Bobby McFerrin: Beyond words (2002 – Blue Note)

How does one write about the ineffable? It is, after all, Beyond Words … We must, however, reflect on Bobby McFerrin’s Beyond Words. There is a certain degree of serendipity in the fact that this recording is being capitalized upon, in the best economic system the world has ever known, through the marketing efforts of both Blue Note and Angel Records as in Classical music, the “grace note” is what in Jazz is known as a “blue note.” Beyond Words is an album from the world to the world, encompassing the fleeting hallowedness that structures the allure and effect of a graceful blue note. Hence, it is not for the faint of sensibility and intelligence. Although not a difficult work, without recurring to popish sentimentality or facility in its accessibility, it does require a certain level of engagement in order to disengage the listener from preconceptions and expectations that would mar the delight on musical idioms beyond any evocative or explanatory measure. McFerrin’s latest is “deep,” as musicians are fond of saying when referring to outstanding music.
It would be rather tempting to play a game of “Where’s Waldo?” when trying to document the various musical, cultural or aesthetic influences present in this compact disc, although that would be infelicitous and beside the point. As mentioned before, this is an album from the world to the world. Creative, or so-called creative endeavors, nonetheless, often times end up as mere masturbatory efforts that have more to do with inbred narcissism than true originality. McFerrin is not affianced in self-pleasure in this Blue Note/Angel release. He wants to gratify his audience with an anointing dipped into one of the widest palettes available for worldwide consumption in contemporary musical markets.
Beyond Words has a wide and fun emotional range that swings in saintly depth. The arrangements, vocalizations, and compositions, as well as the performances of the musicians, have a refreshing sense of cultural innocence and curiosity in their tales. With the exception of “Windows,” a Chick Corea composition, reinterpreted here in historical fashion by McFerrin, the rest of the oeuvre was penned by him. Having Corea playing in this recording was a prudent decision as he has an authentic and imaginative record of accomplishment in various musical worlds. The same is true of most of the rest of the crew that gave rise to the beautiful blessing that is Beyond Words.
McFerrin’s latest also hits the mark with the integrity of the 16 pictorials poured in this recording. From the short-lived “Circlings,” to the beefier “Invocation,” Beyond Words manages to say what needs saying without recourse to vocal or instrumental logorrhea. The whole of Beyond Words is known through its wholesome parts, duration notwithstanding. All told, Beyond Words says a lot. You had better listen…
Javier AQ Ortiz (All About Jazz)

TrackList;
1.- Invocation
2.- Kalimba Suite
3.- A Silken Road
4.- Fertile Field
5.- Dervishes
6.- Ziggurat
7.- Sisters
8.- Circlings
9.- Chanson
10.- Windows
11.- Marlowe
12.- Mass
13.- Pat & Joe
14.- Taylor Made
15.- A Piece, A Chord
16.- Monks/The Shepherd

Personnel:

Bobby McFerrin (vocals, keyboards);
Taylor McFerrin (vocals);
Keith Underwood (bass flute, wooden flute);
Gil Goldstein (accordion, Fender Rhodes piano, keyboards);
Chick Corea (piano);
Richard Bona (guitar, piano, percussion)

Original Release Date: March 12, 2002  –  Label: Blue Note Records

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Gary Burton : Like Minds (1998 – Concord Records)

Gary Burton has assembled his “dream band” for LIKE MINDS. With his former protege Pat Metheny, duet partner Chick Corea, favorite drummer Roy Haynes and legendary bassist Dave Holland, Burton has formed an ensemble of staggering proportions. Giants all, this is more than a collection of “all-stars;” it is a cohesive entity. The music is performed as if by one mind and soul with five equal divisions.
The recorded results are stupendous to say the least. Original compositions by Metheny and Corea abound, as do two from Burton himself. Metheny’s “Question and Answer” gets the proceedings off to a nice start as the rich sonorities provide an elegant backdrop to some fine soloing. Corea’s delightful “Windows” is a deceptively intricate waltz that makes for some nice interplay between Burton and Metheny. Although he’s not a prolific composer, Burton’s own “Country Roads” and the jumping title track provide evidence enough that he is a master in this area as well. As an added treat, Gershwin’s “Soon” shows just what masters of this stature can do with a great old standard. Finally, Corea’s racing “Straight Up And Down” is a burning ending to this dream of a session
(From CD Universe)

Track List
1. Question and Answer
2. Elucidation
3. Windows
4. Futures
5. Like Minds
6. Country Roads
7. Tears of Rain
8. Soon 6:25
9. For a Thousand Years
10. Straight Up and Down

Personnel:
Gary Burton (vibraphone)
Pat Metheny (guitar)
Chick Corea (piano)
Dave Holland (Bass)
Roy Haynes (drums)

Original Release Date: November 3, 1998  –  Label: Concord Records

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Stan Getz: Sweet Rain (1967 – Verve)

One of Stan Getz’s all-time greatest albums, Sweet Rain was his first major artistic coup after he closed the book on his bossa nova period, featuring an adventurous young group that pushed him to new heights in his solo statements. Pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate were all schooled in ’60s concepts of rhythm-section freedom, and their continually stimulating interplay helps open things up for Getz to embark on some long, soulful explorations (four of the five tracks are over seven minutes). The neat trick of Sweet Rain is that the advanced rhythm section work remains balanced with Getz’s customary loveliness and lyricism. Indeed, Getz plays with a searching, aching passion throughout the date, which undoubtedly helped Mike Gibbs’ title track become a standard after Getz’s tender treatment here. Technical perfectionists will hear a few squeaks on the LP’s second half (Getz’s drug problems were reputedly affecting his articulation somewhat), but Getz was such a master of mood, tone, and pacing that his ideas and emotions are communicated far too clearly to nit-pick. Corea’s spare, understated work leaves plenty of room for Getz’s lines and the busily shifting rhythms of the bass and drums, heard to best effect in Corea’s challenging opener “Litha.” Aside from that and the title track, the repertoire features another Corea original (“Windows”), the typically lovely Jobim tune “O Grande Amor,” and Dizzy Gillespie’s Latin-flavored “Con Alma.” The quartet’s level of musicianship remains high on every selection, and the marvelously consistent atmosphere the album evokes places it among Getz’s very best. A surefire classic.
Steve Huey, All Music Guide

Track List:
1. Litha
2. O Grande Amor
3. Sweet Rain
4. Con Alma
5. Windows

Personnel:
Stan Getz (Ten.Sax)
Chick Corea (Piano)
Ron Carter (Bass)
Grady Tate (drums)

Original Release Date: 1967  Label: Verve

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