Electric eclectic

World-renowned jazz pianist Chick Corea brings his Elektric Band to South Korea, Japan and Hong Kong - its first Asian tour in 12 years. In this exclusive interview, the 22-time Grammy winner discusses the driving forces that have made him one of the most influential jazz figures of the past 50 years and gives us a taste of what's yet to come

You've described the Elektric Band's Asian tour as both a reunion and a "creation". What makes this band so special?

The five of us have had a lot of shared, beautiful experiences through all the tours and recordings we made. It made us a real, true group and it's always a joy to create together. This particular group has survived longer than any other band I've had.

You just turned 75 and celebrated with a series of concerts in New York. You've been innovating and seeking new musical horizons for almost 50 years. Where does the endless creativity come from?

Well, the urge to want to create and make music is a very subtle but powerful thing - and difficult to describe. Ultimately, the source of any creativity is oneself. I have always tried to pursue the musical projects that hold real interest to me and pursue them against all odds. It's a wonderful challenge and makes life a real adventure.

You started playing at a very young age - can you remember your initial feelings when you discovered music and can you explain what it has brought to your life over the years?

I never gave it a second thought. It's always been my main interest. I do love the other art forms - they all take persistence and dedication to become good at - well, anything does. But yes, it was always music.

Could you explain how important classical music was to your musical development, and in what way it has influenced your jazz composition and playing?

At a young age, I was pretty monofocused on jazz - I hardly listened to any other kind of music. But midway through high school, I discovered the music of Béla Bartók and Igor Stravinsky.

That began my intense interest in composition and what one can do with the writing of music applied to various instrumentations. We had such a great tradition of composition in classical music over these past three or four centuries. We're a culture rich in art.

How would you define improvisation and can you explain your approach to it?

I believe trying to define improvisation tends to be a losing battle; it's like trying to define "creativity". The best answer is the demonstration of it - and we can observe this in our great artists.

What's the key to great musical collaboration, both in the studio and in concert?

Well, I don't think there's any one "key". It's really a combination of a lot of things based on admiration and a mutual desire to share one another's art.

You played with Miles Davis on Filles de Kilimanjaro, In a Silent Way and Bitches Brew, as well as several live albums - collaborations that really changed the direction of music. Can you describe what was it like to be a part of that creative process?

When I worked with Miles Davis, as when I work on all my projects, it all went very friendly and easy and spontaneous. Mutual respect is one of the things that pervades these atmospheres of music-making. We enjoy one another's ideas. True collaboration is not a competition - it's more like a co-creation.

It's been almost 50 years since your work with Miles Davis led the way to jazz-rock fusion and such bands as your own Chick Corea and Return to Forever, the Mahavishnu Orchestra, the Tony Williams Lifetime and Weather Report. What would you say was the lasting musical impact of that era?

I like to leave questions like that up to the musical historians. I grew up musically in the '50s, '60s and '70s. These were certainly exciting times, creatively. But it's all in how you look at life. I'm as excited now about playing music as I ever was - maybe more so.

Your website is very focused on sharing your musical experiences and passing along your knowledge and expertise. From your interactions with younger musicians, where do you see jazz headed in the future? Are there any emerging trends we should be looking out for?

Our planet is filled with art and artists. One has to learn how to look to see what's there. Our means of communication through the internet can be helpful, but also can cloud one's view.

Traveling, meeting musicians and looking for art in different places around the world is the best way to find out what's really going on. I feel fortunate to be able to travel a lot, and to get to meet and hear and see a lot of different artists. And believe me, the world is rich in jazz and all kinds of art. We have to learn how to find it, support it and keep creating it ourselves.

What future recordings or other projects do you have planned - and are there musical avenues you still wish to explore?

Oh, there are so many. I'm touring a lot with the new Elektric Band this year and also about to make a new recording with my old friend Steve Gadd - a brand-new band with brand-new music.

I have an experimental electronica project almost finished, and I'm planning to play my piano concerto and other symphonic works in 2018.

But the most exciting new venture for me is my Chick Corea Music Workshops.

I'm creating video presentations of workshops for musicians and people interested in music and art of all ages - for both professionals and beginners.

It's a way for me to help increase the interest in music and art. I find that when people become interested in creating music and art, their areas of life become healthier, calmer and more pleasant. Music and all art is something natural and native to every human being - the desire to create something beautiful. My workshops help others to create - and I love helping musicians and anyone interested in music.