Chick Corea’s name is listed first and he also serves as producer of Further Explorations, recorded live in spring 2010 at the Blue Note. Referencing the 50th anniversary of the release of Bill Evans’ Explorations, this 2-CD, 19-track project for Concord Jazz is, however, a true collaboration, putting Corea in the company of two Evans’ alumni, bassist Eddie Gomez and drummer Paul Motian, on one of the late drummer’s last recordings. Not another tribute album, this trio celebrates the Evans repertoire as a launching pad for group “explorations,” including a handful of Evans’ compositions as well as covers of tunes recorded by Evans, along with originals from Motian, Gomez and Corea. Motian played with the first Bill Evans Trio (with bassist Scott LaFaro); Gomez covered bass for Evans for 11 years, 1966-77. Corea himself regarded Evans as a powerful influence and role model.

Like the great trios of Bill Evans, the Corea/Gomez/Motian ensemble is all about the interaction among musicians with distinctive voices; yet no matter who has the solo or lead of the moment, the listener is always fully aware of the trio. The two discs include five of Evans’ compositions, leading off with “Peri’s Scope.” From the first verse, each musician inserts his personality: Motian’s brief intro and later series of breaks reminds us he was king of subtle (and not so subtle) rhythmic assertions; Gomez sets the pulse in no uncertain terms, and Corea turns things inside-out without losing the underlying tune, or his audience. These “further explorations” are not random flights. On the beautiful “Laurie,” Corea suggests Bill Evans meeting Marilyn Crispell on an ice floe, surrounded by the distant tinkling of crackling fissures.

“Turn Out the Stars” begins with extended arco bass, Corea dropping little crystals and ultimately shifting to a gently swinging piano that brings Evans’ composition forward, although melody remains submerged beneath the trio’s conversation. Corea begins solo on “Very Early,” with some hints in his voicings that this will not be a straight reading. Gomez’s solo evolves into a dialogue among piano and bass, while Motian’s cymbal pulse holds it all together. The “prize” of the first disc is an unrecorded work, “Song No. 1,” which Corea transcribed and Gomez recognized as a composition Evans had worked on for years. Unfamiliar to the trio, their interpretation evolved over the course of the nights at the Blue Note. Here, reflecting one of the later performances, the song has the feel of a film soundtrack—and a rather brooding film at that. One of the more abstract tracks of the sets, the three voices don’t always seem to be on the same plane, yet they create an overall sense of unity.

Chick Corea (Photo © Andrea Canter)

A number of the tracks were performed and/or recorded by Evans: Scott LaFaro’s “Gloria’s Step” begins with a tour de force solo from Corea, perhaps puzzling the listener that one artist and one instrument can create so many layers of sound. Soon it becomes a playground for Gomez, who flutters, sputters, moans and slides around the piano, while Motian is never too far back to keep everyone on edge. Fain and Hilliard’s “Alice in Wonderland” starts with a gorgeous, somewhat dissonant bass solo (sometimes suggesting a second, ghost bass at work!), with snatches of melody coming through. The rhythm is displaced from the usual reading, giving it a unique propulsion. There are many layers of music, with Corea opening spaces for Gomez’s skipping pulse and Motian’s insistent cymbals. The trio creates its own Wonderland. The second disc includes the Van Heusen/Burke standard “But Beautiful” over two tracks. Part 1 is all Eddie Gomez, an arco solo that suggests a small orchestra. Part 2 highlights Corea’s interaction with Gomez, whose deep and thorny lines keep the tension high, while Motian remains in the background—yet ever present… but beautiful.

Evans was a fan of Thelonious Monk, and surely Monk would love the trio’s interpretation of “Little Rootie Tootie.” Chick lays bare his dark, obtuse side, promoted by Gomez’s steady underworld pulse. Throughout the recording, but particularly on this track, we are reminded of Corea’s breadth and affinity for coloring outside the lines. Opening the second CD, Tad Dameron’s “Hot House” places off-quadrant harmonies above an underlying, furious pulse, bouncey and at times suggesting a freight train pounding down the track.

Eddie Gomez (Photo © Andrea Canter)

There’s a handful of compositions from the trio that further brands the music: The collaborative “Off the Cuff” opens with Corea and Motian hinting at the frenzied and playful interactions to come as the trio soon heads off into a sideways bebop rocket ride. After a series of stormy passages, Corea shifts briefly into more prayerful mode, giving way to Motian’s eloquent solo of wide-ranging antics, returning with his own percussive statements, with Gomez riding off into the sunset. Corea’s own homage to Evans (“Bill Evans”) is tragic and introspective, while Motian’s “Mode VI” highlights single-line abstractions from Corea and cello-like solos from Gomez with eerie overtones. Corea’s “Another Tango” has a delightful dark sway and haunting arco bass passages, while the pianist’s “Rhapsody” resembles a modern-day Romantic etude with hints of Cecil Taylor in the chord voicings. Gomez penned the finale, “Puccini’s Waltz,” featuring a Monkish dialogue between bass and drums.

Unfortunately there will be no additional explorations from Corea/Gomez/Motian but perhaps the Corea/Gomez connection will find further inspiration. The chemistry is combustible, and extends that spirit of collaborative invention that was the true genius of Bill Evans.