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What would you ask Chick Corea?


Dmitry

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1 hour ago, bertrand said:

Actually, I would like to know how Duke Pearson became aware of Tones for Joan's Bones and Straight Up and Down and decided to arrange them, and what he thinks of the arrangements. They are probably my two favorite big band arrangements that I have heard.

Bertrand.

 

My guess would be from the orb of Blue Mitchell?

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1 hour ago, jazzbo said:

If I were feeling bold I'd ask him if he'd ever been roughed up or cussed out by David Miscavige.

 

And how do you feel about Leah Ramini and WTF is "scientology" anyway?

(I've been watching her A&E program, continuously infuriated that this "religion" is allowed tax exempt status and that Miscavige, a socio/psychopath isn't in prison, finding out what happens to small men like him.)

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I know far too much about Scientology, at least the Austin org of the 'eighties. I spent about three years as the only non-scientologist renting a garage apartment of a house that had a revolving door of tenants that were Scientologists working at the org there, and spent longer than that working as a drummer with a guitarist who was a Scientologist. 

Most of these were good people caught up in a financial and emotional trap. . . a few really believed they were in the process of saving the world, a few were clinging to the only real community they'd known, and a few were just in transit between this and other waking nightmares.

Ms Remini is doing a good job of exposing the awful goings on. More power to her, I hope she keeps at it.

Edited by jazzbo
typo damnit
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One historical thing I'd ask is about his six months working with Sarah Vaughan in 1968. I've never seen him address this in print. There are bootlegs on YouTube and they are incredible in the way that Chick plays the swinging gig of accompanying Sarah but is still is 100% himself -- how did he walk that line, did he enjoy the job and what was Sarah like to work with? t she wanted. Chick throws a TON of harmony at her and the more he punches, the more she punches back. She just loves it, never loses her balance and she never sounded so adventurous. Herbie Mickman is the bassist and Steve Schaeffer is the drummer. I'm sure Chick has heard the tapes (Los Vegas. Did they record anything commercially that's unreleased? Are there clean enough copies of the Vegas stuff that they might ever get released? 

 
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2 hours ago, JSngry said:

The guy who played with that fast trombone player, what was his name...Bill Watercress, that's him.

You mean the sliphorn psychiatrist Crummy Jung? The West Coast valve guy, Bob Hand-me-that-envelope-son? The root-canal trombonist, Willie Dentist? Kid Oral? Urp-y Green? Frank Rehab?

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More generally I'd ask:

What is it he looks for in a bass player and a drummer in putting together a band?

I've always thought he's a really spontaneous player -- definitely a true improviser in the moment rather than a lick player. Did he make a conscious effort early on to play that way? What experiences in his early years cultivated that kind of attitude? 

Also, one thing that I've heard a lot of pianists say about Chick: He NEVER flubs, Nothing ever comes out clumsy or hits a dead end in a seemingly wrong (unintentional) note. He never starts an idea that doesn't finish with clarity -- even when, as he often is, taking chances. How did he develop that ability? ,

How much does he practice, and what does he practice?

Finally: When was the last time he performed wearing a suit?

Edited by Mark Stryker
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4 hours ago, JSngry said:

My guess would be from the orb of Blue Mitchell?

Yes, Chick was still Blue Mitchell's pianist on "Boss Horn" where those two compositions were recorded for the first time. Duke Pearson was the arranger for that Mitchell date and scaled them up for his own big band. BTW, I think the piano solo on Mitchell's recording of 'Tones for Joan's Bones' was Corea's best up to that date. I urge everyone who has 'Boss Horn' to spin it again.

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