In 1985, Chick Corea formed a new fusion group, the Elektric Band, which eventually featured bassist John Patitucci, guitarist Frank Gambale, saxophonist Eric Marienthal, and drummer Dave Weckl. To balance out his music, a few years later he formed his Akoustic Trio with Patitucci and Weckl. When Patitucci went out on his own in the early '90s, the personnel changed, but Corea continued leading stimulating groups (including a quartet with Patitucci and Bob Berg). During 1996-1997, Corea toured with an all-star quintet (including Kenny Garrett and Wallace Roney) that played modern versions of Bud Powell and Thelonious Monk compositions. He remains an important force in modern jazz, and every phase of his development has been well-documented on records.
Age 26 at the time, and on the brink of gaining major recognition in the jazz world, pianist Chick Corea is featured with a very strong trio that also includes bassist Miroslav Vitous and drummer Roy Haynes. The music includes 11 of Corea's originals, including "Matrix," "Windows," and "Samba Yantra," Thelonious Monk's "Pannonica" and the standard "My One and Only Love" and is essentially advanced hard bop with an open-minded attitude toward free jazz. Listen to how part of "Steps-What Was" has hints of Corea's future composition "Spain."
Adderly worked with psychedelic cosmonaut David Axelrod among others and the religious themes which borrow from the Bible to the Bhagavad Gita and Buddhism make an interesting backdrop to the blues jazz rock fusion showcased on this double album. i've come back to this album more than a few times only to pick up on something new on the way. it's a fun idea to put cool religious/philosophical concepts over swinging seventies soul jazz fusion. not that the sermons are long and dominate the record - they don't . they usually just open a new set and leave you to marvel at some profound idea while the musicians do their thing after that! Somewhat similar or comparable to Miles' "Bitch's Brew" album, though perhaps less dark.
From the time of his first Blue Note recording in 1964 to his final session for the label in 1967, Sam Rivers made stunning progress as an avant-garde innovator. Starting with an inside/outside hard bop foundation, Rivers quickly took his music as far out as he could while maintaining a recognizable structure; his work fearlessly explored wildly dissonant harmonies and atonality, dense group interaction, cerebral rumination, and passionately intense, free-leaning solos.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).