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Chick Corea - Trio Music, Live in Europe (1986)

Posted By: Oceandrop
Chick Corea - Trio Music, Live in Europe (1986)

Chick Corea - Trio Music, Live in Europe (1986)
Jazz (Post-Bop) | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 344 MB. & 162 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1986) | Label: ECM | Catalog# 827-769-2 (ECM-1310) | 61:55 min.

Review by Michael G. Nastos ~allmusic
Chick Corea's greatest trio or small ensemble very likely is this one, with bassist Miroslav Vitous and drummer Roy Haynes.Their virtuoso level of musicianship and acute listening skills are translated into stellar recordings over two nights of performances in Willisau and Reutlinger, edited and condensed on this single CD. Where any outtakes are hiding might provide a further revelation, but as it stands, this release is a high-water mark for these brilliant musicians. Corea's strengths lie not only in his witty, effervescent playing, but in his compositions that showcase his mischievous personality. "The Loop" kicks off the set, a spirited waltz chock-full of his impish flourishes. Combining Alexander Scriabin's "Prelude #2" with the original "Mock Up," Corea's solo piano transforms from soft and serene romantic to hooking up with the trio driving fast in modal motifs and his bouncy signature sound, electrified by the brilliant, harmonic infused, soaring bowed bass of Vitous, solo and with the group. It is always a treat to hear the infrequently recorded Vitous in a setting that suits him, especially playing by himself on the improvisation "Transformation" and the free to neo-bop closer "Mirovisions," where Corea's playful and diffuse piano in 4/4 time suggests 3/4 within ethnic, gypsy elements. Two standards "I Hear a Rhapsody" and "Summer Night" get extended, extensive and exhaustive treatments – the former an utterly unique extrapolation, interpretation at its finest, the latter a deeply midnight blue hued modal and straight-ahead excursion in the favored waltz tempo that bears repeat listening over its fourteen-and-a-half minutes. Haynes also gets the solo spotlight on "Hittin' It," a self-explanatory track. Close to perfect, undeniably strong, willful, and musical beyond compare, Trio Music, Live in Europe belongs in your collection, and is simply as good as modern progressive mainstream jazz gets.
Tracklist:
01. The Loop (6:28)
02. I Hear a Rhapsody (6:41)
03. Summer Night/Night and Day (14:24)
04. Prelude No. 2/Mock Up (12:22)
05. Transformation (5:09)
06. Hittin' It (5:24)
07. Mirovisions (11:28)

Chick Corea - Trio Music, Live in Europe (1986)

Personnel:
Chick Corea - piano
Miroslav Vitous - bass
Roy Haynes - drums

By Scott Yanow ~allmusic
Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, Corea has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers. In addition, he has composed several jazz standards, including "Spain," "La Fiesta," and "Windows."

Corea began playing piano when he was four and, early on, Horace Silver and Bud Powell were influences. He picked up important experience playing with the bands of Mongo Santamaria and Willie Bobo (1962-1963), Blue Mitchell (1964-1966), Herbie Mann, and Stan Getz. He made his recording debut as a leader with 1966's Tones for Joan's Bones, and his 1968 trio set (with Miroslav Vitous and Roy Haynes) Now He Sings, Now He Sobs is considered a classic. After a short stint with Sarah Vaughan, Corea joined Miles Davis as Herbie Hancock's gradual replacement, staying with Davis during a very important transitional period (1968-1970). He was persuaded by the trumpeter to start playing electric piano, and was on such significant albums as Filles de Kilimanjaro, In a Silent Way, Bitches Brew, and Miles Davis at the Fillmore. When he left Davis, Corea at first chose to play avant-garde acoustic jazz in Circle, a quartet with Anthony Braxton, Dave Holland, and Barry Altschul. But at the end of 1971, he changed directions again.

Leaving Circle, Corea played briefly with Stan Getz and then formed Return to Forever, which started out as a melodic Brazilian group with Stanley Clarke, Joe Farrell, Airto, and Flora Purim. Within a year, Corea (with Clarke, Bill Connors, and Lenny White) had changed Return to Forever into a pacesetting and high-powered fusion band; Al DiMeola took Connors' place in 1974. While the music was rock-oriented, it still retained the improvisations of jazz, and Corea remained quite recognizable, even under the barrage of electronics. When RTF broke up in the late '70s, Corea retained the name for some big band dates with Clarke. During the next few years, he generally emphasized his acoustic playing and appeared in a wide variety of contexts; including separate duet tours with Gary Burton and Herbie Hancock, a quartet with Michael Brecker, trios with Miroslav Vitous and Roy Haynes, tributes to Thelonious Monk, and even some classical music.

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.

By Richard S. Ginell ~allmusic
Best known as one of the foremost young bassists in the jazz-rock movement of the late '60s and early '70s, Miroslav Vitous is one of Europe's most versatile imports, equally at home in mainstream idioms and even pop music. A sometime leader, his bass dances and skitters around an ensemble as a co-equal member of the front line, and he makes very creative use of the bow. He is influenced not only by bassists like Scott LaFaro, Ron Carter, and Gary Peacock, but also by Czech folk music.

Vitous began his musical studies on the violin at age six, switching to piano from ages nine to fourteen before finally settling upon the bass. While studying at the Prague Conservatory, he played with a trio that included his brother Alan on drums and Jan Hammer – another future jazz-rock mover and shaker – on piano. After winning a scholarship to Berklee in 1966, he moved to New York the following year and wound up working with Art Farmer, Freddie Hubbard, Bob Brookmeyer, Clark Terry, and very briefly, Miles Davis.

Now one of the most highly touted prodigies in jazz, Vitous started playing in a recurring trio with Chick Corea and Roy Haynes on Corea's 1968 album Now He Sings, Now He Sobs. He then joined one of Herbie Mann's most popular groups from 1968 until 1970, with time-out for a tour with Stan Getz; Mann produced his first album, a pioneering series of extended jazz-rock workouts called Infinite Search on the flutist's Embryo label. As a founding member of Weather Report, Vitous helped define the band's freewheeling initial stage, leaving the group in late 1973 as its music began to evolve into more structured forms. A move to Los Angeles in 1974 led to a year-long session of woodshedding in private with a new custom-made instrument, a double-necked guitar and bass. However, that experiment did not pan out, and he returned to the bass, leading sessions for Warner Bros., Arista, and from 1979, a sporadic series of dates for ECM as a leader and in reunions of Corea's bop-to-free Trio Music group.

In the meantime, Vitous became immersed in academia, joining the faculty of the New England Conservatory in 1979 and becoming head of the jazz department in 1983. Although his profile isn't nearly as high as it was at the height of the jazz-rock era, he continued to play at jazz festivals and record into the '90s.

By Scott Yanow ~allmusic
A veteran drummer long overshadowed by others, but finally in the 1990s gaining recognition for his talents and versatility, Roy Haynes has been a major player for half a century. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan (1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured with Getz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Haynes has played with about everyone. He led dates for EmArcy and Swing (both in 1954), New Jazz (1958 and 1960), Impulse (a 1962 quartet album with Roland Kirk), Pacific Jazz, Mainstream, Galaxy, Dreyfus, Evidence, and Storyville. In 1994, Haynes was awarded the Danish Jazzpar prize, and two years later, he received the prestigious French Chevalier des l'Ordres Artes et des Lettres. In the late '90s, Haynes formed a trio with pianist Danilo Perez and bassist John Pattitucci, and they released their debut album, The Roy Haynes Trio Featuring Danilo Perez & John Pattitucci, in early 2000 on Verve. Haynes' son Graham is an excellent cornetist. Haynes paid tribute to Charlie Parker in 2001 with Birds of a Feather, his fourth release for the Dreyfus Jazz label, which was subsequently nominated for a Grammy in 2002; Fountain of Youth followed two years later. Also released in 2004, Quiet Fire compiled two of his prior releases for Galaxy (1977's Thank You Thank You and 1978's Vistalite) into one back-to-back record. Whereas appeared in mid-2006, and it earned Haynes a Grammy nomination for Best Jazz Instrumental Solo.

Recorded September 1984, in Willisau and Reutlingen
Engineer: Martin Wieland
Cover Design: Daniel Sandner
Liner notes by Chick Corea
Produced by Manfred Eicher
1968, ECM Records GmbH

Chick Corea - Trio Music, Live in Europe (1986)

EAC extraction logfile from 2. February 2008, 12:15 for CD
Chick Corea / Trio Music, Live in Europe

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Thanks to the original releaser.
Chick Corea - Trio Music, Live in Europe (1986)

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