Tones For Joan's Bone

Chick Corea - Tones for Joan's Bones (1966) {2012 Japan Jazz Best Collection 1000 Series WPCR-27015}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 284 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 600 dpi (jpg) -> 48 Mb | 5% repair rar
© 1966, 2012 Vortex / Warner Japan / Rhino | WPCR-27015 | 24bit remaster
Jazz / Hard Bop / Piano

Features 24 bit digital remastering. Comes with a mini description. Tones for Joan's Bones, Chick Corea's first session as a leader, is a blazing, advanced hard bop set from late 1966, with writing that reveals an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral.

Tones for Joan's Bones, Chick Corea's first session as a leader, is a blazing, advanced hard bop set from late 1966, with writing that reveals an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too.

Tones for Joan's Bones, Chick Corea's first session as a leader, is a blazing, advanced hard bop set from late 1966, with writing that reveals an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too. Corea is a torrent of harmonic and melodic imagination, couched in unerring rhythm. Anybody with an interest in this vital and exciting period will find this session indispensable.

Tones for Joan's Bones, Chick Corea's first session as a leader, is a blazing, advanced hard bop set from late 1966, with writing that reveals an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too. Corea is a torrent of harmonic and melodic imagination, couched in unerring rhythm. Anybody with an interest in this vital and exciting period will find this session indispensable.

The granddaddy of electric blues, and by default, rock & roll - he was Chuck Berry's biggest inspiration - pumped out this underrated gem of an album in 1968. Don't expect a 'Electric Mud'-type thang here, with T-Bone restyling and psychedelizing his best known hits. Rather, it's a pretty solid old-school Chicago Blues platter with a few incredibly stompin' bits of funk.
"Goin' to Funky Town" actually is a traditional-styled blues instrumental, riding a throbbing, slow, lowdown groove for T-Bone to trickle his delicious guitar licks over. Also features a juke joint piano way up front.
With "Party Girl", Walker treads the realm of funk…

Tones for Joan's Bones, Chick Corea's first session as a leader, is a blazing, advanced hard bop set from late 1966, with writing that reveals an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too. Corea is a torrent of harmonic and melodic imagination, couched in unerring rhythm. Anybody with an interest in this vital and exciting period will find this session indispensable.

For the second time in two years, Chick Corea has assembled a band to give aural illustration to the fantasy writings of L. Ron Hubbard. For those who have trouble with Hubbard and his teachings, this may be a red flag to avoid the record altogether. The Ultimate Adventure is a tale that draws on characters from the Arabian Nights - there is an ad for the book in the back of the CD booklet. With that out of the way, one has to deal with the music entirely on its own terms. Corea has spent decades playing both electric and acoustic jazz. This is the first time since 1976's My Spanish Heart that he has woven his love of both so completely into a single album. There are more than a few echoes here that call upon the ghosts of the earliest Return to Forever band - primarily in the gorgeous flute playing of Hubert Laws and Jorge Pardo, in the saxophone artistry of Tim Garland, the drumming of Steve Gadd…