THE CHICK COREA ELEKTRIC BAND

Adam Robertson

THE CHICK COREA ELEKTRIC BAND

The debut album of the Chick Corea Elektric Band, The Chick Corea Elektric Band, was released in
1986 on GRP Records. Saturated with inventive synth work, this album is a real standout in the jazzfusion repertoire. Featuring a stellar line up including Chick Corea (keyboards), Dave Weckl (drums and
percussion), John Patitucci (bass), as well as Scott Henderson and Carlos Rios (guitars), the eponymous
album laid the ground work for a string of successful releases for the Elektric Band. With a ride array of
soundscapes varying from the smooth synths of Cool Weasel Boogie to the flashy, virtuosic insanity
that is Got a Match?, The Chick Corea Elektric Band is an immersive musical journey from start to
finish.
1. City Gate
The gentle, rolling synths of this opening track invite the listener in before exploding
with a thunderous unison run as the rest of the band enters behind Corea with the melody. At
only 54 seconds long, this track does an excellent job of layering a floating melody with quick,
agile runs and licks; this perfectly prepares the listener for things to come.
2. Rumble
Transitioning almost seamlessly from City Gate, this tune continues the feel of the
intro but with a greater sense of energy. Short drum interludes, making use of Weckls electric
drum sound as well as programmed percussion, help to shape the dynamics of the piece. A very
melodic synth solo by Corea over dense layers of Afro-Cuban percussion layers makes up the
bulk of this track. Fiery runs from the synth and guitar finish the tune much like it began.
3. Side Walk
Beginning with a light, playful synth sound and some electric percussion effects and fills,
Patitucci and Weckl quickly setup a deep groove which sits under the entire song. The songs
tune sets up an excellent solo by Carlos Rio, whose guitar work helps solidify the feel of the tune
while containing some great lines and licks.
4. Cool Weasel Boogie
C.W.B. begins with a spacious vamp, decorated by some spacey, Pink Floyd-esque slide
guitar and synth chords, before Corea enters with the tune. The acoustic bass and drum sounds
on this tune attribute to the relaxed atmosphere throughout the piece. After very lyrical synth
solo, the band builds the dynamics over the course of the guitar solo, before fading out as Rio
plays quick, descending lines.
5. Got a Match?
A personal highlight for me, Got a Match? is an in-your-face fusion masterpiece. At
nearly 300 BPM, the playing by every member of the band on this track is simply phenomenal.

Off the top, Corea and Weckl prepare the listeners for whats to come before Patitucci jumps in
to join the synth for the blazing-fast unison melody. Patituccis bass solo on this tune is an
amazing example of his musicality, keeping the pace with blazing eight-notes runs yet still
retaining a sense of groove over Weckls great drumming. The band trades unison runs and
patterns with Weckl before launching back into the head to wrap things up just as fast as it all
began. This track is truly remarkable.
6. Elektric City
After the insanity of Got a Match?, this tune returns to a style more resembling the
first few tracks. Beginning with an ascending unison run before dropping into a groove similar in
feel to Side Walk, Elektric City maintains an aura of relaxation despite its tempo. This tune
ends with the same unison line and drum fill which started it off.
7. No Zone
With a very mysterious, FX-heavy intro, this tune sets up and maintains an interesting
yet compelling groove with plenty of syncopation; later breaking down to more atmospheric
synth work. The use of programmed percussion, electric drums and other effects defines this
soundscape-like track.
8. King Cockroach
Similar to City Gate, this tune begins with a soft synth intro, soon interrupted by the
entrance of a shaker and drums. Weckl really plays with the feel here, switching between a 4/4
pulse, 6/8 pulse and swing time before Patitucci brings the groove in centering on 4/4. Much like
many of the other songs on the album, King Cockroach features plenty of quick runs,
syncopation, and unison lines. Scott Hendersons guitar solo winds and twists its way around the
form, giving the song great momentum in tandem with Weckl and Coreas comping. After the
guitar solo, the agile melody is reprised before launching into a captivating synth solo. The tune
ends with a fanfare worthy of any king.
9. India Town
After the celebratory ending of the previous track, we are directed through a
wormholesque transition to the exotic soundscapes of India Town. The melody on this tune
features a sitar-like synth and reverb-laden electronic percussion elements. You can almost feel
the heat coming off of the desert sands as this track channels the middle-eastern vibes into your
ear-lobes. Much like Cool Weasel Boogie, India Town does an excellent job of creating a
unique atmosphere before fading off like the setting desert sun.
10. All Love
Beginning with a lovely orchestrated beginning, this tune capture the essence of a
cheesy Hollywood romance. The solos on this track are not terribly riveting in terms of
complexity, but beautifully musical both in pacing and phrasing.

11. Silver Temple

The albums closing track is the longest, coming in at eight and a half minutes. The first
few minutes of the tune dance around in triple meter, with Weckl using syncopation to make
the feel slightly ambiguous before straightening out under Coreas first synth solo. At 2:30 into
the tune, the band erupts into a quick duple meter: bringing the intensity way up for the middle
section of the piece and guitar solo which follows. Patituccis rapid, staccato plucking and
Coreas shots with synth brass really push this middle section forward. After reaching a climax,
Corea brings the intensity down and the feel back to match the first section before Patituccis
fantastic bass solo. The tune returns with slight variation to bring the track, and album, to an
epic conclusion.