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 Just like the genre was out of date.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.

Stanley Clarke — School Days

★★★★

   Stanley Clarke was one of youngest stars of jazz in seventies. He debuted in 1966 and when in 1976 he published his fourth solo album School Days, he was already noted as the best electric bass player and one of most influential artists on fusion jazz scene. Three prior albums gave him position of independent artist and classic of fusion jazz. He was famous as virtuoso for his innovative technique and wide creative horizons. Suggesting in the title and cover graphics a retrospective look to the past, maybe frolicsome reference to theoretical foundations or even some basic musical ideas, he made School Days one of most popular and influential albums in the history of bass centered recordings. And he achieved this position before he turned 25. In his rich discography one can find many great albums but it was School Days that became so popular and influential.
   Perfect equilibrium between virtuoso exhibition, creative invention and popular trends is what made this record so important. From the other hand, on earlier and later albums qualities of Stanley Clarke’s playing are always on constant, highest level. Maybe School Days just hit the moment? Whatever it was, in mid seventies Stanley Clarke’s records were bought not only by jazz audience. Album was recorded in June 1976, most of material at Electric Lady Studios in New York City, and last song Life Is Just a Game at A&M Studios in Los Angeles. Stanley Clarke’s solo in Life Is Just a Game and improvisation in duo with Billy Cobham was one of highlighted moments in fusion jazz legends. Over thirty musicians, new sound of electronic instruments, new rhythmic and emotional density and perfect arrangements were enormously attractive. Album was best seller and had peaked on 2nd position of Billboard Jazz Albums.

Stanley Clarke — School Days (1976)

   Title song opens first side, School Days with straight riff and cheerful theme with background voices by Clarke. In central part nice spatial effect based on strings gives space for electric bass solo expressive and consequently developing main riff motive. Coda with phrase sung by Clarke changes this short perspective giving a kick to next track. Quiet Afternoon is so much natural from formal point of view, it can be used as improvisation workshop for students. This is just theme and improvisation on background of bass and drums (Steve Gadd) with Clarke overdubbing himself with piccolo bass guitar especially build for artist what was officially mentioned in credits. Solo on piccolo bass Clarke played in third track The Dancer. Last song on first side has thicker facture, with synthesizers (David Sancious), two percussionists (Gerry Brown, Milton Holland) and guitarist Raymond Gomez. It could be seen as an answer for opening song, not only because of its joyous mood.
   Second side starts with beautiful acoustic ballade played by Clarke on upper bass with the bow, and with great pizzicato improvisation with elements of classic guitar technique. Playing the same on guitar would be a certificate of virtuoso level, on double bas it was just breaking the boundaries. As a counterweight acoustic guitar solo by John McLaughlin is based on sound nuances and acoustic effects impossible to execute on any other instrument. This perfect duo only accompaniment is conga and triangle played by Milton Holland. Great inspirational moment. This beautiful, reserved and magic composition is like an interlude leading to next track Hot Fun which again has more rhythmic and dance intensity, and beyond where all accumulated energy finds an outlet — to a grand finale and the only song with lyrics Life Is Just a Game. Lyrics are short but sung with nice voice. This conclusive composition is space where three basses played by Stanley Clarke are interfered with great solos by George Duke (keyboards), Icarus Johnson (guitar) and rousing drums by Billy Cobham. Power of great soloists was multiplied by string and brass orchestra of 23 members. For such nice and powerful piece of joyful music four stars is just rigorous rating.

Chick Corea – Return to Forever

★★★★★

   In 1972 ECM Records published new album of Chick Corea – Return to Forever. Partners of the leader were vocalist Flora Purim, saxophonist Joe Ferrell, bassist Stanley Clarke and percussionist Airto Moreira. The new jazz band took its name from the title of the album and shortly became one of best recognized ensembles of fusion jazz. Releasing of this record was one of groundbreaking moments in history of jazz. The unpretentional cover is showing lonely bird flying over the sea surface. It was like an opening of the new space – everything in this album was fresh, open and promising. When ECM published Chick Corea’s album Return to Forever it was 22nd album in catalogue of this small and ambitious label. And Chick Corea has brought a sizeable contribution into production of early ECM label. In 1971 Manfred Eicher’s recording company published Corea’s solo Piano Improvisations vol. 1, album A.R.C. by trio Corea, Holland and Altschul and double LP Paris Concert of Circle. Next year ECM published two albums by Chick Corea: Piano Improvisations vol. 2 and Return to Forever.
   The breaking moment of Chick Corea’s career was in the beginning of the seventies. He was ready to start the whole new idea of fusion, connected to Mexican folk music and Latin trends in American rock. In the moment of creating the new band, called after the title of first album, Return to Forever, Corea was involved in new project where he was composing for Stan Getz. This moment was connected to the history of ECM as well. The rest is the great story of contemporary jazz, famous jazz-rock band and the company established and run by Manfred Eicher. In fact this early Return to Forever survived only first year and shortly was replaced by the new band with Corea and Clarke as only musicians common to both line-ups. Manfred Eicher’s ECM became most famous recording company in European jazz. The name of the company was abbreviation of Edition of Contemporary Music and simplicity was the hallmark. Jazz, world music and contemporary music were main directions. And in Corea’s recordings all directions, jazz, world music and the contemporary music were linked.

Chick Corea – Return to Forever (1972)

   The moment was special. Even if it looked like only two days of session enough to create the whole new idea of jazz fusion. Tendency was already visible, after Miles Davis’ In a Silent Way and Bitches Brew, jazz was wide open for new crossover idea giving the possibility of joining jazz, rock and elements of various traditions. Chick Corea has prior experiences playing with Miles Davis recording above-mentioned albums as well as Water Babies (recorded in 1968 and released 1976), Filles de Kilimanjaro and some live gigs edited later and also known from records like Black Beauty – Life at the Fillmore West or Miles Davis at Fillmore – Life at the Fillmore East. In 1970 he started work with avant-garde group Circle with Anthony Braxton, Dave Holland and Barry Altschul recording for ECM Records.
   In February 2nd and 3rd in 1972, at A&R Studios in New York City had met Chick Corea, bass player Stanley Clarke and percussionist Airto Moreira. They had already plans of recording session for Stan Getz new album Captain Marvel, where Corea was composer. For his new band Corea invited Moreira’s wife Flora Purim and Joe Farrell, saxophonist who’s first two albums Corea was involved as composer and pianist. These five musicians created band of legendary sound. Although they recorded only two albums, in various lineups they were working in future Corea’s bands and many elements of this experience influenced next productions. A lot of space between notes, light vocal themes perfectly performed by phenomenal Flora Purim, rhythmic intensity of Latin motifs, all in this album works for its historic position. Chick Corea as the author of whole concept and all four compositions was undoubtedly the hero of this project. He decided to start the band and the band was one of most famous bands in history. And the record is full five of five stars tray, just must have for every self-respecting jazz listener.

Chick Corea – Tap Step

★★★★

   Born in late sixties from modal jazz and harsh rock sound, in the seventies jazz rock was evolved from early sound experiments and rhythmic patterns to firmly conventionalized set of means creating whole new vocabulary of jazz. First were derived from the sixties idea of fusion between totally different worlds of musical sensitivity. Last was the collection of sound and rhythmic patterns presented on albums and concerts of dozens of performers. One of musicians who took part in jazz rock revolutionary forms of jazz-rock was Chick Corea. But he was too much creative to reside in style losing its creative momentum. In 1978 Corea had disbanded Return to Forever, but still working with its musicians he was experimenting with various line-ups and forms.
   Chick Corea was searching for best possible vehicles for his musical ideas. He always was creative, but this moment was the moment of almost complete creative freedom. No matter it was the time of Return to Forever, his Elektric Band or Akoustic Band, he was working on solo albums, various duets, jazz combos or bands with various musicians, even some recordings with symphonic orchestra and repertoire of purely classical music. The same year, in 1978 he published three great albums made with extended personnel (The Mad Hatter, Secret Agent, Friends) and double live album with Herbie Hancock In Concert. Next year he released three albums (one solo, and two in duets) and in 1980 five albums (two live recordings). These albums as well as disbanding Return to Forever can be seen as effects of Corea’s explorations. 

Chick Corea – Tap Step (1980)

   One of most significant tendencies in Chick Corea’s creative history were his experiments with various line-ups after Return to Forever. And Tap Step album was project characteristic for this period. And it was not understand by many critics, what was also typical for the moment. The open idea of this album shows various attitudes, from dance music to modal jazz and back to rhythmic and melodic diversity. It was published in 1980, two years after what was then considered as artist’s extreme activity. Variety of musicians and arrangements suggests album could be a compilation of different recordings, but nothing of the kind was happened here. Recording sessions took place in Love Castle Studio in Los Angeles between December 1979 and January 1980. Those, who looking for jazz solo players, shouldn’t be disappointed. Joe Farrell’s tenor and soprano saxes are part of sound specific for this period. Hubert Laws on flute and Joe Henderson on tenor saxophone and Also Al Vizzutti on trumpets and flugelhorns made strong appearance.
   Album is just bursting with ideas. Main contrast lies between rhythmicity and melodiousness. The title speaks for itself. As samba rhythms and cover photo of pianist with surdo drum show, percussion was the main part of featured band. Four drummers Airto Moreira, Laudir Oliveira, Tom Brechtlein and Don Alias are appearing in different settings. In The Slide Chick Corea played with all four percussionists and two bassists Bunny Brunel and Jamie Faunt and this track is undeniably rhythmic culmination of the album. Rhodes electric piano with its percussive sound emphasizes this effect. In opening Samba L.A. four vocalists Flora Purim, Gayle Moran, Shelby Flint and Nani Villa Brunel create main line of musical crowd. Lyrical and narrative soprano by Gayle Moran gives The Embrace power remembered from My Spanish Heart and The Mad Hatter. Beautiful title track Tap Step is so fresh in sound we can forget it’s quite traditional in its construction. Solos by Al Vizzutti and Joe Farrell are just perfect. Just as acoustic piano solo by Corea in Magic Carpet or his Rhodes piano and Moog synthesizer solos in The Slide. For these solos and for synergic teaming of all musicians this album is worth much more than in reviews repeated without listening. These four stars counts as a masterpiece.

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.

Chick Corea & Return To Forever – Light as a Feather

   The Return To Forever was Chick Corea’s main project in seventies. Music he made with this band claimed an international recognition, and as style of the group was crossover, the new public was much wider than prior jazz-only auditorium. In span of few years Return To Forever became one of most successful brands in jazz and in a way in new world music. This was the era of new ideas breaking frontiers of styles and genres. Return To Forever along with Weather Report and Mahavishnu Orchestra were synonymous of the fusion jazz and jazz-rock, opening jazz for listeners of progressive rock, psychedelic rock and even some kinds of artistic pop music.

   Second album by Chick Corea and Return To Forever has been recorded in October and released one month later in November 1972. This time the cover indicated distinctly the name of the band and album title – Light as a Feather. Title of this album was taken from song composed by Stanley Clarke to Flora Purim’s lyrics. All other songs were composed by Chick Corea, two of them with lyrics by Neville Potter. While the first record was released in Europe by the ECM and it was not available at this time in the U.S. Thus Light as a Feather published by Polydor was still entirely new vision of fusion music. For many listeners it was actually the American debut of the band. And as it turned out, it was also the last album Return To Forever recorded with this lineup.

Chick Corea & Return To Forever – Light as a Feather (1972)

   Return To Forever was the band changing constantly. The first lineup of Return To Forever was active for the short period of time only. And according to many it was most succesfull as it had greatest artistic achievements. In fact it was the group of great personalities. Bright star was Flora Purim, born in Rio de Janeiro, singing with perfectly clear voice and instrumental precision. Starting international career with Return To Forever she became quickly number one singer of the seventies. And Light as a Feather was her great gig. In many fragments she sings without words in unison with Chick Corea’s electric piano phrases or with flute themes played by Joe Farrell. 

   The flute played by Joe Farrell was perfect match for electric piano so on first Return To Forever Farrell was switching only to soprano saxophone. Here he played with tenor saxophone and his sound is as warm as light. Stanley Clarke who played double bass with virtuosity and inspiration gave Corea counterbalance – both are great and their lines are completing and spinning together like a twin star – Corea’s distance and serenity met with more profound attitude of Clarke. 

   This group of stars was completed by Airto Moreira – probably the best drummer and percussionist of the fusion era since Miles Davis Bitches Brew, through Weather Report to Return To Forever, his contribution was clear. The trio Corea-Clarke-Moreira was basic personnel in Stan Getz Captain Marvel album, the project of great importance for  Return To Forever musicians. As Flora Purim and Airto Moreira were from Brasilia, this lineup of Return To Forever was sometimes called “Latin”. Maybe on second album it was still hart to notice, but main creative characters were Chick Corea and Stanley Clarke. And this two artists were axis of all turns, as well on first edition of the group as in future.

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.

Stanley Clarke – Find Out!

   Born in Philadelphia, Stanley Clarke is one of most prolific jazz musicians of last four decades. He is known mainly for his double bass and bass guitar virtuosity and for his contribution as a member of Return to Forever one of most famous band in history of fusion jazz. In fact he is multi-instrumentalist, composer writing for film and television and musician playing all kinds of music from jazz and funk, through R&B to rock (esp. with The New Barbarians) and pop songs where he even sung. Many of his seventies and eighties recordings published as high-impact hit recordings later were underestimated or forgotten just because they are dance and popular songs with some short solos only.
   He became bass player by coincidence. He was late in school when instruments were assigned for students and when he at last came only double bass was available. Results he shortly achieved were astonishing and he continued to learn in Philadelphia Musical Academy. After graduation in 1971 he moved to New York where he was playing with great artists – Horace Silver, Art Blakey, Dexter Gordon, Gato Barbieri, Joe Henderson. In 1973 he joined new project by Chick Corea – super group of fusion Return to Forever. And this band became greatest achievement for all its musicians, even if it was only a small amount of their creative output. After years in reunion concerts – like in 2008 during Montreux Jazz Festival – this group gives instrumentalists a chance for expanding individual creativity with fully synergic cooperation.

Stanley Clarke – Find Out! (1985)

   Naturally there were also other musical and creative projects. Some of them were highly popular and then rejected. Most of all this applies to the disco era. Many great musicians tried to find perfect connection between dance music, possibilities of new electronic instruments and jazz idiom. It was like a next step after fusion music. Many other musicians were on the same way, trying to actualize the idea of more popular jazz. An like many musicians these times, Clarke was experimenting with styles and genres, working on ambitious projects as well as popular music for high-volume issues.
   As the artist who is really concerning about being understand for listeners, Stanley Clarke get closer to popular music. Few of his records should be treated as pop or disco concession, although it is still perfectly made music with many solutions these time can be seen as revolutionary. One of many was Find Out! – fourteenth album by Stanley Clarke published by CBS in 1985 under Epic label. He is playing bass guitar with driving energy and sings in a way eighties were fitting on. It is connected with albums recorded together with George Duke as Clarke/Duke Project which were even closer to glitter rock and disco.

Stanley Clarke – Find Out! (1985)

   Find Out! is few years later and more homogenous. This can be seen as advantage and as a result of musicians selection. In contrast to Clarke/Duke Project this group is much smaller.  The Stanley Clarke Band was only four musicians – Clarke playing basses and guitars, drummer Rayford Griffin, and playing keyboards Robert Brookings and Sunnie Paxton. Other musicians were keyboardist Pat Leonard, Pulinho da Costa playing percussions and guitarists Eddie Martinez and Raymond Gomez. Maybe songs are not so well written, but in instrumental pieces he gave some beautiful Clarke’s solos. Maybe vocals are not enough spirited. There are also discreet references to modern jazz and deeper drifts. Like in introduction to rap cover of Bruce Springsteen’s Born in the U.S.A. where leader’s bass guitar gives some links to Jimmy Garrison’s tradition. It is hard to resist the impression that the music in the future will be more appreciated.