CHICK COREA / STEVE GADD BAND - Chinese Butterfly
Stretch/Concord
Chick Corea: piano & keyboards; Steve Gadd: drums; Lionel Loueke: guitar, voice; Steve Wilson: saxophone & flute; Luisito Quintero: percussion; Philip Bailey: guest vocal on “Return to Forever”.
Chick Corea plays: Yamaha CFX grand piano, Montage electric keyboard, Moog Voyager, Original Fender Rhodes, Vintage Vibe electric piano, Mainstage with Spectrasonics Omnisphere and Keyscape Kontact 10
To say that Chick Corea, at age 77 is producing some of the best music of his career in the past decade is not hyperbole. The veteran innovative keyboardist has produced gems like Five Peace BandLive (Concord, 2009) The Continents: Concerto For Jazz Quintet and Chamber Orchestra (Deutsche Grammophon, 2012) Further Explorations (Concord, 2012) and most recently the all new program of electric music The Vigil (Concord, 2013) and Two (Concord, 2016) with Bela Fleck. Additionally Corea kept busy in the last decade reuniting with the classic Al Dimeola/Stanley Clarke/Lenny White lineup of Return To Forever as part of a historic 2008 tour, a revamped RTF group in 2011, and is currently touring with the Akoustic Band with all new music with an album to expected follow shortly. Chinese Butterfly, Corea’s new album puts him back in the company of drummer Steve Gadd, who he first worked with more than fifty years ago in a longstanding musical and personal friendship.
The double album, with 5 new compositions from Corea is the first studio effort since The Vigil and flanks him with a fantastic new band featuring guitarist Lionel Loueke, frequent collaborator Steve Wilson on soprano saxophone and flute, Carlitos Del Puerto on acoustic and electric bass, percussionist Luisito Quintero and special guest vocalist Philip Bailey. Corea and Gadd first played together in trumpeter Chuck Mangione’s band in 1965, and ten years later most famously recorded Corea’s The Leprechaun, followed by Friends (Polydor,1978) , and the classic Three Quartets (Stretch/Concord) in 1981. Gadd also appeared on The Ultimate Adventure(Stretch/Concord) in 2006, but this is the first time the keyboardist and drummer have reconnected for a full album since Three Quartets. Gadd was also slated to be the original drummer of the electric incarnation of Return To Forever, but due to his role of session drummer extraordinaire in NYC was replaced by Lenny White. Corea has been fortunate to play with a lions share of incredible drummers, including Roy Haynes, Tony Williams, Jack DeJohnette, the aforementioned White, and Dave Weckl, all drummers he’s had a great rapport with, but the synergy between he and Gadd is something special. Additionally the majority of this music was captured live in the studio mostly in first takes adding to the inspired level of the performances.
The drummer’s signature ratamacue kicks off “Chick’s Chums” written by John McLaughlin, and the bouncy feel good tune serves a good introduction to the entire band, Corea, Wilson and Loueke have standout solos. Loueke in particular with his wholly individual approach to guitar and idiosyncratic approach to vocals informed by his native Benin brings something very fresh to these new tunes. His vocals, trademark octave pedal doubled guitar lines, and synth like effects really enhance the texture of this music in a great way. “Serenity” a beautiful new ballad allows his vocals to soar along side carefully blooming dynamics, and also showcases a thoughtful Corea acoustic piano solo. “Like I Was Sayin” features Corea’s 80’s spiced Rhodes, in a trio with Del Puerto’s electric bass and Gadd’s forward momentum, swinging drums. The drummer gets a chance to work out over Corea’s fat vamp and the tune is a highlight of the two discs. “A Spanish Song” is a different prism for the keyboardist to work his magic over Spanish sonorities, in a seductive tango, and the title track’s percolating rhythm section with Luisito Quintero’s percussion and Gadd’s drums working in tandem is a treat. The Quintero/Gadd hookup throughout is dynamite, and their pulsing polyrhythms adds a distinct African hue to the album.
The group’s magical take on “Return To Forever” on the second disc renders it as exuberant as the original first recorded in 1971 on the ECM album of the same name. This is in no small part to Philip Bailey’s tremendous vocal range that can reach both male an female registers, that will not be a surprise to those who have heard his work in Earth& Wind & Fire, but will be for those who only know “Easy Lover” with Phil Collins. Bailey’s energetic riffing, and exchanges with Corea set up a round of gorgeous solos and interplay for all. Corea’s use of a classic Rhodes sound almost circa Light As A Feather (Polydor, 1971) brings warmth and nostalgia, but not at the expense of in the moment creativity. “Gadd Zooks” begins as an almost soundtrack for a NASA film with atmospheric synth pads, before turning into a classic Corea long form composition, a Moog line literally spelling out the song title. Sequenced synth drums blend imperceptibly with Quintero’s percussion and Gadd’s drums for an intoxicating stew. Corea takes a few Moog solos, and Gadd gets another chance to flex over sinewy, snaky vamps.
Chinese Butterfly updates a sound from the late 70’s and early 80’s for a new generation. The music doesn’t rest on it’s laurels, instead seeking to expand, with subtle hints of new frontiers for the keyboardist like electronica (“Gadd-zooks”). The album contains some of the strongest playing and compositions of the keyboardist in a long time and an incredibly sympathetic group that uses their strengths to imbue so much color.
Reviewed by CJ Shearn
Stretch/Concord
Chick Corea: piano & keyboards; Steve Gadd: drums; Lionel Loueke: guitar, voice; Steve Wilson: saxophone & flute; Luisito Quintero: percussion; Philip Bailey: guest vocal on “Return to Forever”.
Chick Corea plays: Yamaha CFX grand piano, Montage electric keyboard, Moog Voyager, Original Fender Rhodes, Vintage Vibe electric piano, Mainstage with Spectrasonics Omnisphere and Keyscape Kontact 10
To say that Chick Corea, at age 77 is producing some of the best music of his career in the past decade is not hyperbole. The veteran innovative keyboardist has produced gems like Five Peace BandLive (Concord, 2009) The Continents: Concerto For Jazz Quintet and Chamber Orchestra (Deutsche Grammophon, 2012) Further Explorations (Concord, 2012) and most recently the all new program of electric music The Vigil (Concord, 2013) and Two (Concord, 2016) with Bela Fleck. Additionally Corea kept busy in the last decade reuniting with the classic Al Dimeola/Stanley Clarke/Lenny White lineup of Return To Forever as part of a historic 2008 tour, a revamped RTF group in 2011, and is currently touring with the Akoustic Band with all new music with an album to expected follow shortly. Chinese Butterfly, Corea’s new album puts him back in the company of drummer Steve Gadd, who he first worked with more than fifty years ago in a longstanding musical and personal friendship.
The double album, with 5 new compositions from Corea is the first studio effort since The Vigil and flanks him with a fantastic new band featuring guitarist Lionel Loueke, frequent collaborator Steve Wilson on soprano saxophone and flute, Carlitos Del Puerto on acoustic and electric bass, percussionist Luisito Quintero and special guest vocalist Philip Bailey. Corea and Gadd first played together in trumpeter Chuck Mangione’s band in 1965, and ten years later most famously recorded Corea’s The Leprechaun, followed by Friends (Polydor,1978) , and the classic Three Quartets (Stretch/Concord) in 1981. Gadd also appeared on The Ultimate Adventure(Stretch/Concord) in 2006, but this is the first time the keyboardist and drummer have reconnected for a full album since Three Quartets. Gadd was also slated to be the original drummer of the electric incarnation of Return To Forever, but due to his role of session drummer extraordinaire in NYC was replaced by Lenny White. Corea has been fortunate to play with a lions share of incredible drummers, including Roy Haynes, Tony Williams, Jack DeJohnette, the aforementioned White, and Dave Weckl, all drummers he’s had a great rapport with, but the synergy between he and Gadd is something special. Additionally the majority of this music was captured live in the studio mostly in first takes adding to the inspired level of the performances.
The drummer’s signature ratamacue kicks off “Chick’s Chums” written by John McLaughlin, and the bouncy feel good tune serves a good introduction to the entire band, Corea, Wilson and Loueke have standout solos. Loueke in particular with his wholly individual approach to guitar and idiosyncratic approach to vocals informed by his native Benin brings something very fresh to these new tunes. His vocals, trademark octave pedal doubled guitar lines, and synth like effects really enhance the texture of this music in a great way. “Serenity” a beautiful new ballad allows his vocals to soar along side carefully blooming dynamics, and also showcases a thoughtful Corea acoustic piano solo. “Like I Was Sayin” features Corea’s 80’s spiced Rhodes, in a trio with Del Puerto’s electric bass and Gadd’s forward momentum, swinging drums. The drummer gets a chance to work out over Corea’s fat vamp and the tune is a highlight of the two discs. “A Spanish Song” is a different prism for the keyboardist to work his magic over Spanish sonorities, in a seductive tango, and the title track’s percolating rhythm section with Luisito Quintero’s percussion and Gadd’s drums working in tandem is a treat. The Quintero/Gadd hookup throughout is dynamite, and their pulsing polyrhythms adds a distinct African hue to the album.
The group’s magical take on “Return To Forever” on the second disc renders it as exuberant as the original first recorded in 1971 on the ECM album of the same name. This is in no small part to Philip Bailey’s tremendous vocal range that can reach both male an female registers, that will not be a surprise to those who have heard his work in Earth& Wind & Fire, but will be for those who only know “Easy Lover” with Phil Collins. Bailey’s energetic riffing, and exchanges with Corea set up a round of gorgeous solos and interplay for all. Corea’s use of a classic Rhodes sound almost circa Light As A Feather (Polydor, 1971) brings warmth and nostalgia, but not at the expense of in the moment creativity. “Gadd Zooks” begins as an almost soundtrack for a NASA film with atmospheric synth pads, before turning into a classic Corea long form composition, a Moog line literally spelling out the song title. Sequenced synth drums blend imperceptibly with Quintero’s percussion and Gadd’s drums for an intoxicating stew. Corea takes a few Moog solos, and Gadd gets another chance to flex over sinewy, snaky vamps.
Chinese Butterfly updates a sound from the late 70’s and early 80’s for a new generation. The music doesn’t rest on it’s laurels, instead seeking to expand, with subtle hints of new frontiers for the keyboardist like electronica (“Gadd-zooks”). The album contains some of the strongest playing and compositions of the keyboardist in a long time and an incredibly sympathetic group that uses their strengths to imbue so much color.
Reviewed by CJ Shearn
