Chick Corea • Now He Sings, Now He Sobs

 

Review by Stephen Thomas Erlewine
Recorded over a year after Chick Corea's debut Tones for Joan's Bones -- a record cut in late 1966 but not appearing until 1968 -- Now He Sings, Now He Sobs feels like his true first album, the place where he put all the pieces in motion for his long, adventurous career. Much of that has to do with the closed quarters of its recording. Supported by drummer Roy Haynes and bassist Miroslav Vitous, Corea has the freedom to run wild on his five original compositions, letting chords cluster alongside fleet melodic runs. Haynes and Vitous play with the same sense of liberation, which pushes Now He Sings, Now He Sobs into a sweet spot where hard bop and avant intersect. There's an intellectual rigor balanced by an instinctual hunger that makes for music that's lively and challenging while also containing a patina of comfort. Chalk the latter up to the elegance of Corea's piano trio: they move through the dense bop with the same grace that they settle into ballads, a sound that is warm and inviting, yet never disguises how the trio -- and Corea especially -- never stop probing and exploring the outer edges of this music. While it's possible to hear Now He Sings, Now He Sobs as an opening salvo to Corea's career, it also exists as its own special thing because it captures the pianist at the brink: it's kinetic, exciting, and filled with endless possibilities. 
https://www.allmusic.com/album/now-he-sings-now-he-sobs-mw0000199392

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Reseña de Stephen Thomas Erlewine
Grabado más de un año después del debut de Chick Corea, Tones for Joan's Bones (un disco grabado a finales de 1966 pero que no se publicó hasta 1968), Now He Sings, Now He Sobs se siente como su verdadero primer álbum, el lugar donde puso en marcha todas las piezas de su larga y aventurera carrera. Gran parte de esto se debe al espacio reducido de su grabación. Con el baterista Roy Haynes y el bajista Miroslav Vitous como soporte, Corea tiene la libertad de dar rienda suelta a sus cinco composiciones originales, dejando que los acordes se agrupen junto a fugaces riffs melódicos. Haynes y Vitous tocan con la misma sensación de liberación, lo que lleva a Now He Sings, Now He Sobs a un punto óptimo donde el hard bop y el avant se cruzan. Hay un rigor intelectual equilibrado por un hambre instintiva que crea una música vivaz y desafiante, a la vez que contiene una pátina de confort. Atribuyamos esto último a la elegancia del trío de piano de Corea: se mueven por el bop denso con la misma gracia con la que se asientan en las baladas, un sonido cálido y acogedor, que sin embargo nunca disimula cómo el trío, y Corea en particular, nunca dejan de explorar los límites de esta música. Si bien es posible escuchar Now He Sings, Now He Sobs como un primer paso en la carrera de Corea, también tiene un carácter único porque captura al pianista al límite: es dinámico, emocionante y lleno de infinitas posibilidades.


chickcorea.com/now-he-sings-now-he-sobs ...

Tracks:
1 - Steps – What Was - 13:51
2 - Matrix - 6:26
3 - Now He Sings – Now He Sobs - 7:06
4 - Now He Beats The Drum – Now He Stops - 10:35
5 - The Law Of Falling And Catching Up - 2:26


Credits:
    Bass – Miroslav Vitous
    Composed By – Chick Corea
    Design [Uncredited] – Burton Yount
    Drums – Roy Haynes
    Engineer [Uncredited] – Don Hahn
    Liner Notes – Don Was, 杉田宏樹*, Kevin Gray
    Piano – Chick Corea
    Producer [Uncredited] – Sonny Lester
    Remastered By – Kevin Gray
    Sleeve Notes – Chick Corea

Recorded March 14, 19, and 27, 1968.

Label:    Solid State Records (2) – UCCQ-9778
Series:    ブルーノート@85
Country:    Japan
Released:    Dec 18, 2024
Genre:    Jazz
Style:    Post Bop, Avant-garde Jazz, Free Improvisation
https://www.discogs.com/release/32545614-Chick-Corea-Now-He-Sings-Now-He-Sobs

 

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