CD ECM Records Chick Corea, Stefano Bollani: Orvieto
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Chick Corea - pian
Stefano Bollani - pian
Chick Corea and Stefano Bollani in their first recorded collaboration, a document of a most spirited gig in Orvieto’s Teatro Mancinelli last December. Effervescent virtuosity abounds as the two piano genii romp through a programme that includes Jobim’s “Retrato Em Branco E Preto”, the swing ballad “Darn That Dream”, Fats Waller’s “Jitterbug Waltz”, Miles Davis’s “Nardis”, blues, improvisations and more. The recording is Corea’s first new ECM date in more than a quarter-century.
Prezentare generala CD ECM Records Chick Corea, Stefano Bollani: Orvieto
2011
Chick Corea - pian
Stefano Bollani - pian
Chick Corea and Stefano Bollani in their first recorded collaboration, a document of a most spirited gig in Orvieto’s Teatro Mancinelli last December. Effervescent virtuosity abounds as the two piano genii romp through a programme that includes Jobim’s “Retrato Em Branco E Preto”, the swing ballad “Darn That Dream”, Fats Waller’s “Jitterbug Waltz”, Miles Davis’s “Nardis”, blues, improvisations and more. The recording is Corea’s first new ECM date in more than a quarter-century.
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Jazz pianists spend a lot of time alone with their craft, and often just as much in the context of a rhythm section. It´s less common for them to sit down and make music with each other, though it does happen every now and then. The scarcity is enough to make you notice a good piano-duo album when it arrives… ”Orvieto” is a concert recording starring Chick Corea, the eminent American post-bop pianist who turned 70 this year, and Stefano Bollani, a quick-thinking Italian of similar effervescence, now 38. Recorded at last year´s Umbria Jazz Winter festival, it involved the barest preparation – loose set list, no rehearsals – but some favourable odds. For one thing, Mr. Corea has an unusually productive track record in two-piano settings, going back to “An Evening With Herbie Hancock & Chick Corea: In Concert”. And he has a few years of history with Mr. Bollani, on European stages. Their buoyant, bustling take on a standard like “If I Should Lose You” (or, for that matter, Dorival Caymmi´s “Doralice”) feels brisk, companionable and practically seamless. Mr. Bollani has compared their output to the work of one pianist with four hands, which sounds fanciful and self-serving until you absorb the results.
Nate Chinen, New York Times
A prancing, marching stride-piano feel follows rhapsodic, gradually intensifying Jobim explorations early on. Fats Waller’s “Jitterburg Waltz” juggles time-patterns, trills, stabs and swing. Bollani’s “A Valsa da Paula” is quite abstract, and “Tirititran” develops from handclapping and drumming on the piano through tinkling, stop-start free improve to relaxed traditional grooving that recalls old-time pianists such as Erroll Garner. But it’s Corea’s tumbling “Armando’s Rhumba” and an impulsive “Blues in F” (the most creative assertion of their differences as players) that unlock some of the best moments.
The Guardian
Orvieto, the new ECM album by pianists Chick Corea and Stefano Bollani, is one of the finest piano duets this writer has heard in years. The combination of the Sicilian-American Corea with the Milanese Bollani yields a tandem with the perfect fusion of similarity and divergence.
Rob Johnson, Examiner
Bollani’s effervescence dovetails perfectly with Corea’s mischievous approach on this set of improvisations, standards spanning seven decades, and originals like Corea’s often-recorded “Armando’s Rhumba”, here taken to glorious extremes as the two pianists manage the impossible, finishing each others’ thoughts, coming together in uncanny unison, and accompanying both themselves and each other in ways that belie their avoidance of rehearsals. Fats Waller’s “Jitterbug Waltz” has rarely sounded this alive, swinging with unteffered energy as they effortlessly move between individual and in-tandem soloing. […] The two instruments converge towards the center of the mix from lower register to upper, giving “Orvieto” and greater “you are there”-feeling – but “there” isn’t in the audience, it’s right up there with the pianists […] less a duo, and more the remarkable melding of musical minds for a most singular purpose.
John Kelman, All About Jazz
A viruosic stuff but with real empathy, each inspiring the other and allowing ideas to develop naturally while clearly also enjoying themselves.
Rob Adams, Sunday Herald
The rapturous applause of the audience at the Umbria Jazz Winter Festival where this was recorded in December 2010 says it all – a remarkable pairing.
Sofi Mogensen, Properganda
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