Chick Corea

小簡(jiǎn)介
Chick Corea是過(guò)去三十年間最重要的爵土樂(lè)音樂(lè)家。這個(gè)評(píng)價(jià)毫不夸張，因?yàn)樵谶^(guò)去的三十年問(wèn)，Chick Corea的音樂(lè)大大豐富了爵土樂(lè)舞臺(tái)，他的風(fēng)格幾乎影響到每一位現(xiàn)代爵士樂(lè)音樂(lè)家。從個(gè)性來(lái)看，考瑞阿是一位從來(lái)不安于現(xiàn)狀，滿足已經(jīng)取得的成功的音樂(lè)家，他總是不斷進(jìn)取，在最近二十年里，他參與了幾乎所有重要的爵士樂(lè)活動(dòng)，始終占據(jù)爵士樂(lè)流行的最前沿。而今他對(duì)于爵士音樂(lè)本身的認(rèn)真求實(shí)的探索精神從未減弱過(guò)。
考瑞阿早在四歲時(shí)就開(kāi)始學(xué)習(xí)鋼琴，在他早期的音樂(lè)中。人們可以發(fā)現(xiàn)霍里斯．Silver和巴德．鮑威爾風(fēng)格影響的痕跡。在早期的音樂(lè)實(shí)踐中，考瑞阿曾經(jīng)先后在多支重要的樂(lè)隊(duì)中工作過(guò)，人們可以從他參加的樂(lè)隊(duì)中尋找到他成長(zhǎng)的軌跡。 直到1966年，Chick Corea才首次以指揮的身份錄制唱片，這就是《為瓊的遺骨寫的曲調(diào)》，從唱片古怪的名字，人們不難看出當(dāng)年考瑞阿的音樂(lè)個(gè)性。1968年他的三重奏作品唱片《現(xiàn)在他唱，現(xiàn)在他哭》成為了經(jīng)典曲目。 此后，考瑞阿和著名的爵士樂(lè)女歌手莎拉．沃爾甘合作過(guò)，兩人的精彩的現(xiàn)場(chǎng)演出使更多的爵士樂(lè)觀眾認(rèn)識(shí)并接受了這位才華橫溢的鋼琴家。
1968年，Herbie Hancock退出了爵士樂(lè)大師Miles Davis的樂(lè)隊(duì)。戴維斯向考瑞阿發(fā)出了召喚。1968年到1970年是融合派爵士樂(lè)產(chǎn)生的一個(gè)重要時(shí)期，考瑞阿在戴維斯樂(lè)隊(duì)中擔(dān)任了重要的角色，在戴維斯的建議下，考瑞阿開(kāi)始演奏電子樂(lè)器。這個(gè)時(shí)期的代表作是《乞里馬扎羅山一列人》，《以沉默的方式》和《邁爾斯在菲利莫爾》。在融合派爵土樂(lè)的產(chǎn)生和發(fā)展過(guò)程中，考瑞阿起了積極的推動(dòng)作用。
離開(kāi)了戴維斯樂(lè)隊(duì)之后者瑞阿首先選擇了前衛(wèi)派爵士樂(lè)作為自己主要的音樂(lè)方向。他建立起一支注重音響效果的四重奏，中的成員包括了安東尼．布萊克領(lǐng)，戴夫．霍蘭和巴里．阿特爾，這個(gè)明星薈萃的四重奏組合在圈內(nèi)也是完美無(wú)缺的。但是考瑞阿從來(lái)不滿足于已經(jīng)取得的成功，從1971年開(kāi)始，他再次轉(zhuǎn)變自己的音樂(lè)發(fā)展方向。 1971年他再次和斯坦．蓋茨合作，顯示出他對(duì)于拉丁爵士重新萌發(fā)的興趣。不久，他和一些拉丁風(fēng)格的音樂(lè)家組建了一支巴西音樂(lè)旋律的樂(lè)隊(duì)--“重返永遠(yuǎn)”樂(lè)隊(duì)。在短短一年時(shí)間，考瑞阿神奇般地將這支巴西旋律的樂(lè)隊(duì)變成了一支演奏時(shí)髦的融合派爵士樂(lè)的樂(lè)隊(duì)，比爾．克諾斯和萊尼．懷特成為了樂(lè)隊(duì)的成員，節(jié)奏強(qiáng)勁的融合派風(fēng)格使這支樂(lè)隊(duì)成為爵士樂(lè)壇最耀眼的明星。 七十年代末期，“重返永遠(yuǎn)”樂(lè)隊(duì)宣告解散，考瑞阿保留了樂(lè)隊(duì)名稱，和克拉克一道建立起一支規(guī)模更大的樂(lè)隊(duì)。在其后的幾年中，考瑞阿始終如一地保持了自己注重音響效果的風(fēng)格，無(wú)論他的合作者是誰(shuí)，音樂(lè)都帶有明顯的個(gè)人特色。他先后和多位從前的伙伴重新合作，甚至參加了幾次古典音樂(lè)的演出，表現(xiàn)出他音樂(lè)的多樣性。 1985年，Chick Corea組建起一支新的融合派爵士樂(lè)隊(duì)，其中帕蒂圖西和維克爾成為了考瑞阿八十年代之后最主要的合作者，他們?nèi)嗽?jīng)組建過(guò)一支名為“音響效果”的三重奏組。進(jìn)入到九十年代之后，帕蒂圖西為了謀求個(gè)人的發(fā)展，離開(kāi)了考瑞阿。這并末減弱考瑞阿繼續(xù)探索電子音樂(lè)的倍隊(duì)他仍然在為爵士樂(lè)和電子音樂(lè)的結(jié)合而勤奮工作。
Chick Corea三十年的音樂(lè)生涯是不同音樂(lè)經(jīng)歷的一種混合。1941年，他出生于馬薩諸薩州的切爾西。四歲時(shí)開(kāi)始學(xué)習(xí)鋼琴，而且兒時(shí)家庭之中也是充滿音樂(lè)的，整天能聽(tīng)到Charlie Parker、Dizzy Gillespie、Bud Powell、Lester Young和Horace Silver，另外Beethoven和Mozart的音樂(lè)也啟發(fā)了他的創(chuàng)作天性。
Chick Corea早期的創(chuàng)作開(kāi)始于和小號(hào)手Blue Mitchell（1964-1966年間）的第一次職業(yè)合作演出期間，這時(shí)他正式作為這支名為Tones For Jones Bones的樂(lè)隊(duì)的領(lǐng)導(dǎo)者了。早期的合作對(duì)象還包括Willie Bobo、Cal Tjader、Herbie Mann以及Mongo Santamaria，使得Corea許多作品中的Latin音樂(lè)成分很濃厚。在幫Sara Vaughan伴奏一年之后，由于加入了Miles Davis樂(lè)隊(duì)任電鋼琴演奏，Chick Corea開(kāi)始真正的成名。與Miles Davis合作的幾年間，他參與了《Bitches Brew》和《In a Silent Way》兩張劃時(shí)代的Fusion經(jīng)典作品的錄音。也就是從那時(shí)開(kāi)始，他組建了自己的先鋒即興演奏團(tuán)體“Circle”，成員包括貝司手 Dave Holland、小號(hào)手Barry Altschul、薩克斯手Anthony Braxton。
1971年，在“Circle”成立三年之后，Corea改變了其音樂(lè)上的注意力。成立了早期版本的Return to Forever，樂(lè)隊(duì)的風(fēng)格很柔和、充滿桑巴風(fēng)味，這時(shí)Stanley Clark任貝司手，還有人聲樂(lè)手Flora Purim，其丈夫Airto為鼓手，長(zhǎng)笛手Joe Farrell。以這個(gè)班底制作了兩張專輯和一部分獨(dú)奏鋼琴專輯以后，Chick Corea開(kāi)始為樂(lè)隊(duì)插上了電，走上Fusion的路線，這時(shí)還招募了兩位充滿火力的樂(lè)手鼓手Lenny White和吉他手Bill Connors。
在Chick Corea使用合成器形成其獨(dú)一無(wú)二的風(fēng)格的同時(shí)，Return to Forever（這時(shí)吉他手由Al DI Meola代替Bill Connors）以其開(kāi)拓性的專輯《Where Have I Known You Before》、《No Mystery》和《Romantic Warrior》在七十年代的Fusion大潮中沖鋒陷陣。當(dāng)1975年Return to Forever解散，Corea又開(kāi)始嘗試錄制不同風(fēng)格的唱片，包括電子大樂(lè)隊(duì)、獨(dú)奏鋼琴、古典音樂(lè)、強(qiáng)力二人組演奏（與Herbie Hancock或Gary Burton一起）。
八十年代中期，Chick Corea組一支電子樂(lè)隊(duì)，制作了獲格蘭美獎(jiǎng)的專輯《Leprechaun》、《My Spanish Heart》、《Musicmagic》，其他的一些作品還包括《Mad Hatter》、《Return to Forever Live》，以及與Joe Henderson、Freddie Hubbard、Hubert Laws、Chaka Khan和Nancy Wilson等人的一系列合作。
1996年，Chick Corea和Sony Classical唱片合作，與Bobby Mcferrin制作了一張Morzat系列作品的專輯，期間充滿了Corea獨(dú)特的爵士即興演奏以及Mcferrin的人聲錄音，另外還包括兩個(gè)Morzat的鋼琴協(xié)奏曲、Morzat第二號(hào)鋼琴奏鳴曲的即興變奏。Chick Corea與Bobby Mcferrin因此成為好友，共同合作了六年，并制作了一張現(xiàn)場(chǎng)爵士的專輯。
Chick Corea has been one of the most significant jazzmen since the 60s. Not content at any time to rest on his laurels, Corea has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers. In addition, he has composed several jazz standards, including Spain, La Fiesta, and Windows.
Corea began playing piano when he was four and, early on, Horace Silver and Bud Powell were influences. He picked up important experience playing with the bands of Mongo Santamaria and Willie Bobo (1962-1963), Blue Mitchell (1964-1966), Herbie Mann, and Stan Getz. He made his recording debut as a leader with 1966s Tones for Joans Bones, and his 1968 trio set (with Miroslav Vitous and Roy Haynes) Now He Sings, Now He Sobs is considered a classic. After a short stint with Sarah Vaughan, Corea joined Miles Davis as Herbie Hancocks gradual replacement, staying with Davis during a very important transitional period (1968-1970). He was persuaded by the trumpeter to start playing electric piano, and was on such significant albums as Filles de Kilimanjaro, In a Silent Way, Bitches Brew, and Miles Davis at the Fillmore. When he left Davis, Corea at first chose to play avant-garde acoustic jazz in Circle, a quartet with Anthony Braxton, Dave Holland, and Barry Altschul. But at the end of 1971, he changed directions again.
Leaving Circle, Corea played briefly with Stan Getz and then formed Return to Forever, which started out as a melodic Brazilian group with Stanley Clarke, Joe Farrell, Airto, and Flora Purim. Within a year, Corea (with Clarke, Bill Connors, and Lenny White) had changed Return to Forever into a pacesetting and high-powered fusion band; Al DiMeola took Connors place in 1974. While the music was rock-oriented, it still retained the improvisations of jazz, and Corea remained quite recognizable, even under the barrage of electronics. When RTF broke up in the late 70s, Corea retained the name for some big band dates with Clarke. During the next few years, he generally emphasized his acoustic playing and appeared in a wide variety of contexts; including separate duet tours with Gary Burton and Herbie Hancock, a quartet with Michael Brecker, trios with Miroslav Vitous and Roy Haynes, tributes to Thelonious Monk, and even some classical music.
In 1985, Chick Corea formed a new fusion group, the Elektric Band, which eventually featured bassist John Patitucci, guitarist Frank Gambale, saxophonist Eric Marienthal, and drummer Dave Weckl. To balance out his music, a few years later he formed his Akoustic Trio with Patitucci and Weckl. When Patitucci went out on his own in the early 90s, the personnel changed, but Corea continued leading stimulating groups (including a quartet with Patitucci and Bob Berg). During 1996-1997, Corea toured with an all-star quintet (including Kenny Garrett and Wallace Roney) that played modern versions of Bud Powell and Thelonious Monk compositions. He remains an important force in modern jazz, and every phase of his development has been well-documented on records.
Corea started out the 21st century by releasing a pair of solo piano records, Solo Piano: Originals and Solo Piano: Standards, in 2000, followed by Past, Present & Futures in 2001. Rendezvous in New York appeared in 2003, followed by To the Stars in 2004. The Ultimate Adventure was released in 2006.