Chick Corea Elektric Band - 2023 "The Future Is Now"

Founded in 1986, The Chick Corea Elektric Band has long held a high standard, with Eric Marienthal on saxophones, Frank Gambale on guitar, John Patitucci on electric bass, and Dave Weckl on drums. It’s the ensemble with whom brilliant keyboardist, Chick Corea, (pioneer of the genre since the creation of the band Return to Forever in 1972) has been able to experiment with writing jazz fusion the most – both in its grooves, and its sonic textures. After changing the group’s makeup several times and reforming the initial group around the 2000s (see To the Stars released in 2004), Corea led this all-star lineup for his last major “electric” tours, between 2016 and 2018 (before his death in February 2021 from cancer). This album The Future Is Now gives us the opportunity to hear unreleased excerpts from his final tour.

Featuring long and epic performances of some of Corea’s biggest hits, while leaving plenty of room for individual improvisation, the Chick Corea Elektric Band appears here at its best and most seductive. Their organic cohesion, resulting from their collective arrangements that are as sophisticated as they are effective, is balanced with luxurious instrumental virtuosity constantly going beyond the framework of the original songs. The group offers two long hours of consistently lyrical and accessible music, released here for the first time ever.

Led by the legendary pianist and composer Chick Corea - 27-time Grammy® winner and National Endowment for the Arts Jazz Master - The Elektric Band stormed onto the jazz scene in the mid-1980s, making an immediate and lasting impact on the genre. With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz.

Featuring a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. Their collective musicianship was on full display on each album, as they seamlessly blended complex compositions with captivating improvisations.

After releasing five legendary albums in the span of six years, Corea, always interested in expanding the scope of his work, devoted himself to a myriad of other musical projects.

Compiled by Corea before his passing in February of 2021, this incredible and previously unreleased album of live recordings with the reunited original Elektric Band, was captured during tour stops in 2016 and 2017.

Produced by Corea with original Elektric Band recording engineer Bernie Kirsh, and mastered by Bernie Grundman, this album features in-depth liner notes from Corea, and all of the Elektric Band members. It is a fitting closing chapter, a must-have for any fan of this dynamic and game-changing group.

Featuring liner notes from each individual band member, and descriptions of each track from Chick himself.

This is the definitive live Elektric Band record Chick put together for the world to hear -- featuring tracks spanning their decades-long discography and serving as a celebration, and a fitting closing chapter, to the band's incredible legacy.

Tracks Listing:

CD 1

1. Charged Particles (7:48)

2. Trance Dance (15:41)

3. Cta (16:02)

4. Jocelyn - The Commander (7:59)

5. Beneath the Mask (6:15)

CD 2

1. Ished (11:34)

2. Alan Corday (16:06)

3. Johnny's Landing (18:37)

4. Got a Match (18:47)

Total Time 118:49

Line-up / Musicians

- Chick Corea / keyboards

- John Patitucci / bass

- Frank Gambale / guitar

- Eric Marienthal / saxophone

- Dave Weckl / drums

Collin Walcott - 1976 [2008] "Cloud Dance"

Cloud Dance is the debut album by American sitarist and composer Collin Walcott, released in 1975 on the ECM label. For this record Walcott was joined by the group Gateway consisting of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in March 1975, as was the group's debut Gateway. Abercrombie had worked with Walcott the previous year on David Liebman's Drum Ode (ECM 1046), and they collaborated again on Walcott's 1977 album Grazing Dreams.

The authors of the Penguin Guide to Jazz Recordings awarded the album 4 stars, praising its "freshness and originality," and stating: "'Prancing', for just tablas and double bass, is one of the most exciting performances in the ECM catalogue and convincing evidence of Walcott's desire to extend the idiom of the Garrison/Jones rhythm section... the album as a whole can quite reasonably be heard as a suite of related pieces that dance towards their thematic source in the closing title-piece."[7]

Writing for Vinyl Vault, Geoff Anderson commented: "The musicians were all top-flight and leaders in their own right. They came together and mixed the eastern and western sounds to create something like acoustic jazz-fusion with an Indian twist. Abercrombie's ethereal electric guitar, floating above and around Walcott's sitar is particularly effective in creating a dreamy, cloud-like ambience on several tunes. On the cut 'Prancing,' Walcott on tabla and Holland on bass put the 'dance' in 'Cloud Dance' with a particularly energetic and, yes, danceable performance."[8]

In an article at Between Sound and Space, Tyran Grillo called the recording "one of [Walcott's] most powerful albums ever to grace ECM's vinyl... grooves", and wrote: "The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don't so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation."

Collin Walcott defined a corner of improvisation all his own with his unique approach to the sitar and tabla. When the newly-formed Gateway trio of John Abercrombie, Dave Holland and Jack DeJohnette joined him for “Cloud Dance” the results were magical.

The late, great Collin Walcott made his proper ECM debut on Cloud Dance (after an appearance three years earlier on Trios/Solos), where he was joined by the Gateway trinity—John Abercrombie, Dave Holland, and Jack DeJohnette—for one of his most powerful albums ever to grace ECM’s vinyl (and later, digital, thanks to a vital Touchstone series reissue) grooves. The marrow-warming twang of Walcott’s sitar sets up the opening “Margueritte” to be a long raga, when suddenly Abercrombie’s electric appears in kind, beckoning a chill entourage of bass and drums and touching off a pair of graceful solos from Abercrombie and Holland. The album’s remainder is fleshed out by a variety of intimate configurations. “Night Glider” and “Vadana” both feature guitar, bass, and sitar, the latter two instruments feeding beautifully off one another, the guitar weaving in and out where it may. The two duets between Walcott and Holland, however, are really where this album gilds its worth. Our frontman lays out plush carpets of tabla and sitar on “Prancing” and “Eastern Song,” respectively, over which Holland takes stock of every variation of pattern and thread count. The second of these pieces, while the briefest of the album, is also one of its most mesmerizing. Contrary to what the titles might have us believe, these are all genuinely realized pieces where the word “exotic” is but another puff of smoke in the breeze. And so, the heavy tabla and shawm-like guitar of “Scimitar” describes not the weapon wielded in the hands of countless white actors in uninformed filmic productions, but rather an exploration of the object on its own terms, tracing forms and histories, battles and silences alike, with due abandon. So, too, with the final and title cut that brings DeJohnette back into the mix for an animated closer.

The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don’t so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation.

Track listing:

All compositions by Collin Walcott except as indicated.

"Margueritte" - 8:32

"Prancing" - 3:24

"Night Glider" - 6:40

"Scimitar" (John Abercrombie, Walcott) - 2:46

"Vadana" - 7:00

"Eastern Song" - 2:34

"Padma" (Abercrombie, Walcott) - 2:47

"Cloud Dance" - 5:47

Personnel:

Collin Walcott — sitar, tabla

John Abercrombie — guitar

Dave Holland — bass

Jack DeJohnette — drums

Larry Coryell - 1976 [2019] "Basics"

This album of leftovers from Vanguard sessions is better than it appears but far from essential. The personnel listing is confusing (and inexcusably leaves off the name of tenor-saxophonist Jim Pepper). The music, which ranges from basic blues to early fusion and only clocks in at around 31 minutes, also features organist Mike Mandel and several rhythm sections. Fans of guitarist Larry Coryell (a fusion pioneer) may find some moments of interest here.

This album was released in 1975 but is some leftover tracks from Coryell's 1968-1969 Vanguard recording sessions. It is only 32 minutes and the sound quality is pretty good.

The music here is typical of Coryell during this time period, mixing blues, jazz and rock with even a little Southern Rock flavor thrown in. I think it is Coryell at his best.

I think his best period is his early period until 1974 when he moved on to more jazz fusion typical of the mid 1970s (Mahavishnu Orchestra, Return to Forever, etc.). At the end of the 1970s he started experimenting in all kinds of music. 

I guess that the title imposed to this album means its keeping within the most basic alternation between opening main riff and subsequent improvisation. At least, that seems to be the dynamics underpinning this record, and to be honest, it's fine for me, from the moment that it's all good: the group sounds as tight as you have the right to expect from the tremendous musical talents involved, and the improvisation itself, even going through many ups and downs in melodic richness and instrumental dexterity, never indulges in a dull passage.

As for the customary account of influences, I must say that in "Half A Heart", besides the obvious latin flavour, there's some undeniable hints of Peter Green in the electric guitar phrasing and the vocals coming in with a timing very resemblant of "Black Magic Woman".

Originally the tracks on this album were recorded in 68 & 69, and intended for release, but didn't see the light of day until 71 or even 76 (depending on the country of release), but several tracks were released in different versions in LC's late-60's/early 70's albums. They were repackaged in a wild psychedelic package at the aforementioned dates, but by that time LC's music was vastly different so some of these songs might seem quite dated, even then.

There are some straight (Slow) blues tracks, some late 60's Yarbirds-style rockers (Consciousness, Friday Night), other more Cream-like psych-rock (Half A Heart, Sex, Jam With Albert) and slightly jazzy rock (Tyrone & Organ Blues)

Difficult to call this "album" essential for progheads, but while vastly influenced by his then-heroes, Basics might just give you a clue how a jazz giant navigated from his rock roots to jazz rock, then pure jazz., but it won't give the full blown impact of LC's best rocking albums. 

Not a prog monument, but, even so, a very enjoyable record.

Track listing:

1 Call to the Higher Consciousness 5:17

2 Slow Blues 4:22

3 Friday Night 2:22

4 Half a Heart 3:30

5 Sex 4:32

6 Tyrone 3:00

7 The Jam With Albert 2:55

8 Organ Blues 5:19

Personnel:

Larry Coryell — vocals, guitar, keyboards, synthesizer

Mike Mandel — organ, keyboards

Chuck Rainey — electric bass

Ron Carter — electric bass

Steve Haas — drums

Bernard "Pretty" Purdie — drums

Ray Mantilla — percussion

Jack DeJohnette - 1980 [2008] "Special Edition"

Special Edition is an album by drummer and pianist Jack DeJohnette featuring tenor saxophonist David Murray, alto saxophonist Arthur Blythe and bassist and cellist Slip Warren recorded in 1979 released on the ECM label in 1980. The AllMusic review by Scott Yanow states, "The first (and mightiest) of Jack DeJohnette's Special Edition ensembles offered a sound that in many ways was revolutionary in modern contemporary and creative improvised music circa 1980... This CD deserves a definitive five-star rating for the lofty place it commands in the evolution of jazz headed toward new heights and horizons". A JazzTimes reviewer selected it in 2012 as one of DeJohnette's key albums.

The first (and mightiest) of Jack DeJohnette's Special Edition ensembles offered a sound that in many ways was revolutionary in modern contemporary and creative improvised music circa 1980. With firebrand alto saxophonist Arthur Blythe and enfant terrible tenor saxophonist and bass clarinetist David Murray bobbing, weaving, and counterpunching, DeJohnette and bassist Peter Warren could have easily stood back in deference to these heavyweight pugilists. The result was a vehicle by which DeJohnette could power the two with his two-fisted drumming and play piano or melodica when the mood suited him, while Warren could simply establish a foundation for all to launch their witty, extroverted, oftentimes boisterous ideas into the stratosphere. 

The recording starts off very strong with two definitive tracks. "One for Eric," perfectly rendered in the spirit of Eric Dolphy, has Blythe and Murray's bass clarinet taking off, flying, and then soaring. Their contrasting tart and sweet sounds merge beautifully, and not without a smidgen of humor. "Zoot Suite" sports a great 4/4 bass groove with quirky accents, while Blythe's alto and Murray's tenor repeat a head-nodding line, then Murray's sax chortles like a cow, then they float over DeJohnette's melodica, and on the repeat line the drummer powers the band to the finish line. Both of these tracks are as complete, fully realized, and utterly unique as any in modern jazz, and deserve standards status. But John Coltrane's visage is not far behind on the peaceful "Central Park West," with DeJohnette again on the underlying melodica, while "India" has DeJohnette leading out on a playful Native and Eastern Indian motif via his piano playing. 

Blythe and Murray literally weep on the alto and bass clarinet. The finale, "Journey to the Twin Planet," is a free-based improvisation, with Blythe's squawky alto and Murray's long-toned tenor with overblown harmonics held in mezzo piano range, and DeJohnette's melodica evincing an electronic stance. A craggy, wild, and free bop idea provides a bridge (or maybe wormhole) to a calmer, supposed other planet. While there are no extra tracks on this recording -- and they would be welcome -- this first version of Special Edition stands alone as one of the most important and greatest assemblages of jazz musicians. This LP deserves a definitive five-star rating for the lofty place it commands in the evolution of jazz toward new heights and horizons.

Track listing:

All compositions by Jack DeJohnette except as indicated

"One for Eric" - 9:52

"Zoot Suite" - 11:29

"Central Park West" (John Coltrane) - 3:16

"India" (Coltrane) - 6:02

"Journey to the Twin Planet" - 8:42

Recorded at Generation Sound Studios, New York in March, 1979

Personnel:

Jack DeJohnette – drums, piano, melodica

David Murray – tenor saxophone, bass clarinet

Arthur Blythe – alto saxophone

Peter "Slip" Warren – bass, cello

John Mclaughlin - 2000 Live in Paris - "The Heart Of Things"

The Heart of Things: Live in Paris is a live album by John McLaughlin, released in 2000 through the record label PolyGram. The album reached number 25 on Billboard's Top Jazz Albums chart.

John McLaughlin's 1997 The Heart of Things studio album and subsequent tour saw him returning to the sort of electric band format that most listeners associated with his days in the Mahavishnu Orchestra of the 1970s. This live album features the same group, with the exception of the keyboard player, as Otmaro Ruiz replaces Jim Beard, and three of the selections are drawn from the studio release. "Seven Sisters," which is actually shorter than the studio version, makes for a fairly mellow opening, while the new "Mother Tongue" is full of extremely rapid solos by McLaughlin, Ruiz, bass player Matthew Garrison, and Gary Thomas, who switches saxophones during the course of the nearly 13-minute tune. "Fallen Angels," another song from the studio release, is a slow, contemplative work, while "Divide" makes use of funk rhythms to support some noisy guitar work from McLaughlin and a solo full of electronic burps from Ruiz. 

The album's showpiece song is "Tony," a stately tribute to the late drummer Tony Williams that, appropriately enough gives drummer Dennis Chambers his chance to shine. One might complain that "Acid Jazz," the fiery closer, has nothing to do with the musical style that goes by that name, but McLaughlin obviously means to suggest an evolution of 1960s acid rock by the title, and he deliberately evokes Jimi Hendrix in playing that brings him as close to the Mahavishnu Orchestra sound as he has been in many years. It makes a powerful ending to an album that should be welcomed by long-time fans. (As if to emphasize that this was only one of his interests, however, McLaughlin simultaneously released both this disc and The Believer, an album with his Indian unit Remember Shakti, on October 3, 2000.)

On the self-titled 1997 studio record from his electric fusion bandThe Heart of Things, John McLaughlin's songwriting ranged from pensive ebb to wild clamor, played with melody and passion by the five piece band, while McLaughlin assumed the background role of a mentor. Some McLaughlin fans maligned the music as sterile and dry, lacking the spark found in his classic electric work like Mahavishnu Orchestra. However, The Heart of Things - Live in Paris shows this band with considerable creativity and interaction as they reinterpret some of the studio record songs and other material on stage. The live lineup includes McLaughlin on guitar, Gary Thomas on sax, Dennis Chambers on drums, Matthew Garrison on bass, Otmaro Ruiz replacing Jim Beard on keyboards, and Victor Williams on percussion.

McLaughlin's songwriting shifts through smooth odd meter grooves with angular melodic lines, not unlike the basic framework of early Mahavishnu, but the smoother instrumentation and execution of The Heart of Things band gives the music a wider dynamic range and a seasoned maturity. Guitar and sax play most of the melody lines in unison, further reinforcing the group approach. In "Tony," a moving and musically ideal tribute to Tony Williams, Chambers perfectly and appropriately executes the drum solo. Dynamics range skillfully in "Seven Sisters," despite a truncated feel at under 9 minutes. "Acid Jazz" triumphantly closes the live set and the album, surging from a quiet opening to a raucous guitar and drum duet.

Matthew Garrison's snappy yet supportive bass work impresses, perhaps highlighted by the strong low sound of the mix. Chambers as always is a master on the drums, from barely audible cymbal work to pounding double bass, and William's percussion thankfully does not drown out Chambers' subtleties. Ruiz's minimalist solo in "The Divide" grows tiresome quickly, but McLaughlin's playing shows supreme maturity and restraint as he cedes center stage to the younger players. But when he does take the spotlight, like the frantic guitar and drum duet in "Acid Jazz," he shows that the fire of his previous electric days remains.

Track listing:

All tracks composed by John McLaughlin; except where indicated

"Seven Sisters" – 8:30

"Mother Tongues" – 12:57

"Fallen Angels" – 10:33

"Divide" (Gary Thomas) – 16:41

"Tony" – 13:56

"Acid Jazz" – 14:53

Personnel:

Dennis Chambers – drums

Matthew Garrison – bass guitar

John McLaughlin – electric guitar

Otmaro Ruíz – keyboards

Gary Thomas – soprano sax, tenor sax

Victor Williams – percussion

Various Artists - 1996 "Funky Guitar Beats"

Funky Guitar Beats contains 10 funky soul-jazz tracks culled from the Prestige vaults. All of the tracks date from the late '60s and early '70s -- not exactly a time that's held in great regard by jazz purists, but acid jazz fans and younger listeners find the elastic, funky grooves quite enticing. And that's the key to enjoying Funky Guitar Beats -- if you like the critically panned "pop" efforts from the late '60s or the way they're sampled on dance records, this is certainly worth your time.

This crummy-looking compilation has some rare, killer soul-jazz from the late 1960's to early 1970's from legends like Melvin Sparks, George Benson, Funk Inc., Rusty Bryant and Jimmy Ponder. Two tracks have never been on CD or digital.

Track Listing:

01. Rusty Bryant - Fire Eater [1971] (9:30)

02. Charles Kynard - Odds On [1970] (7:13)

03. Johnny Hammond - Dirty Apple [1967] (5:00)

04. Melvin Sparks - Thank You [1970] (8:08)

05. Billy Butler - Sweet Georgia Brown [1970] (4:45)

06. Ivan 'Boogaloo' Joe Jones - Someday We'll Be Together [1970] (6:45)

07. George Benson - Shadow Dancers [1964] (4:45)

08. Willis 'Gator' Jackson - Swivel Hips [1968] (6:55)*

09. Funk Inc. - The Thrill Is Gone [1971] (6:24)

10, Jimmy Ponder - Billie Jean [1983] (8:48)*

Kenny Burrell & John Coltrane - 1958 [1987] "Kenny Burrell & John Coltrane"

Kenny Burrell & John Coltrane is a studio album of music performed by jazz musicians Kenny Burrell and John Coltrane. It was released on the New Jazz label in April 1963. The recording was made on March 7, 1958. It was reissued in 1967 on New Jazz's parent label Prestige, with a different cover and retitled The Kenny Burrell Quintet With John Coltrane.

For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagan compositions, another two lifted from the Great American Songbook, and a Kenny Burrell original.

 Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. While not one of Coltrane's most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song's conclusion. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reins to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally.

 Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas. While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out.

 What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of where one might find it. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here.

Track listing:

"Freight Trane" (Tommy Flanagan) – 7:18

"I Never Knew" (Ted Fio Rito, Gus Kahn) – 7:04

"Lyresto" (Kenny Burrell) – 5:41

"Why Was I Born?" (Oscar Hammerstein II, Jerome Kern) – 3:12

"Big Paul" (Tommy Flanagan) – 14:05

Personnel:

Kenny Burrell – guitar

John Coltrane – tenor saxophone

Tommy Flanagan – piano

Paul Chambers – bass

Jimmy Cobb – drums