Recording live at New York's Blue Note club, Chick Corea unveiled another new group, the challenging Origin acoustic sextet, on this CD, winnowing down some 12 sets into an hour-plus package. With Steve Davis (trombone) and Bob Sheppard and Steve Wilson (flutes and reeds) up front, Corea had a flexible horn choir to write for, and he uses mellow, urbane voicings that recall some of the Herbie Hancock Sextet's early work in the late '60s. The interplay that Avishai Cohen (bass), Adam Cruz (drums), and Corea have with the horns, though, is anything but mellow, and frequently they strike combative sparks against each other. Some of the selections, including "Double Image" (no relation to Joe Zawinul's electric jazz classic) and "Dreamless," have Latin-ish grooves – which are no strangers to Corea's Spanish heart – in spots.
2006 seems to be a significant year for jazz's elder states persons. Pianist Andrew Hill has seen a year full of recordings: new music, reissues and previously unreleased material, as well as an outstanding tribute by guitarist Nels Cline. Chick Corea, who's a few years younger than Hill, has released a new record and toured with trios focusing on his back catalog. Super Trio (Stretch, 2006) documented a tour where the pianist was clearly in control of the arrangements; however, Live in Molde is an entirely different affair.
To the Stars is an album by American jazz fusion group the Chick Corea Elektric Band, released on August 24, 2004 by Stretch Records. Jazz musician Chick Corea, a longtime member of the Church of Scientology, was inspired by Scientology founder L. Ron Hubbard's science fiction 1954 novel To the Stars. Hubbard's book tells the story of an interstellar crew which experiences the effects of time dilation due to traveling at near light speed. A few days experienced by the ship's crew could amount to hundreds of years for their friends and family back on Earth.
This odd anthology from Atlantic reissues selections from trio dates recorded during the 1960s by Keith Jarrett, Chick Corea, and Herbie Hancock, along with otherwise unobtainable early recordings by McCoy Tyner. Jarrett is joined by Charlie Haden and Paul Motian on two originals, both of which show the obvious influence of Bill Evans. Chick Corea is accompanied by Steve Swallow (on acoustic bass rather than the electric bass he switched to a short time later) and Joe Chambers. The pianist's "Tones for Joan's Bones" is swinging, but not nearly as driving as his works in the decades to follow, while his reworking of the show tune "This Is New" features Joe Farrell and Woody Shaw; both tracks also show the influence of Bill Evans.
Not all of the installments in the Verve Jazz Masters series contain material originally issued on Verve. Verve Jazz Masters 3, for example, consists of 14 examples drawn from seven Chick Corea LPs released on the Polydor label during the years 1972-1978. Six of these come from Corea's Return to Forever period. The backbone of this collection (tracks one, seven, ten and fourteen) are selections from the highly acclaimed album Light as a Feather (1972) and there are excerpts from Hymn of the Seventh Galaxy (1973) and No Mystery (1975). The other eight titles are traceable to Corea's theatrically costumed and somewhat heavy-handed production albums The Leprechaun (1975), My Spanish Heart (1976), Friends (1978) and The Mad Hatter (1978)…
Aside from being legendary multiple Grammy-winning jazzmen on very different instruments, Chick Corea (piano) and Béla Fleck (the world's premier jazz banjo master) have a shared love for collaboration and the infinite improvisational possibilities their chosen idiom offers them. In some ways, the two have been preparing for this masterful, musical dialogue-driven masterpiece for over ten years. Fleck, who has always credited Corea as being one of his chief influences, invited the pianist to play on the Flecktones' Tales from the Acoustic Planet, as well as the group's live CD Live Art. Some years later, in 2001, Corea found a spot for Fleck on his Rendezvous in New York DVD. Later, they toured as a duo, making the unique recording of The Enchantment an inevitable artistic extension of their on-stage chemistry.