CHILDREN OF FOREVER

Generally regarded as another Return To Forever album, the main difference being the substitution of vocalist Andy Bey ant Dee Dee Bridgewater for Airto Moreira and Flora Purim.

1. "Children Of Forever" (10:42) an odd song that sounds part Broadway musical part gospel song. Despite some odd quirks and descrepencies in the sound quality and mix levels, many of the idiosyncratic trademark riffs and tricks of both Chick and Stanley are on full display in this song--trademarks that will become much more refined and as the varieties in sound-treatments and instrumental choices increase over the next few years. The real weakness of this odd, odd song is in the weird vocals (and lyrics): they sound as if they are coming straight off of a stage of a production like Pippin, Hair, or Godspell.only a much lower grade/quality play. (17.375/20)

2. "Unexpected Days" (5:53) despite the same quality of sound engineering for the vocalists and instrumentalists, the switch to lone vocal leadership of Dee Dee Bridgewater is more palatable (I guess I'm finding Andy Bey's stiff and formal vocals to be too contrasting to those of the gorgeous and souluful Ms. Bridgewater. The music and instrumental passages on this one are much better--far more engaging and more-fully sculpted--on this song than on its predecessor--the contributions of Arthur Webb's flute and the electric piano, in particular, adding a lot of serene accessibility. (8.875/10)

3. "Bass Folk Song" (Clarke) (7:59) feeding an acoustic double bass through a wah-wah pedal is an interesting experiment. This song is credited to Stanley but it sure exudes all of the Latin qualities of a Chick Corea song. The pairing up of the flute with Chick's electric piano to present the dominant melodies is nice, but the motif used beneath the frenzied instrumental noodling of the song's middle and final sections becomes a little tedious to the point of creating anxiety. Too many notes! (13.125/15)

4. "Butterfly Dreams" (6:52) a very nice traditional jazz tune with vocals. Here, on his own, with this kind of jazz music behind him, Andy Bey sounds awesome: kind of like the great Joe Williams or even. Nice jazz guitar solo in the first instrumental passage between vocals. The integrating comaraderie between Chick's piano, Stanley's double bass, and Lenny's jazz drumming is quite noticeable, quite comforting, and definitely magical. This is definitely my favorite song on the album (despite it being the least fusionistic of them all). (14.25/15)

5. "Sea Journey" (16:26) gentle BOB JAMES-like music to support the GAYLE MORAN-like vocal performance of Dee Dee Bridgewater, the opening motif definitely previews many of Chick's Jazz-Rock Fusion albums like The Mad Hatter, Musicmagic, and even a little of Romantic Warrior. especially when he and Lenny take off in the fourth minute with the galloping motif that supports Chick's Fender Rhodes solo play. Finally, Lenny gets a little of the spotlight! (I've got to keep reminding myself that this is officially a Stanley Clarke album, not a Chick Corea or RTF album.) At 6:07 we return to the previous smooth motif where Andy Bey gets to take his turn in the lead. He does his androgynous best to sound like Dee Dee (though a bit more like Nina Simone, Chaka Khan or Gayle Moran). At the eight-minute mark Stanley steps in front of the still-wailing Andy with his bowed wah-wah-effected bass fiddle. The ensuing solo is so RTF: so vintage Chick and Stanley! At the ten-minute mark Stanley steps back into his background bass role as guitarist Pat Martino steps up with his jazz guitar to solo while Chick and Lenny offer their off-setting accents and flourishes. At the end of the twelfth minute Arthur Webb and Chick's right handed Fender Rhodes re-introduce the opening melody, allowing Pat to finish while re-establishing the more cushiony fabric for Dee Dee to return to the front--this time singing with more of her own soulful jazz style than that of the future Mrs. Corea (i.e., Gayle Moran). Andy and Stanley really take off beneath Dee Dee's scatting vocalese in the fifteenth and sixteenth minutes as Chick's electric piano continues to express side notes, riffs, and alternate chords right up to the song's end. I love this one! Definitely another favorite. (27/30)

Total time 47:52

This album definitely proposes three observations regarding the progression of Chick Corea, Stanley Clarke, and Lenny White's induction into the fairly new, experimental world of Jazz-Rock Fusion: 1) they are not yet fully committed (they remain somewhat-stubbornly loyal to many of jazz's "sacred" tenets), 2) they are not yet certain or clear on exactly what defines Jazz-Rock Fusion, and 3) they have been slow to jump on the bandwagon of the latest and greatest advances in technology available to both musicians of their specific specialties but also to the members of the sound engineering room.

B+/4.5 stars; an inconsistent though future-illuminating exploration into First Wave Jazz-Rock Fusion that earns near- masterpiece status. Chick is definitely flying at Jonathan Livingston Seagull speeds while his young protégés are learning, working hard to try to catch up.

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