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Chick Corea was born in Chelsea, Massachusetts. He is of Italian and Spanish descent. His father Armando, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument. His Boston area heritage can be heard in his introduction of "Nefertiti" on Circle - Paris Concert as a Wayne Shorter composition. Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo for whom Corea started taking lectures at age eight, who introduced him to classical music, helping spark his interest in musical composition. Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club. He collaborated with Portuguese bandleader and trumpet player Phil Barboza, and with conga drummer Bill Fitch who introduced him to Latin music: I liked the "extraversion" of Latin music, especially the dance and salsa style music - bands like Tito Puente's band and Machito's band. The Cuban dance music was a great kind of antidote to some of the more serious, heady jazz that I was into. I liked the "outgoingness" and exuberance of the music. I just stayed interested in all kinds of Latin music. Then I discovered Spanish Latin music, which is flamenco. He eventually decided to move to New York where he took up musical education for one month at Columbia University and six months at The Juilliard School (among his Juilliard teachers was Peter Schickele, who described Chick as "the most awake student [he] ever taught"). He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career. Now He Sings, Now He Sobs (1968) Early career Corea started his professional career in the '60s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaria. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.) His first album as a leader was Tones For Joan's Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums, and Miroslav Vitous on bass. He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records). Avant garde period From 1968 to 1971 Chick Corea had associations with avant garde players; and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell, "Song of the Wind", on the CTI label. In September 1968, Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland and Jack DeJohnette combined elements of free jazz improvisation and rock music. With the Davis band, Corea experimented using electric instruments, mainly the Fender Rhodes electric piano. In live performance he often used ring modulation of the electric piano, producing overtones reminiscent of Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Miles Davis at Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970. Holland and Corea left to form their own group, Circle, active between 1970-1971. This free jazz group featured multi-reed player Anthony Braxton, bassist Dave Holland and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972, Corea struck out on his own. Jazz fusion Posing in a stylish outfit on the cover of the Spanish-flaired 1976 album My Spanish Heart.In the early 1970s, Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. In 1971, he founded Return to Forever. This band had a fusion sound, that while relying on electronic instrumentation, drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums. Corea's compositions for this group often had a Brazilian tinge. In 1972, Corea played many of the early Return to Forever songs in a group he put together for Stan Getz; this group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name. In the next year, the band moved more in the direction of rock music influenced by the Mahavishnu Orchestra. Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977. Thereafter, Corea focused on solo projects. Audio samples: Spain Composed in 1971, a fusion of latin and modern jazz - 2.96 MB Problems listening to the file? See media help. Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists (notably Al Jarreau). There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999. Corea usually performs "Spain" with a prelude based on Joaquin Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain". In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electronic violinist Jean-Luc Ponty. Duet collaboration with Gary Burton In the 1970s, Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. Later work His other bands include the Elektric Band, the Akoustic Band, and Origin. The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. In 1992, he started his own record label, Stretch Records. In 2001, the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums respectively, released the album Past, Present & Futures. Notably, the 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals. He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums. Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto — and an adaptation of his signature piece, Spain for a full symphony orchestra — and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1, specifically written for and performed by the highly acclaimed Orion String Quartet on 2004's Summerfest. Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group. Scientology as artistic inspiration Under the "special thanks" notes, found in all of his later albums, Corea mentions that the author L. Ron Hubbard, founder of the Scientology movement, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea even did some work on music Hubbard had written, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man." Scientology became a profound influence on Corea's musical direction in the early 1970s. I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people. (Down Beat, October 21, 1976, p.47) Corea created some of his Return to Forever compositions in collaboration with Neville Potter, a friend whom he had met through Scientology. Some of the other members of Return to Forever also took Scientology courses, and the name Return to Forever itself was, in Corea's words, "definitely influenced by the Hubbard's philosophy of the spirit. [...] It sort of nailed the spiritual intent of the music, [that it should] be pure." Many of his songs contain explicit references to Scientology and various works by Hubbard. For example, "What Games Shall We Play Today?" refers to the philosophical concept in Scientology that life consists of "games" in which the objective is to extract joy and satisfaction. His 2004 album To the Stars is a tone poem based on Hubbard's science fiction novel of the same name. His latest album, The Ultimate Adventure, is also based on a Hubbard novel, and features an all-star cast including Vinnie Colaiuta, Steve Gadd, Airto Moreira, Hubert Laws, Frank Gambale, and his current group Touchstone, which features Paco de Lucía veterans Jorge Pardo, Carlos Benavent, and Rubem Dantas, among others. In 1998 Chick Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, DC, to honor 11 human rights activists. Not all musicians he has collaborated with have been content with his views. Reportedly, Joe Farrell once told him not to "lay that Scientology shit" on him. Corea also appears in the Scientology film Orientation, giving a testimonial on how Scientology has helped him. .. .. .. .. .. .. .. .. Chick Corea Elektric Band Eye Of The Beholder [GR-1053] After a highly impressive debut album and a stylistically simpler sophomore release, the Chick Corea Elektric Band proceeded to produce an album that was musically more advanced than anything they had accomplished before. The result, EYE OF THE BEHOLDER, is arguably the best record the band produced in their seven-year existence. With saxophonist Eric Marienthal and guitarist Frank Gambale on board to enhance the core trio of Corea, Dave Weckl (drums) and John Patitucci (bass), EYE is the perfect balance of the group's stunning technical chops, musical artistry and technological wizardry. The most obvious difference on this record is the incorporation of more natural, acoustic sounds into the "electric" format. Corea's use of acoustic piano (enhanced by synthesizers), Weckl's natural drum and percussion sounds, Marienthal's sax and even Gambale's use of some acoustic guitar lend a much warmer vibe to EYE than previous efforts. What's more, many compositions, including "Home Universe," "Eternal Child," "Beauty" and "Ezinda" have a very chamber-ensemble feel with many varied textures and dynamics. Finally, the title track is a spectacular Spanish-flavored barnburner in the style of Corea's "Spain" that showcases each member's strengths to the fullest. Musicians: Chick Corea, piano, synthesizer Eric Marienthal, saxophone Frank Gambale, guitar John Patitucci, bass Dave Weckl, drums John Novello, synthesizer TRACKS: 1. Home Universe 2. Eternal Child 3. Forgotten Past 4. Passage 5. Beauty 6. Cascade (Part I) 7. Cascade (Part II) 8. Trance Dance 9. Eye Of The Beholder 10. Ezinda (bonus track) 11. Amnesia (bonus track)