Bass CDs
Chick Corea Reunites with Christian McBride & Brian Blade for “Trilogy 2”
Trilogy 2, due out October 4 on Concord Jazz, is culled from the trio’s recent world tour, featuring jazz standards, modern classics and favorites from Corea’s remarkable catalog.
When an iconic pianist like Chick Corea gets together with such modern masters as bassist Christian McBride and drummer Brian Blade, perhaps it should come as no surprise that the music they create together is absolutely magical.
Their 2014 release Trilogy earned universal acclaim, including a pair of GRAMMY Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo for “Fingerprints”), and confirmed the trio as one of Corea’s most revered ensembles.
Despite sprawling across three jam-packed CDs, Trilogy left fans everywhere clamoring for more. So when the three virtuosos reunited for another world tour, the results were captured for posterity and the highlights are now collected on the long-awaited follow-up, Trilogy 2. Set for release on October 4,
Each member of this trio is a giant in the jazz world and beyond, but the peerless chemistry they share elevates their collaborations into the realm of the truly special.
Even before coming together as a self-contained unit, the three had gelled on tour with Corea’s Five Peace Band, an electrifying all-star ensemble he co-founded with fellow legend, guitarist John McLaughlin, and featuring Kenny Garrett on saxophone. On their own, the trio pairs high-caliber musicianship with an easy camaraderie, making for music that is as artistically exhilarating as it is fresh and playful.
“In every group that I work with, the fun factor is the number one criterion,” Corea says. “This trio is incredible fun. That’s not something you can dictate, but if that’s the experience then the music just flows. With Christian and Brian, we have a blast on the road.”
That feeling is captured throughout Trilogy 2, which features tracks hand-picked by Corea from throughout the trio’s recent world tour.
The albums capture the feel of a concert program, both in the flow of the music and in the illuminating recording by Bernie Kirsh, Corea’s longtime engineer. The material spans a range of inspirations, from American Songbook standards to jazz classics, reaching back into Corea’s own catalogue as well as that of some of his most renowned collaborators, including Miles Davis and Joe Henderson.
Corea likens the experience of playing live with this trio to “taking a stroll down the street and having a casual conversation. We have a pretty extensive repertoire of songs, and because of the looseness of the trio each one becomes a new thing every time we approach it.”
After briefly welcoming an audience in Bologna and introducing his “genius partners,” Corea kicks off the program with an incisive, querying solo introduction to “How Deep Is the Ocean?” – one of only two tracks reprised from the original Trilogy. Over the next twelve minutes the trio plumbs the depths of the familiar standard, seemingly intent on exhausting every possible answer to the titular philosophical question. From the depths to the heavens, they follow up with Corea’s own “500 Miles High,” originally recorded by the first incarnation of Return to Forever in 1972.
The trio delves into Corea’s composition book for two other pieces on the album.
“La Fiesta” dates back to the first Return to Forever album and showcases the pianist’s passion for Latin music, a side that he explored earlier this year with the release of Antidote, the debut of his Spanish Heart Band. “Now He Sings, Now He Sobs” is the title track to Corea’s first-ever trio album (and only the second release to his name), recorded in 1968 with Miroslav Vitous and Roy Haynes. This marks his first official recording of the tune since then; McBride and Blade both requested it for this tour, and the result is the set’s most expansive excursion.
“More than being a pianist,” Corea says, “I always think of my basic purpose as being a composer. Though I love playing the piano, too. Thelonious Monk was a model for me in that regard. He was a composer, a piano player, and a bandleader, who defied so many conventions and created a body of work that is completely up there with Stravinsky and Mozart, in my opinion.”
Monk’s compositions are as ubiquitous a part of Corea’s live repertoire as are his own tunes, and Trilogy 2 offers a pair of the jazz icon’s eccentric pieces.
“Crepuscule with Nellie” is a favorite of jazz pianists (despite Corea’s admission to a lifelong misreading of the title), taken here at a warm, leisurely pace. “Work” is a more obscure selection, though a particular favorite of Corea’s; it also appears on the first Trilogy, and he recently arranged it for Wynton Marsalis’ Jazz at Lincoln Center Orchestra.
“‘Work’ is a quirk,” Corea jokes. “Monk was a quirk, for that matter – the most genius, amazing quirk in the music world. His tunes are incredibly fun to play and rework.”
The trio’s romantic side emerges on a lovely reading of Jimmy Van Heusen’s “But Beautiful,” featuring lush brushwork from Blade, an elegant, wistful solo by Corea and a breathtakingly lyrical turn from McBride. The pace picks up for bassist Steve Swallow’s “Eiderdown,” its sharp turns unleashing a ricocheting, rapid-fire back-and-forth between Blade and Corea.
Corea’s arrangement of Stevie Wonder’s classic “Pastime Paradise” was sparked by a suggestion from the soul genius himself.
“I’ve been friends with Stevie since he used to come around to listen to Return to Forever in 1973 at The Bitter End,” Corea says. “A few years ago Stevie sat in with us at Catalina’s in Los Angeles and we went out to dinner afterwards. We were talking about songs and I was using the term ‘standards,’ and Stevie turned to me and said, ‘Hey Chick, what do you think about playing some new standards?’ I thought that was interesting and asked, ‘What do you mean?’ And he said, ‘You know – my music!’ He was kind of kidding around, but not completely, and I thought that was a great idea.”
“All Blues,” of course, harkens back to Kind of Blue, the landmark album by Corea’s famed former bandleader, Miles Davis. The trio takes the tune at a loose, buoyant tempo that’s as infectiously fun to listen to as it undoubtedly was to perform. Corea also spent some formative years in the band of tenor giant Joe Henderson, whose “Serenity” (another McBride suggestion) is rendered in a smoldering take featuring the bassist’s fleet, muscular solo. The piece is tied in Corea’s memory with the closing tune, Kenny Dorham’s “Lotus Blossom.”
As the pianist recalls, “I spent a great, memorable week playing with Kenny at the Jazz Workshop in Boston when he and Joe Henderson had their quintet with Reggie Workman and Joe Chambers. We played ‘Lotus Blossom’ and ‘Blue Bossa’ and some of Joe’s tunes. That was a really pleasant memory for me.”
At the age of 78 Corea continues to generate indelible memories for audiences around the world.
No doubt the performances captured on Trilogy 2have lingered in the imaginations of the audiences fortunate enough to catch them live; now they get to live on in the minds of jazz lovers everywhere.
Click here to order Trilogy 2 at Amazon
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
ALBERTO RIGONI’s New Project NEMESIS CALL Announce “Kingdom of Shred” Album, Feat. Super Talented Guests Such as Mike Terrana, Alexandra Zerner + Many Others
Worldwide known Italian bassist and composer ALBERTO RIGONI (soloist, BAD As, Kim Bingham, Vivaldi Metal Project, etc.) announces the new album “Kingdom of Shred” of his new project NEMESIS CALL.
Alberto says:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, was released on June 4th 2024, I felt the need to compose new music (yes, I really can’t stop!). This time will be quite challenging because I’m willing to release an instrumental shred/prog/rock/metal/melodic album, that will feature many talented top-notch musicians such as drummer Mike Terrana, Alexandra Zerner, Alexandra Lioness, Aanika Pai (11 years old!), Keiji by Zero (19 years old!), SAKI and many others TBA/TBC). It won’t be easy to manage all such great musicians but I will make it! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025 or maybe for Christmas!.”
As an independent artist, Alberto Rigoni has launched a fundraising campaign to support the project. Support at www.albertorigoni.net/nemesiscall. 20% of the income will be donated to Lega del Filo d’Oro (www.legadelfilodoro.it/it), an Italian association that helps deaf and blind children!
Visit online at www.albertorigoni.net | albertorigoni.bandcamp.com | facebook.com/albertorigonimusic | www.badas.rocks
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