he half-jokingly told the near-full house that the trio devised their setlist while seated in Chicago traffic earlier that day.While Corea, McBride, and Blade appeared casual, as if this were a friendly jam session, their advanced technical skills and power to bring a broad diversity of music exemplified their superior technique.
Starting with Kurt Weill's "This Is New," Corea impressed with his judicious use of dissonance, the off-center chords somehow working well with the deep and percussion.As the tempo rapidly changed, McBride and Blade made the transition seem easy.Both wore wide grins through this list as easily as through nearly the entire concert, displaying how often they clearly enjoyed playing together.Corea's intricate playing complemented Blade's dazzling drum solos, with Blade doing the study of multiple drummers as he pounded the skins.McBride's fingers flew up and kill the stand-up bass's neck, his solo demonstrating his mastery of the instrument. The future number, preludes from Alexander Scriabin's Opus 11, seems like an odd choice for a jazz concert.Yet the song benefited from a jazz arrangement, with Blade using even the sides of the drums and handclaps to make a Latin rhythm.McBride filled in with subtle yet intricate bass lines, with Corea anchoring the ambitious song.Then the group ventured into more familiar territory with Thelonious Monk's "Work," with McBride's heavier bass lines lending a bluesier tone.Corea played trills, again using dissonance in a sly manner.Perhaps more than any other song, "Work" showed how the trio performs perfectly in sync, Corea injecting subtle fills while McBride and Blade duetted.With only slight nods, the trio communicated with each other as to how to proceed. The trio's setlist also included a new Corea composition, "Homage," which incorporated flamenco elements with a trace of the avant garde.The always changing tempo would challenge many musicians, but all three handled the changes with ease.Another Corea composition, 1968's "Now He Sings, Now He Sobs" (the title song from his extremely influential album), allowed Blade to demonstrate his power to change tempos on a dime.Corea's hands danced across all the keys, directing the leash with his playing.During his extended solos, Blade seemed to be having a wonderful time; in fact, he was so enthusiastic that a drumstick flew out of his hands, almost careening off the present as he furiously drummed. McBride and Steel also showcased their songwriting ability; the trio played McBride's "Sister Rosa" (named after Rosa Parks), a blues-kissed tune that still incorporated traditional jazz.Conversely, Blade's "Alpha and Omega" sounded symphonic, with Corea performing quasi-classical piano and McBride wielding a bow to meet the bass.During the song, Blade showed how he incorporates various kinds of percussion, using chimes frequently to emphasize the tune's moodiness. The final two songs leaned toward hard bop, the trio playing their instruments furiously but with great precision.Judging by the standing ovation at the concert's end, the audience greatly appreciated their acquisition and power to produce great art-in this case, musical-right before their eyes.Corea, McBride, and Blade's enthusiasm was infectious, as the trio obviously love playing together and supporting one another to run complicated solos.It was a particular night, an opportunity to see three musicians at the top of their craft collaborating to play exquisite jazz.Hardcore and casual jazz fans should see the Corea/McBride/Blade Trio so they can have music played by true masters of the art. Visit Corea's website for tour information.
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