Artista: Chick Corea
Álbum: Piano Improvisations Vol. 2
Año: 1972
Género: Jazz / Avant Garde / Fusión
Duración: 40:06
Nacionalidad: EUA
Año: 1972
Género: Jazz / Avant Garde / Fusión
Duración: 40:06
Nacionalidad: EUA
Lista de Temas:
1. After Noon Song
2. Song for Lee Lee
3. Song for Thad
4. Trinkle Tinkle
5. Masqualero
6. Preparation 1
7. Preparation 2
8. Departure from Planet Earth
9. A New Place (Arrival - Scenery - Imps Walk - Rest)
1. After Noon Song
2. Song for Lee Lee
3. Song for Thad
4. Trinkle Tinkle
5. Masqualero
6. Preparation 1
7. Preparation 2
8. Departure from Planet Earth
9. A New Place (Arrival - Scenery - Imps Walk - Rest)
Alineación:
- Chick Corea / Piano
- Chick Corea / Piano
El volumen 2 de
Piano Improvisations de Corea
añade material sonoro de las mismas sesiones de grabación en Oslo
en 1971, pero no representa una obra distinta, por lo que el
comentario será más breve; he pensado en publicarlo por separado
porque se trata de dos discos diferentes y no de dos partes del
mismo, dado que la discográfica decidió lanzar esta segunda parte
cerca de un año después que la primera.
Las
diferencias con el primero están simplemente en la selección de las
piezas. Este volumen 2 resulta un poco más arriesgado en cuanto a lo
experimental, principalmente por los temas “Departure from Planet
Earth”, y “A New Place”. En el primero de ellos (track 8),
Corea desata los monstruos de la estridencia, con el pedal sostenido
permanentemente presionado y golpes de brazo sobre el teclado para
conseguir sonoridades de trueno, rápidos arpegios cromáticos de
esos que se hacen arrastrando la punta de los dedos sobre el teclado
hacia arriba y hacia abajo, y heterodoxias semejantes. “A New
Place” es un ejercicio de ritmo y textura muy cercano a la
sonoridad impresionista de principios del siglo XX, pero más oscuro,
con menos intención simbólica y más búsqueda vanguardista.
La
otra diferencia con el volumen 1 está en que dos de los temas de
este vol. 2 son improvisaciones sobre composiciones de otros músicos:
“Trinkle Tinkle” de Thelonious Monk (una presencia constante en
muchos trabajos de Corea) y “Masqualero” de Wayne Shorter.
Dicen
por ahí:
Piano Improvisations Vol. 2 is
an album recorded by Chick Corea and released in 1972.
The album, along with its
counterpart Piano Improvisations Vol. 1,
was recorded over the course of two days in Oslo, Norway. The two
albums in the Piano Improvisations series
serve as a sort of bridge between Corea's other works in Circle and
Return to Forever. In addition to seven original pieces written by
Corea, he interprets Wayne Shorter's "Masqualero" and
Thelonious Monk's "Trinkle, Tinkle". The only musician
featured on the album is Chick Corea on piano.
This is the second of two LPs recorded by Chick Corea shortly after
he broke up the avant-garde quartet Circle, saying that he wanted to
communicate to a larger audience. As with the first set, these brief
sketches are melodic and a bit precious but contain some strong
moments. In addition to seven Corea originals, he interprets
Thelonious Monk's "Trinkle Tinkle" and Wayne Shorter's
"Masquellero." Not essential but worth acquiring.
Nothing against the very fine PIANO IMPROVISATIONS VOL. 1, but VOL. 2
has a reflective quality, a simple beauty, a "magical aura"
(when I started writing this I knew my words would come up short!)
that I haven't heard elsewhere--in Corea's large catalogue or anyone
else's. "After Noon Song" and "Masqualero" (a
Wayne Shorter composition) are particularly wonderful.
Vol. 2 further established Corea's move into more approachable
territory. It also provided clear evidence of Manfred Eicher's astute
sequencing ability, placing the music in an order that not only made
clear sense as a series of discrete pieces, but lent each volume its
own overriding arc. If anything, Vol. 2 represents an even
broader cross-section of the evolving Corea—featuring, in addition
to the pianist's own work, brief covers of Thelonious Monk's "Trinkle
Tinkle" and Shorter's "Masqualero". Both demonstrated
that his inherent love of the tradition had remained intact through
his avant years, even as he inserted his own particular sense of
comic quirkiness into the Monk and the kind of dramatic majesty and
sheer virtuosity in the Shorter that his fellow Miles Davis alum
would simply never have considered.
Corea had, by this time, become interested in the Church of
Scientology, and the science fiction writing of its founder, L. Ron
Hubbard, making the more cinematic free play of an abstract suite of
otherworldly concerns make absolute sense within the context of
Coreas's musical development. The outré, but still rhythmically
centered "Preparation 1," and idiosyncratic, hard-hitting
"Preparation 2" become contextual precursors to "Departure
from Planet Earth," where dense, Cecil Taylor-ish chords—but
with the piano's sustain pedal turning them into a nebulous sonic
cloud—lead to a maelstrom of repetitive layers that ebb and flow as
Corea moves seamlessly from keys to strings.
After the breathtaking abstractions that precede it, the closing "A
New Place" suggests a more tranquil destination, though not
without its twists and turns on "Scenery." The puckish
"Imps Walk" foreshadows Corea's 1976 Grammy-winning The
Leprechaun (Polydor), while the entire set ends on a calming note
with the aptly titled "Rest."
And the sound. ECM's sonic model was classical recording, where
transparency was paramount, allowing every note, every space and
every nuance to be heard clearly across an audio landscape as much a
part of the music as the playing itself. As the first of a series of
solo piano recitals that has grown to include, in addition to Bley
and Jarrett, Vassilis Tsabropoulos, Misha Alperin, Marilyn Crispell,
Jon Balke, François Couturier, Stefano Bollani, Steve Kuhn, and
Richie Beirach, Corea's Piano Improvisations Vol. 1 and Vol.
2 may not have made the deep cultural impact of Jarrett's Facing
You, Bley's Open, To Love, or even Corea's own subsequent
work for the label; but in hindsight, they set the stage for what was
to come. Revisited nearly 40 years later, they are important, not
just as a very significant touchstone, but as critical signs of a
fundamental shift in musical emphasis that would position Corea as
one of the most important pianists of the past fifty years.
Y acá el botón de muestra a-la-Lino:
Que lo disfruten! (flac + cue + scans):
ResponderEliminarhttp://pastebin.com/M2ETv6ic
Oh! Extra-excelente disco de Chick! Una de las joyas más valiosas de su discografía, en la que se podía presagiar un futuro portentoso, si bien Chick no se el motivo, a veces, no ha estado tan a la altura de esta tempranera promesa.
ResponderEliminarEste es un disco muy especial, tiene la característica emotividad de los ragas hindúes que deben oirse a diversas horas del día para poder apreciar mejor los sentimientos del intérprete, en este caso, cuando el sol se empieza a descolgar y llega a los 45°, o sea media tarde, es su hora perfecta de captación, ese After Noon Song es una puerta de entrada a ese puñado de sentimientos que Chick Corea descarga por los dedos de su mano al piano. Mi lugar ideal para disfrutarlo era en la sala/living de mi casa apto./depto. en un piso elevado, en el que se recortaban las siluetas de los otros edificios y el sol bajando lentamente frente a mi.
Había pasado por alto echarme unos renglones a esta entrada tan disfrutable para mi vida.
Calle Nep, una entrada muy estratégica, al igual que el volumen 1 de esta serie.
Dark-ius