RETURN TO FOREVER

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).

#47th Review

Once i heard the tragic and unexpected passing of Chick Corea i knew that i had to review this album, it features the first Jazz Fusion i ever heard and still love to this day. One sad thing is that i kept pushing away this review and thus pushing listening to Return to Forever further and further, i really wanted to listen to Romantic Warrior on 2020 and didn't. I feel bad for not paying atention to Chick sooner, he was very active on his Youtube channel wich i would've followed instantly, yet he left some last words, probably at a very important moment of my life, "It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It's not only that the world needs more artists, it's also just a lot of fun." Even in his last moments, he said a word that's very important but very overlooked in this adult life... fun.

1. Hymn Of The Seventh Galaxy 5/10 This track doesn't make justice to the rest of the album, its kind of catchy, repeats that same rythm almost through the entire song while also showcasing a little of the band members talents. I really like some of the time changes here, specially at the end, but i have to be real here, this song is like a free trial of some variety cookies, and this one is the most basic of the bunch, still has some special flavor to it, but not enough to make you care that much about the other cookies, but if you buy the cookies you'll realize they're amazing and that the other cookie didn't do it enough justice.

2. After The Cosmic Rain 6/10 The beginning can be very repetitive and kind of a funky mess, the chords also don't impress me much, there are many small changes through out, and this band is really good at doing those, they where really doing a more laid back track but in that process it seems that they added some very uninteresting motifs instead of putting their best here, the track that mostly needed them, Chick does the better work here, but even then, his work feels kind of restrained because of the limitations in the song, at first, Chick shows that no track is simpler enough for him to not let it go and make it his own.

So, in the end this track is ok, but not satisfactory, i hardly hear the potential at the beginning and even then this track doesn't go as crazy or atmospheric as others here in this same album.

3. Captain Señor Mouse 8/10 This is fast, gives me this tarantella vibe at beginning only to confirm latin inspiration at the 1:48 mark, but being much better than that because the song doesn't conform with just doing that and adds, and goes back, is fantastic, i think that people in my family might get a kick out of this.

Everything here has an erratic play, including the keyboard, just listening to it makes me feel for my fingers, i'm thinking on some techniques but either way this is hard to play in all fronts... this album is hard but this song should definitely be the hardest one.

I feel like at the end the song lost the point a little bit, and the guitar solo doesn't convince me much here, in other tracks i don't mind it as it is doing ok, it could do better but here i just hear it and it really just doesn't move me.

4. Theme To The Mothership 6/10 Again, a more basic rythm an premise, much like the second track, but this one has better interesting intersections, i just wish the bass did play something else a little more different than just changing time signatures, it gives this sense of repetition and boredom rather quickly, its as if everyone else is fighting this, many times succesfully, specially for Chick, the section where Chick dominates is the best part of the track, as usual, but the rest is so repetitive, i can't give it a better score than the second track.

5. Space Circus 9/10 This is it, the first Jazz Fusion track i ever heard believe it or not, i think that it was in 2010 when i was 16... wow, idk why the teacher told me to listen to this, and i'm so happy he did, i really don't remember the context, yet i remember how i felt when i listened to it, that was what i wanted to listen, i was lost, it was hard for me to find music groups, i had no idea where to start, everywhere i started left me to a dead-end, while i didn't become a big fan of Return to Forever at first, i was still able to find a little more than with other bands.

Why this track then? The begining got me good, more than anything, that soothing, calm yet misterious sounding piano introduction, am i alone in this dark filled with dust place, the light of the windows looks like a simple geometric being with animation, i immediatily imagined this place and somehow felt welcomed... and that's just the first minute.

Then the song starts, and at first i remember really liking a certain repeating part for some reason, i still like that but its not as surprising as it once was, but still, very funky sounding and the instrumentals are an stapple on this record BUT, at the time i had never heard something like this, it was very effective for me back then and i still think it is, improv, return, improv, return, improv in the return, its all really cool, but what completely sells this theme in the end is the ending, because besides all the rythmic influenced playing the ending is just a perfect return to silence.

6. Game Maker 9/10 This introduction has an scary aproach, and the tension keeps growing without accelerating, just adding little by little, and there it goes, absolutely menacing, i don't understand why "game maker" but it certainly feels like you have to take down some entity that's causing havoc. This track gets a little repetitive at times, but when it lets go... IT LETS GO, everyone is incredible here but Chick... he clearly carries the song, i think that he is the game maker after all. I think that the real reason why i really like this song its because of its insane changes, you might get acoustom to some rythm but eventually that gets obliterated, and there are points where this track doesn't stop, i feel like there's no composition here where the author thought "this 17/12 part will be great here", no, instead he just did it, he probably didn't even realize or care, he just did it and i think that's what makes this song be so impressive.

In conclusion, i don't love this album, but i surely do love the tracks highlighted here, and i can't recommend those enough, i don't know if this is the best place to start with Return to Forever or Chick Corea, but it sure did it for me, so while not being the best, its still a place to start or to land and to admire. Long live Chick, he returned to forever, thanks for everything.

Final Score is 72/100 and i grant it 4 Stars because its an excellent addition, i would dare to say essential because the 3 tracks highlighted need to be heard.

When I bought the original CD in the US, little did I know about the band. I hadn't anticipated that it could be the best offering by Return to Forever. Romantic Warrior is the crowning achievement of jazz fusion, a who's who in fusion and must-have for all keyboardists digging into fusion. The band has matured into the astonishing blend of fusion, progressive rock and classical music the way only Chick Corea can mix it. I have the work of Corea in high esteem and masterpieces like "My Spanish Heart" and this album show multiplace facets and inspirations to him. Al di Meola has a credible player but I find contributions of Clarke and White more audible.

The first track is, together with the last suite, the tour-de-force of the band. "Medieval overture" shows the versatility by the band from frenetic and dynamic rhythm section to more solemn synth chords. What a lovely sounds of the synths!

"The sorceress" is a better known track and has a killer bass guitar, electric piano being more in the background. Later comes the perfect calm progressive rock ARP stuff followed by virtuoso jazz piano but all members have space to shine through including the drummer.

The title track is the catchiest track on the album and maybe less original than the previous tracks due to quite generic fusion instrumentaton. Meola reminding of McLaughlin on electric guitar. Corea sticks to his piano weapons and specific soloing that is accessible and perfectly tandemed by the bass and drums.

"Majestic dance" is quite clear the leading force by Meola and Clarke - it sounds reminiscent of solo Clarke stuff. There's a lovely synth solo but also heaviness caused by raw guitar sound.

"The magician" has playful classical music intermezzos by Corea on ARPs, it sounds both pompeous and romantic apart from the raw guitar.

And the final track is not only the culmination of the album but also another compositional highlight with enough space for graduation and plenty of jamming - killer Corea synths, Meola guitar accolades, White's fill-ins and impressive Clarke fretless bass.

Event after 17 years after the purchase of the album, I am discovering new nuances as this record has plenty to offer. Should be in the TOP 7-8 of all fusion records and the most representative work by Return to Forever.

In the early 70's, there were several bands that were considered influential in the jazz-fusion movement that existed and these band's helped shape fusion music to come. These bands included groups like Weather Report, The Mahavishnu Orchestra and Return to Forever, the latter of which was founded and headed over by pianist Chick Corea. Corea, of course, had already established a name for himself, even before he created this band in 1971 by playing on some of Miles Davis' most lauded releases and also doing some of his own solo work. Corea created Return to Forever in an effort to make his music more accessible. This he did with an ever changing line-up with only him and bassist Stanley Clarke being consistent members of the band.

When interest in the fusion movement was peaking, the band released its fourth album, the commercial-sounding titled 'Where Have I Known You Before', in 1974. This album would feature a simple quartet consisting of himself and Clarke along with a guitarist also with a reknown name, Al Di Meola, and long-time percussionist for the band Lenny White. This album would continue Corea's quest to make fusion that would connect easily with the audience and work to win over new fans to the genre. Another big difference with this album is that in the project's albums in the past, he stuck with his basic piano and electric piano for his own keyboard contributions, but this album marks the first time he started using synthesizers in the band's line-up of instruments and this gives the sound even more versatility. However, it also runs the danger of sounding a bit dated, and that is the album's main downfall.

The synths become readily apparent in the first track 'Vulcan Worlds', a 7 minute opener which feature synths and keys galore, but also makes time for Di Meola to show off his skills. Corea also brings in the acoustic sound of before by not abandoning his electric piano. The result here is a great fast and furious fusion track that captures the listener's attention, however, the sections featuring the synth definitely sound dated, mainly because of the specific sounds that Corea emphasizes. It's not enough to ruin the track however, and it overall becomes a strong opener that towards the end finally settles down as it comes to a conclusion.

The next track is the first of a trilogy of tracks spread throughout the album that hinge on the title and subject of the album. These tracks are somewhat short and act as interludes, mostly featuring Corea soling. The first of these is 'Where Have I Loved You Before' which is a lovely piano solo. This is the mode that he uses to connect to his audience, but it also carries the album into the next track 'The Shadow of Lo', another 7 minute track that has a softer and laid-back groove when the full band joins in again. Here the synth plays the main motif and expands on it also allowing the guitar to contribute later on. This one continues with the more accessible feel and adds a funky edge later on.

At this point, the album features some shorter tracks remaining around the 3 ' 4 minute mark. This section starts off with 'Where Have I Danced With You Before', the second in the trilogy of interludes, but this time it features a happier and faster tempo, but is again Corea soloing on piano. 'Beyond the Seventh Galaxy' brings in a heavy progressive edge with plenty of guitar and keyboard interplay as this quick and lively track plays through. The second side of the album opens with 'Earth Juice' which has a catchy and driving rhythm with funky guitar scratching. The guitar continues to take the lead through most of this track playing off of a repetitive riff. This section of the album ends with the last of the interlude triology 'Where Have I Know You Before', once again featuring Corea playing a soft and gentle (yet moving) piano solo.

The final track wraps up the album with the 14 minute long 'Song to the Pharoah Kings'. It all begins with a synth solo backed up by sustained organ chords. This continues on for a few minutes before the full band starts to come in providing changing backdrops while differing synth effects and solos play along. Throughout the track there is a very busy percussion and a running bass solo which give the rhythm section (Clarke and White) time to show off a bit while providing an extended and catchy solo. As the track continues, both the guitar and electric piano get to also do some soloing. All in all, its an excellent fusion track that brings it all to an impressive close.

This album is quite a tour-de-force of the styles of fusion the band was capable of producing and how the mix of heavy and soft tracks along with accessible and sometimes more complex tracks were the way of Corea and the band attempting to bring their music to a wider audience. Sometimes the music is lyrical (though it's all instrumental) and other times it is fun and engaging fusion. This style of playing and performing brought Corea's band out into the spotlight along with the other famous fusion bands of the time, and this was a well-earned place for him. While some of his themes were a little schmaltzy (based on Scientology beliefs), the music itself overpowers all of that. The real weaknesses of the album are the places where the synth sounds dated, but it isn't always the case. The best sections are when he reverts back to the electric piano and regular piano and also allow the other musicians to shine. The music isn't always progressive, but there is enough of it here to keep it interesting. Overall, I would give it 3.5 stars, but because of the talent here and the way the music can be presented, it rounds up to 4 stars. A great album by an important fusion band.

A much under-rated and under-appreciated album in which Gayle Moran's vocal talents are often unjustly maligned. I think people just lament the loss of Al and maybe Lenny, though the absence of guitar altogether is probably more the reason. What's your problem! The horns are awesome! And drummer Gary Brown is awesome (especially if you've taken the time to listen to the triple live album, "Return to Forever Live" that was recorded on this album's tour), and Gayle's soaring voice is such a delight when paired with Stanley and Chick's music. As a matter of fact, it is Chick and Gayle's collaboration on Chick's solo release of the same time, "The Mad Hatter" that rates higher than any RTF album for me--is my favorite album ever produced by any one of the fearsome foursome (Al, Stanley, Lenny, and Chick). Give this album a chance--and leave behind your preconceptions that there has to be guitar (Connors or DiMeola) and that girls have no place in prog (watch out Kate, Annie Haslam, Sandy Denny, Judy Dyble, Barbara Gaskin, Pascale Son, Sonja Kristina, and Dagmar Krause!) If you have to, even try to forget that this is RTF; this is great prog fusion!