May 31, 2009 · 1 commentTags: chick corea covers
March 17, 2009 · 0 commentsTags: chick corea covers
The Chick Corea-penned "Waltz for Bill Evans" is presented beautifully. A showcase for McLaughlin's mastery of guitar dynamics, it is also the album's most jazz-based performance, given its lush chords, rolling arpeggios, harmonics and tasteful runs that clearly come from the jazz idiom. McLaughlin's phenomenal timekeeping creates the patient textures that make up the fabric of the song. Short of what would become McLaughlin's inimitable playing style, there is nothing here that would indicate any connection to jazz-rock fusion. McLaughlin has played plenty of such tunes, actually. But for some reason they tend to be overlooked by detractors because of his more dramatic music. My Goal's Beyond is an album that all guitarists should hear.
March 12, 2009 · 0 commentsTags: chick corea covers
Arriale approaches Chick Corea's "Tones for Joan's Bones" with the same zest as its composer, while not sounding particularly like him. She begins reflectively, with gratifying commentary by both Anderson and Davis, and only a few more vigorous piano chords hint at what is to come. When Arriale accelerates the tempo, the trio takes off in lock step. The pianist's phrases ring out with much emotion and urgency, and her technically gifted attack can only be described as controlled spontaneity. Anderson follows with a lyrical solo played with a pulsating tone. Davis's concise drum spot exhibits his refined methodology. The swirling energy of the out chorus, after Arriale's theme restatement, unfortunately evolves into a fadeout. This performance overall is closer in spirit and execution to Bill Evans than to Chick Corea, but exudes the fresh inventiveness that Arriale brings to all her efforts.
September 29, 2008 · 0 commentsTags: chick corea covers
Getz glides through the melody with his sultry tone, but hardens it considerably for some guttural outbursts, his emotional reading even eliciting an uncharacteristic flub or squeak that might have prompted another take if this one was not so outstanding. His solo offers a wonderful panorama of enticing thematic embellishments and urgent, undulating runs, all somewhat remindful of his playing on the 1961 Focus album. Corea's accompaniment is forceful yet sensitive, and Tate's crisp accents are both polished and tasteful. The pianist's improv is played with a ringing sound, and impresses with its harmonically advanced voicings and fresh rhythmic nuances. Getz storms back in for a final heated say before once again endearingly presenting the theme, augmented by some additional passionate asides. His tenor winds down on a burnished, drawn-out lower-register note, to which Corea responds in kind with a tender punctuation of his own.
September 16, 2008 · 0 commentsTags: chick corea covers
The idea to do a medley of Rodrigo's "Concierto de Aranjuez" and Chick Corea's "Spain" was one that fascinated me. Bertoncini demonstrates an intuitive feel for the inherent sensibilities of these disparate yet similarly inspired works. The string ensemble feels very comfortable in the classical mode and Bertoncini seems equally at home in this sensitive but deliberate setting, where he plays in an accomplished classical Spanish guitar motif. When the song switches abruptly to the "Spain" portion of the medley, Bertoncini and David Finck lead the way for the other strings punctuated by a rousing pizzicato bass solo that is free to be adventurous, especially in its aggressive tone, and pushes the pulse of the tune. Bertoncini comps with soft chords behind Finck's plucky bass until he starts his own solo, which he plays with a lightness and delicacy that is draped in the silky finery of his approach. The strings demonstrate their own unified voice in a tension-building arco chorus that just doesn't cut it for me and yields to an inappropriately sweet violin solo before Bertoncini returns it to the Corea melody line and then back again to the Rodrigo finale, tying the two melodies together for one last time. Clearly an ambitious undertaking that despite its shortcomings makes clear that both Bertoncini and Finck are adept enough to straddle the worlds of classical and jazz comfortably.
June 02, 2008 · 0 commentsTags: chick corea covers
March 16, 2008 · 0 commentsTags: chick corea covers
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