You bet, just heard about it when Rick Beato posted it on youtube. It sux mate.
I clicked on the vid, saw it was Beato, then clicked it off. I am not a fan of Beato, I really don’t know who he is, other than he posts a YouTube vid almost every hour of the day, and I don’t follow social media “stars” or whatever.
I’ll post my own thoughts on Corea later. But thanks for posting it.
No worries @drummer
Constant reminder, life is short, make the most of it while we can and make sure you leave room for no regrets.
I was looking through a tote full of old Modern Drummer magazines, some that date all the way back to 1982-83, trying to find an issue I bought back then that had an article “Fusion Drumming Through Rhythmic Transposition”, a very heady topic for a kid in high school to try to comprehend, much less understand being that I was into Punk/New Wave and Metal at the time, and this was territory that seemed more like advanced calculus than what Lester Bangs would write in Creem Magazine, the other magazine I bought in high school (Creem IMO was the best music magazine ever, next to Down Beat).
The article had a transcription to Chick Corea’s “Nite Sprite”, that had none other than Steve Gadd performing it on the drums. It’s a track on Corea’s “The Leprechaun” album, which I didn’t have, at least yet, as again, my head was in a totally different space. For those who hadn’t heard Nite Sprite:
I knew how to read drum notation, and the article explained how to break some of the patterns down into something more simple as far as concept and execution. Thinking I had some grasp of it, I went out and bought the album, and the first track I played was Nite Sprite.
Needless to say, once it got into Corea’s solo section, I was completely lost. It was like something out of this world, music that was so original and unique, filled with virtuosity and imagination, with flawless execution. Even trying to follow it reading the examples that were transcribed in the article had me lost, but in a most beautiful way, like I discovered a whole new dimension.
Now what’s funny is that I, and most likely everyone, has heard Chick Corea because of one of his most famous compositions, “Spain”, from the album “Light as a Feather”, with his first incarnation of his band Return to Forever.
I remember seeing the sheet music, or “chart” in 7th grade band class. Think about this: the album Light as a Feather was released in 1971, and by the end of the decade, it was already a “standard”, songs that every jazz band -from trios to big bands - play. The Tonight Show Band, Tito Puente, you name who, they played that chart. High schools, universities, marching bands, if you had never played Spain, then you never played in a band that required a music stand in front of you.
To have composed music that has become a standard is a very rare and distinct achievement in music, to have one become a standard in less than a decade is beyond a remarkable achievement, to have it embraced and played through many cultures and generations is just something one can only dream of, and Corea not only did it with Spain, but also Nite Sprite, and many many other of his wonderful and imaginative contributions. Like this one for example:
Again, another log into the fire that is Corea, another high mark, another standard to reach.
I remember when CD players first came out, I drove up to Los Angeles to buy one, and bought this CD to play it through my ultimo bitchin’ audiophile quality system, because it was one of the first all digital recordings, and this sounded so awesome, even my neighbors didn’t complain when I blasted it in my apartment:
Chick Corea has been making music longer than I have been alive, and what I mean by that is he continued to create and compose new music for around six decades. Unlike say Jimi Hendrix or bands like Cream or Led Zeppelin, whose bodies of work aren’t as vast, varied, or complete as Corea’s, because of the span of individuals lives, or the span of the life of the band. Corea had a special and unique gift that he gave to everyone, and I am so grateful that I discovered his music and gifts at that tender young age, because I grew up and matured listening to his music, it changed what I thought about music, how I listened to it, and ultimately wanted to play music like it. He has created music for many lifetimes, and still have yet to hear all of it.
Thank you Chick. May we all be light as a feather.
Wow @drummer . I ll read this later on, some infos in there & stories.
Thanks for the links guys, incredibly cool music.
Glad that it can be of any help @orionH
I thank Corea for his music. His beliefs in Scientology - he moved to their headquarters years ago - I can’t dismiss. I had a friend that joined them years ago, and they almost ruined his life, with he having to move around the country to get away from them. I believe in freedom of the individual, but Scientology is not about freedom, and this is just my opinion, I don’t mean to offend others here. I think one of the reasons why my friend joined was because Corea was one, Corea talked about how Scientology helped him in the creative process, and my friend who is a very talented musician was influenced by Corea and his music. Luckily, he didn’t spend that much time immersed with Scientology and it’s followers, to not have his life completely ruined by them.
Wow, didn t remember that he was a sientologist or knew about it. Thx for sharing @drummer
Anyways it was about his music & the help it did to other musicians on my end.
I normally loathe Rolling Stone, but this caught my eye in my news feed:
Wow, wasn t aware of that, Same here, not crazy about the rolling stone magazine as well.
Mahavisnu was huge, Weather Report also. WP had a top ten single with “Birdland”. Tony Williams had a Beatles poster in his bedroom when he joined Miles. Once Miles “plugged in”, jazz went electric in many ways. Then came Tony Williams Lifetime, Larry Coryell’s Eleventh House etc. Plus there was Jimi Hendrix. College kids at the time ate it all up.
I like Bill Connors on guitar with RTF:
Yep, pretty much so, kids mostly listened to Hendricks, Led Zep, stuff alike.
Jazz & later on fusion wasn t much a fav to them.
lol, reminds me, I went into fusion with a Jeff Berlin album at around 20-25 yo I guess as I was looking for something els so the records guy in around 10-15 miles from where I live/ lived hooked me up to that.
Ah, this one;
Edit; Didn t know or remember that Neal Peart & Steve Smith were on it, weird as times go by.
Yeah I have that album somewhere in a crate full of old vinyl. Peart is on two tracks, along with Steve Smith.
Funny, that article I mentioned earlier, “Fusion Drumming Through Rhythmic Transposition” was written I think around the time when Rush’s “Moving Pictures” came out, and as I posted in the Neil Peart thread, all the drummers in high school, as well as everyone else held Peart as the benchmark or archetype for “technical” drummers for lack of a better term. Once I bought The Leprchaun and played Nite Sprite on my stereo, well that was it for me, everyone else could have Rush, I have this lulz. That’s how I stood out from everyone else.
lol, when one thinks he knows how to play anything say prog-wise or whatever, then some jazz & fusion put you on at your places ! lol