Scientology In Session: Chick Corea Elektric Band’s Light Years (1987)

Jazz/fusion of the late-’80s variety is sure to give any John Peel acolyte nightmares: visions of guys in tracksuit bottoms, trainers and vests, looking like extras from ‘Thirtysomething’, playing absurdly gymnastic jazz/rock based on corny ‘funk’ or Latin vamps, grinning at each other and the audience, using the cheesiest modern gizmos (Simmons electric drums, EWI wind instruments, guitar synths).

The Chick Corea Elektric Band (Corea: keyboards, Frank Gambale: guitar, John Patitucci: bass, Dave Weckl: drums) probably best epitomised this style. But guess what – revisiting their 1987 album Light Years recently, it emerges as one of the best and least ridiculous projects of Chick’s career.

He reins in the chops and gothic longeurs to produce a collection of really good themes and tight, attractive arrangements (though the three ‘extra’ tracks on the CD/streaming versions are disaster areas). The album is also musical catnip for me, bringing back memories of when I was first getting into jazz and fusion.

The thing is that Chick seems to actually relish including some pentatonic/blues-based harmony on Light Years. Some of his playing wouldn’t seem out of place in the music of Will Downing or Lonnie Liston Smith. There are even a few II-V-I chord changes.

‘Starlight’ and the title track are as catchy and immediate as David Sanborn’s ‘Run For Cover’ or ‘Hideaway’, though Marienthal’s alto tone is a bit too close to Dave’s for comfort. Weckl delivers lesson after lesson in Latin-flavoured funk and rock drumming. Gambale and Patitucci barely break sweat, or rather don’t get any room to show off, but still make a few telling contributions.

‘Time Track’ and ‘View From The Outside’ demonstrate everything that’s good about Light Years – catchy melodies, cool grooves and meticulous, gradually-escalating arrangements. The ridiculously technical last four bars of the former demonstrate some of the killer musical chops that are kept pretty much in the locker throughout the album, only to be brought out when strictly necessary. I saw them live a couple of times around this time and of course the musicianship was incredible, even if the relentlessly ‘up’ stage presentation now looks pretty embarrassing.

Light Years is obviously good. It’s brutally, clinically good. It’s almost critic-proof. The Elektric Band were the Level 42 of high-octane fusion and this album is their World Machine. Of course it’ll always sound a bit like muzak to some, but that’s quite cool too.

The CD’s inlay card features a really weird poem by Chick, kind of an ode to Scientology. It’s worth reading. And actually the album cover is pretty strange too when you think about it…

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Angela Bofill: Angel Of The ’80s

angelaThe strand of jazzy soul music developed by artists like Minnie Riperton, Phyllis Hyman, Chaka Khan, Jon Lucien, Al Jarreau, Randy Crawford and Carl Anderson probably reached its commercial apex with Anita Baker’s eight-million-selling 1986 album Rapture.

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But perhaps the most underrated singer in that style was Angela Bofill, an ever-present on the US R’n’B charts between 1978 and 1984. Best known for her sultry ballads and Latin-tinged mid-tempo jazz/soul tracks, I stumbled upon an Angie Best-Of sometime in the early ’90s and have been a fan ever since.

Her voice has a lovely, yearning quality, with power, range, great enunciation and a hint of Whitney Houston about it. But you’ll never hear Bofill’s music on the radio, at least here in the UK, and it’s a shame that she didn’t quite manage that breakthrough pop hit.

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Born in the Bronx to a Cuban father and Puerto Rican mother, Bofill studied classical singing at the Manhattan School of Music. After a tip-off from Latin Jazz flautist Dave Valentin, she was initially mentored by producers Dave Grusin and Larry Rosen, recording her successful first two albums Angie and Angel Of The Night for the fledgling GRP label.

Moving to Arista Records under the supervision of legendary impresario Clive Davis, she worked with some big-name producers throughout the ’80s: George Duke, Narada Michael Walden, Norman Connors and The System (David Frank/Mic Murphy). Narada particularly seemed a good fit for her, co-writing a few killers such as ‘Tropical Love’ and ‘Too Tough’ and teaming up with future ‘American Idol’ judge Randy Jackson on bass to make a phenomenal rhythm section.

Angela also made a wonderful guest appearance on ‘Where Do We Go’, the standout track from Stanley Clarke’s lacklustre Hideaway album of 1986, and there were also interesting duets with Boz Scaggs and Johnny Mathis around the same time.

But her most impressive material was self-penned. ‘You’re A Special Part Of Me’, ‘Gotta Make It Up To You’, ‘Song For A Rainy Day’ (which she also produced), ‘I Try’ (memorably covered by Will Downing in the early ’90s), ‘Accept Me’, ‘Rainbow Inside My Heart’ and ‘Time To Say Goodbye’ are all stand-outs which demonstrate her fine musicianship as well as vocal skills. It’s a shame her composing, producing and arranging talents were never properly utilised, though she left us with a few classics nevertheless.

Angela made a comeback in the mid-’90s with Love In Slow Motion, a nice album featuring three superb tunes – ‘All She Wants Is Love’, ‘Soul Of Mine‘ and the very Janet Jackson/Jam & Lewis-esque ‘Love Changes‘ – which matched anything from her ’80s peak. She also made a notable appearance at the 1998 Montreux Jazz Festival with Billy Cobham and George Duke.

Unfortunately serious illness befell Angela in 2006. Two strokes have limited her recording and live appearances, but she did make a brief return to the stage in 2012: ‘The Angela Bofill Experience’ featured stories from her life and career, with artists such as Maysa Leak, Phil Perry and Melba Moore performing signature songs.

Since then, things have been quiet, but we send good vibes from London. Angie’s certainly not forgotten in these parts.