Chick Corea, Brian Blade, Christian McBride: Trilogy 3 (Candid Records CAN33543)
While there is always plenty to rave about when it comes to Return to Forever, Circle, Origin or the esteemed Elektric and Five Peace bands that Chick Corea led, there’s something about his playing in a trio setting that, for this writer, always brought out the best in the revered pianist. Whether he was opposite Miroslav Vitous and Roy Haynes, Dave Holland and Barry Altshul, or John Patitucci and Dave Weckl, the space within a three-piece seemed to allow Corea that extra freedom to stretch, regardless of any melodic, harmonic or rhythmic boundaries the music might present.
Ahead of the music featured on this new live release (eight tracks recorded in Paris and Spain between 2019 and 2020, before Corea’s untimely passing in 2021), the rapturous applause and whistles we hear tells us this trio, featuring bassist Christian McBride and drummer Brian Blade, was up there as one of Corea’s most acclaimed. There’s some brief introductions before it’s down to business as the band dive into Humpty Dumpty, a classic fan favourite from Corea’s late 70s electric era. The tune’s dotty, playful theme is heard in unison on piano and bass, soon underpinned by a lively brush pattern. With a switch to sticks and Blade now tapping out a dry, dancing swing pattern on ride cymbal, there is a sudden swell in energy that culminates in some rousing, hard-swinging solos from all.
Lowering the tempo, Corea next ushers his outfit into Windows, the breezy waltz first heard on his 60s classic, Now He Sings Now He Sobs, arranged here to highlight not just Corea ‘s open, lyrical lines throughout, but also some strong, gymnastic upright moments from McBride.
Elsewhere, either side of an inspired, 15-minute swing through Cole Porter’s You’d Be So Easy to Love and some exciting dialogue between piano and bass especially, the set takes in two tunes from another of Corea’s heroes, Thelonious Monk – Ask Me Now and Trinkle Tinkle. Announced with the rhythm section riffing off Corea’s playful melody and fleeting runs, the latter slowly builds towards an energised outro and Blade executing loud, military-inspired snare rolls inside a subtle walking bass line.
Given Corea’s early classical leanings and the clear influence it’s left on his playing, a deft arrangement of Scarlatti’s Sonata In D Minor sits well within this standards and originals set. McBride elegantly bows broad lines over Corea’s long waltz introduction before an abrupt flip to fingers signals a change and the piece fans out to a looser, bop-style section, finally returning to its romantic opening theme.
The set continues, to the audible appreciation of the audience, with two Latin-spirited selections – the bossa-flavoured Spanish Song (first recorded in 2017 with drummer Steve Gadd) and Bud Powell’s Tempus Fugit, a groovy samba that brings out both more grandiose interplay from this grand band and a muscular close to one of Corea’s most essential posthumous releases.
Bill Stewart: Live At The Village Vanguard (Criss Cross 1424CD)
In the liner notes to this new recording of Bill Stewart and band live from the Village Vanguard, the drummer waxes lyrical about experiencing his drum heroes up close at the infamous club when he first arrived in New York. Reading how Stewart would “get the body language” of players like Elvin Jones, Tony Williams, Roy Haynes and Billy Higgins, this writer recalls similar experiences watching Stewart himself in close proximity at Ronnie Scott’s with John Scofield or with Larry Goldings in an even more intimate jazz club in Dorking.
Stewart’s stunning feel, sensitivity, touch, taste and musicality between hands and feet is all recaptured on this, the sticksman’s first live album as leader for the Criss Cross imprint. Over a bright, two-feel swing from our man, Ten Foot Two opens this warm set with saxophonist Walter Smith III at once essaying some dotty Coltrane-style lines towards an early solo spot from bassist Larry Grenadier. It’s one of eight originals from Stewart in this set, the only exception being Smith’s dreamy ballad, Ace.
Through another equally pensive piece, Purple Veil, the tenorist plays artfully with space, blowing breathy figures over faint, throbbing blues bass and some stunning brushes-to-stick work from Stewart. Whilst the Vanguard set mostly serves up modern or post-bop swing, Mynah is announced with a funky, snare-roll-licked drum groove tracking a repetitive bass hook reminiscent of electric era Miles. When not in strict groove mode, Stewart’s playing is notable for its harmonic qualities, his beautifully melodic work around tom-toms and cymbals emphasised through the more free-inclined and formless Space Acres. As the title implies, the instrumentation here is sparse, wide-open rhythmically and throws out some rich dialogue between drums and saxophone.
Trailing a more simple medium blues in How Long Is Jazz, Stewart introduces a more highly charged 7.5 with a three-minute drum solo as melodic as Smith’s main theme which follows with great force. Over Grenadier’s hip walking and Stewart’s swift and busy bop-phrasing around the kit all the time tacked to his unwavering swing, the tune makes for an explosive closer to this all killer, no filler set.
