The New Crystal Silence
- Jazz
- 2008
- Buy the CD
Reviewed by Michael Fortes
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Now, that creative well hasn’t always helped Corea choose the greatest album titles -- 2006’s The Ultimate Adventure was perhaps the most generic title he had ever chosen for a record whose music was anything but – and The New Crystal Silence follows suit accordingly. Totally predictable title notwithstanding, the music here is, as it was in the 1970s, a bar-setter for duo recordings.
The double disc live set actually does have a “new” twist for the duo that makes the generic album title obviously appropriate. While disc two features the duo in a fine live appearance in Molde, Norway, it’s the first disc that truly offers up something special, as it features the duo performing with the Sydney Symphony at the Sydney Opera House.
The orchestral arrangements turn out to be a collaborative effort with one of Corea’s other regular collaborators, British saxophonist Tim Garland. Plenty of space is given to the two soloists, with occasional light string and horn backgrounds. But when the orchestra really kicks in, the effect is huge, expansive -- almost cinematic. It’s not really all that different from similar collaborations between Corea’s fellow Miles Davis alumnus John McLaughlin and the London Symphony Orchestra. And while following this template may at times make the Correa-Burton duo sound like guests of honor at someone else’s party, the quality of the music can’t be assailed, and the strength of Chick’s compositions ultimately carry the proceedings.
The program itself consists mostly of Corea compositions, including the expected Corea-Burton duo staples “Crystal Silence” and “La Fiesta.” The latter, which is already one of Corea’s most covered pieces, is presented as the closer on both discs for contrast and highlights the set accordingly. But a particular standout for the duo is their eponymous tribute to bebop master Bud Powell on the symphony-less second disc. For eight minutes, Corea and Burton dive into some of that good ol’ finger poppin’ swing, in the process reminding us not only of their roots, but that we are allowed to physically react to the music, even if it’s no longer being played in seedy nightclubs.
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