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A Fireside Chat with Chick Corea

AAJ Staff By

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The song titles are a descriptive. It is a particular way of looking at the world or looking at an environment or a situation and depicting it in music.
Individual virtuosity has not forsaken jazz. It is just rarely covered in the mainstream media and is often overwhelmed by the fabricated plastic of pop culture. But I dare hope. Study Chick Corea. Consider his productivity. And admire his artistry. Miles Davis' Bitches Brew , Circle's Paris Concert , Return to Forever's Romantic Warrior , weighed with his extensive achievements for Atlantic, Blue Note, Polydor, ECM, and Concord/Stretch and Corea is beyond question a creative institution. Hope remains.

All About Jazz: What prompted the Elektric Band reunion?

Chick Corea: It happened midway through 2002. I had a birthday party at the end of 2001, a sixtieth birthday party. We held it at the Blue Note in New York and I invited a lot of musician friends down and it ended up lasting three weeks. It was a real moving experience for me to be able to meet with so many of my friends, who I worked with in my past bands. Michael Brecker was there, Steve Gadd, and Eddie Gomez, and Bobby McFerrin, and Gonzalo Rubalcaba, Roy Haynes, Gary Burton. There were so many people, it was very nice. But we weren't able to do any electric music because the nature of the small club and the equipment of the production. So when the next year came around, I decided that I really wanted to try and put the Elektric Band back together. We had this one gig at the Hollywood Bowl in the summer of 2002. They asked me to bring some of my bands, so I brought three quartets with Michael Brecker, Steve Gadd, and Eddie Gomez. We reunited Airto Moreira and Flora Purim and Stanley Clarke that night. Gary Burton came and we did a duet. That was the first night that the Elektric Band played and it was such a good feeling, everyone was so excited and played so great that we agreed to try and do more things with the band.


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