mike.holmes's Full Review: The Chick Corea Songbook [Digipak] * by Manhattan ...
I've been a fan of The Manhattan Transfer since they first started singing in the early 70's. The quartet has remained the same since 1979: Cheryl Bentyne, Tim Hauser, Alan Paul and Janis Siegel. The group has specialized in vocalese which is singing lyrics in the style of the original instrumental arrangements. They were not the first to sing in this style (that honor goes to a number of individuals and groups including The Mills Brothers, Eddie Jefferson and Lambert, Hendricks and Ross).
However, The Manhattan Transfer certainly is the most successful vocalese group in history. They have won several Grammy's and jazz awards for such remarkable albums as "Vocalese", "Brasil" and "Couldn't Be Hotter" to name just a few.
This latest project, singing the songbook of Chick Corea, is perhaps the most remarkable of all of the group's albums. Chick is an amazing musician who has been one of the more modern influences in jazz since the 60's. He is perhaps best known for his fusion work in the 70's but he has composed songs in several styles from jazz, to fusion to classical and Latin.
The album was conceived by producerYusus Gandhi with the help of Bob Belden and others. Among the musicians on the CD are Chick Corea on keyboards, Airto on percussion, Steve Hass on drums, Alex Acuna on percussion, Christian McBride on bass, Fred Hersch on piano and Billy Drummond on drums.
The CD starts off with "FREE SAMBA" which starts off strong and never lets up. The Transfer's vocal is at first wordless representations of Latin sounds over a diverse percussive background. When they do begin singing the lyrics (remember the words are sung as though each vocalist is an instrument), the harmony and power of the quartet is tremendous. Corea plays a weaving solo on a Yamaha Motif. Strong start for the album.
The next two songs are a medley which includes "PRELUDE" AND "SPAIN (I CAN RECALL), the latter song being one of Corea's most famous compositions. "Prelude" starts off with the quartet's voices a capella for several gorgeous bars. The style is both Latin and classical. The only instrument is the acoustic of Ramon Stagnero. I can't begin to describe how beautiful this song is as the quartet re-creates the Corea song to perfection.
Once "SPAIN (I CAN RECALL)" starts the rhythm changes although the style is still Latin-tinged-only in more of a Latin jazz motif. Here, both Hass on drums and Acuna on percussion provide a forceful rhythm background while Yaron Gershovsky flies around the melody on a tremendous solo on the Fender Rhodes. Deep into the song, the quartet switches again to wordless representations of the music. Each singer also takes turns soloing. Amazing.
"ONE STEP CLOSER (THE ONE STEP)" starts off very quietly with Gershovsky Fender Rhodes, followed by Don Shelton's whistle before Hauser sings the first solo. He's joined by the rest of the group in their beautiful harmonic style. This is pure jazz with a bebop flavor (Corea was influenced strongly by the bebop giants such as Parker, Gillespie and Monk).
The very short "CHILDREN'S SONG" is a haunting interlude which leads right into "500 MILES HIGH" sung a capella for the first several bars with the opening lyrics:
"Some day you'll look into her eyes Then there'll be no goodbyes And yesterday will have gone You'll find yourself in another space 500 miles high."
This is another pure jazz song and features a great piano solo by Gershovsky and fine flute solo by Lou Marini. Soulful presentation that grooves right into the core of the song.
"ANOTHER ROADSIDE ATTRACTION" is a tremendous work of art sub-titled "Space Circus". I can't do justice describing this. Suffice it to say that the quartet sings counterharmonies and interlocking harmonies often at the same time over minimalist instrumentation. The lyrics are ironic in their mention of "Roswell" as part of the space circus.
"TIME'S LIE" is a truly gorgeous ballad which starts off with Alan Paul's vocal over Fred Hersch's piano. Hersch is one of the greatest jazz pianists around and he plays a moving solo between the vocal workings of the quartet.
The entire album is, in my opinion, a work of art. The rest of the songs are:
"LA CHANSON DU BEBE"-again featuring Hersch on piano and unbelievable, complex vocalese
"RAGTIME I PIXILAND"-vocals as percussion and horn sections-I listen and marvel at the talent displayed here
"THE STORY OF ANNA & ARMANDO"-as beautiful a ballad as you'll ever hear
"FREE SAMBA"-extended version
This CD should definitely be nominated for best jazz album of the year, and as best album of the year period.
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