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Jazz Fusion & Jazzrock - Erschienen am 1. Januar 1972 | Polydor

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung - Hi-Res Audio
Always tied to a confusing time line, the first released recording from the original configuration of Return to Forever was actually their second session. An initial studio date from the ECM label done in February of 1972 wasn't issued until after the band had changed in 1975. The Polydor/Verve recording from October of 1972 is indeed this 1973 release, featuring the same band with Chick Corea, Stanley Clarke, Airto Moreira, Joe Farrell, and Flora Purim. There's no need splitting hairs, as both are five-star albums, showcasing many of the keyboardist's long enduring, immediately recognizable, and highly melodic compositions. Farrell's happy flute, Purim's in-the-clouds wordless vocals, the electrifying percussion of Airto, and Clarke's deft and loping electric bass guitar lines are all wrapped in a stew of Brazilian samba and Corea's Fender Rhodes electric piano, certainly setting a tone and the highest bar for the music of peer groups to follow. "Captain Marvel" -- the seed for the band sans Farrell and Purim that was expanded into a full concept album with Stan Getz -- is here as a steamy fusion samba with Corea dancing on the keys. By now the beautiful "500 Miles High" has become Purim's signature song with Neville Potter's lyrics and Corea's stabbing chords, and unfortunately became a hippie drug anthem. Perhaps Corea's definitive song of all time, and covered ad infinitum by professional and school bands, "Spain" retains the quirky melody, handclapped interlude, up-and-down dynamics, exciting jam section, and variation in time, tempo, and colorations that always command interest despite a running time of near ten minutes. "You're Everything" is a romantic classic that surely has been heard at many weddings, with another lyric by Potter sung in heaven by Purim, while the title track is Purim's lyric in a looser musical framework with Clarke's chart coalescing with Corea and Farrell's pungent flute work. As much as the others have become icons, the extraordinary sound of Farrell on this date should never be trivialized or underestimated. The final track, "Children's Song," was a springboard for several of Corea's full-length album projects, and is heard here for the first time via a trio setting in a slow, birthlike motif. The expanded version of this recording includes many alternate takes of four of these selections, but also includes "Matrix," which was not on any RTF albums, and there are four versions of "What Game Shall We Play Today?," which was only available on the ECM release. From a historical perspective, this is the most important effort of Corea's career, quite different than his prior previous progressive or improvising efforts, and the pivotal beginning of his career as the most popular contemporary jazz keyboardist in history. © Michael G. Nastos /TiVo
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Jazz - Erschienen am 19. März 2012 | Concord Jazz

Auszeichnungen 4 étoiles Classica - The Absolute Sound: Best New Releases Of The Year
Hot House is the seventh recording by the duo of pianist Chick Corea and vibraphonist Gary Burton. This time out, Corea and Burton picked pieces by some of their favorite composers -- mostly from the jazz world, of course -- yet chose compositions that were less than obvious. A shining example is "Can't We Be Friends," an obscure standard closely associated with Art Tatum. Though it's a pop song, Tatum completely reinvented it in his image. In Corea's arrangement, the duo walks a balanced line between classic American pop, jazz modernism, and the legendary pianist's swinging take on stride. The reading of "Eleanor Rigby" commences with an elliptical piano intro; it's clean, graceful, and gives way to Burton's statement of the melody before the pair moves into a more uptempo engagement with the tune's harmonics. Tadd Dameron's "Hot House" is a conscious nod to the flurried exchanges between Charlie Parker and Dizzy Gillespie, and is nearly pointillistic in its focus; there are gorgeous arpeggios and striking solos -- particularly Burton's. The inclusion of Thelonious Monk's "Light Blue" is wonderful. One of the most under-performed of all Monk's compositions, its solemn yet tender emotive tone and brief minor lyric statements are extrapolated upon by Corea to add another melodic statement onto the second chorus. Other standouts include a gracious version of Bill Evans' "Time Remembered," a haunting rendition of Antonio Carlos Jobim's "Chega de Saudade," and a lengthy, massively improvisatory version of Kurt Weill's "My Ship." The set closer, "Mozart Goes Dancing," is the only original included on the set. Written by Corea, it features the pair in the company of the Harlem String Quartet and reflects Corea's dexterity as a composer who uses rhythmic and lyric interplay to extend the reach of classical harmony toward jazz's realm of immediacy. It also contains a healthy dose of his playful sense of humor. The duo's approach in wedding mainstream and modern jazz (often inside the same tune) will appeal mostly to fans of the duo's previous six recordings. That said, Hot House is a further example of the nearly symbiotic language they've developed over the past 40 years, and is a stellar example of masterful dialogic articulation and execution. This is collaboration in its purest and and most elegant form. © Thom Jurek /TiVo
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Jazz - Erschienen am 1. Januar 1996 | Verve

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Jazz - Erschienen am 1. Januar 1972 | ECM

Auszeichnungen Qobuz' Schallplattensammlung
Der Fusion Jazz hat ganze Wagenladungen von bedauerlichen Ergebnissen hervorgebracht, aber zum Glück auch viele Meisterwerke. Wie etwa dieses Album, das am 2. und 3. Februar in New York aufgenommen wurde. Unter dem Titel Return to Forever versammelte der Pianist Chick Corea, der sich vor kurzem von Miles Davis getrennt hatte, den göttlichen E-Bassisten Stanley Clarke, den unterschätzten Flötisten und Saxophonisten Joe Farrell, aber auch ein brasilianisches Paar, die Sängerin Flora Purim und ihren Mann, den Schlagzeuger und Percussionisten Airto Moreira, um sich. Der leicht „brasilianische Touch“ ist übrigens einer der interessanten Aspekte dieses Ensembles, das eine Alternative zur gleichzeitig entstandenen Gruppe um Miles oder dem Mahavishnu Orchestra von John McLaughlin bot, das dem Rock wesentlich näher stand. Corea führte die Band von seinen Keyboards aus und hielt weiterhin an den melodischen Grundlagen seiner Kompositionen fest. Der damals stark verbreitete, allgemeine Mystizismus gewant bei ihm nie die Oberhand. Vor allem erlaubte er auch kein unkontrollierten Notenkaskaden, durch die damals so viele atemberaubende Projekte verschandelt wurden. FarellsSaxophonsolo in Crystal Silence ist umwerfend und das federleichte von Corea steht ihm in nichts nach. Der von seinen Gegnern als Jahrmarktsattraktion bezeichnete Stanley Clarke legt eine verblüffende Nuanciertheit an den Tag und bietet in Sometime Ago - La Fiesta eine seiner beeindruckendsten Solopassagen überhaupt. Bei seinem Erscheinen galt Return to Forever als eines der größten Alben des Fusion Jazz, es fegte alle Klischees vom Tisch. Die Band hatte danach, trotz regelmäßig wechselnder Besetzung, enormen Erfolg (in fünf Jahren folgten sechs Studio-Alben), sicher wegen ihrer „rockigeren“ Formel, durch die sie sich schließlich recht weit von ihrem Anfangsstil entfernte.
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Jazz - Erschienen am 8. Februar 2019 | Blue Note

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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Jazz - Erschienen am 1. April 1984 | ECM

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Jazz - Erschienen am 23. Juni 2014 | Universal Music Group International

Hi-Res Booklet Auszeichnungen Sélection JAZZ NEWS
Bei einem Picasso-Porträt käme nur ein Banause darauf, das Bild mit dem Modell zu vergleichen. Bei Chick Coreas „Portraits“ hätte man gern mal Mäuschen gespielt und einen Blick auf die Freiwilligen erhascht, die sich bei seinen Solokonzerten auf offener Bühne musikalisch „abbilden“ ließen. Corea „zeichnet“ jedenfalls ganz unterschiedliche Typen: verspielte, verträumte, zögerliche, neugierige, selbstbewusste. Zehn improvisierte „Portraits“ von Konzertbesuchern gaben diesem live eingespielten Doppelalbum den Titel. Corea ist kein Keith Jarrett. Er unterhält sein Publikum, spricht mit ihm, lädt es ein zum Mitmachen. Ein Live-Soloalbum von ihm dokumentiert kein einzelnes Konzert, es ist ein Zusammenschnitt aus mehreren Auftritten, ja einer ganzen Tour. Das „Portraits“-Repertoire überschneidet sich beträchtlich mit dem der 1999 ebenfalls live aufgenommenen Soloalben „Standards“ und „Originals“, doch hört man jetzt auch Coreas lockere Moderation durch das Programm. Nonchalant plaudert er übers Soloklavier, die Stücke, deren Urheber – lauter Pianisten, die komponier(t)en und Ensembles leite(te)n. Kaum hat er sich, ohne das Thema offenzulegen, in einen Standard hineinimprovisiert, spielt er Klassiker von Bill Evans, Thelonious Monk, Bud Powell (im Inneren des Flügels) oder Stevie Wonder; der zweite Teil gehört Scriabin-Präludien (Corea: „Die sind wie Jazzsongs“), Bartók-Bagatellen, den beliebten eigenen „Children’s Songs“ und den erwähnten „Portraits“. Er spielt mit den Themen, improvisiert um sie herum und schafft mit dem persönlichen Blick auf seine Helden, Vorbilder, Einflussgeber aus Jazz und Klassik auch ein musikalisches Selbstporträt. © Klostermann, Berthold / www.fonoforum.de
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Jazz - Erschienen am 4. Oktober 1982 | ECM

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Jazz - Erschienen am 26. März 2010 | ECM

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Jazz - Erschienen am 1. August 1971 | ECM

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Jazz - Erschienen am 1. Januar 1978 | Verve

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Jazz - Erschienen am 1. Januar 1992 | Stretch Records

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Jazz - Erschienen am 1. November 1985 | ECM

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Jazz - Erschienen am 1. Januar 2012 | Deutsche Grammophon (DG)

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Jazz - Erschienen am 1. Januar 1998 | GRP

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Jazz - Erschienen am 24. Juni 2013 | Concord Jazz

Booklet Auszeichnungen Qobuz Referenz
Chick Corea may have formed a new band, but still has ghosts from the Return to Forever reunion on his mind. Just check out the cover of The Vigil (named for this group) with its obviously L. Ron-inspired theme and track list ("Galaxy 32 Star 4"?). What year is this? That's not to make light of the music. Corea's international ensemble includes drummer Marcus Gilmore, French bassist Hadrien Feraud, Britain's Tim Garland on reeds and winds, and guitarist Charles Altura. While this is an electric band, it's not just a fusion group. These seven tunes (five are over ten minutes) reflect some of Corea's richest writing and arranging in years. While "Galaxy 32 Star 4" indulges fusion, Gilmore's Latin-tinged kit work and guest Pernell Saturnino's hand drums root this seemingly sprawling jam in the earth. Corea's solo moves toward the edges, but his melodic vamping on Feraud's bumping bass solo and Garland's gorgeous soprano arpeggios break it out of the genre lock. "Royalty," dedicated to mentor and friend Roy Haynes, features acute, crystalline melody lines exchanged between the pianist, Altura, and Garland. Gilmore -- Haynes' grandson -- swings deftly and physically to kick it into overdrive and bring it home. Samba flavors the melody and pace of "Portals to Forever," but Feraud's chunky, angular bass playing propels the rhythm outward, shifting tempi, yet Gilmore and Saturnino counter and keep it rooted in Brazil. When Garland's tenor enters to trade lines with Altura, post-bop enters to bring it to a close. "Pledge for Peace," with Ravi Coltrane guesting on tenor, commences speculatively with a spacy, imaginative frame that pays tribute to John Coltrane's early modal explorations and follows a line of transformation as the band engages modern creative post-bop through the middle before returning it to its Eastern-tinged mode in the extended outro. "Legacy," the album's final cut, is also its best. Garland's full-throated tenor and Altura's angular six-string ride atop popping snare and kick drum and guest Stanley Clarke's ebullient bass playing. Corea's solos engage and complement each player, while remaining the centerpiece. The colors, textures, and expansive rhythmic palette that surround him eventually create a maze-like melody that inserts itself into individual solos and falls away unexpectedly, bringing The Vigil to a close with intense clarity and focus. As a band, the Vigil is exciting as much for its potential as for the multifaceted talent the group members put on display here. © Thom Jurek /TiVo
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Jazz - Erschienen am 1. Januar 2008 | Verve Reissues

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Jazz - Erschienen am 1. Januar 2000 | Concord Records

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Jazz - Erschienen am 1. Januar 1993 | Stretch Records

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Jazz - Erschienen am 1. Januar 1992 | Stretch Records

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Der Interpret

Chick Corea im Magazin
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