For those not in the know, this is a long-lost treasure from one of the most creative periods of Chick Corea’s life that is now finally available in its entirety.

Step into Radio Bremen’s legendary Sendesaal and experience an intimate, breathtaking solo performance by Chick Corea at the height of his artistic development.

This newly restored double CD, recorded on October 29th, 1972, captures an evening that was both musically daring and deeply personal. An evening when Corea’s warmth, imagination, and virtuosity filled one of Europe’s best acoustic halls.

This concert from the archives of Radio Bremen documents a defining moment: Corea was 31 years old and moved fluidly between different musical worlds. Fresh from Piano Improvisations, shortly before Return to Forever, and in search of new creative partnerships with artists such as Gary Burton and Stan Getz. This performance condenses all that energy into two captivating sets.

A delicate interplay between the cerebral and the emotional unfolds within these melodic strains — a dialectic dance in which it is easy to become entangled. The sophistication of jazz intertwines with the approachability of popular music, creating a fluid current that carries me away, providing glimpses into a reality hitherto unknown.

Corea is quite easily the master conjurer-in-chief here. His hands navigate the labyrinth of creative improvisation in a celestial ballet, painting sonic frescoes that defy the confines of time, echoing with a freshness that transcends even the temporal boundaries of today. His left hand, the architect of chords both inevitable and novel, frames musical landscapes that stand as timeless monuments. His right hand, painting melodic flourishes of poetry in a dance of arcane utterances, conjures within us memories of times yet to come.

Indeed, throughout the program, Corea transforms the grand piano into a storyteller. He expands pieces like Noon Song far beyond their studio versions, combining rhythmic fire with lyrical beauty and shifting effortlessly from romantic introspection to Latin-infused exuberance.

He revisits early gems like Children’s Song No. 1, explores Wayne Shorter’s Masqualero, and even allows himself to be inspired by a free improvisation influenced by Jonathan Livingston Seagull.

What makes this recording so extraordinary is not just the repertoire. Corea speaks to the audience, tells stories, and invites listeners into his creative world. As music journalist Arne Schumacher recalls in the liner notes: “The beauty and warmth that unfolded from the piano and filled the room was overwhelming. I was spellbound.”

Disc 1:
1. Interlude: Noon Song; 2. Noon Song; 3. Interlude: Song for Sally; 4. Song for Sally; 5. Interlude: Jonathan Livingston Seagull; 6. Jonathan Livingston Seagull; 7. Interlude: Masqualero; 8. Masqualero; 9. Interlude: Children’s Song No. 1; 10. Children’s Song No. 1.

Disc 2:
1. Interlude: What game shall we play today; 2. What game shall we play today; 3. Interlude: Crystal silence; 4. Crystal silence; 5. Interlude: Sometime ago; 6. Sometime ago; 7. Interlude: La fiesta; 8. La fiesta.

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