« Interview: Chick Corea (Part 1) | Main | Interview: Chick Corea (Part 3) »

November 02, 2011

TrackBack

TrackBack URL for this entry:
http://www.typepad.com/services/trackback/6a00e008dca1f088340162fc13464a970d

Listed below are links to weblogs that reference Interview: Chick Corea (Part 2):

Comments

Feed You can follow this conversation by subscribing to the comment feed for this post.

David

I guess everyone hears something different, but Stan doesn't sound baffled to me. The glassy eyed stare is just Stan. There's certainly nothing bossa nova-ish about the growl at 2:54, and listen to how Stan and Tony hit that trill in perfect unison at 5:52. While Victor Lewis and Rufus Reid would prove to be a better match for Stan, he's holding his own here (to my ears.)

Allen Lowe

strange quote du jour, by Chick:

"My opinion, generally, is that all music lacks value and humanity and feeling and depth when it's devoid of an audience. "

same thing, I would say, with executions.

Joel lewis

Chick engendered a lot more hostility from the larger jazz audience than other fusioneers partially because of the music he was doing just before RTF. The Circle had a small, but devoted following, and his alcum SOng of Singing was seen as a real breakthrough in free music circles (still cited by a wide range of players). Corea had also published a somewhat pompous essay in Downbeat called "Function of the Artist" There were even rumors that he broke up Circle in Europe and left the band to fend for themselves while he went back & founded the original RTF! As a fan of the early electric RTF (I was in audience when DeMeola made his debut at a Newport/NY concert), I felt that by the bands first hit, Electric Warrior, they took a definite turn into sillyville -- sounding like the band Yes, but with better chops.

Conversely, American audiences had initially experienced McLaughlin as jazz-rock guy (extrapolation would not get a US release until later). Hancock always had a commercial side (Watermelon Man, Maiden Voyage was first written for a tv commercial, movie soundtracks, etc) so no one was shocked by Headhunters except for the small audience for the Mwandishi band. Weather Report made a gradual transition from being a speacey version of some ideas MD pioneered into Heavy Weather success (a six year journey)

On the balance he is a bit of the paradox, few jazz artists have put out such real groundbreaking work (song of singing, now he sings..) & such slight work (My Spanish Heart, the classical efforts on ECM, the Elektrik band)

Jery Rowan

Stan didn't come across as being "baffled" to me, either. Rather, he seemed totally comfortable in that particular environment and especially connected to Tony Williams. While fusion was not his favorite music genre, Stan Getz could hold his own with anyone, anywhere, anytime. He was that brilliant.

Sorry to read such a subjective opinion in an otherwise fine piece on Chick Corea.

Dennis Bukantis

Stan seemed to blow at ease and understand what was happening...big ears, man! At this point the band had really gelled into RTF, and so glad they're back currently!

The comments to this entry are closed.

About

  • Marc Myers writes frequently on music and the arts for the Wall Street Journal. He is author of "Why Jazz Happened" (University of California Press). JazzWax has been named the Jazz Journalists Association's "Blog of the Year."
Marc Myers Mug (resized)

Contact me

Jazz Book!

  • Click cover to order

Search JazzWax


  • JazzWax
    Web

Subscribe for Free

Enter your email address:

Delivered by FeedBurner

JazzWax Interviewed



WSJ Articles

JazzWax Interviews

Audio Note

  • Audio clips that appear below JazzWax posts support editorial content that links readers directly to Amazon and other third-party music retailers.

Marc Myers on Video









JATP Programs