snobb After his all-time greatest period (early - mid 70s) that included some excellent solo albums as well as a very successful Return To Forever project, it looked like Chick Corea was in constant transition for all of the late 70s to early 80s. His albums from that period are all in different directions, from avant-garde to post-bop, but almost all of them are not at the same level as the releases from the beginning of the decade. Many fans were disappointed and lost interest in his music, but it was during this time that "Three Quartets" was released.

The original vinyl release contained four original Corea compositions, all melodic, very groovy and perfectly played. Chick switched to acoustic piano on this album, all three of the collaborating musicians are of the highest level and are in excellent form. Usually I am not a big fan of Michael Brecker's sax playing (too often its too melodic and sweet for my taste), but here on this release he, as a rule, avoids his pop-tricks. The album's hero is bassist Eddie Gomez - his deep groovy velvet bass is possibly the greatest element, giving a very personal feel to all of the music. Drummer Steve Gadd is more than competent, and most important of all - all of the musicians are partners on this recording, partners with an excellent level of communication.

Besides Corea's "Live In Montreux" released that same year (three compositions from that release are added as bonuses on "Three Quartets" CD reissue version), this album is one of this great pianist's best releases coming from a generally difficult time for all of jazz as the 80s were.

Recommended for every Corea and good post-bop fan.

FunkFreak75 A highly-touted album that I'd never heard until this year.

1. "Quartet No. 1" (10:09) spectacular, dynamic, and creative jazz with occasional injections of riffs and melodies that just keep wowing me. Eddie and Chick's performances are particularly engaging to me: often taking my attention totally away from the two other musicians (who are both solid--Michael able to surprise me from time to time with interesting sometimes knee-buckling, riffs). (18.5/20)

2. "Quartet No. 3" (9:36) opesning like an old-time big band piece for the first minute or two but then turning into a Post Bop/Hard Bop tune. Nice performances but not quite what I'm looking for. (17.5/20)

3. "Quartet No. 2 - Part 1" (dedicated to Duke Ellington) (7:05) Chick's solo opening shows him revisiting several of his old riffs, exploring variations on them and blending them into sequences heretofore unheard. I do not know Duke Ellington's style or sound very well (I only own a couple albums of his--one a three-disc set with Ella Fitzgerald), but there are components here that truly do feel and sound like what could be Duke's. A second musician (Michael) doesn't even join in until the third minute--the third and fourth not until the 3:34 mark! However, it is likeable and engaging, mostly for its comforting tempo, but also for Eddie's distinctive sound and his solo phrasing style that just seems to speak directly to my heart. Michael's sax play sounds a lot like it's coming from one of Billy Joel's mid-70s albums. I can't honestly say whether or not I will ever care if I hear this again much less recognize it if I do. (13.625/15)

4. "Quartet No. 2 - Part 2" (dedicated to John Coltrane) (11:48) Yes, we're back in the 1960s with The Jazz Messengers or Miles' Second Great Quintet (though I'd argue that Eddie Gómez is a little more dynamic and entertaining than Ron Carter--who I love and respect tremendously--and Steve Gadd is just not, much as he tries, as fierce and explosive as Tony Williams: his cymbal play is just too smooth and "elegant"). The opening bears some resemblance to the music of MAGMA (and, later, ONE SHOT)--which was, of course, greatly inspired by the man to whom this song is dedicated. Of the four separated pieces, this is probably my second favorite. It's got some really interesting and subtly variable tempos and a bit of a looser structure. (22.5/25)

Total Time 38:38

The opening song was immediately accessible and enjoyable, prompting hours of out-loud repetition and improvised variations on and inspirations from the bass and piano melodies. I'm saddened to have to admit that not only were the Post Bop motifs out-of-reach to my puny little brain, the performances of both Mr. Smooth (Steve Gadd) and Michael Brecker rarely managed to captivate my attention.

A-/4.5 stars; a minor masterpiece of rock-infused Post Bop Jazz that is a real treat if you're a fan of either Eddie Gomez or acoustic Chick Corea.