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Muere a los 79 años Chick Corea, leyenda del jazz

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Algunos artistas parecen inmortales; no porque su obra lo sea, ni por la talla que esta haya ayudado a forjar con los años, sino porque uno cree que siempre van a estar ahí. Que, por mucho que pase el tiempo, seguirán creando con la misma energía y la misma capacidad de siempre. Quizá por esto la noticia de la muerte del pianista y compositor estadounidense Chick Corea ha sido tan inesperada: a pesar de tener 79 años, Corea se mantuvo activo y en plena forma hasta poco antes de morir, el pasado 9 de febrero, a consecuencia de una forma rara de cáncer que le fue diagnosticado poco tiempo antes.

El anuncio se realizó en su página de Facebook. En ella, la leyenda del jazz ha dejado un mensaje de despedida: “Quiero dar las gracias a todos los que me han ayudado en mi viaje a mantener ardiendo el fuego de la música […]. El mundo no solo necesita más artistas, sino también un montón de diversión. A todos mis músicos amigos que han sido mi familia: ha sido un honor y una bendición aprender y tocar con vosotros. Mi misión siempre fue llevar adonde pudiera la alegría de la creatividad, y haberlo logrado con los artistas que he admirado se convirtió en la riqueza de mi vida”.

Corea fue un raro ejemplo en el jazz y la música popular; podríamos decir que lo hizo, virtualmente, todo: ser pieza clave en la música de Miles Davis, abrazar la vanguardia más aguerrida, sentar las bases del jazz-rock y la fusión, reivindicar la tradición del jazz, alternar entre lo acústico y lo eléctrico adaptando su estilo a cada escenario, acercar el flamenco y las músicas latinas al jazz norteamericano, hacer música increíblemente arriesgada y, al mismo tiempo, ser también todo un superventas con más de una veintena de premios Grammy en su haber y, en general, hacer lo que le viniese en gana en cada momento, con mayor o menor acierto artístico, pero siempre fiel a su inconfundible personalidad musical.

FOTOGALERÍA: la vida del legendario pianista de jazz

Sobre su vida de músico, hace cinco años decía en una entrevista en EL PAÍS: “Uno se pasa media vida yendo de un lado a otro en autobús, buscando dónde dormir y comer, cada noche un escenario diferente… y todo eso queda atrás cuando sales a escena. Veo a los músicos como los últimos guerreros románticos. Porque tienes que ser un guerrero para soportar lo que el músico soporta”. Y preguntado por el estilo de su nueva banda, The Vigil, reflexionaba: “Me resulta muy difícil hablar de la música que hacemos. Creo que no existen palabras para definirla: ¿jazz-rock?, ¿jazz latino?, ¿improvisación libre?, ¿música clásica?… Nuestra música es todo eso y mucho más. ¿Qué nombre ponerle a lo que hacemos? La respuesta es la propia música. Porque la música, la de verdad, no tiene nombre”. Y eso valió para toda su carrera.

Corea fue uno de los cuatro pilares del piano jazzístico posterior a Bill Evans (junto a Herbie Hancock, McCoy Tyner y Keith Jarrett), y quizá el más ecléctico de todos. Su estilo, tan heredero de sus amados Bud Powell y Thelonious Monk como de Bill Evans o Art Tatum, entre otras influencias, no fue el más imitado por las generaciones inmediatamente posteriores a su eclosión en los años setenta, pero gran parte de los pianistas contemporáneos muestran la enorme huella de su herencia: un estilo articulado, imaginativo y exigente, imprescindible para entender el piano en el jazz del siglo XXI.

Nacido Armando Anthony Corea en Chelsea (Massachussets) en 1941, de padres con origen italiano, comenzó a tocar el piano a los cinco años al abrigo de su padre, trompetista en una banda de jazz tradicional, que alternaba su pasión por gigantes del bebop como Charlie Parker y Dizzy Gillespie con compositores clásicos como Mozart, Bach o Beethoven. Chick quedó para siempre marcado por esos orígenes, aplicando diferentes sensibilidades a su estilo y toda la música que produjo en su carrera. En 1962 ingresó en la célebre escuela Juilliard de Nueva York y en un par de años ya estaba tocando profesionalmente con Blue Mitchell, Herbie Mann o Cal Tjader. En 1966, ya con una buena reputación en la escena, ingresa en el cuarteto de Stan Getz durante dos años, y en 1968 graba su primera gran obra maestra, Now He Sings, Now He Sobs, en trío con Miroslav Vitous y Roy Haynes. El álbum, que con los años se convertirá en uno de los clásicos del piano jazz de la época, anuncia una carrera meteórica como líder, pero esto tendrá que esperar: ese mismo año, Miles Davis lo ficha para su grupo, abriendo un periodo de experimentación y desarrollo musical apabullante para la música del trompetista, y para el jazz en general. Corea fue capital en álbumes de Davis como In A Silent Way o Bitches Brew, que le sirvieron también para expandir sus horizontes creativos, mediante el uso de teclados eléctricos y formas de improvisación más abiertas.

A primeros de los setenta, Corea experimenta en diferentes ámbitos: por un lado, forma junto a Anthony Braxton, Dave Holland y Barry Altschul el seminal grupo Circle, abrazando la vanguardia y la libre improvisación; por otro, inspirado por los escritos de L. Ron Hubbard, ingresa en la cienciología y, en busca de formas musicales que conecten más fácilmente con la gente, forma un grupo en el que confluye jazz, electricidad y elementos de música brasileña. A lo largo de toda la década de los setenta, Return To Forever se convertirá en buque insignia de aquello que se llamó jazz fusión, en el que jazz, pop y toda clase de músicas populares confluían, llegando a grandes audiencias. “En 1976 edité álbum My Spanish Heart con el que quise dejar testimonio de mi amor por la cultura musical española, entendiendo por tal no solamente la que procede de la España peninsular sino también la de los territorios históricos en los que se habla español, además del Oriente Medio y África. Me siento muy conectado a ese mundo. Cada vez que vengo a España, me siento como en casa. Su cultura es, de algún modo, la mía”, contaba hace un lustro a EL PAÍS.

Cuando llegan los ochenta, Corea ya es un músico consagrado que alterna entre las vueltas a la tradición jazzística, como en sus reencuentros con Vitous y Haynes en Trio Music, las incursiones en el jazz-rock más comercial, con su Elektrik Band, las interpretaciones en piano solo, mostrando algunos de sus mejores momentos artísticos, o su interés en el flamenco y la música latina, con encuentros tan trascendentes como los que tuvo con el maestro Paco De Lucía, que desde entonces se convirtió en un colaborador habitual. Ganó 23 Grammy y es el cuarto músico más nominado en la historia de estos premios musicales, con 65 candidaturas.

La carrera de Corea mantuvo esa inquietud y ese eclecticismo hasta el final, década a década. Saludado ya desde finales del pasado siglo como un auténtico clásico vivo, el pianista se mantuvo siempre en una escalofriante forma física y creativa. Escucharlo en directo era presenciar a un músico vibrante, de imaginación inagotable, siempre con una técnica y un lenguaje fuera de lo común. Un artista que siempre pareció invencible, y que deja un legado a la altura de su leyenda.

It is with great sadness we announce that on February 9th, Chick Corea passed away at the age of 79, from a rare form of...

Posted by Chick Corea on Thursday, February 11, 2021

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Su estilo, tan heredero de sus amados Bud Powell y Thelonious Monk como de Bill Evans o Art Tatum, entre otras influencias, no fue el más imitado por las generaciones inmediatamente posteriores a su eclosión en los años setenta, pero gran parte de los pianistas contemporáneos muestran la enorme huella de su herencia: un estilo articulado, imaginativo y exigente, imprescindible para entender el piano en el jazz del siglo XXI."},{"_id":"HN5BBCH2VFBCXAFQIJRGJFZEUM","type":"text","additional_properties":{"comments":[],"inline_comments":[],"_id":1613088788672},"content":"Nacido Armando Anthony Corea en Chelsea (Massachussets) en 1941, de padres con origen italiano, comenzó a tocar el piano a los cinco años al abrigo de su padre, trompetista en una banda de jazz tradicional, que alternaba su pasión por gigantes del bebop como Charlie Parker y Dizzy Gillespie con compositores clásicos como Mozart, Bach o Beethoven. 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