CHICK COREA

Chick's demo hopeful for entry/admittance to the world and work of Broadway composer.

1. "Imp's Welcome" (2:55) very cool intro with many weird, quirky sounds coming from Chick's vast collection of keyboards. (4.5/5)

2. "Lenore" (3:25) great melodic jazz-rock tune with Chick playing off of and against ... himself! Piano, Moog, clavinet, ARP Odyssey, Fender Rhodes, Yamaha organ--they're all playing off one another--as if coming from different musicians on the same stage! Gayle Moran's wordless vocalese at the end is nice touch. (9.25/10)

3. "Reverie" (1:58) opens as a solo piano piece, very pensive and heart-felt, but then Gayle's overly-reverberated vocalese float across the back stage. A sign of how in sync husband and wife are at this point in their lives. (9.625/5)

4. "Looking at the World" (5:29) opening with some previews of some of the future riffs that'll be central to next year's The Mad Hatter, Gayle joins with the rhythm section, this time singing in a more jazz-pop style (with words) before Chick ramps quickly into some heavier j-r fusion between Gayle's multi-track verses. Kind of like an oldie from the 40s with the future jazz-rock fusion that's coming with the Jaco Pastorius version of Weather Report. Interesting "underwater bass" from Anthony Jackson. (8.875/10)

5. "Nite Sprite" (4:31) this one sounds like it feeds right into the RTF Romantic Warrior recording sessions (especially Part II of "The Duel of the Jester and the Tyrant"). A little funkier with Anthony Jackson's bass and Steve Gadd's fantastic near-disco jazz drumming. (9.25/10)

6. "Soft and Gentle" (5:08) with Gayle in the vocal seat for the whole song, this one once again evokes many reminders of Broadway musicals, great chanteuses of old, as well as many old jazz/pop standards of the 1940s and 50s. And I love the presence and powerful effect of the strings, Chick's grand piano, Eddie Gomez's acoustic double bass, Steve Gadd's classy jazz drumming, and the horn section. Quite lovely--as well as being quite a lovely composition. Deserves to be heard. (9.5/10)

7. "Pixiland Rag" (1:10) more light and whimsical keyboard experimentation in a solo format. There's even a little ragtime jazz in here. (4.333/5)

8. "Leprechaun's Dream" (13:03) a thoughtful, rather pensive song that makes one feel fear and uncertainty: as if a person is living in the moment so as to escape having to make any/all decisions in the Big "Real" World. The play of double bassist Eddie Gomez and flutist Joe Farrell are delightfully uplifting--especially playing off of the syncopation genius of Steve Gadd. The contributions of the string and horn sections are also quite welcome. Crossing/blending several unusual styles makes this a rather unique and ambiguous song--making it difficult to define or categorize. Again, I feel that Chick this album's music is best serving as a "getting to know" each other germination fest for what will become Romantic Warrior, and then, The Mad Hatter. Still, it's hard to not admire, respect, and be awed by the performers' performances as well as Chick's growing big-band compositional mastery. (22.6667/25)

Total Time 37:39

This album, as a whole, sounds like an artist that is sitting on a fence, trying to decide which direction to take his music. As displayed here, the talented man has many directions to choose: we here much of his recent Return To Forever style, some of his older Latin roots, some of the future fanciful future dreaming that he's doing, and a surprising number of riffs, sounds, and styles that feel as if they are coming from the world of the Broadway musical (especially Leonard Bernstein)! The question of what he will choose to "specialize" in--and when he'll come out of his haze of confusion and synaesthesia--will be resolved in the next year or two with the demise of his popular and highly- acclaimed Return To Forever project and the repetitious re-confirmation of his solo career. All in all, this is definitely a step toward Chick's other upcoming masterful releases, Romantic Warrior, My Spanish Heart, and my favorite, The Mad Hatter.

A-/five stars; a minor masterpiece of eclectic jazz-rock fusion and another amazing release in a long career of astonishingly high creativity and top-tier quality products.

I've never been certain why this album has always, since I acquired it in 1978, maintained a very high place on my all- time list of Favorite Albums, but now, after examining it from the critical perspective of a music reviewer I think I have a better grasp of it.

1. "The Woods" (4:23) a wonderfully atmospheric, psychedelic, even appropriately-comedic collection of sounds and melodies to open Chick's 1977 rendering of Charles Dodgson's famous story. What a great, perfect opening (overture). Like a soundtrack to a book-on-tape. (10/10) 2. "Tweedle Dee" (1:10) piano and cello & strings; sounds very much like one of Yo-Yo- Ma and Edgar Meyer's "Goat Rodeo" pieces from the 21st Century. (5/5)

3. "The Trial" (1:43) Gayle Moran's singing of The Queen Hearts' famous line "Who stole the tarts was it the Kind of Hearts?" is fittingly quite annoying. Perfectly appropriate for this story! (5/5)

4. "Humpty Dumpty" (6:27) great jazz jam that sounds coming from Chick's piano, Eddie Gomez's double bass, Steve Gadd's drums, and Joe Farrell's tenor saxophone that feels more based in the realm of true jazz due to the double bass play but, it does cross over into the J-R Fusion style with Farrell's sax style and Gadd's nuanced drumming palette. The song also does kind of an "overture" job of presenting melody themes that will come up (repeatedly) in later songs. Awesome high-energy, melodic jazz piece! Man are these artists skilled and talented! One of the most tightly composed and performed (recorded) songs I've ever heard! (10/10)

5 "Prelude to Falling Alice" (1:19) Chick's piano, strings, metal percussives, and Gayle Moran (and, later, horns) present the ephemeral framework of the song that follows. (5/5)

6. "Falling Alice" (8:17) Horns are the opening mood and melody setter for this before Gayle brings us into the story. Chick's electronic keyboard play in the instrumental solo sections is at its absolute best but Gayle Moran, Joe Farrell (and the horn section), Eddie Gomez, and Steve Gadd's contributions make this one of my absolute favorite J-R Fuse songs of all-time. It's even better than any RTF song! (20/20)

7. "Tweedle Dum" (2:54) Chick's piano with the strings complement (with Jamie Faunt on double bass) and Gayle Moran's ghost-like vocalise make this an excellent buffer between the album's two highlights. (1010)

8. "Dear Alice" (13:06) Chick's piano arpeggio provides all the support necessary for both Eddie Gomez and Chick's right hand (not to mention Steve Gadd's amazing subtle support on the drum kit) to issue forth two minutes of some of the finest soloing you'll ever hear. At 2:45, Gayle returns to move forward the Alice story before stepping back to allow one awesome flute solo from Joe Farrell (while Chick, Eddie, and Steve continue to provide their amazingly nuanced support.) I LOVE Chick's rhythmic Latin melodies in the background! At 6:40 we bridge into Chick's turn at the lead. It takes a few cycles for him to warm up, but once he gets cooking in the (eighth minute) it's epic! And the support from and Joe, Eddie, and especially Steve is phenomenal. While not quite as mind-blowingly perfect as "Falling Alice" this is, for me, another highlight of the Jazz-Rock Fusion's "Classic Era." Steve's drum play over the final two minutes not only rivals, in my opinion, that of the famous "Aja" sequence but surpasses it! (24/25)

9. "The Mad Hatter Rhapsody" (10:50) Chick and Herbie going toe-to-toe using some of the album's previous themes and patterns. Chick is on piano and Herbie is playing a Fender Rhodes with Eddie, Steve Gadd, and the Joe Farrell-led horns (mixed masterfully with Chick's synth horns) bringing us a rollicking race-track tune with great solos from Chick's Minimoog, Herbie's Fender, The rhythm section is so tight--even when the dance rhythm turns slightly Disco! I'm not crazy about the little Latin motif in the eighth minute, but I LOVE the way they tie it up with Gayle taking us back to the "main melody" of the Alice songs. (19.25/20)

This is an album that I find so hard to find fault with. It may not be as free and unstructured as Bitches Brew or the Mwandishi albums but this musicianship of the very highest order as well as inspired compositional genius. It will be of no surprise to me if the metric ratings for this one come out extremely high.

A+/five stars; one of the finest jazz, jazz-rock fusion, or prog albums I've ever heard/known. In a rather unexpected twist of fate, The Mad Hatter is my highest rated and one of my Top 10 Favorite J-R Fuse albums of the "Classic Era"!

This album is reputed as one of the more popular and best known solo pieces of work ever released by Corea, and such extended adhesion is, I think, fairly justified. The general sound is charming, the musicianship flawless, and besides, it contains some tracks being the most "radio friendly" that he can be accused of, like is the case with Track 5, Nite Sprite, a nice infectious melody backed with the fusion sound typical or the era by the impressive band .

The opener is just an ambiance setting little instrumental intro left to synths, while playing with the pitch bend in a quirky microtonal manner that sounds like a proper presentation of the leprechaun character.

Track 2, Lenore is a classic of Corea's repertoire, led by the acoustic piano on the jazz side of this equation. Every word reserved for the artist masterful touch falls necessarily short here. The angelic voice of Gayle Moran brings an air of female charm to the proceedings, as required by the track title.

Reverie is a nice little interlude left to piano and vocals, and Looking At The World sees the return of the full-blown band, bringing a complex fusion workout, full of captivating accent displacements.

The final track turns to be, possibly, the most "prog oriented" of the bunch, since it's introduced by an exquisite string arrangement in impressionistic style. The full array of musicians take part in the subsequent development. First, the band resumes their jazz-rock duties, and then the strings return, joining the brass instruments for a sort of Grand Finale, even including the haunting soprano stylings, courtesy of Mrs. Moran.

I think The Leprechaun is an essential part of Chick Corea's recorded legacy, an ideal mix of charm with stratospheric technical proficiency.

It's odd enough listening to an album deeply inspired by the "creative mastery" of cultist-author-creep L. Ron Hubbard (I would hope and imagine that this kind of disparagement toward this kind of person does not go against community standards)... But right off the bat, we are presented with musical creativity and mastery by a collection of some of the best musicians Fusion and Jazz in general have to offer. It's immediately clear and it is wonderful. I am wide-eyed and... bushy tailed? Regardless, you have to admit, from the time of RETURN TO FOREVER's middle period I presume to the end of Chick's life, he was inspired greatly by the Sci-Fi works of his "religion"'s founder. We got some mighty tasty, spacy jazz-candy from it. For better or worse. I'll take the better if I can be honest with myself (if just getting the better is at all possible).

Seriously, how could anyone not be absolutely floored by what they are hearing here (listen to the opener, "Check Blast," and tell me that isn't some of the most exciting Fusion you have ever heard). Even when the songs are ok or "old hat," of course we are presented them with excellence.

At this point, I must mention the interludes, "Port View" pts. 1-7, acting as stage-sets to a world outside our own. These are beautiful, short pieces and really help the whole album breathe. [It is nearly 70 minutes in total.] The weakness of these tracks' inclusion, in my opinion, is that it only sometimes does much of anything to tie things together. And they certainly don't successfully offset the "full song" tracks that are seriously just ok (even when they are, I feel I'm repeating myself, excellently performed).

Notable tracks: 1, 6, 8 (beautiful, acoustic jazz), 12 (Wow! Epic.)

True Rate: 3.5/5.0

This album is closer to fusion than "Inside out", plenty of great synth soloing. The band plays tight, no wonder since they have played together for a couple of years. There isn't anything revolutionary on the album, it's just a well executed piece of music with soft but also fast- paced pieces. As on almost every album, you can find some Latin jazz moments, such as on the hilarious "Illusions" at the end. Contains great solos on electric piano. "One of us is over 40" has a bit of reggae feeling. not so common for jazz. "Lifescape" has nice smooth fusion licks by guitar. "Charged particle" reminds of RTF slightly, great guitar playing and quite a dynamic piece.

Inside out is an interesting album, the band's name is Elektric Band but Corea mainly uses piano. He does it very well - that's his strongest ability, after all. Piano playing is brilliant and caught up by no less virtuoso drums, bass and guitar - listen to "Make a wish Part 2" which is a pretty dynamic affair.

It's true that there is a strong post-bop feel but drums sound rockish and synths also get in a contemporary feeling. Also, music changes frequently. The only truly fusion composition is the last piece "Tale of Daring" that has soft and wild moments, all going crazy with their instruments.

Return to Forever part 2? Not really, as the contemporary fusion and jazz have changed with less focus on virtuosity and more of overall feeling. It's nice to hear Chick jumping on the wagon again and providing electronic keyboards again.

The record is of average quality, there are some colorless moments with no feeling but also more introspective pieces. Playing is very good, maybe I'd wish to hear a bit more guitar. Compositions are definitely below RTF average, more about mood than concrete motives.

For me, the highlights are "King Cockroach" with good RTF-like playing and dynamics, then "Silver Temple" has some killer bass and drums but is also slightly incoherent.

Of the six Elektric Band studio releases, this is still my favorite. Amazing playing, great songwriting and outstanding engineering make this an incredible fusion disc.

This release is more of a band effort with Patitucci and Weckl collaborating on six of the ten songs. There is quite an assortment of tunes... funky grooves on "Beneath the Mask" and "Jammin E. Cricket, the lush atmosphere of "A Wave Goodbye", Latin influence on "Free Step", all out shredding on "Charged Particles", and the syncopated rhythms and time changes of "Illusions". The order of songs is perfect as every song compliments the next and the entire CD flows wonderfully.

This is a must-have for any fusion collection.

A very strong 80's fusion album by Chick en co.

The album is very coherent and the solos are plenty. Great songwriting, great melodies and a wonderful production. Drummer Dave Weckl makes more use of analog/acoustic drums than before, wich makes the album sound less dated. The styles played on this album range from funk/fusion to reggae to latin, wich makes it quite diverse.

I especially like the rhythmsection of Weckl/Patitucci, wich is one of the tightest I can think of.

I really enjoy this type of fusion and it's far more progressive and adventurous than neoprogressive rock, wich emerged in the 80's. I think a lot of 90's progrockbands were listening to these kind of fusion-albums instead of Marillion.

An openhearted splendid methodology might have been used as a method of construction and the expression of the group that Chick Corea had given for details to this Elektric Band II on the boundary of the especially 90's.

There was a peculiar characteristic to which the music character concerning the album that had been announced after Elektric Band had been formed in 1985 was united to some degree. Part of flow and situation in which band that introduces electronic part from angle besides "Return To Forever" is expressed in Chick Corea again. And, it is likely to have become a formation of this band inevitably. The elite as the guess concretely ..being able execution.. a purpose and very directionality of this band. the member who had been gathered at first of the formation

Situation in which acoustic element in activity of band on the way is introduced. Or, it flows by making the rhythm section become independent and installing the form of Trio. It might be certain that all anyway the music at which Chick Corea had to aim at that time and the music that had to be expressed were inevitably done by the band and Trio.

The music character introduced into an acoustic Trio and band for Chick Corea might derived naturally. And, an action John Patitucci's existing and at least at that time might become one point as details to which this Elektric Band did dismantlement and restructuring further by this album. Anyway at that time, Chick Corea should have caught the activity of Elektric Band II as a concern. It is possible to think about it to some degree as the guess.

The style that Chick Corea had had been always offered to the listener as his outlook on the world. The big creativity might always have taken inevitable shape. The situation is reflected in the work in the especially 90's as an activity of Trio and this band.

John Patitucci that had seceded the band at the time of 1991 had the purpose to express the music character at this time through own group. However, the relation between John Patitucci and Chick Corea was not the translations that had cut completely. Announcement of work by "Stretch Label" that Chick Corea established it actually. Or, it acts about Trio that adds drum player's Vinnie Colaiuta. The tour by Quartet that added Bob Berg, Gary Novak, and John Patitucci at time when this album was announced to Chick Corea is actually dared. It has the shape that develops into "Time Warp" to announce in the following 1995 years as a result.

As for the organization with this Elektric Band II, elites who had touched the clairvoyance of Chick Corea were collected. This member's election will be reminiscent of the election of first Elektric Band form. As for Sax player's Eric Marienthal, the intention that remained continuously in the band was told as first information. However, other members were musician who had been indeed found by Chick Corea.

The line of Earl-Novak-Miller might have sent a fresh wind to past Elektric Band. It is understood the addition of the expression by a part of the greeting by the member and a technical part of the sense of relief to a past music character and the methodology.

The flow to do the performance in addition to the concept of running to directionality, the idea of the band that cultivated it till then, and a certain seed work enough is in this member's performance. This album has been approved as a flow that surely gives priority to the performance while being based on elaborate ensemble. The establishment of the performance might be the overall impression of this album. However, it cannot know whether it is an album with individuality especially. It is possible to listen to the uniformity of the zeal that has been spent on this Elektric Band and the skillful melody enough.

The feature in "Paint The World" is to progress the melody and chord with the expression of feelings in which Chick Corea is skillful most. Establishment of steady rhythm and groove to get on repetition of chord arranged in the whole. The piano pulls the tune. And, the obbligati of complete Jazz by Mike Miller constructs a good flow. The sound to which soprano sax of Eric Marienthal is glossy enough is emitted. The sound of an individual member in close relation to the progress of chord decided to some degree produces gentle Jazz Rock.

"Blue Miles" might be a tune exactly dedicated to Miles Davis. A flavor that Blues/Bop is good and a complex theme get on while being based on the rhythm of the shuffle. Part that shifts from solo of E-Piano to solo of guitar. And, complete polyrhythm is introduced. Flow that shifts there to solo of Sax. The flow to which an individual member turns solo might have the atmosphere of session.

"Tone Poem" shifts from the sound of Rhodes that recollects Return To Forever to the part of smooth jazz. Ensemble of the band that has already succeeded in the introduction of an acoustic element uses the sound with diversity properly. It is likely to express it though the sound of Mike Miller lacks punch a little if it compares it with Frank Gambale by the method of suitable for the tune. The member of this organization also is supplementing ensemble in which the band was skillful and technical respect enough so far. Rhords and the keyboard that Chick Corea does pull the impression of the tune.

"CTA" constructs a complex theme. Complete rhythm section that twines round methodology of Bop. Or, it is partial in the line of bass to make good use of the chopper. Flow that shifts from E-Piano to solo of Sax. The tune puts out individuality while accompanying the construction of a complex rhythm. Solo of the guitar is based as much as possible on the performance of blues rock and it contributes to the tune. The call and response and the unison of good to listen in the part of coda of the tune shine, too.

"Silhouette" has a few, ambient flows. This tune might play the role of interlude for the album. Part of uplifted guitar from complete anacatesthesia. It connects with the following tune well and offers the listener an impressive part.

"Space" is a tune with 6/8 rhythms in the subject. Melody of keyboard in close relation to steady rhythm. Unison of guitar and Sax that gives progress of chord that recollects AOR a little. The rhythm section is extremely steady. There might be atmosphere that the feeling of "Eye Of The Beholder" is followed as an impression of the tune. Part of keyboard and guitar for three group notes to twine well. The performance that solo of a guitar never gay is good is given. Polyrhythm that often listens can be improved.

"The Ant And The Elephant" is a tune that puts out an acoustic element. Part of piano solo in close relation to unique theme. Or, the guitar that produces the anacatesthesia accompanies the part of good Jazz Rock. Classic a little part. However, the rhythm where it doesn't stay as a simple composition is constructed. Especially, the composition of the rhythm multiuses cymbals legato, polyrhythm, and 16 notes. The power of expression of solo of Mike Miller is very rich. An individual member is having them understand enough and express the progress of various rhythms and chord.

"Tumba Island" has introduced a complex rhythm. However, the melody of the theme is extremely complex. Construction of rhythm intermittently done. Processing of space by note composed complexly. Ensemble is complete though the performance that an individual member does is intermittent. However, it might be a tune especially not impressive. The solo sound of Sax in which Wayne Shorter is reminiscent a little more is expressed. The guitar is suitable for the tune of this band by contraries and contributes.

As for "Ritual", the music character of Elektric Band at latter term is followed. The theme that multiuses syncopation progresses more complexly. Part of piano melody and solo in close relation to rhythm that multiuses 16 notes. The organization of this band might indeed give priority to the performance. Part that shifted from advanced flow in state of Piano Trio to solo of Sax. Or, the rhythm section that offers a steady as much as possible technology is splendid.

As for "Ished", an individual member intermittently twines round the rhythm of 16 notes done at high speed the sound. The theme with the tension often appears, too. It is overwhelming if it technically considers it. However, the impression might be weak as the composition of the melody and the tune. The composition has the element of Improvisation mainly composed of the rhythm. The tune explodes in the part of solo of Sax strengthening ensemble.

As for "Spanish Sketch", the music character that Chick Corea exactly cultivated is demonstrated. As for the flavor of the Spanish music that can be demonstrated even by solo album of Chick Corea and the following "Origin", this tune is satisfactorily demonstrated. Construction of grand melody with keyboard and guitar. Part of rhythm to which tango rhythm is taken. The atmosphere is a part of the sound with an intense object guitar. The tune becomes intenser. It rushes into solo of the guitar from the theme that appears again. Mike Miller really contributes to the tune well.

"Final Frontier" is a tune from which the music character of a past band has been succeeded. It progresses while developing the rhythm with the complexity. Part where flavor of good Jazz is expressed because of electronic sound. This tune has been approved enough as Jazz Rock, too. However, there is atmosphere of session in the part of solo. The tune is music for them including solo of a drum on the way.

"Reprise" is a tune with minimal and ambient atmosphere. Continuousness of sound in which transparent feeling and sense of relief are continued. Solo of Sax in close relation to the continued sound sounds beautifully.

Chick Corea shifts to the work of Quartet as a result after announcing this album. And, this Elektric Band stopped the activity until reviving in 2004. The done Music character and the gathered member were inevitable one in the album for Chick Corea.