“I brought chord changes and we played through them at his home briefly. “He was surprised I knew the tunes and loved the idea,” Elias said. He was game, but wasn’t expecting a program of sentimental pop songs. “I felt back then that someday I’d like to do duets with Chucho.” “It was so beautiful, and they played in such a sensitive, lyrical way,” she recalled. Given a seat of honor at their headlining concert at the 40th International Jazz Festival of Barcelona, she soaked up the father-and-son collaboration. One might assume he and Elias would explore some intermediate territory between Cuban and Brazilian jazz, but their duos focus on lush balladry, with exquisitely constructed lyrical flights based on the classic Latin American pop songs “Esta Tarde Vi Llover” by epochal Mexican songwriter Armando Manzanero (who died shortly after the recording), Spanish pop star Alejandro Sanz’s “Corazon Partío,” and the bolero standard “Sabor a Mí” by prolific Mexican composer Álvaro Carrillo.Įlias started thinking about recording with Valdés after experiencing a 2008 duo piano concert he performed with his father, Bebo Valdés (1918 – 2013), a giant of Cuban music who, unlike his son, went into exile after the 1959 revolution. Their interactions sound immediate and effortless, adding another posthumous chapter to Corea’s storied history of impromptu duets with fellow jazz piano masters (particularly Herbie Hancock, Stefano Bollani, and Hiromi). While Corea was a full generation older than Elias, their shared musical influences are evident as they draw on their love of Mozart, Bach, and Ravel, Bud Powell, Bill Evans, and in Elias’s case, Corea himself. Playful but focused, rhythmically taut and expansively lyrical, the performances are consistently enthralling. Exploring two of his signature compositions, the title track and “Armando’s Rhumba,” Kenny Dorham’s standard “Blue Bossa,” and the 1942 Harry Warren hit “There Will Never Be Another You,” they clearly revel in each other’s company. The encounters with Corea, who died unexpectedly last February at 79, were spontaneous studio creations, with no rehearsal or game plan. But the Candid album Mirror Mirror offers a singularly impressive reflection of her keyboard prowess and emotional range. 19–20 with her trio featuring bassist Marc Johnson and Rio de Janeiro-raised drummer Rafael Barata, she won’t be playing any piano duos. Miles Davis (tpt) Ernie Royal (tpt) Bernie Glow (tpt) Louis Mucci (tpt) Harold “Shorty” Baker (tpt) J.J.Arriving in the Bay Area this week for four shows at Yoshi’s Nov. Original issue: Columbia LP CS 8906 on December 16, 1963 “What stupid thing do they want me to play? ‘White Christmas’?” Miles supposedly asked the singer who suggested a meaningful “Blue Xmas.” This CD also includes “The Time Of The Barracudas,” a piece written by Gil Evans for a play of the same name. This extremely short album is here extended through pieces recorded at the same period with Bob Dorough with the idea of making a compilation of Christmas songs. Furious, Miles did not speak to Macero again until 1966. The project reached a dead end, and Teo Macero, resorting to editing and the addition of a piece from a provisional version of a quintet that had been recorded on the West Coast (see Seven Steps To Heaven N☁8), only completed and released it at the end of 1963. “Songs N☁” and “N☂” were inspired by South American folklore, and the American standard (“Wait Till You See Her”) and a French song (“La Valse Des Lilas,” alias “Once Upon A Summertime”) were then added. On July 27, “Corcovado” was still unfinished, and the piece would be completed with an alternative take of the long coda of “Aos Pes Da Cruz.” The recording of the rest of the album stretched out until November. When in June 1962 Stan Getz launched the vogue for bossa nova with “Desafinado,” the time was ripe to take advantage of Gil Evans’ pre-existing interest in South America.
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