Chick Corea Chick Corea

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DAVE GRUSIN CHICK COREA Best Instrumental Composition Best Jazz Instrumental Performance, Soloist "Suite from 'The M%lagro heatifleld War." (Frack fron Migration) "Sophisticated Lady" (Track from Chick Corea ttkoustic Band) JOHN PATITUCCI VARIOUS ARTISTS - Best Jazz Fusion Perf»tnance HAPPY ANNIVERSARY CHARLIE BROWN On The Corner (Album) Best Engineered Recording Happy Auniî'ersan y, Charlie Brown! (Album) DAVE GRUSIN r.- I -. Accompanying ocal(s) Best R &B Instrumental Performance "My Rum, I , entine °(Track from ï he Fabulous Baker Boys "Co,tstructirc C iticisrn "(Track from Rhythm De 2p) nntior picture soundtrack (Michelle Pfeiffer, vocalist) DIANE SCHUUR JOHN PATITUCCI Best Jazz Vocal Performance, Female Best Jazz Instrumental Performance, Soloist "The Christmas Song" (Track from A GRP Christmas Colkction) "Bessie 's Brines" (l'rack from Chic: Corea Akoustc Band) CHICK COREA CHICK COREA AKOUSTIC BAND Best Instrumental Composition Best Jazz Instrumental Performance, Croup "Morning Spite "(Track from Chick Corea Akoustic Band) t hick CoreaF,kcustic Band (11hum) KENNY G DAVE GRUSIN Best Pop Instrumental Performance Best Album of Original Instrumental Background Score "Breadline Blues" ('Track from Happy Anniversary, Char ie Brown!) Written For A Mction Picture or Television The Fabulorr Baker Boy; (.Ibum) DAVE GRUSIN Best Arrangement On An Instrumental ALAN AND MARILYN BERGMAN. sorQvriters. `Suite Franr`Tive Milagro Beanfield 1í'ár "'(Track from Migration) PATTI AUSTIN. wwalist Best Song Written Specifically for a DON MURRAY & ED RAK Motion Picture Or Television Best Engineered Recording "Th' Girl íí ho t'.ted hO Be 'Vie" (From tic motion picture Shirks 1 ilettine) %tigration (Album) Dave Grusin, recording artist T H E D I G I T A L M A S T E R' C O M P A N Y ©1990 (:RP Records Distributed in die Cn wd States by MCA Dirttibuttittq!îitpc- stain. I _- .

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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
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Chick Corea Bio 2015 Chick Corea Has Attained Iconic Status in Music
Chick Corea Bio 2015 Chick Corea has attained iconic status in music. The keyboardist, composer and bandleader is a DownBeat Hall of Famer and NEA Jazz Master, as well as the fourth- most nominated artist in Grammy Awards history with 63 nods – and 22 wins, in addition to a number of Latin Grammys. From straight-ahead to avant-garde, bebop to jazz-rock fusion, children’s songs to chamber and symphonic works, Chick has touched an astonishing number of musical bases in his career since playing with the genre-shattering bands of Miles Davis in the late ’60s and early ’70s. Yet Chick has never been more productive than in the 21st century, whether playing acoustic piano or electric keyboards, leading multiple bands, performing solo or collaborating with a who’s who of music. Underscoring this, he has been named Artist of the Year twice this decade in the DownBeat Readers Poll. Born in 1941 in Massachusetts, Chick remains a tireless creative spirit, continually reinventing himself through his art. As The New York Times has said, he is “a luminary, ebullient and eternally youthful.” Chick’s classic albums as a leader or co-leader include Now He Sings, Now He Sobs (with Miroslav Vitous and Roy Haynes; Blue Note, 1968), Paris Concert (with Circle: Anthony Braxton, Dave Holland and Barry Altschul; ECM, 1971) and Return to Forever (with Return to Forever: Joe Farrell, Stanley Clarke, Airto Moreria and Flora Purim; ECM, 1972), as well as Crystal Silence(with Gary Burton; ECM, 1973), My Spanish Heart (Polydor/Verve, 1976), Remembering Bud Powell (Stretch, 1997) and Further Explorations (with Eddie Gomez and Paul Motian; Concord, 2012).
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Chick Corea – the Music Defies Words
By Allen Morrison PHOTO BY ARNE ROSTAD JAZZ ARTIST ‘The Music CHICK COREA Deﬁes Words’ have no plan for this evening. So welcome to my living room.” Corea originals: the $amenco-inspired “Homage” and a previously unre- at’s how Armando “Chick” Corea opens a concert in Quebec, leased piano sonata called “e Moon.” as heard in the opening moments of Portraits (Stretch Records/ ese live albums are just two among Corea’s many recent projects. In Concord Jazz), his recent two-CD collection of live solo the past few years, he has toured and recorded with his current Latin-tinged performances. electric band e Vigil; formed the Grammy-winning Five Peace Band with ‘I Not to worry—he’s got this. John McLaughlin; reunited with his supergroup Return to Forever and He proceeds to unspool a program of favorite tunes by joined his RTF colleagues Stanley Clarke and Lenny White in an acoustic elonious Monk, Bill Evans, Stevie Wonder and Bud Powell; his improvi- trio; recorded Grammy-winning duos with Gary Burton and Béla Fleck; and, sations on compositions by Scriabin and Bartók; several original tunes from in his spare time, written and recorded !e Continents: Concerto For Jazz his album Children’s Songs ; and spontaneous musical “portraits” of volun- Quintet And Chamber Orchestra. teers from the audience at shows in Poland, Morocco, Lithuania and the Even the musicians who are closest to him wonder how he does it. Blade United States. Before each segment, Corea brings the audience into his con"- said it’s hard to separate the musician from the man.
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Chick Corea and Béla Fleck
Chick Corea and Béla Fleck Thu, April 24 ABOUT THE PROGRAM Royce Hall Chick Corea & Béla Fleck, two master songwriters, musicians, and band leaders 8pm meet in a historic duet of piano and banjo, combining Corea and Fleck’s classic tunes with music from their 2007 Grammy-winning album The Enchantment. With a mix of jazz and pop standards, crossing a myriad of genres, from jazz, PERFORMANCE DURATION: bluegrass, rock, flamenco and gospel, this will be a casual, intimate evening Approximately two hours; with two legends from different musical worlds. One Intermission The original Enchantment recording came about after the two artists had admired each other’s music for several years. Chick had previously recorded PRE-SHOW CONCERT three songs on Béla’s 1994 CD, Tales From the Acoustic Planet, as well as on the SCA Terrace Series featuring group’s 1996 live CD, Live Art. Sean Stevens and Andrew Davis. FREE - ROYCE TERRACE - 7PM Chick, in turn, had enlisted Fleck to perform with him and Bobby McFerrin on the 2002 Rendezvous in New York project. Fleck said that The Enchantment was “one of my greatest experiences as a Supported in part by the musician … playing with my hero, Chick Corea.” Chick returned the compliment Evelyn & Mo Ostin Endowment by saying that for the Performing Arts the album broke new ground for him, with Fleck inspiring him to delve into “unfamiliar territory.” “I love those kinds of challenges, and we had a blast on The Enchantment, which MEDIA SPONSORS: has a totally new kind of sound,” Chick says. ABOUT THE ARTISTS MESSAGE FROM THE CENTER: Chick Corea Since embarking on a solo career in 1966, Chick has been at the We’re incredibly proud to bring two of the most acclaimed forefront of jazz, both as a renowned pianist forging new ground with instrumentalists in the world to the Royce Hall stage.
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The Piano Improvisations of Chick Corea: an Analytical Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 The iP ano Improvisations of Chick Corea: An Analytical Study. Daniel Alan Duke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duke, Daniel Alan, "The iP ano Improvisations of Chick Corea: An Analytical Study." (1996). LSU Historical Dissertations and Theses. 6334. https://digitalcommons.lsu.edu/gradschool_disstheses/6334 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the te d directly fi-om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
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The Stanley Clarke Band SAT / JAN 18 / 7:30 PM
The Stanley Clarke Band SAT / JAN 18 / 7:30 PM Stanley Clarke BASS Cameron Graves KEYBOARDS Evan Garr VIOLIN Salar Nader TABLAS Jeremiah Collier DRUMS Lyris Quartet Alyssa Park VIOLIN Shalini Vijayan VIOLIN Luke Maurer VIOLA Timothy Loo CELLO Tonight’s program will be announced from the stage. There will be no intermission. Jazz & Blues at The Broad Stage made possible by a generous gift from Richard & Lisa Kendall. PERFORMANCES MAGAZINE 4 Naik Raj by Photo ABOUT THE ARTISTS Photo by Raj Naik Raj by Photo Four-time GRAMMY® Award winner of Philadelphia, a Doctorate from Clarke Band: UP, garnered him a 2015 STANLEY CLARKE is undoubtedly one Philadelphia’s University of the Arts GRAMMY® Award nomination for Best of the most celebrated acoustic and and put his hands in cement as a Jazz Arrangement Instrumental or A electric bass players in the world. 1999 inductee into Hollywood’s “Rock Cappella for the song “Last Train to What’s more, he is equally gifted Walk.” In 2011 he was honored with Sanity” and an NAACP Image Award as a recording artist, performer, the highly prestigious Miles Davis nomination for Best Jazz Album. composer, conductor, arranger, Award at the Montréal Jazz Festival Clarke’s CD, The Message, was producer and ﬁ lm score composer. for his entire body of work. Clarke has released on Mack Avenue Records A true pioneer in jazz and jazz- won Downbeat magazine’s Reader’s in 2018. Clarke considers the new fusion, Clarke is particularly known and Critics Poll for Best Electric Bass album “funky, melodic, musical, for his ferocious bass dexterity Player for many years.
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Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
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Yannick Nézet-Séguin
This season, this orchestra, this music director, this performance, this moment ... don’t blink. 2020–21 SEASON MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN 1 Welcome to Your Philadelphia Orchestra’s 2020-21 Season Our World NOW is both a visit to the music you know and love and a vision of familiar works heard and perceived in new ways. In this chronological listing of concerts, we invite you to Choose Your Own season of music to fit your tastes, your schedule, and your budget. Pick any six (or more) and relax knowing that you have reserved time in your life for enjoyment, escape, and invigoration. Choose a Create-Your-Own 6-concert series for as little as $39 per concert. Create your own season of music at a savings over individual ticket prices when you subscribe today. Schedule Flexibility Always on the go? We offer subscribers many easy options to exchange tickets with no additional fees so you never Subscriber Benefits have to miss a concert. Everyday Savings Subscribing automatically saves you money over general public single ticket prices. Save up to 20% off single ticket prices depending on the concert and section you choose. Plus, add tickets and the savings continue. Payment Plans There are several payment plans to fit any budget, making it easy to subscribe. Order early, take advantage of our payment plans, and still get the best seats. Discounted Parking Why worry about finding a place to park? As a subscriber, you can purchase pre-paid discounted parking for all your concerts in the Avenue of the Arts Garage, located steps away from the Kimmel Center.
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Morgenstern, Dan. [Record Review: Gene Ammons: the Boss Is Back!] Down Beat 37:6 (March 19, 1970)
Records are reviewed by Chris Albertson, Don DeMicheal, Gilbert M. Erskine, Ira Gitler, Alan 'Heineman, Wayne J~~es, Lawrence Kart John li\weiler, John McDonough, Dan Morgenstern, Don Nelsen, Harvey· Pekar,_ Harvey Si~e·rs; Carol Sloane, Jim Szantor, and Pete w:lding. Reviews are signed by the wtiter$. _ Ratings are: * * * * * excellent,'* * * * very good, * * * good, * * fair, * poor. When two catalog numbers are listed, the first is mono, and the second is stereo. Mon~y Alexander- of his horn and the impressive· solidity ,... disappointin·g, Is, which takes up an entire THIS IS M:ONTY ALEXANDER-Verv~ V6- of his playing. Though this is much _the side, and Jama/a contain a great deal of . 8790: Give Me Freedom; Maybe September: Jooga Booga; A Time For Love: Love Has a JJ7ay: A same player we remember so w,¥11from boring, cacophonic _ collective improvisa House Is Not A Home: I'm Gonna Make You past· efforts, the mere fact that the years tion. The coHective improvisation is gen Lon Me,· Lay It On Me; Amiisand Blues. Personnel: Alexander, piano, with unidentified of enforced seclusion have failed to mar erally -bad because the musicians partici large orchestra, arranged and conducted by John- his mastery is something to celebrate. pating in it often play uninteresting phrases ny· P.ate. -~ - Besides, there was -no need to mess with to begin with, because they do not develop Rating:* the mature and personal conception that their ideas ·well, and because they do not Succinctly stated, this is another ·strictly has for many years been synonymous with blend their ideas Well •with each other.
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From Birth to Death of Cool
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-2009 From Birth to Death of Cool Brandon Theriault Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Theriault, Brandon, "From Birth to Death of Cool" (2009). Honors Theses. 1657. https://scholarworks.wmich.edu/honors_theses/1657 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FROM BIRTH TO DEATH OF COOL by Brandon Theriault An Honors Thesis Submitted to the Lee Honors College of Western Michigan University April, 2009 INTRODUCTION "Miles Davis was a bad dude. He was one of the baddest men in jazz... baddest jazzman ever." -Alvin Jones. Who is Alvin Jones? Alvin Jones is the man I just met outside of the Bernhard Center on Western Michigan University's campus in Kalamzoo, MI. I have been laboring over my honors thesis for months now; I am approaching its completion and was at a loss for a way to start the piece. As Alvin Jones stumbled up to me panhandling for a cigarette I could not help but notice his physical similarity to Miles. He looked to be approaching 65, white whiskers sparsely covering his face and making appearances throughout his eyebrows. He was slender, taller than average, and had exaggerated facial features; large luminous eyes, long eyelashes and high cheekbones.
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Keith Jarrett, Gary Peacock & Jack Dejohnette
Cal Performances Presents About the Artists Saturday, March 14, 2009, 8pm eith jarrett and jack dejohnette first In October 1991, exactly two weeks after the Zellerbach Hall K played together from 1966–1968 as members death of Miles Davis, the trio went into New of the Charles Lloyd Quartet, then for one year in York’s Power Station studio and recorded Bye Bye 1970 with Miles Davis. All three musicians first Blackbird, their deeply felt tribute to the jazz giant Keith Jarrett, Gary Peacock & played together in 1977, when Messrs. Jarrett and that all three had played with in their early years. DeJohnette played on Gary Peacock’s first ECM The trio’s video releases include: Standards I Records recording, Tales of Another. (1985), Standards II (1986), Live at Open Theatre Jack DeJohnette They came together as a permanent trio in East (1993) and Tokyo Concert ’96 (1996)—all January 1983, when Mr. Jarrett invited the other featuring full concert performances. In fall 2008, two men to join him in New York for a recording ECM re-released all four concerts on two special session dedicated to playing “standards”—the rich two-DVD sets. body of American popular songs from the 1930s, In the past 25 years, the trio has been nominat- ’40s and ’50s. At the time, it was considered passé ed for many international awards, including five for top players to concentrate on playing standards American Grammy Award nominations, plus doz- rather than original material, but Keith Jarrett ens of Record of the Year and Critics Prize awards thought it was important to show that, “Music from the U.S., European and Japanese music press, wasn’t about material, but what the player brings including the Gold Disc Award (2000, 2003) from to the material.” Swing Journal (Japan) and the Choc des Chocs The January 1983 sessions produced the trio’s Award (2000, 2001, 2003) from Jazzman magazine first three ECM releases: Standards Vol.
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Jazz Rock Fusion Surviving Four Decades and Counting…
1 of 38 Jazz Rock Fusion Surviving Four Decades and Counting… By, Rick Calic www.jazzrockworld.com March 2006 Writing an article about Jazz Rock Fusion these days might seem as pointless as debating the benefits of Hi-Fi equipment with vacuum tubes vs. transistors to someone that uses an iPod. The only people that would care are older folks who even remember tubes and dedicated enthusiasts. On the other hand, while Jazz Rock Fusion might be older or seem equally pointless to many reading this article, there remains a large but scattered segment of the world’s population that sees the genre as a vibrant and legitimate art form. Sadly though, the musical perspective regarding Jazz Rock Fusion was narrow from the beginning and will probably always be that way. Jazz Rock Fusion, in terms of the entire world of music, constitutes just a tiny fraction of interest. Yet, if we accept this as fact, which most fans, musicians and certainly “big business” does, the generation of any interest at all is meritorious. In order to discuss the music with integrity, a ground rule needs to be established. This ground rule is required due to the unsolved, long lasting, and ongoing mysteries of the music and its unique identity. Mysteries such as: What is Jazz Rock Fusion? Who started Jazz Rock Fusion? What should it be called? And finally, with no major media support why is there still a market? So, what are the answers you ask? Quite simply these mysteries will remain mysteries. Answering the questions definitively will end up as trivial as the facts regarding the creation and development of the gut bucket.
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