" is particularly sterling.

In addition to his inventive rendition of Stevie Wonder's "Pastime Perfect," Corea dazzles on his "The Yellow Nimbus," performed as a tribute to the great flamenco guitarist Paco de Lucía with whom he recorded this composition in 1982. There are two spontaneous performances inspired by audience members, followed by two piano duets with audience members. The duets involved the conservatory-trained French classical pianist Charles Heisser and the French-Israeli jazz pianist Yaron Herman. When they were chosen, they were simply audience members.

The album closes with Corea revisiting some of the Children's Songs he composed in the 1970s. It continues the exploratory and playful character of these performances. "Plays" is another recording that displays Chick Corea's virtuosity and musical brilliance.

I received my review copy from a publicist. Here is "Waltz For Debby" from this album.

Ella 100: Live at the Apollo

Various
Ella 100: Live at the Apollo
Concord Jazz

As the title of this new Concord Jazz album indicates, this recording is of the October 22, 2016 celebration at the famed Apollo Theater of the Ella Fitzgerald centennial. Included here are performances of songs that still are associated with the "First Lady of Song" by an All-Star Cast.

David Allen Grier and Patti Austin hosted and performed at this concert with the music provided by the Count Basie Orchestra (augmented by strings) and the Ella 100 All-Star Quartet giving support. There was quite a cast of performers besides Grier and Austin, including Andra Day, Lizz Wright, Ayo, and Afro Blue from Howard University, Cassandra Wilson, Ledisi, and Monica Mancini (accompanied by guitarist Brian Nova. The accompanying booklet has liner notes from jazz and pop vocal music authority Will Friedwald, and Greg Field, who produced this concert. Full personnel for the performances is also provided in the booklet.

The celebration opened with an imagined recreation of Ella's legendary appearance at the Apollo's weekly amateur talent contest on November 21, 1934. Ayodele Owolabi (Ayo) of Afro Blue plays the young Ella Fitzgerald with David Allen Grier playing the role of Ralph Cooper, the Apollo's first amateur night host. To this listener, it is enjoyable if a bit awkward. It does serve as an intro to the evening that Grier introduces before introducing his fellow host, Patti Austin. Austin, with the Basie Orchestra, launches into vibrant renditions of "A-Tisket, A-Tasket," and then "When I Get Low I Get High," with her wondrous intonation and phrasing.

Andra Day was a special guest that night and provided a deeply reflective rendition of "Ain't Misbehavin'" with a luscious backing from the Basie Orchestra and strings. Austin introduces her co-host Grier, who, backed by the Basie Orchestra, sings a wonderful interpretation of "Do Nothin' Till You Hear From Me." I was unaware Grier played Sportin' Life in an acclaimed revival of "Porgy and Bess." Still, his warm baritone evokes the great Ellington male singers such as Herb Jeffries and Al Hibbler, with the Basie Band outstanding recreating the Oliver Nelson and Sam Nestico arrangement. Basie Orchestra bandleader Scotty Barnhart takes a marvelous trumpet solo.

The All-Star quartet, led by pianist Shelly Berg, has a sparkling backing for Lizz Wright behind her horn-like phrasing for Ellington's "Love You Madly." Berg, guitarist Brian Nova, and bassist Nathan East take solos on this. Wright mesmerizes on her unaccompanied intro to "The Nearness of You," before the Quartet enters. Like the other performances, there is love and appreciation for Ella but distilled through each artist's own musical approach. This is evident from the outstanding interpretation of "Lady Be Good" by Ayo and Afro Blue with some striking scatting. Afro Blue and the Basie Orchestra provides support for Austin on a sublime "How High the Moon," with breath-taking scatting.

After an intermission, the Count Basie Orchestra swings Frank Foster's arrangement of "Back to the Apollo! (Apple)," with tenor saxophonist Doug Lawrence soloing. Then, in tribute to the Ella Fitzgerald-Louis Armstrong duets, Austin and Grier provide their versions of "I Loves You Porgy/ That's a Boat Leaving' Soon for New York." Their vocals are caressed by the enhanced Basie Orchestra with a masterful solo from Barnhart. There is a singular rendition of "Cry Me a River" by Cassandra Wilson, followed by the effervescent swing and scatting of Ledisi's "Honeysuckle Rose." The Basie Band packs plenty of punch behind her. Accompanied by guitarist Brian Nova's appealing accompaniment, Monica Mancini (Henry's daughter) captivates on the intimate performance of "Once in a While," originally recorded by Ella with Joe Pass.

Austin and Grier close out the concert with a swinging "You'll Have to Swing It (Mr. Paganini)/ Paganini Bows Reprise." They trade verses as the Basie Band explosively accompanies them before they call and acknowledge the rest of the performers to take their bows. A bonus track of Ella singing "People" is an encore for the CD. It is a delightful coda to this outstanding recording of a remarkable night at Harlem's Apollo Theater.

I received my review copy from a publicist. Here is Lizz Wright's performance of "The Nearness of You" from this concert.

Chick Corea Trilogy 2

Chick Corea
Trilogy 2
Concord Jazz

The first "Trilogy" album was a three-CD collection of performances of the stellar trio of pianist Corea, bassist Christian McBride and drummer Brian Blade from two tours by the trio. About "Trilogy," I wrote in 2014 that Corea displayed "his continued combination of intelligence, imagination, technique, and passion. Collaborating with McBride and Blade, and the quests, his brilliance shines here." This can be said about the present double CD collection of twelve compositions performed during a 2016 tour.

The program on this double-CD release includes standards, classic jazz compositions and three of Corea's compositions. Corea unaccompanied opens "How Deep Is the Ocean" before McBride and Blade make their presence heard in on a terrific performance of this standard. It is followed by a spectacular performance of Corea's "5 Miles High" from his first Return to Forever recording. Listening to the three is listening equivalent to watching the Harlem Globetrotters do their basketball warmups. Corea's interpretation of Monk's Thelonious Monk's "Crepuscule With Nellie," is full of invention and surprise. After another wonderful ballad, "But Beautiful," with excellent brushwork from Blade and there is an animated rendition of "La Fiesta." Other standout selections include a stellar performance of Steve Swallow's "Eidertown" with stunning interplay between Corea and Blade and a superb McBride solo and a briskly-paced treatment of Miles Davis' "All Blues" with Corea dazzling.

"Now He Sings, Now He Sobs," was the title track of Corea's first trio album with Miroslav Vitous and Roy Haynes. McBride and Blade requested it for the tour, and the performance is its first official performance since 1968. Blade opens in with a parade-like groove before Corea enters on another lively performance with a lengthy, impressive Blade solo.  There are also terrific renditions of tunes from Stevie Wonder, Joe Henderson, and Kenny Dorham on another outstanding recording from Corea, McBride, and Blade. Whether this latest recording wins a Grammy or not, "Trilogy 2" is terrific.

I received my review copy from a publicist. This review appeared in the November-December 2019  Jazz & Blues Report (Issue 387. Here is the trio performing Bud Powell's "Tempus Fugit."

 

Eliane Elias Love Stories

Eliane Elias
Love Stories
Concord Jazz

"Love Stories" is the latest recording from the multi-faceted Elias. An orchestral album, it reveals her talents as a vocalist, pianist, arranger, composer, lyricist, and producer on this album of bossas, whether rendering personal versions of bossa classics, reimagining other songs into bossa songs and a few select originals. Describing this album, she states, "The idea for this album was to bring to life various stories of love and loving through this collection of songs." This album was recorded in Brazil with some of her favorite Brazilian musicians including Marcus Texiera on guitar, and Edu Rebeiro, Rafael Barata, and Celso Almeida on drums. Marc Johnson is co-producer and plays bass, and Rob Mathes is the orchestrator of the lush string arrangements presented that intertwine with Elias' small group arrangements.

The material is wonderful starting with Frances Lai's theme from the French movie "A Man and a Woman," that sets the pattern with Elias' soft, soothing, velvety vocal (almost whispered) with the light swaying backing enhancing the effect. Soft trumpet opens an enchanting interpretation of the Patti Austen and James Ingram classic "Baby Come To Me." Then there is a dreamy interpretation of Jobim's "Bonita," which Jobim collaborated with Frank Sinatra. Two songs associated with Sinatra follow. There is a sensual rendition of "Angel Eyes" followed by an inspired interpretation of "Come Fly With Me," with its gentle sensuality contrasting with how Sinatra belted it out decades ago.


"The Simplest Things" is a beautiful original about how the simplest things in a shared life are often the things the matter the most. Her piano, her as elsewhere, is superb in the same restrained manner as her vocals. Robert Menescal plays guitar on his breezy "Little Boat." This song opens with Elias singing the first verse in Portuguese, the only performance where she does not sing exclusively in English. Elias is also exceptionally superb on her piano solo here. The other two songs, both Elias originals, are equally appealing. There is plenty of romance, and more as Elias charms us with these captivating "Love Stories."

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is "Baby Come To Me," from the CD.

Quiana Lynell A Little Love

Quiana Lynell
A Little Love
Concord Jazz

Raised in Texas where she grew up singing gospel, Quiana Lynell made her mark in 2017 when she won the Sarah Vaughan International Jazz Vocal Competition Award. As part of winning, she received a contract with Concord Jazz. Earlier that year she appeared with her trio at the New Orleans Jazz & Heritage Festival. This appearance led to her performing in Poland with trumpeter Terence Blanchard’s Spike Lee tribute with a 75-piece orchestra and a continued period of mentoring on Blanchard's part. "A Little Love" is her debut album which covers a wide range of songs from Nina Simone to Chaka Khan, from Duke to the Gershwins, from Donny Hathaway to Irma Thomas. The bookends of the album featuring songs by modern artists Alina Engibaryan and Joshuah Campbell.  Backing her is a fabulous band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes (on several selections).

She has quite an extensive vocal range as well as a broad expressive range and delivers the songs with considerable authority. The clarity, the melodic qualities, and the expressiveness of her vocals is outstanding. There is plenty of positive messages in her songs such as she sings about overcoming “xi," and pushing forth to better times and justice on "Sing Out, March On." One telling performance is a medley of Ellington's "Come Sunday" with Billy Taylor's "I Wish I Knew (How It Would Feel To Be Free)." "Come Sunday" is a magical duet with Chestnut backing her marvelous vocal prayer. The full band joins in for the Taylor composition with guitarist Cherry sparkling behind heartfelt singing.

The authority of her vocals is also exhibited on the standards she performs. This includes a sublime duet with Jamison Ross on the Gershwin's "They All Laughed." Her interpretation of "Just A Little Lovin' (Early In The Morning)" from Barry Mann and Cynthia Weil has considerable charm. she exhibits much warmth in her swinging rendition of Gordon-Revel's "You Hit the Spot." Besides the romanticism of her singing, Cherry and Chestnut both stand out with the clean, crisply played solos.

Additionally, there is a rendition of Irma Thomas' "Hip Shakin' Mama," played by the band with a bit more of a backbeat and a marvelous vocal that hints at her gospel roots along with her interplay with guitarist Cherry. There is no doubt she could do a terrific recording of deep soul in the manner of Irma Thomas. Then there is a marvelous duet with Chestnut on Monte Croft's "What Is Love. With plenty of jazz vocal recordings coming out, "A Little Love" stands out with Quiana Lynell's excellent singing, first-rate backing, and well-chosen repertoire. Given how much I was impressed by this CD, I purchased a download of a more recent New Orleans Jazz & Heritage Festival performance by her.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of her performing "Hip Shakin' Mama" in Marcus Garvey Park in New York City at the 2019 Charlie Parker Jazz Festival.

Chick Corea The Spanish Heart Band

Chick Corea
The Spanish Heart Band – Antidote
Concord Jazz

This new Chick Corea album with his new band is simply terrific. Corea's piano and keyboards are supported by his 8 piece band that includes flamenco guitarist Niño Josele; saxophonist/flutist Jorge Pardo; bassist Carlitos Del Puerto; trumpeter Michael Rodriguez; trombonist Steve Davis, drummer Marcus Gilmore; percussionist Luisito Quintero; and the fiery footwork of flamenco dancer Nino de los Reyes. Also heard is the great vocalist Rubén Blades and gifted singers Gayle Moran Corea and Maria Bianca.

Corea states that his "genetics are Italian but my heart is Spanish. I grew up with that music. This new band is a mix of all the wonderful and various aspects of my love and lifetime experience with these rhythms that have been such a big part of my musical heritage." It is a heritage that gets off with the volcanic opening title track with Blades joyfully singing as well as giving Josele and the horns a chance to solo. Corea himself dazzles on acoustic piano and electric keys, while the arrangement and layering of the horns, piano, and guitar add to the joyous fire here.

The music is so wonderfully played but the incorporation of the flamenco dance to open "Duende," a composition and performance of lyricism and passionate romanticism along with the interplay between Pardo's flute and the brass of Rodriguez and Steve Davis. Nino de los Reyes dancing is even more of a presence in "The Yellow Nimbus" that was initially written as a duet between Corea and Flamenco master Paco de Lucía, with the flurries of the dancer matched by Corea's piano and the responses from Josele's guitar.

"My Spanish Heart" was the title of one of Corea's most successful albums in addition to being a beautiful composition. It opens with an introductory vocal choir before Corea introduces it with stark chords as the performance builds in complexity including an enchanting Blades vocal with the horns providing a counterpoint. It is followed by a thrilling rendition of "Armando's Rhumba," with sterling solos by Davis, Pardo, Rodriguez, and Josele in addition to Corea's magnificent playing while comping for some percussive fireworks by Gilmore and Quintero.

Other performances include Paco de Lucía's "Zyryab" with its Spanish and Middle Eastern influences; the smoldering heat in the rendition of Jobim's "Desafinado" with Maria Bianca's heartfelt vocal; Corea's captivating solo piano arrangement of "Pas de Deux" from Stravinsky's ballet "The Fairy's Kiss" that weaves into Corea's original "Admiration." This fabulous recording will undoubtedly on many Best of 2019 lists.

I received a review copy from a publicist. This review originally appeared in the July-August 2019 Jazz & Blues Report (Issue 385).  Here is Chick Corea and the Spanish Heart Band at the 2019 North Sea Jazz Festival.

Marquis Hill The Way We Play

Marquis Hill
The Way We Play
Concord Jazz

This is first Concord Jazz release for the winner of the 2014 Thelonious Monk Institute Trumpet Competition, and the recording contract was one of the prizes. With his Blacktet, that then included alto saxophonist Christopher McBride, vibraphonist Justin Thomas, drummer Makaya McCraven, and bassist Joshua Ramos. This writer just saw Hill and the Blacktet at the Kennedy Center and only Hill's long-time collaborator remained, but the sleek sound of his group, with its incorporation of hip hop rhythms was very much akin to this marvelous recording.

On this recording, Hill also incorporates a bit of poetry as on previous album (although that was not present in his superb live performance), and the music here is comprised on his own reworking of a number of standards. As on his prior recordings, the brief opening track (The Chicago Bulls opening theme) has the group introduced by vocalist Meagan McNeal, before they launch into the title track, backing some hiphop poetry commentary by poet Harold Green III that segues into a very appealing rendition of Gigi Gryce's "Minority," with the leader's own trumpet, full of controlled, smoldering intensity, as well as Thomas's scintillating vibes, and the rhythm section's very distinct feel (McCraven is central here). Hill's trumpet on Horace Silver's "Moon Rays" certainly justifies comparisons made of him to Clifford Brown (with dashes of Woody Shaw and Freddie Hubbard), while followed by McBride, himself a distinctive young voice, to shine.

On this recording, Washington DC vocalist Christine Dashiell sings "My Foolish Heart" with the rhythm trio adding its own flavor with Thomas's shimmering vibes before the horns enter on this imaginative, exquisite vocal performance with a concise short, skittering muted trumpet break. A beautiful "Polka Dots and Moonbeams," is taken unaccompanied until the closing bar is followed by the Afro-Cuban take on Donald Byrd's "Fly Little Bird Fly," which here also incorporates Green's poetry. Herbie Hancock's "Maiden Voyage," which live was a feature for the rhythm section, here has the clean distinctive horn lines taken at a relaxed pace and enhanced along with Dashiell's tuneful vocalizing, followed by an imaginative "Straight No Chaser," that opens with some gritty saxophone, followed by the leader's own incisive, fiery playing.

The album closes with the Charlie Chaplin ballad "Smile" that opens as a duet with Hill's muted trumpet McCraven (using his hands) before Ramos provides an anchor before getting the spotlight with vibes and sax joining for the closing passages. Hill has updated the jazz ensemble in a manner that one evokes the Clifford Brown-Max Roach Quintet while incorporating the hip-hop laced grooves of today. "The Way We Play" is an auspicious recording full of the distinctive sound of Marquis Hill and the Blacktet.

I received my review copy form Concord Jazz. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). Here is Marquis Hill at the 2016 Chicago Jazz Festival.

Curtis Stigers With The Danish Radio Big Band
One More For the Road
Concord Jazz

Singer-Songwriter-Saxophonist Curtis Stigers newest album is inspired by the Frank Sinatra's legendary performances at the Sands Hotel in Las Vegas backed by the Count Basie Orchestra. 

Backed by The Danish Radio Big Band, he is heard performing at the band’s headquarters, the acoustic marvel that is the DR Koncerthuset in Copenhagen. The liner notes state that band plays "vibrant takes based on the original Nelson Riddle and Billy May arrangements…" which may refer to the arrangements of Sinatra's original recordings of songs heard here since Quincy Jones arranged and conducted the Sinatra-Basie collaborations.

This is not an effort to replicate the original performance (Only 8 of the 10 numbers are from the recording from the Sands) and Stigers suggests Old Blue Eyes as opposed to imitating him with his vocals. This is an enjoyable recording starting with "Come Fly With Me," through "You Make Me Feel So Young," "My Kind of Town," "Fly Me To The Moon," and the "The Lady Is a Tramp" before closing with "One For My Baby (and One More For the Road)," which like the Sinatra recording with Basie, is with essentially piano accompaniment. The Danish Radio Big Band is terrific throughout and Stigers engaging vocals make this somewhat short (34 minutes) a listening delight.

I received my review copy from Concord Records. This review originally appeared in the January-February 2017 Jazz & Blues Report (Issue 370) jazz-blues.com. Here is a trailer for this recording.