CD1 - Crystal Silence
1. Señor Mouse
2. Arise, Her Eyes
3. I'm Your Pal
4. Desert Air
5. Crystal Silence
6. Falling Grace
7. Feelings and Things
8. Children's Song
9. What Game Shall We Play Today
CD2 - Duet
1. Duet Suite
2. Children's Song No. 15
3. Children's Song No. 2
4. Children's Song No. 5
5. Children's Song No. 6
6. Radio
7. Song to Gayle
8. Never
9. La Fiesta
CD3 - In Concert (1)
1. Señor Mouse
2. Bud Powell
3. Crystal Silence
4. Tweak
CD4 - In Concert (2)
1. I'm Your Pal/Hullo, Bolinas
2. Love Castle
3. Falling Grace
4. Mirror, Mirror
5. Song to Gayle
6. Endless Trouble, Endless Pleasure
Gary Burton - Vibes
Chick Corea - Piano
An ignoramus named Michael Henderson, who usually writes about sport,
recently made the momentous statement in the Daily Telegraph
that "Jazz is not a high art form". Of course, we could
debate the meaning of "high art" despite its vagueness.
The Concise Oxford Dictionary avoids defining the term, but
the Oxford English Dictionary's entry says: "Of exalted
quality, character, or style; of lofty, elevated, or superior kind;
high-class... Freq. in high art, comedy, culture".
Mr Henderson seems to be living in a land of illusion, like the one
described by Bishop Berkeley. Unlike Dr Johnson, I won't kick a stone
and say "I refute it THUS" but I will simply bring forward
this boxed set as evidence that jazz can be, and often is, high art.
Gary Burton and Chick Corea had already performed together in larger
bands a few times but when they started playing as a duo, they discovered
a marvellous chemistry which certainly fulfils the OED's requirements
of exaltation, elevation and high-class performance. The four CDs
in this box contain the pick of their work together, and it seldom
if ever falls below the highest standard of musical skill and creativity.
I have said before that playing as a duo demands particular skills
from the musicians - especially the ability to listen and react instantly
to what their colleague is doing. The sleeve-note quotes Gary Burton:
"We're thinking alike, as though we were two piano players, and
yet our instruments don't sound alike". The interplay between
these two men is continually fascinating and often amazing. As just
one example, take Tweak from the third album - a concert performance
in which the two men spontaneously create marvellous counterpoint
and share in turns the jobs of soloist and accompanist.
The fourth CD - a continuation of the 1979 concert in Zurich - also
enables us to relish the two musicians playing separately. Gary Burton's
medley of I'm Your Pal and Hullo, Bolinas typifies how
Gary expanded our expectations of the vibraphone, making it virtually
obligatory for all its players now to use four mallets instead of
the two that were previously considered adequate. This technique enables
Burton to conjure up copiously sonorous chords to accompany his own
lines - virtually a one-man band. If this track appeals to you, I
suggest you obtain Gary's solo album Alone at Last - another
masterpiece.
Chick Corea follows with a solo on his own composition Love Castle.
In fact no fewer than 15 of the tunes here are Corea's inventions,
with Steve Swallow (Burton's frequent bassist) supplying all the other
tunes except for Mike Gibbs's Feelings and Things. Love
Castle illustrates Chick's brilliance in creating and re-creating
melodies, as well as his attractive mixture of legato and percussive
passages. Note the morse-code-like notes which start after about six
minutes of this track, which lasts for more than 14 triumphant minutes.
I can understand some listeners finding some tracks rather pretty-pretty,
because both musicians play sustaining instruments - which create
very liquid sounds. Chick Corea balances this by inserting many abrupt,
stabbing chords when accompanying. At any rate, there is plenty of
vigorous work on the second CD, opening with the purposeful Duet
Suite and closing with La Fiesta. The latter starts with
a teasing piano introduction before the vibes join in the build-up
to one of Corea's catchiest showpieces, evincing Chick's love of swirling
Spanish and Latin-American rhythms.
The second CD contrasts the more extrovert tracks with four of Corea's
Children's Songs, which are as classically "pure"
as any chamber music. Indeed, all the music in this compilation has
the concentration and co-operation which one expects in the finest
chamber music.
The only problem with this collection is that enthusiasts may already
have one or more of the albums and may not wish to spend nearly £30
on duplication. But it almost goes without saying that the recorded
sound from ECM is masterly in clarity and balance and, overall, this
is a very cherishable set.
Some classical music can be more "serious" in its trappings
but how many classical musicians could improvise such superb music
so consistently? In this compilation we have two virtuosi playing
beautiful music impeccably together with little or no rehearsal. This
is, indeed, high art.
Tony Augarde
CD Reviews
ECM 176 8057
