Fuse One — Fuse One

★★★★

   In late seventies, when fusion music was still noted as a top style for musical quality and for various technical reasons, jazz-rock and other ambitious genres were losing their previous substantial positions for disco and other popular genres. Many formal ideas were checked in jazz arrangements and used in best pop productions as many jazz musicians were working as session men for studio productions. Although jazz and rock were more and more marginalized, becoming niche styles, musicians were still trying to find a new way to take previous social positions. In the end of seventies jazz was no longer trendy. Even the name “jazz” was gradually omitted. Traditional meaning of the band also had changed and many professional musicians were playing in various groups and orchestras as well as many were hired for studio recording or touring with pop music performers.
   In such situation in April 1980 group of prominent jazz musicians started recording sessions in Evergreen Studio and Westlake Audio with engineer Tom Vicari. The producer Creed Taylor, founder of CTI Records, ask Rudy Van Gelder to work on his new project so he was the engineer of May and June sessions that have been being taped at Van Gelder's Studio in Englewood Cliffs. The project was called Fuse One. This was not a traditional band, rather studio all-star band without constant line-up. Cover note about project said: “Fuse One is conceived as a forum in which major contemporary musicians perform according to their own musical disciplines and interact without the constraints that accompany leader responsibilities. Each player brings in new compositions and ideas”. 

Fuse One — Fuse One (1980)

   It’s meaningful the word “jazz” is not present at any point of this album. And only jazz connection are musicians' names. Just like the genre was out of date. Tendency to cross the borders of styles and play music more open way was presented the style of presented compositions, rhythmic and melodic idioms shown in solos and arrangements. These elements can convince this is an all-star project. And stars engaged in the project were really bright. Saxophonist Joe Farrell, guitarists John McLaughlin, Larry Coryell and harmonica player Hugh McCracken, acoustic piano, synthesizers and Fender Rhodes piano players Ronnie Foster, Victor Feldman, Jeremy Wall, Jorge Dalto, bassists Stanley Clarke, Will Lee, drummers Tony Williams, Lenny White, Ndugu Leon Chancler and percussionists Paulinho Da Costa, Roger Squitero – all performers were playing with discipline and straight sound.
   Generally music of Fuse One is fusion with elements of smooth jazz. Themes are melodious, rhythms are decided, arrangements are easy and solos are restrained. Most pieces are conventional joyous jazz typical for fusion jazz light music. These are Ronnie Foster’s Grand Prix and Stanley Clarke’s Sunshine Lady. In Double Steal by Jeremy Wall and Taxi Blues by Stanley Clarke popular music of disco era is augmented by electronics and by harmonica in Taxi Blues with strong rock solo by Larry Coryell. Most popular Waterside is just an arrangement of The Moldau theme by Bedrich Smetana made by Jeremy Wall. Two interesting pieces composed by John McLaughlin are postmodern To Whom All Things Concern and referring to Spanish traditional music Friendship. Electric sound and strong rhythmic patterns are foundations to this exposure. Three and half of star for perfect performance.

Return to Forever – Romantic Warrior

   Since jazz and rock were genres of music growing on conflict with official culture, artists were always referring to traditions different than accepted in establishment culture. While American rock ensembles were almost strictly connected to rhythm and blues roots, some were just duplicated rock and roll patterns, but numerous European bands and musicians were looking for inspiration in more specific tradition. Interesting concept was flourished in England, Italy and France. Many musicians playing popular songs, folk rock and progressive rock were experimenting with different folk traditions. It was natural many of them had found folk music sources in mediaeval culture. In fact connections between mediaeval traditions and folk culture were as common as deep. And of course it has different effect in popular and in more ambitious genres of music. Popular and progressive bands like Jethro Tull, Procol Harum, Yes, King Crimson were building clearly European sound and whole artistic means, totally different than Jimmy Hendrix, Chicago, Blood Sweat and Tears or Santana.
   During jazz-rock revolution many jazz musicians playing fusion were looking for possibilities of using different folk patterns. While John McLaughlin and his bands Mahavishnu Orchestra, Shakti were exploring far East traditions, Weather Report was mixing electric jazz sound with South American rhythms and sounds, Return to Forever found mediaeval musical idioms as perfect basis for building their creative music. In fact there was nothing like this before. Already in Hymn of the Seventh Galaxy musicians were building elevated emotions, one could consider them as religious. This attitude set the trend leading to perfect realization in Romantic Warrior album. Chick Corea and Return to Forever become one of most respected artists of seventies and Romantic Warrior was sold in half million copies.

Return to Forever – Romantic Warrior (1976)

   What’s interesting, especially if we notice Romantic Warrior is Return to Forever’s sixth studio album, this album is again an original work. And the first one in band’s discography published by Columbia Records. Interesting fact is this was the first time “featuring Chick Corea” reference has been omitted. It was probably decision of Columbia Records trying to reinforce the position of the band. Maybe after first five records Return to Forever was too explicitly associated with Chick Corea and managers wanted to show it more as an independent group than yet another Corea’s project. This is probable idea considering fact, every member of the quartet has on this album his own composition. But most interesting quality of Romantic Warrior is creative use of some mediaeval ideas. Themes played in unison and modality are clearly taken from mediaeval music. Tempos and virtuosity also can evoke some elements of old dance music.
   Selected sounds of electronic instruments give the effect of mystery, a context in which even acoustic piano or guitar sound differently than usual. Chock Corea is playing whole collection of keyboards instruments, marimba and percussion instruments. Stanley Clarke plays bass, Al DiMeola guitars and Lenny White drums and set of percussion. It is extremely interesting how jazz-rock connected to mediaeval motifs can be universal. Good example are solos in composition by Lenny White Sorcerres. Although guitar solos have clear rock feeling Al DiMeola’s discipline is perfectly jazzying. The same with Chick Corea’s accoustic piano solo which is both classic and jazz and somehow pop music. This shows the greatness of Retrun to Forever. This album demands four and half stars. Why not five? Only because there are few other Corea’s album which deserve full grade.

Return to Forever – Where Have I Known You Before

   In the history of jazz-rock groups many bands were unstable. In many bands successive amendments were the result of driven by their leaders an artistic exploration of balance and means of expression. Changes of lineups and styles were somehow characteristic feature of many groups, even these most favored. One of the most reputable was Return to Forever, the group with few consecutive lineups and only two constant musicians Chick Corea and Stanley Clarke. Both are brilliant, phenomenal and creative. After first two albums recognized as acoustic period of the band history, later albums had been recorded by electrified band with drummer Lenny White. Fourth album of the band comes with next change, new guitarist was 20 years old virtuoso Al Di Meola.
   Recorded during summer 1974 in New York Record Plant Studios this was consecutive production by Chick Corea developing his fusion style with Return to Forever being after Hymn of the Seventh Galaxy one of best recognized bands of electric jazz. Although Where Have I Known You Before is completely instrumental album, the title was connected to the poem by Neville Potter who was Chick Corea’s friend and long time Return to Forever contributor as lyricist. The whole poem has been placed on back of the cover and the poet was listed as author of album cover concept.

Return to Forever – Where Have I Known You Before (1974)

   Creating Hymn of the Seventh Galaxy Chick Corea has opened new perspective of bands formation and the new chapter in history of the fusion music. Whole album consists of five band pieces and three short piano compositions in a kind of intermezzos with titles referring to Potter’s poem – Where Have I Loved You (Danced with You / Known You) Before. It’s interesting how close he get to progressive rock sound and structures. Opening composition Vulcan Worlds gives great sequence of solos. These could be considered as the best improvisations of the album. Full synergy sparkles in Al DiMeola solo – between improvising guitarist, and Stanley Clarke phenomenal bass walking. In The Shadow of Lo improvising dialogue takes place between DiMeola and Corea with bass playing ostinato based walking and powerful drums. 

   The idea of transcending previous visions is in the center of interest. The culmination of the program is Beyond the Seventh Galaxy, the composition closing first side of the album. Powerful unisons, rhythmic intensity and electrified sound are basis for brave passages cumulating energy of new style. This kind of structures with leading Minimoog and ARP Odyssey motifs became the hallmark of Chick Corea electric bands in 70’s and 80’s.

Return to Forever – Beyond the 7th Galaxy (1974)

   Opening second side of the record Earth Juice is risky experimenting with disco beat. From first bars it sounds like making joke of dancing music. Musicians were trying to build collective improvisational structure. Maybe it was somehow creative but after years it’s just boring. This double-beat pulse is not quite obsessive but too simple anyway. 

   Opposite mood shows Where Have I Know You Before, third Corea’s composition for acoustic piano referring to Potter’s poem. This is a reminiscence of impressionistic piano music. A kind of continuation of ideas exposed in this short work made Corea his electronic solo introduction to last piece of this album. The Song of the Pharoah Kings is fully developed idea of electric jazz-rock defining distinctive Return to Forever style. Stanley Clarke solo shows the new frontiers in jazz electric bass. Overall this album is strong statement and after 40 years it can still be a blockbuster. Four stars even if this is definitely not the best album of Return to Forever.

Lenny White – Venusian Summer

   Many drummers are playing strong patterns with broken rhythms while others look for more melodic way of using percussion sounds. Some are trying to find balance between these options and one of them is Lenny White who made a great opening in legendary Bitches Brew album. He is one of most versatile artists and one of best drummers of fusion music. He became legendary drummer of second Return to Forever lineup, recording four albums in 1970’s and the reunion live album Returns in 2009. He played also with fusion band Azteca and as sideman with jazz giants Stanley Clarke, Al DiMeola, Larry Coryell, Jaco Pastorius, Freddie Hubbard, Curtis Fuller and Don Cherry. 

   Lenny White is also the leader of his own bands and projects. Since 1975 to 1983 he recorded 10 albums under his own name. After seven years of silence, he comes back with The Manhattan Project in 1990 and with Michel Petrucciani, Marcus Miller, Biréli Lagrène and Kenny Garrett in 1994. Recording next albums he took part in many artistic undertakings like Vertú with Stanley Clarke, Karen Briggs, Rachel Z and Richie Kotzen from 1999. He played with Michal Urbaniak’s Urbanator and in numerous projects featuring various funky jazz artists. During decades after his debut recording has been published, his position on jazz scene became as solid as influential but Venusian Summer released by Nemperor Records (NE 435) still remains his creative and well established achievement.

Lenny White – Venusian Summer (1975)

   Program of this album comprises six compositions in various arrangements. It was recorded in June and August 1975 in famous Electric Lady Studios in New York. The group of accompanying musicians is carefully selected band of artists. Main counterweight is mainly electronic keyboard instruments, organs, electric pianos and synthesizers with three masters of Hammond’s organ Jimmy Smith, Larry Young. Others were David Sancious, Weldon Irvine, and Onaje Allan Gumbs. Some electronics were in 1975 state of the art equipment. In eponymous suite Patrick Gleeson was playing various synthesizers like Oberheim Digital Sequencer and others. Lenny White in this suite played also non percussive instruments, Minimoog, Eμ synthesizer, ARP 2600 and acoustic piano and snap bass. Important part of the group were guitarists Larry Coryell, Al DiMeola, Doug Rodrigues and Raymond Gomez. Fixed part of the band was bass player Doug Rauch. There are only two parts with wind and brass – flutist Hubert Laws is playing in 2nd part of Venusian Summer and Tom Harrel playing flugelhorn took part in Prince of the Sea.
   Most of the material was composed and arranged by the leader. The style of this music is a variant of fusion esthetics with some electronic reinforcements. Sound is rich but still lucid with clear tendency to funky articulations and thick dancing sound. It looks like own Lenny White’s vision of jazz and rock fusion. He is very convincing as a creator of musical constructions and forms, drawing moods and building landscapes out of the ambient sound. The vision of Venusian Summer has been catched in the cover illustration by Larry Kresek, recognized painter and illustrator. Very good record, four stars for perfect realization and pure musical instinct. 

Chick Corea & Return To Forever – Hymn of the Seventh Galaxy

   Third album of Return To Forever recorded in August 1973 was turning point in the history of jazz-rock style in seventies. After first year of creative activity and two records published in 1972, Return to Forever (ECM) and Light as a Feather (Polydor), name of the band, Return To Forever was quite a synonymous of soft melodic lines, warm vocal and even warmer dancing pulsation of Latin rhythms. This was more fusion of jazz and pop than jazz and rock. Second edition of the band was totally different idea of Return To Forever. Only Chick Corea and Stanley Clarke remained from the first Latin-oriented lineup of the band. Two more instrumentalists were guitarist Bill Connors and drummer Lenny White. Different was also pure instrumental sound of this quartet.
   The changes become clear when we consider who was subjected on record covers. First record was signed Chick Corea – Return to Forever, the name of the artist and the title of the album. And that was looking just as it was. Return to Forever was actually the title of first track and the whole album. Later this title became the name of the group. Second album was signed Chick Corea & Return To Forever making clear the band was solid artistic entity. Next three albums (1973-1975) were signed by expression “Return To Forever featuring Chick Corea”. And last two studio albums Romantic Warrior (1976) and Musicmagic (1977), both published under the Columbia label, were signed only with the name of the band.

Return To Forever – Hymn of the Seventh Galaxy (1973)

   The title composition Hymn of the Seventh Galaxy opens this record with series of phrases played in unison by Corea on electric piano, Connors on guitar and sometimes with Clarke on bass. Also in next compositions precise unisons of Corea and Connors are frequently the way to point and to amplify most important phrases. Stanley Clarke who was still seeking for an optimal expression, used fuzz box for his bass – his solo in After the Cosmic Rain is historic performance. Solo Connors played in Captain Senor Mouse is firmly connected both with post-Hendrix and post-Coltrane attitude to improvisation. This composition was also Corea’s hit returning on several occasions.
   Chick Corea was showing himself both, as the composer and the great improviser. His improvisation on Theme to the Mothership merges post bop avant-gardism with psychedelic rock. In Space Circus, after Corea’a electric piano introduction, this in fact is his Children Song, funk riffs and Connors soloing and dialoguing with Clarke give listener a chance to understand the structure and background of this music. Bill Connors is playing short, powerful phrases with clear sharp, sometimes slightly distorted sound, controlling emotional tension. This time it’s clear this is the different way of playing, clearly new sound and definitely new music, opening new frontiers. Carefully thought-out solos, well-composed themes, precise arrangements, excellent quality of performances, revolutionary recording engineering, and all the elements contribute to the selection of this CD as a key achievement of fusion jazz. It is also extremely important position in discography of the seventies.

Miles Davis – Bitches Brew

★★★★★

When we meet great artist we always have problem with comprehending his work – the bigger he or she is, the worst problem have anyone who tries to capture in words his individual experience. When Miles Davis (1926-1991) was active musician and artist, standard procedure in writing about his music was to observe small range of his work, for example any of his records or concerts and asking why this comes after another or what can it means in context of something he did before. And it was quite satisfied job because every record of this artist was full, uncompromised statement of artist’s will. Critics had a lot of work to do. But after artist is gone in uproar of eternal jam session, we have different standpoint on his work. It’s complete in new meaning, now in every element of his output we see a piece of the whole and now we can fully understand how great musician he was.
Month after In a Silent Way has been released, in the end of August 1969, Davis back to the same CBS 30th Street Studio in New York. And while in previous album base was still quintet from Filles de Kilimanjaro augmented occasionally with few more pianists and guitarist, the Bitches Brew ultimately ends Davis' quintets era. All instruments except trumpet were multiplied, on reeds played Wayne Shorter (soprano sax) and Bennie Maupin (bass clarinet). The rest was huge rhythmic section with three drummers Lenny White, Jack de Johnette, Charles Alias playing congas and drums (only in Miles Runs the Voodoo Down) and percussionist Jim Riley playing shaker and congas, bass player Dave Holland with Harvey Brooks on Fender bass, Chick Corea, Joe Zawinul and Larry Young on electric piano and John McLaughlin on electric guitar – in many parts all of them playing simultaneously. John McLaughling is playing rhythmic passages, but in some parts he is folowing also modal improvisations and melodic patterns. In many fragments his guitar is standalone as much as Wayne Shorter’s soprano. Thus these two artists play the role of counterpointing Davis' phrases, almost the same way as John Coltrane and Julian Adderly did in the Kind of Blue sextett.

Miles Davis – Bitches Brew

Such setting allowed this section to found the new kind of sound and rhythmic intensity, clearly different from mainstream, cool jazz or hard bop. It was closer to psychedelic funk-rock, sometimes called acid-rock which is suitable especially for its trance elements adopted by Davis in 1969. With loosely constructed wide phrases he was building emotional tension without dividing improvisations into traditional choruses. In fact some compositions still preserve traditional model – for example in Spanish Key – but even close up with traditional forms can't change the general aspect of motif and phrase repeatability. This way he gave pre-ambient sensation of time and space continuance. But internally this music is diverse and highly expressive. In short piece on the 3rd side titled John McLaughlin Miles Davis even did not appear. Next side trumpet is predominating and in end piece of the album, Wayne Shorter’s Sanctuary, Davis played one of greatest cool solo ever.
The lineup recorded in studio was filled out by producer Teo Macero, and once more, just like proceeding In a Silent Way, recorded material was mixed and dubbed, using multi-tracking and tape loops. Inspired by works of studio composers from Experimental Music Center Columbia-Princeton and many other experiments of 1940s and 1950s, using fragments of recorded music, sometimes in very small particles, Macero created construction of whole pieces, building them in the way, musicians never heard while playing. This innovative approach decided Bitches Brew is one of turning points in history of XX-century music. Released in April 1970 and sold in more than half million copies, Bitches Brew became one of greatest Davis’ successes. It was also great achievement of musicians involved in this project, deciding for what they were doing in next dacade.
Not only music has changed, gatefold sleeve designed by Mati Klarwein clearly indicates counterculture of late sixties as reference for intellectual attitude. Headline on the sleeve, over main tittle says: „Directions in Music by Miles Davis”. Literally the same as it was in released January 1969 Filles de Kilimanjaro. And connection between these records is clear. The process of revolutionary transition from opposed modal and cool jazz into fusion of these traditions which started in 1968 when he recorded the Filles de Kilimanjaro in Bitches Brew had fulfilled. Modern jazz of 1960s gone away and future never looked as cool or modern as it once happened. Some modern jazz lovers did not accept these changes and criticized records from electric period of Miles Davis, but the fact is, society has changed and shortly nothing was the same as usual.