Trilogy Corea

"Trilogy" is triple live set,collecting some material, played during 2010-2012 new trio European and Japanese tours.Chosen recordings are covering extremely wide areas what makes this release far from being boring or overcrowded. Well completed,perfectly recorded and mixed this massive release probably contains few surprises,but for Corea's fans it's another extremely enjoyable example of great artist's music.

"Trilogy" is triple live set,collecting some material, played during 2010-2012 new trio European and Japanese tours.Chosen recordings are covering extremely wide areas what makes this release far from being boring or overcrowded. Well completed,perfectly recorded and mixed this massive release probably contains few surprises,but for Corea's fans it's another extremely enjoyable example of great artist's music.

Within the last 18 months, Chick Corea has released albums with an eight-piece Latin ensemble (Antidote with the Spanish Heart Band) and a trio (Trilogy 2 with bassist Christian McBride and drummer Brian Blade). On his new album Plays, the live audience is the band. Here I am with my piano," he says in the opening track. "The piano’s tuned up all nice, but we have to tune up. Yeah, we." Corea strikes a middle A. "Ahhh," the crowd sings back with a nervous giggle. G to A. "Aaah-aaah." So on and so forth; he teases them with increasingly complicated phrases, then settles into a lovely medley of Mozart’s Piano Sonata in F and George Gershwin’s "Someone to Watch Over Me." "It feels uncomfortable to just sit up on stage, play and nod at [people]," he says in the Plays press bio. "I like people to feel like they’re in my living room and we’re hanging out."

The bass has seen its share of extraordinary innovators in the hundred-plus years of jazz history. Stanley Clarke, much like such hallowed figures as Jimmy Blanton, Charles Mingus and Scott LaFaro, was a game changer on his instrument. Unlike those who came before him though, Clarke helped alter the nature of both the acoustic and electric configurations of the bass. His groundbreaking work of the 1970s has been so integrated into the very fabric of modern jazz bass playing that a return visit to his own brilliant recordings can be nothing less than a revelatory listening experience.

François Couturier's solo excursion "Un jour si blanc" is conceived by its maker as the second volume in a planned trilogy, and an extension of the earlier quartet disc "Nostalghia", dedicated to filmmaker Andrei Tarkovsky. The highly poetic approach – both in the playing itself and in the referential and allusive conception – is again evident. The new album's starting point is a poem by Arseni Tarkovsky, which gives the disc its title and atmospheric implications. Thereafter, the music opens up associatively, making trans-idiomatic improvisational interconnections. "I wanted to pay tribute to some great artists I particularly like", says Couturier. These include Johann Sebastian Bach, Arthur Rimbaud, Claude Debussy, Franz Schubert, Toru Takemitsu, Joan Miró, the painters of the Blaue Reiter group and more. Meanwhile, "Lune de miel" quotes liberally from "I Fall In Love Too Easily"… But if standard jazz is a component of this disc it is filtered through the focus of a player steeped in the European classical and experimental traditions. This first solo disc from the insightful French pianist is also a richly creative contribution to the unaccompanied piano genre established at ECM, as Couturier now joins the distinguished list of improvising pianists – Chick Corea, Paul Bley, Keith Jarrett, Marilyn Crispell, Jon Balke, Misha Alperin – who have recorded alone for the label.