j o e

Whether this is the first actual Return to Forever release or not I leave to you as an exercise to figure out. It's officially credited as a solo album of Chick Corea, but also has Stanley Clarke present. Regardless, this ECM release is amazing, and with its extended, structured compositions presents another blurring of the line between fusion and progressive rock. It is more "organic" sounding than later RTF efforts, with a sparse but intimate electric piano/winds/vocals/drums set-up. This album could be a rare instance where we might actually catch Brazilian percussionist Airto Moreira behind a traditional drum kit, and whether that is indeed the case or not, boy does he deliver, informing with powerful, celebratory samba rhythms. The title track that opens the album is a sort of mini-Pictures at an Exhibition, with two highly melodic, intense jams bordered by an uneasy, ghostly "Promenade"-type theme. As you would guess, "Crystal Silence" is delicately executed, and even "What Game Shall We Play Today," with its cliched lyrics and obvious attempt at accessibility, still manages some neat interplay and chord progressions that one wouldn't expect in the typical pop songs of the day. The final track, "Sometime Ago - La Fiesta" drives the entire thing home, with a captivating vocal performance from Flora Purim and a frenzied Latino closing. Superb musicianship on all parts (especially Corea) makes this one deserve to be in every fusion fans collection without a doubt. review by Joe McGlinchey — undated —

m a t t

This has long been a favorite of mine and I think it is one of the all-time great fusion albums. Returning to it for the purposes of review, I am pleased to find that its immense appeal is undiminished. This beautiful, accessible record must have come as something of a surprise to audiences in 1972, as Corea had just spent a year in the free improvising avant-garde ensemble Circle with Anthony Braxton, Dave Holland and Barry Altschul. Additionally, his most recent album as a bandleader, A.R.C., (1971) was similar to Circle both in terms of style and personnel. Corea got the idea for Return to Forever during his brief tenure with Stan Getz in late 1971 and he soon thereafter picked a group suitable to execute this vision. Cataloging this release, therefore, is merely a matter of semantics; this has to be considered the first Return to Forever album — the first of two albums by the original roster of Corea, Joe Farrell, Stanley Clarke, Airto Moreira and Flora Purim. Unlike the rock-oriented subsequent lineups of Return to Forever, the original group played a fusion of jazz and Latin music that doesn't sound as dated. Corea's electric piano is the dominant sound on the album, but apart from some occasional plugged-in bass the record is otherwise acoustic. Pairing the acoustic instrumentation with Corea's electric piano and Stanley Clarke's lightning-fast bass gives the music a character that is both organic and futuristic; with material that sometimes exhibits a strong Latin influence, the effect can be a thoroughly engrossing contrast. The exuberant, "La Fiesta," for example, could be arranged for a more traditional ensemble of horns and a nylon guitar and those south of the border would be none the wiser. The chilly sustain of the electric piano, however, adds an opaque modern monochromaticity and the keyboard's inherent potential as the ultimate improvisational tool enables Corea to give the music a superior level of melodic and harmonic sophistication. The influences are thus transcended and the result is something new entirely. The other tunes — and these are tunes, not just jams — are more atmospheric, though no lesser of achievements. "La Fiesta" may be one of the most irresistibly melodic fusion songs ever recorded, but the title track is my favorite piece by this configuration of Return to Forever. Corea lays comparatively low on much of the track, playing repetitive clusters that, complemented by the steady force of Stanley Clark's wicked, trebly bass pattern, Joe Farrell's flute and Flora Purim's ghostly vocals, creates a simultaneously creepy and pretty sound that is almost Krautrock-like. "Crystal Silence" is a drifting meditation between Corea and Farrell (now on soprano sax) that equals the best of similar efforts from Joe Zawinul and Wayne Shorter in Weather Report. "What Game Shall We Play Today" is a melodic, breezy vocal tune made all the more appealing by the context of the rest of the album, as it demonstrates how easily the band's approach translated to the format of a more conventional pop-song. The medley "Sometime Ago/La Fiesta" is a great 23-minute excursion that brings the album to its conclusion. "Sometime Ago" begins slowly, with Corea's sparse keyboard phrases providing the backdrop for some excellent acoustic basswork by Stanley Clarke. Clarke's plucking becomes faster and more intricate, building tension before switching to a frenzied bowing. Then there's a lull and Corea introduces the song's melody — a total change of pace, but a turn that follows logically from the construction of the previous portion. This part of the song is a samba-inflected vocal tune, though more in character overall with "Return to Forever" than "What Game Shall We Play Today." Corea improvises lightly over the melody and eventually segues into the thrilling "La Fiesta," which piles melody and improvisation on top of each other to build an impressive crescendo. Listening to this album is still an incredible experience for me. Its existence makes Corea's conversion to Scientology almost excusable. Despite the strengths of the next incarnation of Return to Forever, I still find it regrettable that this lineup was only kept together for two albums. review by Matt P. — 6-28-05 —

e r i c

Corea teams up with bassist Stanley Clarke for the first of what would be some great releases from the band Return To Forever. This release however lacks the power of the true Return To Forever material and I find it somewhat disappointing in comparison to their most popular release, Romantic Warrior. In fairness, I assume that this was intended as a solo effort that grew into a band as a much lighter and traditional approach is taken here. The title track "Return To Forever" uses the spacey sound of the Rhodes piano with female vocals. As the song grows in intensity, Clarke's bass becomes more prominent. The screeching vocals really detract from the song for me. "Crystal Silence" is very laid back with mostly piano and saxophone. "What Game Shall We Play Today" comes across as very pop jazz to me. A happy go lucky feel permeates this track, but an overall corniness ruins it. The vocalist has a nice voice but the way she is used fails to add to my enjoyment, I just cant get past the sound. "Sometime Ago - La Fiesta" ends the CD and stays too much on the light side. I miss the energy that is provided by the guitars once RTF was truly a band. review by Eric Porter — undated —