Chick Corea, genius and essential figure of jazz, dies

Virtuosity, instrumental subtlety, detail when composing and performing jazz, fusion as part of his creative core are some of the virtues that have made Chick Corea one of the most renowned names in the genre in recent decades. influence on entire generations of sessionists, arrangers, musicians or just fans who found in him a delight based on freedom and artistic fulfillment.

An entire heritage that said goodbye on February 9, according to a statement published by his family on social networks: “It is with great sadness that we announce that on February 9, Chick Corea passed away at the age of 79, from a rare form of cancer. which was only recently discovered ”.

The text continued: “Throughout his life and career, Chick enjoyed the freedom and fun of creating something new, and playing games that artists make. He was a loving husband, father, and grandfather, and a great mentor and friend to many. Through his body of work and the decades he spent touring the world, he touched and inspired the lives of millions of people. Although he would be the first to say that his music said more than words ever could, yet he had this message for all those he knew and loved, and for all those who loved him. “

From there, the letter published on the networks continues with a posthumous message left by the artist: “I want to thank all those throughout my journey who have helped keep the musical spark shining. I am hopeful that those who have an inkwell to play, write, act or otherwise will do so. If not for yourself, then for the rest of us. It’s not just that the world needs more artists, it’s just a lot of fun, and to my amazing musician friends who have been like family to me since I’ve known them. It has been a blessing and an honor to learn and play with all of you. My mission has always been to bring the joy of creating wherever I could, and having done it with all the artists I admire has been the wealth of my life ”.

Korea stood out in the 1960s in the jazz fusion genre, then joined the Miles Davis ensemble and later formed the group Return to Forever. Like much of that generation, he took jazz from its more traditional and classical label to push it towards a spiral where all influences were possible, a sound where the electric could have as much room as the Latin, or where the language of progressive rock and the avant-gardes advanced hand in hand with classical preciousness.

Born in Massachusetts, he began to play the piano at the age of four, with influences that included jazz players Horace Silver and Bud Powell, or tango (Astor Piazzolla, another breakthrough man, was always one of his weaknesses). His leap to maturity came from the hand of the bands Mongo Santamaría and Willie Bobo at the beginning of the 60s, although his life as a leader at the head of a group began with the album Tones for Joan’s Bones (1966), widely applauded by the circles of the time

The Allmusic site defines the piece in an eloquent way, giving an account of the future splendor that awaited the American already at that time: “Korea is a torrent of harmonic and melodic imagination, expressed in an infallible rhythm. Anyone interested in this vital and exciting period will find this session indispensable. “

After a brief interval with Sarah Vaughan, Korea joins the Miles Davis ensemble to gradually replace Herbie Hancock, staying with him for a period of high creative intensity, between 1968 and 1970. In fact, Davis himself, another figure Always with an insatiable appetite, he pushes him to play the electric piano, which would also lead him to become one of his top performers.

All those new routes can be heard on albums like Filles de Kilimanjaro, In a silent way, the essential Bitches Brew and Miles Davis at the Fillmore.

After leaving Davis, he played briefly with another emblem, Stant Getz, to later raise his own group, Return to Forever, also attached to jazz fusion and with Stanley Clarke, Joe Farrell, Airto Moreira and Flora Purim.

At this stage, the Korean work takes on a harsher, rockier accent, inspired in part by the dominance of progressive rock on the world scene, but also by the consolidation of jazz as a hybrid that accumulated funk, pop, and great orchestras.

For specialists, some of his best albums in those years were Return to forever, Hymn of the Seventh Galaxy and My Spanish Heart.

Like any good instrumentalist devoted to jazz, his phase changes were constant, also moving to a more classical and traditional style in the 80s. In 1985, he formed a new group, The Elektric Band, consisting of bassist John Patitucci, guitarist Scott Henderson, saxophonist Eric Marienthal, and drummer Dave Weckl. To balance his music, years later he formed his Akoustic Band with Patitucci and Weckl. In parallel, he maintained collaborations with Kenny Garrett, Wallace Roney and Paco De Lucía.

Right from the end of the 80s he came to Chile several times (the first time in 1987), always filling venues such as the current Víctor Jara Stadium or the Caupolicán Theater. An indefatigable spirit when composing and playing live, and this week said goodbye thanking him for his long journey in the activity that he finally loved the most.