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PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO, UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .
RETURN TO FOREVER
featuring CHICK COREA
hymn to the seventh galaxy
Disco LP 33 giri , 1974, Polydor / Phonogram , 2310 283 L , Italia, first pressing
OTTIME CONDIZIONI, vinyl ex++/NM, cover ex++.
Return to Forever was the name of a jazz fusion band founded and led by keyboardist Chick Corea. The band cycled through many members, with only consistent band mate of Corea’s bassist Stanley Clarke. Along with Weather Report and Mahavishnu Orchestra, Return to Forever is often seen as the core of jazz fusion music in the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola first became well-known through their performances on Return to Forever’s albums.
After playing on Miles Davis‘s albums In a Silent Way and Bitches Brew, Corea formed an avant-garde jazz band called Circle with Dave Holland, Anthony Braxton and Barry Altschul. However in 1972, after becoming a disciple of Scientology,
Corea decided that he wanted to “communicate” with the audience. This
essentially meant that he wanted to make more commercial music, since
avant-garde jazz had a relatively small audience.
Hymn of the Seventh Galaxy (1973) is Return to Forever‘s third studio album.
This was the group’s first album with a rock influenced sound and without any vocals. Former members Flora Purim, Joe Farrell and Airto Moreira were replaced by drummer Lenny White and guitarist Bill Connors.
The album was originally recorded with drummer Steve Gadd but when Gadd did not want to tour with the band, a new version was recorded with Lenny White. The version featuring Gadd was never released and the whole recording is said to be lost.
The music draws upon elements from various genres, including Latin jazz, funk, psychedelic rock, and avant-garde jazz.
Corea relies mostly on electric pianos and organs. Also, Clarke has not developed his famous electric bass sound yet and plays his one solo on the album through a fuzzbox. Bill Connors does not have the same reputation for technical wizardry as his successor Al Di Meola, but his heavily distorted guitar sound and fiery licks have received positive comments from reviewers.
The review of the album on Allmusic notes that “it is the quality of the compositions that marks Hymn of the Seventh Galaxy
as an indispensable disc of ’70s fusion”. Clarke contributed one song
for the album and Corea wrote the rest of the material. The first
track, the title track, is Corea’s short space rock anthem that sets
the mood for the rest of the album. The second track, “After the Cosmic
Rain”, is Clarke’s sole composition on the album, and it features a
long bass solo played through a fuzzbox
followed by Corea’s fiery electric piano solo. “Captain Señor Mouse” is
a piece that has a fast, airy theme that suddenly turns into another
theme that sounds like Latin music. This composition shows a humorous
side of Corea, who has claimed that the song was written about a mouse
that he saw in a house while visiting Switzerland. Long solos following themes are played by Corea and Connors. Al Di Meola recorded his own version of this song for his album Casino
(1978). Side 2 of the original vinyl version starts with “Theme to the
Mothership”, which is another space-rock anthem. After a melodically
strong theme, Connors plays a solo over one long repeating riff. Corea
switches distortion on during his own solo. “Space Circus” features
Corea’s “Children Song” as a spooky intro that is followed by a piece
that is based on a funk riff. This time Corea leaves solo space solely
for Connors. Lenny White has also some extensive drum breaks on the
track. The last track, “Game Maker” has also a slow intro after which
an avant-garde-like theme comes in. Corea and Connors play improvised
solos in a call-and-response style.
After touring for a while following the album’s release, Connors
left the group for a solo career, stating that he wanted to concentrate
on acoustic music. He was replaced by Al Di Meola.
Its hyper speed momentum aside, shares many of the characteristics of
prog rock: flashy playing, incredibly complex instrumental passages and
arrangements, awry and tangled time signatures, and a propensity
towards raw energy intermingled with electronics. Everyone here plays
as if there were no tomorrow.
Chick Corea’s supercharged
electric piano and organ licks alternate between fire-breathing tone
clusters and atmospheric grace. Guitarist Bill Connors plays like a
comet circling a supernova; Stanley Clarke’s earthquake-inducing bass
lines are both monstrous and finger-poppin’ funky, while drummer Lenny
White simply beats his kit to jelly. Feel the power: the protoplasmic
funk of “After the Cosmic Rain,” the Fender Rhodes symphonies and
ecstatic drumming of “Captain Señor Mouse,” the far-out space-bop of
the title track. Super hot stuff from one of jazz-rock’s cornerstones.
Chick Corea – pseudonimo di Armando Anthony Corea (Chelsea, 12 giugno 1941) è un pianista e tastierista statunitense, noto soprattutto per le sue produzioni jazz e jazz fusion negli anni settanta
Armando Anthony “Chick” Corea (born June 12, 1941) is a multiple Grammy Award winning American jazz pianist/keyboardist/Drummer and composer.
He is known for his work during the 1970s in the genre of jazz fusion. He participated in the birth of the electric fusion movement as a member of Miles Davis‘ band in the 1960s, and in the 1970s formed Return to Forever.
He continued to pursue other collaborations and explore various musical styles throughout the 1980s and 1990s.
- Interprete: Return To Forever featuring Chick Corea
- Etichetta: Polydor
- Catalogo: 2310283L
- Data di pubblicazione: 1974
- Data Matrici : 19-01-74
- Supporto:vinile 33 giri
- Tipo audio: stereo
- Dimensioni: 30 cm.
- Facciate: 2
- Red Label, white paper inner sleeve
The second incarnation of Chick Corea‘s influential fusion group released only a single record, the magnificent Hymn of the Seventh Galaxy. Featuring a more rock-oriented approach than the Flora Purim–Joe Farrell band that was responsible for both Return to Forever and Light as a Feather, Corea and old standby Stanley Clarke join forces here with propulsive drummer Lenny White and electric guitarist Bill Connors. Although Connors lacks the sophistication of Al Di Meola, the young guitarist who replaced him, he possesses a deliciously raw sound that keeps Corea‘s heady compositions firmly grounded. White introduces a funk aspect to the music, replacing Airto‘s Latin grooves from the first two records. Clarke
is as good, wrenching some truly frightening sounds out of his electric
basses. This increased emphasis on electric instrumentation, also
displayed in Corea‘s
heavy use of synthesizers, is another thing that separates this record
from the previous Return to Forever releases. And as good as the band
performances are, it is the quality of the compositions that marks Hymn of the Seventh Galaxy as an indispensable disc of ’70s fusion. “Captain Senor Mouse,” one of Corea‘s
finest fusion compositions, receives an excellent treatment here.
Likewise, the two-part “Space Circus” is a fantastic mix of haunting
and grooving elements, with some simply incredible solos thrown into
the mix. With Hymn of the Seventh Galaxy, Corea continues his streak of simply timeless fusion albums. The best of the electric RTF albums.
After Chick Corea’s
first incarnation of Return to Forever fell apart in 1973, he decided
to change the direction of the music entirely and go for a jazz-rock
fusion sound. He retained the services of guitarist Bill Connors and
drummer Steve Gadd. They played a few shows and recorded an album but
Gadd, a session drummer, soured on the prospect of touring and quit the
band. Gadd was replaced by Lenny White, who impressed Corea enough to
send the whole band back into the studio to re-record the album. That
album was the great Hymn of the Seventh Galaxy. While I believe
that Corea had something very special with his earlier band and find it
unfortunate they could not have remained together long enough to make
more records, Hymn of the Seventh Galaxy temporarily makes it hard to complain.
Using the hyper-kinetic, turn-on-a-dime sound of early Mahavishnu Orchestra as a model, Hymn of the Seventh Galaxy
is a grand behemoth of a fusion album. Although Bill Connors earns his
stripes (I actually prefer his sound to his successor, Al DiMeola),
this is still Chick Corea’s show — his prominence on the album is one
of the main factors that differentiated these two bands. Each tune
exhibits great technical virtuosity, yet they’re all full of catchy
riffs and melodies and I find the album to be very accessible. Lenny
White distinguishes himself as an excellent drummer for this band —
he’s rock oriented but extremely nimble and he handles the frenetic
pace and frequent time changes with a crisp authority. Additionally, he
has enough bluster to complement the band’s high-octane approach.
It’s
hard to pick the stand-out tracks here because they’re all excellent
and all fairly similar to each other in terms of construction and
sound; there’s no “Lotus on Irish Streams” to break up the mood, unless
you count the solo piano during the opening 90 seconds of “Space
Circus.” I can say that Stanley Clarke’s “After the Cosmic Rain” is
probably the most “composed” piece on the album and it has a main theme
that I might consider grandiloquent in most other contexts, but which
strikes me here as chillingly appealing. Not necessarily so for the
uninitiated — a few minutes of it in my car once prompted my brother to
complain “what is this crap – is this Yes?” — but what the hell does he
know? On “Captain Senor Mouse,” Corea adds some of the Latin flavor
that infused the earlier version of Return to Forever, and the track
has a great guitar solo. The album ends on an appropriately blistering
note: “The Game Maker” starts slow and builds to an ecstatic coda,
featuring an energetic passage of call and response riffing between
Corea and Connors.
This
whole album has a powerful, organic sound and any fusion fan who has
not heard it should probably do so as soon as possible. I consider it
to be one of the great 1970s fusion albums.
Da quella grande fabbrica musicale ed artistica in generale che fu
il leggendario “Bitches Brew” di Miles Davis è uscito anche il celebre
pianista Chick Corea. All’epoca non era ancora così
famoso, la celebrità la raggiunse negli anni ’70 con una band di sua
fondazione chiamata Return to Forever, uno dei gruppi storici del jazz-rock mondiale.
Il
gruppo aveva già posto le sue basi nel 1971 con un disco omonimo e
piano piano stava evolvendo in quelle grandi soluzioni stilistiche che
li caratterizzeranno poi negli anni successivi. “Hymn of The Seventh
Galaxy” è il terzo lavoro di studio, Corea decise
all’epoca per un cambio di formazione allo scopo di virare per delle
musiche di esplicito stampo Jazz-Rock. Accanto a sé mantenne solo il
bassista Stanley Clark e si prese un nuovo chitarrista, Bill Connors, e
un nuovo batterista, Steve Gadd e si recarono in studio. All’epoca però
alcuni screzi portarono Gadd ad uscire dal gruppo, Corea al suo posto
scelse Lenny White e il disco fu nuovamente inciso. Quella che ci
rimane è la seconda versione, quella con White. Rispetto ai primi due
dischi c’è un evoluzione dal punto di vista tecnico, Corea riesce ad
ottenere quella virata decisiva già citata prima che desiderava. Le
musiche hanno anche qualche ripresa dal Latin Jazz e degli interessanti elementi di fusion
che rendono il disco estremamente appetibile. In evidenza le eccellenti
composizioni di Corea, molto sofisticate e di grande visibilità,
l’interessante tocco di chitarra di Connors che riesce a distorcere
molto bene le chitarre ottenendo un effetto particolare, l’egregio
lavoro di White soprattutto alle percussioni e il basso di Clark che in
apparenza sembra meno visibile ma offre un contributo a volte
determinante. Il tutto in un amalgama molto concentrata e difficile da abbattere, di primo acchito il suono può sembrare ostico ma ricco di sfumature e particolari che rendono questo disco assolutamente eccellente. Tutto questo si nota soprattutto nei brani centrali, “Captain Señor Mouse” e “Theme to The Mothership“.
Segnalazione
importante per la title track, che funge da apertura in maniera
validissima. Attira l’ascoltatore e lo trascina nella parte principale
del disco. “Hymn of The Seventh Galaxy”, a mio parere, rappresenta il
miglior disco insieme a “Romantic Warrior” del 1976, tuttavia
costituisce quel momento decisivo nella carriera musicale di un gruppo
che si può rivelare a doppio taglio. Da un lato può portare ad un calo
nella produzione musicale a livello qualitativo, dall’altro alla
definitiva consacrazione. Nel caso dei Return to Forever avverrerà la
seconda ipotesi aiutata anche dall’arrivo di Al di Meola al posto di
Connors, un cambio che si rivelerà corretto.
Chick Corea Return To Forever “Hymn of the Seventh Galaxy”.
Armando Anthony “Chick” Corea inizia a suonare il pianoforte gia’ all’
eta’ di quattro anni. Trasferitosi a New York entra negli ambienti jazz
e conosce verso la fine degli anni ’60 Miles Davis che lo convince ad
adottare il piano elettrico rispetto al pianoforte. Con Davis, Corea
realizza due pietre miliari : “In a Silent Way” (1969) e “Bitches Brew” (1970). Nel 1972 Chick Corea suona anche nel disco di Carlos Santana “Caravanserai”. Sempre nel 1972 Corea realizza il suo primo album solo
dal titolo “Return To Forever”. Il passo successivo e’ quello di dar
vita al suo quartetto di jazz rock con il nome di Return To Forever.
Escono nel 1973 “Light as a Feather” e “Hymn of the Seventh Galaxy”.
In “Hymn of the Seventh Galaxy” il tipico suono e la metrica jazz rock
del piano elettrico sono evidentissimi. Corea affonda sui tasti del suo
piano Fender dando ritmo e brillantezza al brano che risulta comunque
in parte monocorde, nonostante l’ incipit gradevole, ripreso piu’ volte
anche dalla chitarra elettrica.
“After the Cosmic Rain” ha spessore con una fase iniziale moderata dove
e’ il basso di Clarke a delinearne la trama. Sul pezzo incidono diversi
cambi repertini di rtmo che mettono in luce le notevoli abilita’
tecniche dei quattro. Il pezzo e’ piu’ bello nelle fasi meno
accelerate. La chitarra elettrica si prende le urla del brano mentre Lenny White lavora alle percussioni stupendamente. Alla fine ne risulta un gran bel pezzo di jazz rock.
Individuato in “Captain Senor Mouse” il fraseggio orecchiabile che
torna piu’ volte nel brano, questo viene perso non appena i quattro
virano nel tempismo e nel virtuosismo. Nella parte centrale Corea e’
una delizia al piano elettrico ed al clavicembalo, sorretto da White
alla grande. In finale di brano la chitarra elettrica incanta.
In “Theme to the Mothership” e’ ancora Connors a salire in cattedra per
quasi quattro minuti. Poi il piano elettrico viene in avanti e Corea
da’ lezioni con la mano destra anche quando va in fase di relax.
“Space Circus” e’ parecchio melodico “part I” con un pianoforte molto soft con tasselli
di piano elettrico; “part II” dimentica le linee melodiche della prima
parte per intraprendere un gioioso e cadenzato motivo. Belli i fraseggi
di Corea e grintosi quelli di Connors che regala note simil-Hendrix e simil-Zappa. Ne esce un gran bel pezzo che in questa “part II” e’ decisamente piu’ rock che jazz.
“The Game Maker” presenta una prima fase di riposo con un jazz rock
moderato. Non appena Connors e Corea cominciano a rincorrersi con
abilita’ : il brano perde di colore.
Con quattro abilissimi strumentisti dalle capacita’ tecniche
straordinarie e con l’ assenza totale dei fiati il jazz rock dei Return
To Forever e’ distinguibilissimo. “Hymn of the Seventh Galaxy” dell’
agosto del 1973, prodotto da Chick Corea per la Polydor, e’ un disco
gradevole, non cervellotico, ben elaborato, a tratti anche
orecchiabile. Scritto per 5/6 da Corea e da Clarke che firma solo
“After the Cosmic Rain”, “Hymn of the Seventh Galaxy” e’ un LP nel
quale i quattro strumenti non risultano affatto affogati ma ben
equilibrati. A Bill Connors viene lasciato spazio per qualche solo brillante : mai lungo. L’ unica nota negativa del disco e’ legata alle accelerazioni
virtuose che fanno dimenticare la parte melodica, spesso gradevole.
Track Listing
- “Hymn of the Seventh Galaxy” (Corea) – 3:25
- “After the Cosmic Rain” (Clarke) – 8:33
- “Captain Señor Mouse” (Corea) – 8:56
- “Theme to the Mothership” (Corea) – 8:22
- “Space Circus, Pts. 1 & 2” (Corea) – 5:36
- “The Game Maker” (Corea) – 6:44
Personnel
- Chick Corea – Electric piano, Acoustic piano, Organ, Harpsichord, Gongs
- Stanley Clarke – Electric bass, Bell tree
- Lenny White – Percussion, Drums, Congas, Bongos
- Bill Connors – Electric guitar, Acoustic guitar
The first line-up (1972 – 1973)
The first Return to Forever band played latin-oriented music. The initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and other percussion, Corea’s longtime musical co-worker Joe Farrell on saxophone and flute, and the young bassist Stanley Clarke. Especially in this first line-up, Clarke played double bass in addition to electric bass. Corea’s electric piano
was the leading instrument in this group’s sound, but Clarke and
Farrell were also given plenty of solo space. Purim’s vocal gave some
commercial appeal for their music, but many compositions were
instrumental and more or less experimental in their nature. The music
was composed by Corea with the exception of the title track of the
second album which was written by Stanley Clarke. Lyrics were often
written by Corea’s friend Neville Potter, and were often related to
scientology, though this is not necessarily easy to recognize for
outsiders. Clarke was involved in Scientology through Corea, but left
the church in the early 1980s.
The first album, named simply Return to Forever, was cut for ECM Records in 1972 and was initially released only in Europe. This album featured Corea’s famous compositions Crystal Silence and La Fiesta. Shortly afterwards, Corea, Airto, Clarke and Tony Williams formed the band for Stan Getz‘s album Captain Marvel
(1972), which featured Corea’s compositions including some from the
first and second Return to Forever albums. The second album, Light as a Feather (1973), was released by Polydor and included the famous song, Spain.
The jazz-rock era (1973 – 1976)
After the second album, Farrell, Purim and Moreira left the group in order to set up their own band. Guitarist Bill Connors, drummer Steve Gadd
and percussionist Mingo Lewis were taken on. However, Gadd was not
willing to go touring and leave his job as a hard working studio
drummer. Lenny White (who had played with Corea in Miles Davis’s band) replaced Gadd and Lewis, and the group’s third album, Hymn of the Seventh Galaxy (1973), was rerecorded. The first recording featuring Gadd was never released and is said to be missing.
The nature of the group’s music had now completely changed to “jazz-rock”, similar to what The Mahavishnu Orchestra and some progressive rock
bands were doing at the same time. The music was still relatively
melodic, relying on strong themes, but traditional jazz feel was almost
completely gone. Distorted guitar had become prominent in the band’s
new sound, and Clarke played mostly electric bass. A new singer had not
been hired, and all the songs were now instrumentals. This however, did
not lead to a decrease in the band’s commercial success – Return to
Forever’s jazz-rock albums always found their way to US pop album
charts.
The second jazz-rock album, Where Have I Known You Before, (1974) was similar in style to the previous album, but Corea played synthesizers
in addition to electric piano, and Clarke had developed his famous
electric bass sound and style. Since Bill Connors had wanted to
concentrate on his solo career, the group had also hired a new
guitarist. Earl Klugh played guitar on some group’s live performances but he was soon replaced by the 19 year old guitar wizard Al Di Meola, who played guitar on the album.
The next album, No Mystery (1975),
was made with the same line-up as its predecessor, but the style of
music was more varied. The first side of the record consisted mostly of
jazz-funk, while the second side featured Corea’s acoustic title track
and a long composition that borrowed partly from Spanish music. On this
and the following album, each member of the group composed at least one
of the tracks. No Mystery won the Grammy Award for Best Jazz Performance by a Group.
The last album by the most long-lasting lineup of Return to Forever was Romantic Warrior (1976). By this time the group had left Polydor for Columbia Records. The album became the best selling of all Return to Forever albums, eventually reaching gold disc
status. This album continued experiments in the realm of jazz-rock and
related genres, and is also famous for its technically demanding
playing.
After “Romantic Warrior” and its subsequent tour, after signing a
multi-million dollar contract with CBS and to the surprise of the rest
of the band, Chick Corea decided to change the lineup of the group
without White and di Meola.
The last album (1977)
The final version of Return to Forever featured a four piece horn
section and Corea’s wife Gayle singing vocals, and recorded just one
studio album, Musicmagic (1977).
The music had returned closer to the gentle feel of the music of the
first line-up. However, instead of strong Latin influences, the last
album features bombastic arrangements for horn section and
synthesizers. Compositions remained relatively complex.
After Musicmagic, Chick Corea officially disbanded the group. Reasons are speculative, but Stanley Clarke’s leaving the Church of Scientology
is believed to be a factor. In the years following the breakup, Al di
Meola commented on the complications of reuniting the di Meola/White
lineup “I think we have a Scientology problem to deal with, possibly
due to Stanley leaving Scientology. That doesn’t sit very well with
Chick.”
In 1983 the White/Di Meola line up returned briefly on the stage,
but did not record a new album, only one track issued on Corea’s Touchstone album entitled “Compadres”.
Reunion (2008)
Return to Forever reunited for a tour of the United States starting
in summer 2008, and Europe in 2009. A special Return to Forever
anthology set, featuring remixed and remastered tracks from the albums Hymn of the Seventh Galaxy, Where Have I Known You Before, No Mystery, and Romantic Warrior, was be released to coincide with the tour.
Biografia
Chick Corea nel 2004.
Di origini italiane, Corea inizia a suonare negli anni sessanta con il trombettista Blue Mitchell, e con alcuni grandi della musica latino-americana come Willie Bobo e Mongo Santamaria. Il primo album che lo vede come leader è Tones For Joan’s Bones, nel 1966 in quintetto con Woody Shaw alla tromba e Steve Swallow al contrabbasso. Due anni dopo pubblica Now He Sings, Now He Sobs, entrato nella leggenda del jazz, in cui suona con Roy Haynes alla batteria e Miroslav Vitous al contrabbasso.
Verso la fine degli anni sessanta, si unisce al gruppo di Miles Davis e compare su album importanti, come In a Silent Way e Bitches Brew. Con questo gruppo sperimenta l’uso di strumenti elettronici, ed in particolare il Fender Rhodes.
All’inizio degli anni settanta, Corea intraprende alcuni progetti come leader. Tra il 1970 e il 1971, è attivo nel gruppo Circle, un complesso avant-jazz in cui militano Anthony Braxton, Dave Holland e Barry Altschul. Nel 1971 fonda un’altra band, Return to Forever. Le prime incisioni dei Return to Forever hanno un suono brillante, caratterizzato dalla voce di Flora Purim, dal piano elettrico Fender Rhodes e dal flauto. Durante gli anni settanta, il gruppo si sposta su sonorità più vicine alla musica rock. Nel 1974 il chitarrista Al Di Meola entra a far parte della band, e Corea intensifica l’uso dei sintetizzatori, in particolare il Moog e il Minimoog.
Verso la fine degli anni settanta, Corea inizia a collaborare con il vibrafonista Gary Burton, con il quale incide numerosi album.
Nel 1993 si aggiudica la Targa Tenco per la canzone Sicily, interpretata con Pino Daniele.
È stato fondatore e membro dei gruppi Chick Corea Elektric Band e Chick Corea Akoustic Band. Da questi gruppi sono emersi sulla scena nuovi talenti, quali: John Patitucci, Dave Weckl, Eric Marienthal, Frank Gambale, Carlos Rios. Interessante anche il lavoro svolto con il progetto Touchstone e con musicisti come Avishai Cohen.
Una dei suoi pezzi più famosi è Spain. L’album Corea.Concerto ha vinto il premio Grammy come miglior arrangiamento strumentale (per “Spain for Sextet and Orchestra”) nel 2001.
È anche un noto promotore di Scientology.
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