Original Dixieland Jazz Band Music

The CD "Corea Concerto" actually contains two pieces, the first is a remarkable arrangement of "Spain" for jazz sextet and orchestra. "Spain" is, in my opinion, one of Corea's finest jazz compositions, and it works very well with an orchestra. However, I would hestitate to call it classical. It's jazz (very good jazz, mind you) with orchestra. Perhaps the only real problem with "Spain" is that it completely outshines the "Piano Concerto." Please don't hear me incorrectly, here. I think it's wonderful for musicians to branch out and try new things. As a musician myself, I don't like boxing myself in to one specific genre. I think Corea has real potential as a classical composer, as there are some marvelous sections in the "Concerto," but overall the piece is very average. The orchestration is, albeit lush, rather uncreative, and Corea quite often seems unsure of where he's trying to go and what he's going to do once he gets there. The piece flounders and spins, occasionally being beautiful and intrinsic, but more often than not being ordinary and easily forgettable. Perhaps the most perplexing this is, for me, that Corea states in the liner notes that the piece is inspired by Mozart. While I admit to not being the world's biggest Mozart fan (I prefer Bach myself), I don't hear any Mozart here at all. Just Chick trying to write a piano concerto. But let's get this straight. I'm glad Corea decided to experiment in classical music. I just hope he (1) cleans up the act and makes something really great out of it, or (2) gives up and gets back to making great jazz instead of mediocre classical.

The rating of 3 stars might be sort of harsh. "Spain" clearly deserves 4.5, maybe even 5, but it seems like the CD is mostly about the "Concerto," and that deserves 3. If I could, I would have given the CD 3.5 stars. Whatever. You get the point.

However, after having listened to all of the CDs about a dozen times over the last few years, I feel that I have cultivated a broad knowledge of jazz standards. Now, when I go to a jazz club or even just listen to the radio, I can frequently name songs that my friends mistakenly assume are originals.

The drawback of this collection is that many of the recordings, and the ones from the 20s, in particular, are inevitably of poor quality. In fact, it often sounds like the drummer was banging on a pie tin or the vocalist sang underwater. Nevertheless, more than two-thirds of the recordings are of acceptable sound quality, and I urge any one looking to expand his knowledge of early jazz for a pittance to buy this collection.

I am giving this collection 5 stars despite the sometimes poor sound quality because it is such a bargain and provides a good, if not entirely comprehensive education in early jazz.

Also see the similarly priced "Big Band Box" and "Great Vocalists of Jazz and Entertainment" collections by the German "History" label.