RETURN TO FOREVER

Still my favourite album ever made. There is not much to say that has not been mentioned of this album before, blazing perfection and musicianship. I can still remember the first time I heard this mighty tour de force and it still gets me every time I listen to it. I think that this is also the greatest produced Return To Forever album in my opinion & just one of the greatest sounding albums of all time. All of the compositions on this are phenomenal but the final song The Duel Of The Jester & The Tyrant, was the best song they ever did. Al Di Meola does an amazing guitar performance on this as he's my favourite guitar player of all time. He's really fast and technical on this along with the heavy drumming from Lenny White. I love that this album is very proggy ands lot of surprises and mesmerising solos by all of the musicians. But one of the big reasons this album is a masterpiece is that it is a concept album with takes on medieval Progressive Rock but the engineering on this album is beautiful and of the greatest sounding albums of all time. If you're a big Jazz Rock fan and you haven't listened to this you need to because it is a must have and will take you on a journey.

For Chick Corea's third album using the Return to Forever moniker the bandleader must have felt the need to make some major changes. (It seems obvious that he felt the need to response.compete with the first incarnation of his Bitches Brew band mate John McLaughlin's Mahavishnu Orchestra.) Gone are the Brazilian husband-wife team of Airto Moreira and Flora Purim--and, thus, the Santana-like Latin flavor and energy--and gone are the horns; what we have here is now a power fusion band--the most rock 'n' roll like form of all: bass, drums, guitar, and keyboards.

A1 "Hymn Of The Seventh Galaxy" (3:25) here the band opens with a dynamic display of the new member more rock 'n' roll-oriented skills and volume. The way Bill and Stanley play off one another is very cool. (8.75/10)

A2 "After The Cosmic Rain" (8:33) using a form that enlists two or three different speeds, we get a nice view of the skills of Chick, Lenny, and Bill Connors with Stanley showing off a lead-guitarist kind of mentality with his fuzz-bass. Stanley's dextrous use of full chords on his electric bass is also quite unusual and ground-breaking. Chick on the electric piano is more demonstrative than melodic in his showmanship and I find Lenny's drums to be mixed a little too loud (as well as come across as a little too rock 'n' roll). Nice but not really anything very engaging or memorable-- except for Stanley's bass solo. (17.5/20)

A3 "Captain Señor Mouse" (8:56) the hard driving rhythm track of this one could've easily come from a rock band like The Allman Brothers Band or Think Lizzy. This is the first song on which I am certain that the band used multiple tracks to accomplish the full soundscape here as the percussion, multiple keyboards, and even guitars have too much reinforcement to be done in one take. I like the occasional shifts into the Latin motifs while Chick's electric piano patterns and solos finally sound more like the signature style that he would become known for: with lots more slurs as if he were bending notes (which he later masters on his Minimoog). The drum and bass play beneath Chick is nothing short of miraculous: tight and yet jaw-dropping in speed and dexterity. No wonder this song became a standard in Chick's concert repertoire. I even like the drop back into harpsichord at the end of his extended solo (and, of course, his signature bounce accents beneath his bandmates' solos). Bill Connors' first truly extended solo in seventh and eight minutes is truly remarkable, marred only by his over-obsession with John McLaughlin-like long-held note bending. When he does his runs and quick changes in direction it's impressive. (19/20)

B1 "Theme To The Mothership" (8:22) It is obvious to me that the band is gelling and heading toward the sounds and styles that we will come to know and recognize as distinctly their own the further we get into this album--this song being yet another step in this process from "Captain Señor Mouse." The one variable is Bill Connors' style (which obviously affected the style of incoming star Al Di Meola in that he had to learn these songs in Bill's style for auditions and live replications). At the same time, it is often remarkable how similar the styles of the two guitarists are. The more rock-steady (almost sedate) bass play (when he's not soloing) of Stanley Clarke is surprising over the first five minutes, but then, as Chick starts his multi-instrument solo in the fifth minute you can finally hear the bass begin to introduce some of those lightning flashes of flurries and riffs between or in response to some of Chick's pauses between phrases--just like the blues and R&B-trained guitarists do between their own vocal phrases. The band still hasn't mastered the art of unforgettable solo blasts with unforgettable melody lines, but they are very much on their way. (18/20)

B2a "Space Circus (Part I)" (1:28) gentle, hypnotic Fender Rhodes arpeggi from Chick's left hand over which his right hand spits out melodic riffs. Quite lovely. An obvious influence on Ronnie Laws. (4.75/5)

B2b "Space Circus (Part II)" (4:08) a pause after Chick finishes the intro, then Stanley and Chick jump forward with Lenny and Bill quick to join in. I love the sound Bill is using on this one. Stanley is back in lead-predatory mode here, but Bill may be up to his challenge. Lenny elbows his way into the spotlight in the fourth minute and then, finally, Bill lets loose. It's good--more Larry Coryell-like than Mahavishnu Di Meola in that there is a "nasty filth" to his sound that Al or John rarely aspire to. (9.25/10)

B3 "The Game Maker" (6:49) contemplative electric piano play to open, some gentle metallic percussion, too (cymbal and triangle hits). At 1:50, when the full band kicks in, Bill's twangy guitar is first to jump to the lead with Lenny and a dreamy Stanley in solid support. Even Chick, with his rotating two chords of fast arpeggi is in full support. In the fourth minute Chick breaks in with a solo that gets Stanley's adrenaline pumping and to which Bill sees a need to compete and fire back. This duel between Chick and Bill goes on for some time as Lenny and Stanley--especially Stanley-- impress from beneath. A great song that fully illustrates the cohesive whole-band skill and comradery that this band will master. The Mahavishnu Orchestra may have broken the J-R Fuse genre wide open, but it is RTF that perfected it! (14.25/15)

Total Time: 42:16

This album is quite a favorite with a lot of critics and fans, but I think the band is still undergoing growth and self- discovery and have not yet fully-defined their everlasting sound.

A/five stars; a minor masterpiece of genre-advancing Jazz-Rock Fusion. Again, that which Mahavishnu started, RTF perfected.

I can remember my brother (the one that introduced me to SO MANY rock classics in the early 1970s) owning this album in its three-disc vinyl form and playing it to death on his audiophile stereo system around 1981. Man! hearing Chick and new-found phenom drummer Gerry Brown on those huge Polk Audio speakers was an experience I don't think I'll ever forget! And my brother, himself an accomplished drummer, loved Gerry Brown unlike I'd ever seen or heard him love a drummer before or since (while I was not quite ready to let go of my Lenny White worship). Unlike many reviewers, the singing of artists like Gayle Moran, Annette Peacock, Dagmar Krause, and Nina Hagen never bothered me; as a matter of fact, I like/love all four of these unusual vocal stylists, so liking Chick's solo or last RTF work with his wife Gayle singing never hurt. Actually, my favorite Chick/RTF album of all-time is his 1978 "solo" release, The Mad Hatter, on which Gayle plays a wonderfully integral part. Such is the case with MusicMagic and this live album. It's just full of great music with peak performances from some of the 1970s best jazz-rock fusion instrumentalists--all of which is presented in quite listenable, even enjoyable forms, with incredible sound rendering-- even for a live album. Though I don't listen to this or MusicMagic much any more (perhaps once in the last ten years), I can relay the fact that I held both in pretty high esteem back in the day. In terms of how fortunate we are to have such a record of such incredible artists all playing at the very top of their games, I cannot help but think this album as nothing but essential listening to any so-called prog lover.

P.S. I don't know why this is only listed in its 2-CD release format: we were owners and avid listeners of the 3-CD vinyl form during the last years of the 1970s decade. Something that needs to be rectified.

The jazz fusion renaissance of the 70s has many big names attached to it. Miles Davis, Herbie Hancock, Mahavishnu Orchestra, Weather Report, Masayoshi Takanaka, and so many more, so much that the list could honestly go on for an eternity. In fact, you could say the jazz fusion renaissance never ended in the wake of the 80s as it is still highly influential to this day, almost that it goes on forever. Perhaps the late and great Chick Corea knew this, and thought to give it his own spin of things, but rather then go for the avant garde touches that his colleagues would do, he'd go to a more accessible direction, combining the genre with latino jazz, prog rock, and on this album and Where Have I Known You Before in particular, funk.

No Mystery is the group's 6th album, 5th if you consider Corea's 1972 album of Return To Forever as something a part of his own solo discography. It was released in 1975 with some high praises, even winning a Grammy. In regards to the jazz fusion movement, it could be seen as a more attainable outlook to what Herbie Hancock put out on the table with his album of Head Hunters, straying away from their more proggy jazz rock sounds to a more routed jazz funk volume that is quite energetic in its wake.

The best thing about this album to me is that it is extremely fun. It really put the fun into funk music, containing these joyous moments of vivacious jazz and rock, fused into this electrifying mix of style, and at points beauty. The first side for me is definitely the highlight, with tracks like Dayride, Flight Of The Newborn, and Excerpt From The First Movement Of Heavy Metal having this giant quality and superb merry that I have a huge affinity for, though the second half with the slightly more overtly jazz fusions songs like the title track and the two part Celebration Suite are also really nice, having this more beautiful side to this vibrant album.

Another thing that gives me great joy is clearly how inspirational this album is, especially when looking at the Japanese city pop sound of the late 70s through late 80s. While city pop is a lot more rooted in, well, pop, you can definitely find a link here to some city pop artists like Masayoshi Takanaka and Himiko Kikuchi, whom both I am a big fan of. I think this just brings me a lot of happiness because it shows that no matter where or when in the world, an album can reach out into the right hands, and create this dynamic and new sense of art, even if the album comes from a place that has quite a different culture to that of where it lands. I just find that nice.

Though, if there is one thing I am not quite fond of is how the synths sound. I feel like at certain points they are kind of dry, and almost a bit played much. I think there are points, like in the first part of the Celebration Suite where the synth keys actually work really well and add a nice dynamic to the album, but for the most part I think some of the songs like Jungle Waterfall and Sofistifunk should've held the synths back a bit and allow the other instruments to shine, or at least not go so aggressive as they did on those two songs.

A high recommendation, especially if you enjoy albums like Head Hunters or Get Up With It. It holds all the right formulas that make jazz funk and fusion so great, and adds a bit more to lighten the mood of any day. I give it two thumbs up.

As an exemplar, This Is Essential Fusion!

Possibly the one Progressive Fusion album you must have first. Almost everyone will like this -- In part because it is so approachable. Not nearly so intellectual as John McLaughlin and much easier to get into. Brilliantly recorded and engineered it is one of my standard albums for equalizing a room (all of Joni Mitchell post 1976 is another, as is all of Steely Dan post 1976 except for Katie Lied ). This album lead me to further efforts from all the band members.

By the way Lenny White is BRILLIANTLY captured on this album.

It must have been electric for the four of these artists to collaborate on this album. I had to read up on just what an Alembic Bass was after hearing Stanley Clark wail away. There are Four Lead Musicians on this album. I mention Al DeMiola elsewhere...

The first output of what is my favourite RTF line-up has brought even more dexterity to what was already a mighty rhythm section by White-Clarke. Playing is top notch and there are plenty of interesting motives.

The first track is a very strong rhythm-led composition, you can bet Clarke put his mastermind to it. I love the dynamics by White that is even more emphasized by strong fill-ins. It is one of the more cohesive tracks on the album. "Shadow of lo" is the counterpart with calm keyboard textures on Rhodes and soothing guitar lines but don't get deceived because after the third-minute mark we have an increase in speed and Corea with Meola ship in a couple of solos. Drumming/bass are quite stable and yet they don't bore. The third, final part of the track is more funky oriented, with keyboards a la George Duke. "Beyond the seventh galaxy" bears a strong name and playing is matching even though the composition is not mind- blowing but enjoy its intensity. "Earth juice" is the most accessible track with a melodic solo by Meola. The suite at the end of the album showcases elaborate synth sequences but also drum beat deeply rooted in fusion with hints to world music. The trio (Clarke, White and Corea) provide a delicate dessert full of strength and nuance. Percussions highlight the Latin leanings. Meola also gets some breathing space to deliver energetic soloing. This track alone is a reason to acquire the album. Highly recommended to any fusion fans.

ROMANTIC WARRIOR

If someone started telling me in the beginning of the eighties that I would hear and appreciate a musical genre named jazz rock I wouldn´t take that seriously. It is easy to understand the reason; jazz-rock sounds very DIFFICULT to understand and finally to appreciate its achievements.

As the time goes on passing through, the age gave me conditions to make myself close to this, let´s say, difficult kind of music. The process for this advance centered in some study of music, yet superficial, just to make me understand the complexity that the realm of Music presents; it is not for everyone to become a real musical expert. But, if I was not able to become even an amateur player, at least there was the result of leading me to give total respect and admiration for great performers. That´s exactly what is jazz-rock about, artists that excels in playing like monsters and masters of their instruments. This is the main reason for me to listen nowadays to Jazz, to electronic prog and even some rare times classical music.

What do we have in Romantic Warrior ? A CONSTELLATION of masterplayers, the names of Chick Corea, Stanley Clark, Aldi Meola and Lenny White; all of them great names in the world of elaborated music. My favourite one is Stanley Clark, because the instrument I tried unsuccessfully to study and learn was the bass. What about the album itself? Well, there is A LOT to be said; an expert in harmonic rules could write a book about what was achieved in the songs. To all members of the band compositions was allowed, although Mr Corea composed more than one totaling three of them. The title track is supposed to be considered a highlight, but there are no poor songs here.

It is not easy the listening to Jazz Rock/Fusion. You can perfectly consider this album or this genre as a whole, as boring. But once you get your trails throughout this kind of music, I am sure you won´t stop anymore; and for sure I will wish you a very good journey.

I sit here, exhausted after a long day of yard work, an hour or so of computer troubleshooting, and outside a 50 mph squall line of severe thunderstorms baptizes day's end. But all is not fatique and frenzy -- before me a glass of red wine glows, grilled steak and new red potatoes steam, candle-lit eyes of my beloved are smiling, and Return to Forever's re-released Romantic Warrior breathes nostalgia into our midst. Such intangible bliss and music like this is precisely what life's finer experiences is all about.

Bill Connors era of RTF: Some history first. I remember the sadness I experienced upon hearing Bill Connors had left RTF and that this flashy Al Di Meola had replaced Connors -- RTF was just not the same. I essentially shunned them. Even though I continued buying releases, sampling RTF members' solo offerings, I never heard that same magical fire that Connors had lended. On another front The Mahavishnu Orchestra fizzled out into fusion confusion. What was happening here? The 70's fusion-fest seemed to be passing into mundane oblivion or mutating into something worse. Then this release came along.

I was amazed and thrilled. It wasn't all I expected. It was more. Everyone on this release performed magically. Jazz rock fusion had reached another pinnacle. Compositions were unbelievably complex and beautiful, unison lines moving wildly, solos inspired and superb, and the artistic soulfire was at maximum. RTF was peaking all sysytems. There was a playful yet forceful punch happening here. Chick Corea's keys were perfect cool, Al DiMeola's guitar voicings, phrasings, and leads awesome, Stanley Clarke's bass playing went beyond the mere words' description, and Lenny White's drums as usual, superbly jazzy grooves. Also impressive; each member wrote at least one song of the six offered.

Amazingly, this release was 100% cohesive, like movements of varying force in one stream of thought. Nothing was lacking, nothing was excess, Romantic Warrior remains to this day, a diamond, exuding flawless beauty. Yes, it grew out of the jazz rock fusion genre but it's fine art that outlives its hey-day, an example of just how incredibly wonderful fusion can be. Strangely enough, Romantic Warrior was this incarnation of RTF's last true hurrah. Nothing else afterwards ever came close. It was as if RTF was saying goodbye and thank you creating a monument to a fading era, a waning passion. For those of you wondering if this remastered, re-release is technologically superior in sound quality to prior releases and worth grabbing -- listen up. Yes, no doubt about it. For those of you never even hearing of this until now -- this is a jazz/ jazz fusion fan must-have. It is a unique classic that never grows old. Like steak and wine by candle light after a long hard day, Romantic Warrior is a very, very good experience. Highest recommendations.

#48th Review

I don't know why i took so long to reach this album, why i avoided listening to it, no reason at all. I remember reading some reviews here back in 2018 and not being able to understand what was the fuzz, i don't remember what i read back then and what i ended up listening to, but now after many years, while in a return to forever mood, decided to give this a listen... and now i understand, this album is very good, but i'll tell you why below.

1.- Medieval Overture 9/10 Starting with those time signatures that i love, this track trapped me immediately, i'm pretty sure that i never heard this one before, reminds me of ELP and that's excelent, i would remember anything sounding like ELP.

This track is complete and pure progressive rock, i seriously encourage anyone to listen to this, after listening to the entire album. I think that this track gives you more in 5 minutes than some of the next tracks... except The Magician, listen to that one as well (spoilers).

2.- Sorceress 7/10 This track starts a little too funky for my taste but as it comes a long, the track lets its dark side come about, while the main hook is the funky sounding rythm, this goes to landscapes unimaginable, so you have to sit on it for a nice instrumental rythmic section until the cream of the butter starts, and you won't be dissapointed.

3.- The Romantic Warrior 6/10 With a complex atmospheric introduction to boot, this track then continues into some funk sounding rythms while going all in with instrumental virtuosity from time to time. I don't feel much with this track, this was probably the track that i heard at first in 2018. I have to say though, this track features more acoustic guitar than what i've been accustomed with Chick Corea's music so far. This one's main hook wasn't as strong for me as the previous track, i was constantly looking for all the stuff that would take me away from that rythm and they appeared, but it wasn't enough, this was almost a 5.

4.- Majestic Dance 7/10 I was expecting something calmer with the title but instead i got a hard rock sound instead, well, i'm glad, the track gets weirder a long the way with parts that feature only keyboards and/or guitar, and that its just ok, once the drums and the rest enter again it feels like a breath of air, and the ending features some very nice bass lines. Really enjoyed this little track, wish it was longer, with shorter and crazier solo stuff.

5.- The Magician 9/10 If you love being confused, you're at the right place! I'm really liking this track, the walls of sounds and the time signatures. Every chord that appears here is notable, an example of a classic progressive rock track with many changes in landscapes. You could've shown me a sample of 10 seconds from this, tell me its King Crimson and i would've believed you. Conclusion, this is great, another stand out for me and a full recommendation to everyone.

6.- Duel of the Jester and the Tyrant 8/10 I feel as if the previous song prepared me for the real stuff. Many Japanese developers have based the music for fight scenes in RPGs from progressive rock music, and this sounds like that, except that it IS that, its progressive music, but also the title states "duel" and i can surely FEEL that... probably some game i played featured some of the chords that are here... but no game features Chick Corea doing some insane solo in the middle of this track.

The track then drops the bass and goes into full funk mode for a second, that sounded very smooth and clean, i have to do a compliment to the bass sometime, right? Well, the music piece uses this but doesn't overstate its welcome compared to other tracks because it goes into the "Jester" parts, and i imagine the "Tyrant" parts are the royal sounding sections. I'm not as convinced on the second part more than the first.

This album gets a 77/100 and that is 4 Stars, i recommend the full album but if you have a few minutes of time, listen to the first track or the previous to last track, they're both excelent.

Being back in the most legendary line-up, after 32 years is a treat to any fusion music fan. The guys have certainly have appetite to play together and revive the old chemistry. On display are the most memorable compositions of their latter career 1974-1976. Playing abilities are excellent as before but the intensity is generally lower than previously. The exception being the encore track "Duel of the Jester and the Tyrant" with everybody running for his life. There are solos by each band member.

Performances are precise, interplay tight and musicians are focused and not showing many emotions (this is not a rock concert).