As a result of my growing interest of Latin and Jazz music, I decided for my blog post to be on the song Spain by Chick Corea. Spain is an instrumental jazz fusion composition by jazz pianist and composer Chick Corea. It is likely Corea’s most recognized piece, and some would consider it a modern jazz standard. Spain was composed in 1971 and appeared in its original and most well known rendition on the album Light As A Feather. It is played in common time(4/4) and is originally played at a very fast pace. This February, I witnessed Lehman College’s Latin Jazz Band perform a cover to Spain. The song is introduced with a lengthy piano solo with a cello in the background complimenting the piano. After the intro, the song switches to a fast, Latin jazz samba rhythm, in which the main theme and an improvisation part are repeated. The percussion and woodwind instruments are then introduced. The flutes are accompanying the piano’s melody, while the business keeps a fast and steady pace. At the break of the song, the listener is required to clap along to the beat which is indeed a part of the original recording and sheet music. The claps are done on the 1 and the 3 and then falls back into a repeat of the fast paced Latin jazz samba rhythm. The chord progression used during the improvisation part is based on harmonic progressions of GMAJ7, F#7, Em7, A7, DMAJ7, C#7, F#7, Bm, B7. Chick Corea’s instrumental of “Spain” is influenced from traditional Spanish music. In the opening arrangement of the song, There is a Flamenco style of playing on the piano, implying a dramatic setting to set the mood before heading into an elegant melodic flare. Like the original recording, each musician takes turns in the spotlight to display their musicianship skills. The piano, bass guitar, flutes, brass, and percussion all took turns soloing. The most impressive solo to me in the performance and in original recording is the bass solo. The bass solo was almost on par from the original recording with its arpeggio sweeps and even plucked some chords with a slap bass technique. The flute takes second place with its versatility among the other instruments. The flute player’s solo ornaments the music with such gracefulness in the melodic theme of the piece and even ventured out on his own. The percussion solos were also impressive. The drums especially to solo and be able to keep a steady jazz samba rhythm at such a fast pace. The spontaneous drum fills were perfectly timed and you’d have to be a pretty experienced drummer to be able to do it at such a fast pace. However, all the instruments played an important part to this piece. Each instrument originates its own sound so perfect when played together. They’re intimate unity is what makes Chick Corea’s “Spain” such a well respected masterpiece of musical sorcery. Below is a live performance of a performance of “Spain” in Barcelona, Spain.
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Spain Chick Corea. From his album “Light as a Feather.”. And we're lovers once again And you're near me I can remember the rain in December The leaves are brown on the ground In Spain I did. Even more important when checking out Spain and Chick Corea is Chick's mastery of rhythm. Listen to Chick's solo and even more in later solo how he setups of rhythmic patterns of with odd number of notes. Then repeatedly cycles that pattern until it resolves. Chick Corea Artist Services 411 Cleveland St. #215 Clearwater, FL 33755 Office phone: (888) 712-4425 Office cell: (727) 688-2237 Office email: ccartistservices@. Spain by Chick Corea. MP3. Annotate this sheet music. Note the level: Note the interest: View.
By Phillip Lutz I Mar. 8, 2021Spain Chick Corea Form
Chick Corea’s passing reverberated through the jazz world with a multigenerational outpouring for an artist seen as both a creative force and a compassionate soul.
Drummer Jack DeJohnette, 78, traces his collaborations with Corea back to mid-1960s jams in the pianist’s house in Queens, New York. Those meetings, DeJohnette said, transcended the boundary between work and play: “You knew you were going to have fun and the level of playing would be the highest possible.”
Working through material that would appear on Corea’s second album—Now He Sings, Now He Sobs (Blue Note), which is in the Grammy Hall of Fame—DeJohnette said he could hear Corea’s voice emerging from the surrounding swirl of influences, like McCoy Tyner: “He’d taken McCoy and changed it into the Chick Corea sound.”
In Miles Davis’ electric band of the period, Corea’s sound, known for its lightness and brightness, could get gritty, especially on a ring-modulated Rhodes piano. “There’s this real intense edge,” said pianist Vijay Iyer, 49. “He’s not afraid to bring a whole lot of dissonance, a whole lot of noise—seeming almost-chaos—into the mix of this deep groove.”
DeJohnette, one of the players driving that groove, recalled: “There was electricity all around. You couldn’t wait to get on the bandstand.”
When Corea turned to fusion while leading the band Return To Forever, the structured compositions and soaring solos electrified the swelling crowds. But that band was just a stop on a journey. Like Davis, Corea was always searching for new modes of expression.
“He was ever-changing,” DeJohnette said.
Wynton Marsalis, 59, expanded on that sentiment in a Twitter post describing Corea: “Prehistoric instincts, super quick reflexes and deep knowledge meets an unquenchable thirst to know, to experience the present and to embrace change.”
Corea, who explored formats from solo to symphonic, often favored the trio setting, with bassist Christian McBride along for the ride. McBride, 48, recalled a driven man: “He was insanely creative, always at the piano, writing, practicing, always on output mode.”
But, McBride said, he was also modest. “In his heart of hearts, he was still a New York pianist for hire, just playing the gig. I remember on a tour bus, he said, ‘It really bothers me I don’t get called to do sideman gigs anymore.’”
The two musicians last played together in March 2020, when the European tour of Corea’s Trilogy band was cut short because of the pandemic. Also on that tour was drummer Brian Blade, another frequent collaborator.
Blade, 50, recalled that Corea was unfazed on the airplane back to the United States: “He was already planning. He was always looking for the opportunity to come together again. He shared his life with you as he shared the stage with you.”
Corea shared stages—even keyboards—with brilliant young pianists around the world. In Japan, Hiromi Uehara, 40, was 16 and a rising star when Corea summoned her onstage at Tokyo’s Nikkei Hall for a joint free improvisation. They last played together in a September duet on Zoom, trading improvised passages on Corea’s “Spain.”
“Listening to his work is one thing, really inspirational,” she said. “But when you can listen to him and play something back and have a reaction, conversing with him, it was like a real luxury.”
In Cuba, pianist Alfredo Rodríguez, 35, was a young Corea devotee. With his reputation growing, Corea called him onstage first at the Montreux Jazz Festival, the next year at Jazz at Lincoln Center and, more recently, at the SFJAZZ Center, where they played a four-hands rendition of “Spain.”
Rodriguez said he felt the loss personally: “I was crying yesterday. I’m crying for the music. He changed my life.”
Saxophonist Kenny Garrett, who worked alongside Corea in the Five Peace Band, got to know the pianist off the bandstand. “Every time we met in person or via phone, he was always positive and giving,” Garrett wrote in an email. “I used to call Chick and leave him a musical message on the piano, and he would call me back and leave me a musical idea on the piano.”
“He was a total pro,” said George Wein, 95, who founded the Newport Jazz Festival. At his last Newport appearance, Corea was the headliner, playing three shows in two days. “Every one of them was great.”
Wein also was taken by Corea’s thoughtfulness. A pianist, Wein self-deprecatingly recalled playing at a festival in Puerto Rico where Corea was also on the bill. Corea, he noted, offered some advice: “He said, ‘George, you keep playing. It’s good for you.’”
Wein recalled an underage Corea sneaking into Wein’s Boston club, Storyville, in the late 1950s to hear Davis’ group, and being disappointed to see Bill Evans in Wynton Kelly’s piano chair. But Evans became a major inspiration. “It changed his life,” Wein said.
As it happens, the last time Corea worked with DeJohnette was for a video promoting a release of material recorded during an Evans date at Ronnie Scott’s in London. In the video, recorded in recent months, Corea seemed in good health. So, his death was a shock.
“I love him and miss him,” DeJohnette said. “His spirit will always be with me.”DB