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Chick Corea: The Vigil




Chick Corea is a musical chameleon. Even before playing with Miles Davis he began to experiment with a myriad of idioms—including Spanish and other Latin ones—fusing them into his music, which rose to great heights after his sojourn with Miles Davis. Although he has a vast and varied repertoire on his own and with his fabled band, Return to Forever, and is known for his seminal work with Miles Davis, Mr. Corea has, over the past five decades, amassed a diverse catalogue of collaborations with such musicians as Herbie Hancock, Anthony Braxton, Hubert Laws, Herbie Mann, Chaka Khan, Stan Getz, Stanley Clarke and Gary Burton among other luminaries. A detailed recitation of his catalogue might require much more than this review is appropriate for. Suffice it to say that Mr. Corea’s work has been critically acclaimed no matter where his music came from or is headed and he has been celebrated wherever and whenever his music came out on LP and on CD. 2013 was no exception, when he released what has come to be recognised as some of his best work in decades, on the CD The Vigil. This is a record of epic proportions, in the all-encompassing scope of the music thematically as well as in the breathtaking motifs and melismas that inform the individual songs.

The magic of many great musicians has waned as the fingers got older and even though the soul is always alive and eternally hovering by the body’s side. A certain hollowness also creeps into the late-late work of musicians as the memory of ideas begins to fade. But fortunately Chick Corea remains flushed with ideas, unbridled genius and his guardian soul is like a flibbertigibbet and a willow-the-wisp and remains as charismatic and enigmatic as ever. This is reflected in his pianism, which is informed by great technical brilliance and this is matched by a sweeping romanticism, which in turn is propelled by deeply held emotions. This is translated into magnificent dynamics in his work on the piano as well as on the two electronic instruments that he plays here. How he is able to extract emotion from electronics is sometimes quite beyond belief. The Vigil is a loosely strung suite that suggests truly outward-looking music. But it is more than a mere lexicon version of the word. The music has galactic notions but these are related to the music that Mr. Corea “describes” as ancient, stretching back aeons into the misty eras of history when music was communication, much more so than today, passed down the ages from musician to musician until the present era. The clever use of congas (by Pernell Saturnino) and the thunderous roar of drums played throughout by Marcus Gilmore suggest this along with the glorious rumble of Hadrien Feraud’s elliptical bass.

However, it is the celestial keyboards and the majestic grand piano of Chick Corea. The pianist is at the top of his game and displays further attributes as a marvelous tonal colourist and ardent Romantic. His sound world is soft and alluring—abetted by a superb recording—neither too intrusively close nor resonantly distant. He produces a fresh and silvery quality that yet has a lyrical warmth. The beauty with which this is echoed on “Portals to Forever” is particularly fine and will linger in the mind’s ear forever. These and other songs are the swinging-est on this recording. But Mr. Corea also makes a persuasive case for the slow and mesmerising movements as in “Royalty,” a piece played at a lilting pace and with a swelling sequence towards the end. This is a tribute to the great drummer Roy Haynes, whose grandson is sitting in the drum chair of this most recent incarnation of Mr. Corea’s ensemble. “Pledge for Peace” and “Legacy” are the final sections of this masterpiece and it is here, as throughout the recording, in which the natural genius of Chick Corea is at its clearest as is the bold streak in his compositions that sets him apart from the rest of the composers and pianists playing today.

Track List: Galaxy 32 Star 4; Planet Chia; Portals to Forever; Royalty; Outside of Space; Pledge for Peace; Legacy.

Personnel: Chick Corea: Yamaha CFIIIS Concert Grand Piano, Motif XF8; Moog Voyager; Tim Garland: tenor and soprano saxophones; bass clarinet and flute; Charles Altura: acoustic and electric guitars; Hadrien Feraud: bass; Marcus Gilmore: drums; Pernell Saturnino: percussion (1, 2, 3); Gayle Moran Corea: vocals (5); Stanley Clarke: bass (6); Ravi Coltrane: tenor saxophone (6).

Label: Stretch Records/Concord Jazz | Release date: August 2013

Website: | Buy music on: amazon

About Chick Corea

Since embarking on a solo career in 1966, Chick has been at the forefront of jazz, both as a renowned pianist forging new ground with his acoustic jazz bands and as an innovative electric keyboardist with Return to Forever, the Elektric Band, and now the electro/acoustic Vigil. His extensive discography boasts numerous albums, beginning with his 1968 classic, Now He Sings, Now He Sobs. Read more…

Based in Milton, Ontario, Canada, Raul is a poet, musician and an accomplished critic whose profound analysis is reinforced by his deep understanding of music, technically as well as historically.

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Adrien Brandeis: Siempre Más Allá



Roberto Jr. Vizcaino, Adrien Brandeis, Roberto Vizcaino Guillot - Photo Nayeli Mejia
Roberto Vizcaíno Jr., Adrien Brandeis, Roberto Vizcaíno Guillot - Photo: Nayeli Mejia.

Listening to the music of Siempre Más Allá, it certainly seems that the young French pianist, Adrien Brandeis has strengthened the belief that he is a proverbial citizen of the Afro-Caribbean universe. To be clear Mr Brandeis still loves all music and swings as hard as any pianist who loves Black American Music – that is, music that you can sing and dance to. But also continues to be beguiled by the rolling thunder of Afro-Caribbean music. The wild call of the rhythms and the joie de vivre of the questing melodies and harmonies not only appeal to his ear, but also speak to him in the hidden parts of his heart.

By his own admission Siempre Más Allá took root during three tours to Mexico undertaken under the aegis of the Fédération des Alliances Françaises du Mexique. The virtually all-Afro-Cuban repertoire of the album radiates charm at every turn. These disarmingly natural and eloquent performances bring out the music’s inherent drama and penchant for tumbao with a deft touch while indulging Brandeis’ lyrical instincts to the full. Meticulously balanced, the four quartet pieces, the trio and duo pieces feel as if they are chamber works. Brandeis’ astonishingly insightful playing is musically captivating and technically blemishless. Each phrase rings so completely true that one can’t imagine the music played any other way.

Adrien Brandeis: Siempre Más Allá
Adrien Brandeis: Siempre Más Allá

The album features Mr Brandeis and a group of very accomplished musicians. These include the celebrated Cuban percussionist Roberto Vizcaíno Guillot [on two tracks] and his son Roberto Vizcaíno Jr., Mexican drummer José Loria Triay make up the wall of percussion. The Brasilian bassist Giliard Lopes brings his distinctive veritas to the whole rhythm section. The big surprise here is, perhaps, the presence of the great Cuban Horacio “El Negro” Hernández sitting in the drum chair on La buena vibra.

Siempre Más Allá is an affirmation of Brandeis’ enduring love and natural affinity for Latin music. Not surprisingly the music seems to echo the famous Latin American phrase: “¡Que rico bailo yo!” [which, in English, exclaims: “How well I dance!”]. This is no hyperbole as the music – in its pulses and rhythms show as Brandeis traverses the rhythmic topography of the Caribbean and Latin America. Along the way Brandeis plunged into the world of changüí, the chacarera, Brasilian gaucho music and the ancient melodic thunder of bàtá drums.

From the get-go listeners will find themselves immersed in quite another world of rippling percussive grooves. The track Ek Bakam, for instance, conjures the intricate architecture; the line and flow of an epic Mayan civilisation located in the Yucatan. Narratives from the Latin world abound – often paying homage to famous traditional musicians. Pancho’s Power is one such chart inspired by the vivid world of the legendary trio Los Panchos. Brandeis gives his percussion section a lot of space when he puts the spotlight on them on Tierra de Oportunidades – a wistful memory of the pianist’s three tours to Mexico, which is also incidentally the popular provincial slogan of the Mexican state of Guanajuato. On Huachi-Huachi Brandeis digs deep into the epicurean delights of the only Latin country in North America with this song in praise of a kind of gourmet Mexican fish: the huachinango.

Brandeis then celebrates his association with percussion colourist Roberto Vizcaíno Jr. with the extraordinary music of Vizcaíno Blues, a piece unique with its exploratory chromaticisms and elegant sonorities that beautifully capture the eloquence of the percussionist in whose praise the music is written. Mindful of the fact that Vizcaíno is Cuban but makes his home in Mexico, Brandeis shapes the rhythmic and harmonic palette of the piece accordingly. On La Buena Vibra Brandeis delivers astonishing pianistic fireworks in the piece’s melodic and harmonic lines, played at a frenetic pace, to mirror the style of its dedicatee, Michel Camilo. The pianist demonstrates an authentic home-grown grasp of Cuban music as he reimages Voy a Apagar la Luz, by the legendary and late-singer Armando Manzanero, here adapted as a wistful solo piano work. Meanwhile on the dizzying ride of Humpty Dumpty the pianist pays homage to another idol: Chick Corea, by revisiting the sparkling composition of the recently-deceased piano maestro.

It is hard not to be mesmerised by this spirited and finely nuanced music artfully crafted in an album by Adrien Brandeis, a pianist who is about to take the world by storm with a recording that is going to be one of the finest by any musician located outside the Latin American sub-continent.

Deo gratis…

Tracks – 1: Huachi Huachi; 2: Alegría; 3: Pancho’s Power; 4: Ek balam; 5: Un peu d’espoir; 6: Vizcaíno’s Blues; 7: Tierra de oportunidades; 8: Humpty Dumpty; 9: La buena vibra; 10: Voy a apagar la luz

Musicians – Adrien Brandeis: piano; Giliard Lopes: contrabass; José Loria Triay: drums; Roberto Vizcaíno Jr: congas and bàtá drums. Featuring Roberto Vizcaíno Guillot: percussion [1, 6]; Horacio “El Negro” Hernández: drums [9]

Released – 2022
Label – Mantodea Music Productions
Runtime – 58:25

YouTube Video – Adrien Brandeis – Siempre más allá (EPK)

YouTube Audio – Adrien Brandeis – Vizcaíno’s Blues

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