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Canisteo River Valley from Pinnacle State Park, New York. The distant peaks at the same elevation represent the remnants of a peneplain that was uplifted to form the Allegheny Plateau, which is a dissected plateau in southwestern New York. In this area, the sharp relief that is seen on some of the Allegheny Plateau has been rounded by glaciation.

A peneplain is a low-relief plain representing the final stage of fluvial erosion during times of extended tectonic stability. The existence of peneplains, and peneplanation as a geomorphological process, is not without controversy, due to a lack of contemporary examples and uncertainty in identifying relic examples.^[1]

After the streams in an area have reached "base level", lateral erosion is dominant as the higher areas between the streams are eroded. Finally, the upland is almost gone: the stream floodplains merge in an area of very low to no topographic relief. The resulting flat plain is the ultimate stage in the cycle of erosion or geographical cycle.

The streams within a peneplained region show extensive meandering and braiding. If the area is subsequently uplifted due to adjacent orogenic processes, without internal deformation within the peneplain, the streams will again begin downward erosion - creating incised meanders, water gaps, and other unique geomorphic features.

A peneplain can be mistaken for a depositional plain. However, the rocks beneath a peneplain have been folded and tilted by tectonic forces, while the rocks beneath a depositional plain lie in horizontal layers.

The peneplain concept was developed early in the 1900s by the geomorphologists, William Morris Davis and Walther Penck.

References[link]

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Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was a jazz pianist who was born and raised in Harlem, New York City. His greatest influences on his instrument were Thelonious Monk, who became his close friend, and Art Tatum. Along with Charlie Parker and Dizzy Gillespie, Powell was a key player in the development of bebop, and his virtuosity as a pianist led many to call him the Charlie Parker of the piano.

Biography[link]

Powell's father was a stride pianist^[1]. Powell took to his father's instrument and started to learn classical piano, at age five, from a teacher whom his father hired; but by age ten, he had also showed interest in the jazz that could be heard all over the neighborhood. When he first appeared in public, it was at a rent party ^[2], where he mimicked Fats Waller's playing style. The first jazz composition that he mastered was James P. Johnson's "Carolina Shout" ^[3].

Bud's older brother, William, played the trumpet; by age fifteen, Bud was playing in his band. By this time, he had already had exposure to Art Tatum, whose overwhelmingly virtuosic technique Powell then set out to equal ^[3].

Bud's younger brother, Richie, and his teenage friend Elmo Hope were also accomplished pianists who had significant careers.

Bud, though underage, soon was exposed to the exciting, musically adventurous atmosphere at Uptown House, an after-hours venue that was practically around the corner from where he lived. It was here that the first stirrings of modernism could be heard on a nightly basis, and where Charlie Parker first appeared when he was unattached to a band and stayed briefly in New York ^[4]. Thelonious Monk had some involvement there but, by the time that he and Powell met, in about 1942 ^[5], the elder pianist/composer was able to introduce Powell to the circle of bebop musicians who were starting to form at Minton's Playhouse. Monk was resident there and, so, presented Powell as his protege. The mutual affection grew to where Monk was, and remained, Powell's greatest mentor -- returning the compliment a few years later by dedicating the composition "In Walked Bud" to him.

In the early Forties, Powell played in a few dance orchestras, including that of Cootie Williams, whom Powell's mother decided her son should play for and tour with (rather than have him accept an offer from Oscar Pettiford and Dizzy Gillespie, whose modernist quintet was about to open at a midtown nightclub). Powell was the pianist on a handful of Williams's recording dates in 1944, the last of which included the first-ever recording of Monk's "'Round Midnight". His tenure with Williams was terminated one night in January 1945, when he got separated from the band after a Philadelphia dance engagement and was apprehended, drunk, by railroad police inside a station. He was beaten by them and, then, briefly detained by the city police. Shortly after his release and return to Harlem, he was hospitalized -- first in Bellevue, an observation ward, and then in a psychiatric hospital, sixty miles away. He stayed there for two and a half months.

Powell resumed playing in Manhattan immediately, in demand by various small-group leaders for nightclub engagements in the increasingly integrated midtown scene. His 1945-46 recordings, many as the result of his sudden visibility on the club scene, were for Frank Socolow, Dexter Gordon, J. J. Johnson, Sonny Stitt, Fats Navarro, and Kenny Clarke.

Powell soon became renowned for his ability to play at fast tempos. His percussive punctuation of certain phrases, as well as his predilection for speed, showed the influence of Charlie Parker and other modern horn soloists. But, as he was a pianist, his playing of melodic lines owed most to Billy Kyle, and his accompaniments to horn solos owed most to the style of Earl Hines.

At other times, Powell's accompanying recalled stride and, on occasion, the graceful approach of pianist Teddy Wilson. His comping often consisted of single bass notes outlining the root and fifth. He also used a tenth, with the minor seventh included.

Where his solos could be heard to emulate the horn players' attack -- with the use of frequent arpeggios punctuated by chromaticism -- this was, in part, because of his determination to see that the pianist get the adulation usually reserved for the saxophonist or trumpeter ^[6]. Powell's progressive exploration, on nightclub bandstands, of the harmonic series often produced brilliant, thrillingly unexpected solos. But his generally rough-edged execution was the price that his music paid for his virtuosic striving. Many later pianists, nonetheless, copied his daring attack, looking to attain that rarefied status, of the fearless improviser. They also emulated his lush melodicism on ballads.

Powell freed the right hand for continuous linear exploration at the expense of developing the left. Legend has it that, one night, Art Tatum criticized him as he came off the bandstand after playing a set. Powell audaciously responded, in his next set, by soloing on a piece exclusively with his left hand ^[7].

His favoring the treble was not to avoid integrating the hands, which is essential to both a solo and accompanying technique. These formed the basic small ensembles that have dominated jazz since the bebop era (after swing). Before Powell, Art Tatum and Earl Hines had also somewhat explored independent homophony closely resembling later piano playing.

Powell's career advanced when Charlie Parker chose him to be his pianist on a quintet record date, with Miles Davis, Tommy Potter, and Roach, in May 1947. Powell demonstrated his mature style on the third complete take of "Donna Lee", where he got a brief solo spot, and with his jocular chord fills while the horn players paused to breathe during "Buzzy", the last tune recorded. When the quintet came together for the final ensemble section, Powell's piano made its final, sarcastic comment on the proceedings.

The Parker session aside, Powell was inactive for most of 1947. In November, he had an altercation with another customer at a Harlem bar; in the ensuing fight, Powell was hit over his eye with a bottle. When Harlem Hospital found him incoherent and rambunctious, it sent him to Bellevue, which had the record of his previous confinement there and in a psychistric hospital. It chose that he be institutionalized again, though this time at Creedmoor State Hospital, a facility much closer to Manhattan. He was kept there for eleven months.

Powell eventually adjusted to the conditions in the institution, though in psychiatric interviews he expressed feelings of persecution founded in racism. From February to April 1948 he received electroconvulsive therapy, first administered after an outburst deemed to be uncontrollable. It might have been in reaction to learning, after a visit by his girlfriend, that she was pregnant with their child.^[8]

While the electroconvulsive therapy was said to have made no difference, the MDs gave Powell a second series of treatments in May. He was eventually released, in October 1948 -- though from these early and subsequent hospitalizations, he was emotionally unstable for the rest of his career.

Bebop's and Powell's increased visibility by the end of 1948, the latter's celebrity seemingly having accelerated in anticipation of his release, made plain as well that he had a serious problem with alcohol. Even one drink had a profound effect on his character, making him aggressive or morose. Nonetheless, after another (though brief) hospitalization in early 1949, Powell soon attained the greatest artistic height that he ever would reach.

Jazz pianist Bill Cunliffe, whose music was influenced by Bud Powell, said in an interview with All About Jazz:

Bud Powell is the most important pianist in jazz and one of the most underrated because he spent over a third of his life in mental and medical hospitals. He was beaten by the police when he was twenty and he never fully recovered from that beating and as a result, he suffered pain and had to take drugs to alleviate the pain. ... In spite of that, he created a whole lot of wonderful music. He was really the first guy. Before Bud Powell, pianists were playing "boom, chuck" in the left hand and a lot of melodic figures in the right hand that tended to be arpeggios ... Bud Powell was imitating Charlie Parker. So Bud was the first pianist to take Charlie Parker's language and adapt it successfully to the piano. That's why he is the most important pianist in music today because everybody plays like that now. -- Bill Cunliffe^[9]

It is generally agreed that from 1949 through 1953 Powell made his best recordings, most of which were for Alfred Lion of Blue Note Records and for Norman Granz of Mercury, Norgran, and Clef. The first Blue Note session, in August 1949, features Fats Navarro, Sonny Rollins, Powell, Tommy Potter and Roy Haynes, and the compositions "Bouncing with Bud" and "Dance of the Infidels". The second Blue Note session in 1951 was a trio with Russell and Roach, and includes "Parisian Thoroughfare" and "Un Poco Loco", the latter selected by literary critic Harold Bloom for inclusion on his short list of the greatest works of twentieth-century American art. Sessions for Granz (more than a dozen) were all solo or trios, with a variety of bassists and drummers including Russell, Roach, Buddy Rich, Ray Brown, Percy Heath, George Duvivier, Art Taylor, Lloyd Trotman, Osie Johnson, Art Blakey and Kenny Clarke.

Powell's continued rivalry with Charlie Parker, while essential to the production of brilliant music, was also the subject of disruptive feuding and bitterness on the bandstand, as a result of Powell's troubled mental and physical condition.

Powell recorded for both Blue Note and Granz throughout the fifties, interrupted by another long stay in a mental hospital from late 1951 to early 1953, following arrest for possession of marijuana. He was released into the guardianship of Oscar Goodstein, the owner of the Birdland nightclub. A 1953 trio session for Blue Note (with Duvivier and Taylor) included Powell's composition "Glass Enclosure", inspired by his near-imprisonment in Goodstein's apartment. His playing after his release from hospital began to be seriously affected by Largactil, taken for the treatment of schizophrenia; and, by the late fifties, his talent was clearly in eclipse. In 1956 his brother Richie was killed in a car crash alongside Clifford Brown. Three albums for Blue Note in the late fifties showcased Powell's ability as a composer, but his playing was far removed from the standard set by his earlier recordings for the label.

After several further spells in hospital, Powell moved to Paris in 1959, in the company of Altevia "Buttercup" Edwards, whom he'd met after an incarceration in 1954 ^[10]. In Paris, Powell worked in a trio with Pierre Michelot and Kenny Clarke. Buttercup, though, did not have Powell's best interests in mind. She kept control of his finances and overdosed him with Largactil, but Powell continued to perform and record. The 1960 live recording of the Essen jazz festival performance (with Clarke, Oscar Pettiford and on some numbers Coleman Hawkins) is particularly notable. In December 1961 he recorded two albums for Columbia Records under the aegis of Cannonball Adderley: A Portrait of Thelonious (with Michelot and Clarke), and A Tribute to Cannonball (with the addition of Don Byas and Idrees Sulieman—despite the title, Adderley only plays on one alternate take). The first album (with overdubbed audience noise) was released shortly after Powell's death, and the second was released in the late 1970s. Eventually Powell was befriended by Francis Paudras, a commercial artist and amateur pianist; and Powell moved into Paudras's home in 1962. There was a brief return to Blue Note in 1963, when Dexter Gordon recorded Our Man in Paris for the label. Powell was a last-minute substitute for Kenny Drew, and the album of standards—Powell could not by then learn new material—showed him to be still capable of playing with some proficiency. In 1963 Powell contracted tuberculosis, and the following year returned to New York with Paudras for a return engagement at Birdland. The original agreement had been for the two men to go back to Paris, but Paudras returned alone (although Powell did record in Paris, with Pettiford and Clarke, in July 1964). In 1965 Powell played only two concerts: one a disastrous performance at Carnegie Hall, the other a tribute to Charlie Parker on May 1 with other performers on the bill, including Albert Ayler. Little else was seen of him in public.

Powell was hospitalized in New York after months of increasingly erratic behavior and self-neglect. On July 31, 1966, he died of tuberculosis, malnutrition, and alcoholism. Several thousand people viewed his Harlem funeral procession.^[11]

Legacy[link]

The pianist Bill Evans paid Powell a tribute in 1979:

If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself.^[12]

In 1986 Paudras wrote a book about his friendship with Powell, translated into English in 1997 as Dance of the Infidels: A Portrait of Bud Powell. The book was the basis for Round Midnight, a film inspired by the lives of Powell and Lester Young, in which Dexter Gordon played the lead role of an expatriate jazzman in Paris. In February 2012 a biography titled Wail: The Life of Bud Powell by Peter Pullman was released as an ebook on Nook and Kindle.

Discography[link]

Years listed are years recorded (not years released).

Studio recordings[link]

• 1947: Bud Powell Trio (Roost) ^[13]
• 1949-50: Bud Powell Piano Solos (Mercury / Clef) aka (½ of) Jazz Giant (Norgran / Verve) ^[14]
• 1949-51: The Amazing Bud Powell (Blue Note) ^[15]
• 1950: Bud Powell Piano Solos #2 (Mercury / Clef) aka (½ of) Jazz Giant (Norgran / Verve) ^[16]
• 1950-51: Bud Powell's Moods (Mercury / Clef) aka The Genius of Bud Powell (Verve) ^[17]
• 1953: The Amazing Bud Powell, Vol. 2 (Blue Note) ^[18]
• 1953: Bud Powell Trio, Volume 2 (Roost) ^[19]
• 1954-55: Bud Powell's Moods (Norgran / Verve) ^[20]
• 1954-55: Jazz Original (Norgran) aka Bud Powell '57 (Norgran / Verve) ^[21]
• 1955: The Lonely One... (Verve) ^[22]
• 1955: Piano Interpretations by Bud Powell (Norgran / Verve) ^[23]
• 1956: Blues in the Closet (Verve) ^[24]
• 1956: Strictly Powell (RCA Victor) ^[25]
• 1957: Swingin' with Bud (RCA Victor) ^[26]
• 1957: Bud! The Amazing Bud Powell (Vol. 3) (Blue Note) ^[27]
• 1957-58: Bud Plays Bird (Roulette / Blue Note) ^[28]
• 1958: Time Waits: The Amazing Bud Powell (Vol. 4) (Blue Note) ^[29]
• 1958: The Scene Changes: The Amazing Bud Powell (Vol. 5) (Blue Note) ^[30]
• 1961: A Tribute to Cannonball (Columbia) ^[31]
• 1961: A Portrait of Thelonious (Columbia) ^[31]
• 1963: Bud Powell in Paris (Reprise) ^[32]

Live and home recordings[link]

• 1944-48: Earl Bud Powell, Vol. 1: Early Years of a Genius, 44-48 (Mythic Sound)
• 1953: Winter Broadcasts 1953 (ESP-Disk)
• 1953: Spring Broadcasts 1953 (ESP-Disk)
• 1953: Inner Fires (Elektra)
• 1953: Summer Broadcasts 1953 (ESP-Disk)
• 1953: Autumn Broadcasts 1953 (ESP-Disk)
• 1953-55: Earl Bud Powell, Vol. 2: Burnin' in U.S.A., 53-55 (Mythic Sound)
• 1957-59: Earl Bud Powell, Vol. 3: Cookin' at Saint-Germain, 57-59 (Mythic Sound)
• 1959-60: Bud in Paris (Xanadu)
• 1959-61: Earl Bud Powell, Vol. 5: Groovin' at the Blue Note, 59-61 (Mythic Sound)
• 1960: The Essen Jazz Festival Concert (Black Lion)
• 1960-64: Earl Bud Powell, Vol. 11: Gift for the Friends, 60-64 (Mythic Sound)
• 1961: Pianology (Moon [Italy]) ^[33]
• 1961-64: Earl Bud Powell, Vol. 4: Relaxin' at Home, 61-64 (Mythic Sound)
• 1962: Bud Powell Live in Lausanne 1962 (Stretch Archives)
• 1962: Bud Powell Live in Geneva (Norma [Japan])
• 1962: Bud Powell Trio at the Golden Circle, Vols. 1-5 (Steeplechase) ^[34]
• 1962: Budism (SteepleChase)
• 1962: Bouncing with Bud (Sonet)
• 1962: 'Round About Midnight at the Blue Note (Dreyfus Jazz)
• 1962-64: Bud Powell at Home - Strictly Confidential (Fontana)
• 1963: Earl Bud Powell, Vol. 6: Writin' for Duke, 63 (Mythic Sound)
• 1963: Americans in Europe (Impulse!)
• 1964: Earl Bud Powell, Vol. 7: Tribute to Thelonious, 64 (Mythic Sound)
• 1964: Blues for Bouffemont (Fontana)
• 1964: Hot House (Fontana)
• 1964: Earl Bud Powell, Vol. 8: Holidays in Edenville, 64 (Mythic Sound)
• 1964: The Return of Bud Powell (Roulette)
• 1964: Earl Bud Powell, Vol. 9: Return to Birdland, 64 (Mythic Sound)
• 1964: Earl Bud Powell, Vol. 10: Award at Birdland, 64 (Mythic Sound)
• 1964: Ups'n Downs (Mainstream)

Notable compilations[link]

• Tempus Fugue-It (Proper Records) - Four disc set, from 1944 recordings with Cootie Williams to the first sessions for Blue Note and Clef in 1949-50.
• The Complete Bud Powell on Verve - Five discs, sessions from 1949 to 1956.
• The Best of Bud Powell on Verve - Single disc compilation of the best of Powell's work for the label.
• The Complete Blue Note and Roost Recordings - Four disc set containing all of the Amazing Bud Powell... Blue Note sessions plus Roost sessions from 1947 and 1953. The Blue Note sessions have also been remastered and reissued as individual CDs and are arguably better^{[citation needed]} (though the Roost material is not included).
• The Complete RCA Trio Sessions - Contains Swingin' with Bud and Strictly Powell.

As sideman[link]

with Cootie Williams

• 1944: Cootie Williams and His Orchestra 1941-44

with Frank Socolow

• 1945: New York Journeyman - Complete Recordings

with J. J. Johnson

• 1946: J. J. Johnson's Jazz Quintets

with Dexter Gordon

• 1947: Dexter Rides Again
• 1963: Our Man in Paris

with The Quintet (Dizzy Gillespie, Charlie Parker, Bud Powell, Charles Mingus, Max Roach)

• 1953: Jazz at Massey Hall

with Art Blakey

• 1959: Paris Jam Session

with Charles Mingus

• 1960: Mingus at Antibes - sits in on one track, "I'll Remember April"

Notable compositions[link]

• "Tempus Fugue-it" (aka "Tempus Fugit")
• "Un Poco Loco"

Notes[link]

References[link]

• Gitler, Ira (1966), Jazz Masters of the Forties, New York: Macmillan, ISBN 0-306-76155-6 
• Crawford, Marc (1966), "Requiem for a Tortured Heavyweight", Chicago: Down Beat 
• Pullman, Peter (2012), Wail: The Life of Bud Powell, Brooklyn, NY: Peter Pullman, LLC, ISBN 978-0-9851418-0-6 
• Patrick, James (1983), "Al Tinney, Monroe's Uptown House, and the Emergence of Modern Jazz in Harlem", New Brunswick, NJ: Annual Review of Jazz Studies, IJS, ISBN 0-87855-906-X 
• Hentoff, Nat (1956), "Just Call Him Thelonious", Chicago: Down Beat 
• Bishop, Walter (1994), Complete Bud Powell on Verve, New York City: Polygram Records 
• Morrison, Allan (1953), "Can a Musician Return from the Brink of Insanity?", Chicago: Ebony 
• Paudras, Francis; Monet, Rubye (trans.) (1998), Dance of the Infidels: A Portrait of Bud Powell, New York: Da Capo Press, ISBN 0-306-80816-1 
• Spellman, A B (1998), Four Jazz Lives, Ann Arbor: University of Michigan Press, ISBN 978-0-472-08967-3 

External links[link]

Wikiquote has a collection of quotations related to: Bud Powell

• Bud Powell discography
• Bud Powell at Blue Music Group
• Website devoted to Bud Powell(includes mp3 samples)
• The African American Registry - Bud Powell
• Bud Powell at Allmusic
• New York Times profile
• Bud Powell multimedia directory
• "Bud Powell Anthology" -- includes essays and transcriptions
• Reference article on Bud Powell's left hand jazz chords

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2010)

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Armando Anthony "Chick" Corea (born June 12, 1941)^[2] is an American jazz pianist, keyboardist, and composer.

Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.^[2] Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.^[3]

His career has been driven by his will to operate as a free agent and compulsively explore different avenues of music making. This hunger has positioned him as an important catalyst in the world of serious, mainstream acoustic jazz, and he is one of the most influential and widely studied figures in the last 40 years.^[4]

Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy,^[5] and is a Scientologist.^[6]

Life and career[link]

Youth[link]

Armando Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.^[7] His father, 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 and 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.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for the Knights of St. Rose, a drum and bugle corps based in Chelsea.

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 eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. 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.

Early career[link]

Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. 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 Vitouš on bass.^[2]

He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).^[2]

Avant garde period[link]

Chick Corea, 2007

From 1968 to 1971 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's Song of the Wind album on CTI Records.

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.^{[citation needed]} Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano.

In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.^[2]

Holland and Corea left to form their own group, Circle, active in 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton 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.

The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.^[8]

Jazz fusion[link]

Bobby McFerrin and Chick Corea, New Orleans Jazz and Heritage Festival in 2008

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. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it 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.

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 named "Romantic Warrior". Thereafter, Corea focused on solo projects.^[2]

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. 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, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album Play. Corea usually performs "Spain" with a prelude based on Joaquín 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 electric violinist Jean-Luc Ponty.The record was somewhat misunderstood at the time but it is considered nowadays as a true example of Corea's ability to write fussion material. The album combined jazz, flamenco, supported by plenty of mini- moog backup and a powerful horn section.

The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Corea's influence in the genre.

Duet projects[link]

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. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.

Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók.

In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.^[9] Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."^[10]

In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.^[11]

Later work[link]

Corea performs with Béla Fleck, March 1, 2008

Corea's 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. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker.

In 1992 Corea started his own label, Stretch Records.^[2]

In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album Past, Present & Futures. 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 was specifically written for the Orion String Quartet and performed by them 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.

In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications.^[12] Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.

A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin, began a world tour in October 2008. Corea had previously worked with McLaughlin in Miles Davis' late 1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.

Scientology[link]

Corea says that Scientology has helped deepen his relationships with others, and helped him find a renewed path.^[3] Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, 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 had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."^[6]

Corea said that Scientology became a profound influence on his 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.^[13]

Due to Corea's religious affiliation, he was banned from performing in a concert to be held in Stuttgart, Germany, on August 15, 1993.^[14] Members of the U.S. Congress sent letters to the German government concerning a violation of basic human rights that are upheld by the German Constitution. The ban was not upheld, and in later years Corea performed in festivals in Germany, including several times at the government-supported International Jazz Festival in Burghausen where he was awarded a plaque in Burghausen's "Street of Fame" in 2011.^[15]

In 1998, 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, D.C., to honor 11 human rights activists.^[16]

Discography[link]

Awards[link]

Over the years, he has been nominated for 51 Grammy Awards out of which he has won 18:

Corea has also won two Latin Grammy Awards.

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.

In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).^[17]

See also[link]

	Biography portal
	Jazz portal
	Scientology portal

Wikiquote has a collection of quotations related to: Chick Corea

• Analog synthesizer

References[link]

External links[link]

• Official site
• Official discography
• Jazzreview.com biography
• Verve Records Archived October 13, 2007 at the Wayback Machine
• An Interview with Chick Corea by Bob Rosenbaum, July 1974 (PDF file) "You put these notes together and you come out with that sound, and isn't it beautiful. So what? What does it do to another person? What does it do to your neighborhood?"
• Chick Corea talks to Michael J Stewart about his Piano Concerto

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There are many people in history who are commonly appended with the phrase "the Great", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as e Bozorg and e azam in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.^[1]

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus)^[2] assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "the Great".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers[link]

• Abbas I of Persia (1571–1629), Shah of Iran
• Akbar (1542–1605), ruler of the Mughal Empire of South Asia, mainly India
• Alain I of Albret (1440–1522), French aristocrat
• Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia
• Alexander I of Georgia (1386–1446), King of Georgia
• Alfonso III of León (c. 848-910), King of León, Galicia and Asturias
• Alfred the Great (848/849-899), King of Wessex
• Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire
• Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty
• Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),
• Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire
• Bhumibol Adulyadej (born 1927), King of Thailand
• Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)
• Buddha Yodfa Chulaloke (1736–1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)
• Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden
• Casimir III the Great (1310–1370), King of Poland
• Catherine the Great (1729–1796), Empress of Russia
• Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India
• Charlemagne (died 814), King of the Franks and Emperor of the Romans
• Chulalongkorn (1853–1910), King of Siam (now Thailand)
• Chlothar II (584-629), King of Neustria and King of the Franks
• Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen
• Constantine I (c. 272-337), Roman emperor
• Cyaxares the Great (c. 625-585 BC), third king of Media
• Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire
• Darius the Great (550 – 486 BC), third ruler of the Persian Empire
• Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent
• Dionysius I, Greek tyrant of Syracuse^[3]
• Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile
• Frederick the Great (1712–1786), King of Prussia
• Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire
• Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe
• Gustavus Adolphus of Sweden (1594–1632), King of Sweden, founder of the Swedish Empire, and noted military leader
• Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea^[4][5]
• Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC
• Henry I, Duke of Burgundy (946–1002)
• Henry IV of France (1553–1610), King of France and King of Navarre
• Herod the Great (73/74 BC-4 BC), King of Judea
• Hugh the Great (898-956), Duke of the Franks and Count of Paris
• Hugh Magnus of France (1007–1025), co-King of France
• Hugh I, Count of Vermandois (1057–1101)
• Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat
• Ivan III of Russia (1440–1505), Tsar of Russia
• John I of Portugal (1358–1433), King of Portugal and the Algarve
• John II of Aragon (1398–1479), King of Aragon and, through his wife, King of Navarre
• Justinian I (483-565), Byzantine Emperor
• Kamehameha I (c. 1758-1819), first King of Hawai'i
• Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India
• Kvirike III of Kakheti (1010–1029), King of Kakheti in eastern Georgia
• Kublai Khan (1215–1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty
• Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales
• Louis I of Hungary (1326–1382), King of Hungary, Croatia and Poland
• Mangrai the Great (1238–1317), Lanna, northern Thailand
• Emperor Meiji (1852–1912), Emperor of Japan
• Mircea I of Wallachia (1355–1418)
• Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)
• Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom
• Mstislav I of Kiev (1076–1132), Grand Prince of Kievan Rus
• Naresuan (1555–1605), King of Ayutthaya
• Narai (1633–1688), King of Ayutthaya (in what is now modern Thailand)
• Odo the Great (died c. 735), Duke of Aquitaine
• Otto I, Holy Roman Emperor (912-973)
• K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque
• Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka
• Peter Krešimir IV of Croatia (died 1075), King of Croatia
• Peter the Great (1672–1725), Tsar of Russia
• Peter III of Aragon (1239–1285), King of Aragon and King of Sicily
• Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar
• Radama I (1793–1828), first king of greater Madagascar
• Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.^[6][7][8]
• Rajendra Chola I (reigned 1014–1044), Tamil King of India
• Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt
• Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)
• Ramon Berenguer III, Count of Barcelona (1082–1131), also Count of Provence and various other counties
• Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)
• Roman the Great (after 1160-1205), Grand Prince of Kiev
• Saladin (c. 1138-1193), Kurdish Sultan of Egypt and Syria, founder of the Ayyubid dynasty, and victor over the Crusaders
• Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent
• Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre
• Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire
• Sejong the Great (1397–1450), Korean king^[9]
• Shapur II (309-379), king of the Sassanid Empire, Persia
• Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire
• Stephen III of Moldavia (1433–1504), Prince of Moldavia (Romania)
• Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks
• Taksin (1734–1782), King of the Thonburi Kingdom (Thailand)
• Tamar (1160-1123), Queen of the Georgian Empire
• Timur (1336–1405), better known as Tamerlane, founder of the Timurid Dynasty
• Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie
• Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire
• Theodosius I (347-395), Roman emperor
• Tigranes the Great (140-55 BC), Emperor of Armenia
• Tiridates III of Armenia (285-339), King of Armenia
• Umar (c. 586 to 590–644), second caliph of the Muslim Empire
• Valdemar I of Denmark (1131–1182), King of Denmark
• Valentinian I (364-375), Roman Emperor
• Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus
• Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy
• William I, Count of Burgundy (1020–1087), Count of Burgandy and Mâcon
• William V, Duke of Aquitaine (969-1030), also Count of Poitou
• Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)
• Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures[link]

• Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East
• Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia
• Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian
• Anthony the Great (c. 251–356), early Christian saint of Egypt
• Babai the Great (c. 551–628), Assyrian church leader
• Basil of Caesarea (330-379), Greek bishop and theologian
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)
• Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint
• Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint
• Pope Gregory I (c. 540-604)
• Hiyya the Great, 3rd-century rabbi, Palestine
• Pope John Paul II (1920–2005)
• Pope Leo I (c. 391 or 400-461)
• Macarius of Egypt (c. 300-391), Egyptian hermit
• Pope Nicholas I (c. 800-867)
• Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople
• William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other[link]

• Beli Mawr, a figure in medieval Welsh literature and genealogies
• Emmy the Great, folk singer
• Matteo Rosso the Great, Roman politician and father of Pope Nicholas III
• Prokop the Great, Hussite general in Bohemia

See also[link]

• Epithet
• List of monarchs by nickname
• List of nicknames of European Royalty and Nobility: G-I
• James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus
• Ajax (mythology), called Ajax the Greater
• Mohandas Karamchand Gandhi, whose common honorific "Mahatma" means "Great Soul"

Notes[link]

For the artist see Jerry Weiss (artist)

Jerry Weiss (born May 1, 1946 in New York City) is an American trumpet/flugelhorn player, best known as a founding member of the jazz fusion band Blood, Sweat & Tears.

Weiss appeared on Blood, Sweat & Tears ( BS&T) critically acclaimed 1968 debut album, Child Is Father to the Man. He left soon afterwards to help form the short-lived horn-band, Ambergris, where he played bass guitar and piano and was the principal arranger. He also contributed three songs on the album and co-wrote another. Weiss has made infrequent appearances on recordings by other artists, including fellow BS&T alum, Al Kooper.

External links[link]

• Jerry Weiss at AllMusicGuide.com
• Blood, Sweat & Tears band member information
• Jimmy Maeulen
• Charlie Camilleri
• Tony May