This exquisite, wonderful album has scarcely been off my turntable since it arrived four weeks ago. Before I discuss its contents, however, a brief explanatory peroration is required.
The only obvious reason why the record is being discussed in these columns is Corea’s name. There is nothing that clearly, or even obliquely, qualifies as ‘jazz’, and it could be said that the music herein would be much more relevantly reviewed in the classical section of ‘The Gramophone’. I say this in deference to the more conservative/hidebound elements in our readership – those who jealously resist any attempt to elasticate the word ‘jazz’ to cover any but the most purist definition.
Jazz enthusiasts have always counted among their number a fair smattering of obsessives who opine that jazz is or is not such and such, started in year x, ended in year y, cannot possibly/absolutely has to include musician a, continent b, instrument c, or style d. The worst of these loonies call to my mind the Flat Earth disciples, or the less stable members of the Welsh Language Society; and as long as theorists of our music pay any nominal (let alone serious) credence to their obscurantist ravings, it will go on failing to receive the attention it properly deserves from music lovers of all kinds.
The point I’m attempting to make is that if a great jazz pianist considers these performances and compositions worthwhile, any committed jazz listener ought to do so too. And I can say that such an auditor will be giving himself a rare treat.
Corea’s work here is that of a master musician, and a writer not just of uncommon skill but of a depth and imagination that take the breath away. It is true that some of the voicings and compositional ideas owe a great deal to Debussy, Bartok, Satie, and at times Ravel; but why not? I can already hear some mouldie figge muttering ‘sub-Debussy’ about these tracks; but I’ve always thought it was no disgrace to be ‘sub’ to that towering genius, especially when his musical message has been so intelligently and creatively assimilated as it is on this record.
The performances here abound with wit, tenderness, rhythmic audacity and power, and devotion to the grandest instrument of them all. It so happens that I have recently bought a superb LP of Pascal Rogé playing Erik Satie. Not only does Chick’s playing equal that young virtuoso’s intelligent excellence; the compositions are of a similar level to Satie’s. I hope to demonstrate that in a suitably detailed look at this record in article form, soon; in the meantime, I cannot recommend this album too strongly. It may not be certain listeners’ idea of ‘jazz’; but then I reckon that’s their problem, not Chick’s. This will undoubtedly make my Record Of The Year choice; and the record that tops it will have to be awfully damned good.
Discography
Children’s Songs 1-11 (16.37) – Children’s Songs 12-20 (14.28)
Chick Corea (p). Ludwigsburg, July 1983.
(ECM 1267)
