John McLaughlin - Electric Guitarist (1979)

Since John McLaughlin's first two post-Shakti albums -- Electric Guitarist and Electric Dreams -- featured the word "electric" in their titles, it seems that the guitarist wanted to emphasize his more plugged-in side to those who might not have followed along on three previous releases featuring his acoustic world music band. He also thumbed through his impressive phone book to call in some of the cream of the 1977 crop of jazz fusionists to help him out on Electric Guitarist, a true return to form. Ex-Mahavishnu members Jerry Goodman and Billy Cobham assist in kicking things off just like in the old days with "New York on My Mind," a tune that could have been an outtake from his earlier Mahavishnu Orchestra work. Also along for the ride are Chick Corea, Stanley Clarke, David Sanborn, Carlos Santana, Jack Bruce, and four legendary drummers including Cobham, Tony Williams, Jack DeJohnette, and Narada Michael Walden. Unfortunately, the credits don't specify who plays on which track (well-written liner notes would help there), but anyone familiar with the distinctive styles of these artists can easily pick them out. McLaughlin is in fine form throughout, especially when playing clean, staccato, bent notes on the ballad "Every Tear from Every Eye." The majority of the selections stay in a more subtle but amped-up groove as McLaughlin shifts from dreamy to a faster, more straight-ahead tempo on the seven-minute "Do You Hear the Voices that You Left Behind?" A duet with Billy Cobham on "Phenomenon: Compulsion" provides the set's most frantic fireworks as both musicians air out their chops on a breathless, galloping piece with some of the guitarist's most furious picking.

By Hal Horowitz in All Music Guide

Styles:
Fusion
Post-Bop

Tracks:
01 - New York on My Mind (05:46)
02 - Friendship (07:02)
03 - Every Tear from Every Eye (06:53)
04 - Do You Hear the Voices You Left Behind? (07:41)
05 - Are You the One? Are You the One? (04:43)
06 - Phenomenon: Compulsion (03:23)
07 - My Foolish Heart (03:25)

Line-up:
John McLaughlin – guitar
Carlos Santana – guitar (track 2)
Stu Goldberg – Minimoog (track 1), electric piano (track 1), organ (track 1)
Chick Corea – Minimoog (track 4), piano (track 4)
Patrice Rushen – piano (track 3)
Tom Coster – organ (track 2)
Billy Cobham – drums (tracks 1, 6)
Narada Michael Walden – drums (track 2)
Tony Smith – drums (track 3)
Jack DeJohnette – drums (track 4)
Tony Williams – drums (track 5)
Alyrio Lima – percussion (track 2)
Armando Peraza – conga (track 2)
Fernando Saunders – bass (track 1)
Neil Jason – bass (track 2)
Alphonso Johnson – bass (track 3), Moog Taurus (track 3)
Stanley Clarke – bass (track 4)
Jack Bruce – bass (track 5)
David Sanborn – saxophone (track 3)

Return To Forever - Song To The Pharaoh Kings (Montreux 2008)

Wayne Shorter - Super Nova (1969)

This CD reissue brings back an important transitional album for tenor-saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies" which had been recorded previously by Miles Davis) and Antonio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen for his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music but there is nothing derivative about the often-surprising results. As with Wayne Shorter's best albums, this set rewards repeated listenings.

by Sctott Yanow in All Music Guide

Styles:
Post-Bop
Fusion

Tracks:
01 - Supernova (04:45)
02 - Sweet Pea (04:35)
03 - Dindi (09:45)
04 - Water Babies (04:50)
05 - Capricorn (07:45)
06 - More Than Human (06:10)

Line-up:
Wayne Shorter — soprano saxophone
John McLaughlin — acoustic and electric guitar (1, 2, 4 & 5)
Sonny Sharrock — electric guitar
Miroslav Vitous — bass
Jack DeJohnette — drums, thumb piano
Chick Corea — drums, vibes
Airto Moreira — percussion
Walter Booker — acoustic guitar (3)
Maria Booker — vocals (3)

Return to Forever IV: Hymn of the Seventh Galaxy Tour (2011)

Almost forty years after Return to Forever – the definitive jazz fusion ensemble – first appeared on the scene, the much honored ensemble is making one of their continuing returns to action. And, in the bold tradition of renewal that Chick Corea has established as an essential RTF quality, this latest installment combines elements from the band’s rich history with an exciting vision of the jazz future.

Line-up:
Chick Corea - piano and keyboards
Stanley Clarke - bass
Lenny White - drums
Frank Gambale - guitar
Jean-Luc Ponty - violin

Stay tuned at http://return2forever.com/

Chick Corea - Inner Space (1966)

This double album reissues Chick Corea's first album as a leader, Tones for Joan's Bones, adding two previously unissued tracks from the same session plus a pair of performances from a Hubert Laws date of the period that feature Corea's piano and writing. With such players as Joe Farrell on tenor and flute, trumpeter Woody Shaw, bassist Steve Swallow and drummer Joe Chambers on this Corea date, the pianist performs five of his originals plus "This Is New" while The Laws cuts include Corea's "Windows." Throughout, this advanced hard bop music, which keeps an open attitude toward the avant-garde innovations of the period, is consistently stimulating. Even at this early stage, Chick Corea's playing is quite recognizable.

by Scott Yanow in All Music Guide

Styles:
Post-Bop

Tracks:
01 - Straight Up and Down (12:36)
02 - Litha (13:31)
03 - Inner Space (09:20)
04 - Windows (08:47)
05 - Guijira (12:20)
06 - Trio for Flute, Bassoon and Piano (05:07)

Line-up:
Chick Corea - piano, keyboards
Joe Farrell - flute, tenor saxophone, wind
Hubert Laws - flute
Karl Porter - bassoon, wind
Woody Shaw - trumpet
Grady Tate - drums
Joe Chambers - drums
Herbie Mann - percussion
Joel Dorn - percussion

Anthony Braxton - Impressions (Woodstock Jazz Festival, 1981)

Line-up:
Anthony Braxton - alto saxophone
Chick Corea - pinano
Jack DeJohnette - drums
Miroslav Vitous - bass

Miles Davis - In a Silent Way (1969)

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.

by Thom Jurek at All Music Guide.

Styles:
Fusion
Jazz-Rock
Avant-Garde Jazz

Tracks:
01 Shhh/Peaceful
02 In A Silent Way

Line-up:
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
John McLaughlin – electric guitar
Chick Corea – electric piano
Herbie Hancock – electric piano
Joe Zawinul – organ
Dave Holland – double bass
Tony Williams – drums

Miles Davis at Isle of Wight - Call It Anything (1970)

Joe Farrell - Outback (1971)

Outback is the second of his dates for the CTI label, all of which are compelling, and some, like this one, are brilliant. Recording in a quartet setting with Elvin Jones, Chick Corea, and Brazilian percussionist Airto Moreira, Farrell, with his reeds and woodwinds, pushes the envelope not only of his own previous conceptualism in jazz, but the CTI label's envelope as well. For starters, this is not a funk, soul, or fusion date, but an adventurous, spacy tightrope-walking exercise between open-ended composition and improvisation. That said, there is plenty of soul in the playing, not only by Farrell, but by all the players -- and Corea never sounded less academic or pointillistic than he does here. There are four compositions on Outback, all of which were arranged by Farrell. The opener is the humid and mysterious title track by John Scott. Staged in a series of minor-key signatures, Farrell primarily uses his winds here, flutes and piccolos, to weave a spellbinding series of ascending melodies over the extended voicings provided by Corea -- not exactly in counterpoint, but in spacious contrast. Jones is his typically uncanny self, skipping over cymbals and using a set of sticks more softly than any man can and still drive a band. Airto is positively hypnotic with his hand-drum fills, rubs and shimmers, going through the beat, climbing on top of it, and playing accents in tandem with Farrell in the solo sections. "Sound Down" is a bit more up-tempo and features Farrell fully engaged on the soprano. Buster Williams lays down a short staccato bassline that keeps Jones' bass drum pumping. As Farrell moves from theme/variation/melody to improvisation, he brings Corea, who, uncharacteristically, vamps off the melody before offering a series of ostinato replies before Farrell clearly surprises everybody with the knottiness of his legato phrasing. Corea's "Bleeding Orchid" is a ballad played with augmented modes and continually shifting intervals that can be heard and mapped best by Williams' adherence to the changes, though his pizzicato fills provide a sharp contrast to Farrell's trills and columnar arpeggiattic meditations that come off as a cross between pastoral jazz classicism and Middle Eastern folk music. Finally, on the leader's own "November 6th," the stops are pulled out in a Latin jazz workout that invokes Coltrane's version of "My Favorite Things," and Farrell digs deep into the tenor's middle register for a singing sound that brings to bear the Latin jazz howling of Gato Barbieri and the deep fire music of 'Trane, while being played through a gorgeously bluesy sophistication as the other players rally around and push through the tenor player's flights of near manic intensity. This is a stunner, an album that is at least as inspired as anything Farrell ever recorded, and perhaps more so.

by Thom Jurek at All Music Guide.

Styles:
Hard Bop
Crossover Jazz

Tracks:
01 Outback
02 Sound Down
03 bleeding Orchid
04 November 68th

Line-up:
Chick Corea - electric piano
Joe Farrell - flute / alto flute / piccolo / soprano and tenor saxophone
Elvin Jones - drums
Airto Moreira - percussion
Buster Williams - bass

Miles Davis - Filles de Kilimanjaro (1968)

Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point — though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in "direction" was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But that's not a bad thing — this middle ground between the adventurous bop of the mid-'60s and the fusion of the late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening.

by Stephen Thomas Erlewine at All Music Guide.

Styles:
Post-Bop
Fusion

Tracks:
01 Frelon Brun (Brown Hornet)
02 Tout de Suite
03 Petits Machins (Little Stuff)
04 Filles de Kilimanjaro
05 Mademoiselle Mabry (Miss Mabry)

Line-up:
Ron Carter - bass (tracks 2-4 & 6)
Chick Corea - piano / electric piano (tracks 1 & 5)
Miles Davis - trumpet
Herbie Hancock - piano / electric piano (tracks 2-4 & 6)
Dave Holland - bass (tracks 1 & 5)
Wayne Shorter - tenor saxophone
Tony Williams - drums

Return to Forever - Musicmagic (1977)

Return to Forever was one of the most commercially and artistically successful jazz/rock bands of the '70s. Albums like Hymn of the Seventh Galaxy and Where Have I Known You Before are filled with the band's chemistry and deft mix of genres. This 1977 effort marks the departure of founding member, drummer Lenny White and guitarist Al DiMeola. White is replaced here with Gerry Brown. A five-piece horn section is added, which includes the returning Joe Farrell. Gayle Moran also is added as a vocalist and on keyboards. Those expecting a continuation of what the group was working on during the great Romantic Warrior will be disappointed. Musicmagic features none of the exciting and challenging playing that typified their best work. The first track, "The Musician," starts off strongly with a great intro then meanders, a trait that often marred Corea's best work of this era. "Hello Again," a duet with Clarke and Moran, is skilled but a little mawkish. The title track plays to this incarnation's strengths with the horn section providing punchy support as Corea has a harder-edged Fender Rhodes solo. Unfortunately, Musicmagic is more often than not filled with bombast and melodrama typified on "So Long Mickey Mouse" and "Do You Ever." The last track, the melodically compelling "The Endless Night," also has the vocals of Clarke and Moran blending particularly well on the song. Despite the best intentions, Musicmagic lacks the swagger and confidence of the group's best work.

by Jason Elias at All Music Guide.

Style:
Fusion

Tracks:
01 The Musician
02 Hello Again
03 Music Magic
04 So Long Mickey Mouse
05 Do You Ever
06 The Endless Night

Line-up:
Chick Corea - acoustic piano, Fender Rhodes, Mini Moog, clavinet, Moog 15, Polymoog, ARP Odessey, vocals
Stanley Clarke - electric bass / piccolo bass / acoustic bass / vocals
Gayle Moran - organ / polymoog / acoustic piano / Vocals
Joe Farrell - tenor and soprano saxophone / flutes, piccolo
Gerry Brown - drums
John Thomas - trumpet / flugel horn
James Tinsley - trumpet / piccolo trumpet
Jim Pugh - tenor trombone
Harrold Garrett - tenor and bass trombone / Baritone Horn

Return to Forever - Romantic Warrior (1976)

The most popular and successful lineup of Return to Forever -- Chick Corea, Stanley Clarke, Lenny White, and Al Di Meola -- was coming off the Grammy-winning No Mystery when it recorded its third and final album, Romantic Warrior. It has been suggested that in employing a medieval album cover (drawn by Wilson McLean), using titles like "Medieval Overture" and "Duel of the Jester and the Tyrant," and occasionally playing in a baroque style, particularly in Clarke's "The Magician," Corea was responding to Rick Wakeman's successful string of albums on similar themes. Certainly, the music suggests that the musicians have been listening to Wakeman's band, Yes, among other progressive rock groups. But they bring more of a traditional jazz approach to their sound, particularly in the opening statement of intent "Medieval Overture" and the original side one closer, "The Romantic Warrior," both of which feature extensive acoustic piano soloing by Corea. The original side two -- Di Meola's "Majestic Dance," "The Magician," and "Duel of the Jester and the Tyrant" -- is much more in a jazz-rock style, with Di Meola particularly rocking out on extensive, fast-paced electric guitar solos. Meanwhile, the rhythm section of Clarke and White is always extremely busy, maintaining a funky, driving pulse and several cross rhythms no matter what's going on above it. This is particularly noticeable, naturally, on White's sole composition, "Sorceress," but it continues to keep the music in the fusion camp even when Corea is sounding like a more traditional jazz pianist. Romantic Warrior is the sound of a mature band at the top of its game, which may help explain why it was Return to Forever's most popular album, eventually certified as a gold record, and the last by this assemblage. Having expressed themselves this well, they decided it was time for them to move on.

by William Ruhlmann at All Music Guide.

Styles:
Post-Bop
Fusion

Tracks:
01 Medieval Overture
02 Sorceress
03 The Romantic Warrior
04 Majestic Dance
05 The Magician
06 Duel of the Jester and the Tyrant, Pts. 1 & 2

Line-up:
Chick Corea – keyboards
Stanley Clarke – electric bass, acoustic bass
Lenny White – drums, percussion
Al di Meola – electric guitar / acoustic guitar

Return to Forever - No Mystery (1975)

The second edition of Chick Corea's Return to Forever only lasted three years, resulting in four influential recordings of which this was their third. Corea's versatile keyboards and composing talents, Al DiMeola's intense rockish guitar, Stanley Clarke's funky electric bass and Lenny White's powerful drumming combined to create a true fusion supergroup. Highlights of their passionate set include "No Mystery" and Corea's two-part "Celebration Suite."

by Scott Yanow at All Music Guide.

Style:
Fusion

Tracks:
01 Dayride
02 Jungle Waterfall
03 Flight of the Newborn
04 Sofistifunk
05 Excerpt from the First Movement of Heavy Metal
06 No Mystery
07 Interplay
08 Celebration Suite, Pt.1
09 Celebration Suite, Pt.2

Line-up:
Chick Corea – acoustic piano / electric piano / clavinet / organ / synthesizers /snare drum / marimba / vocals
Stanley Clarke – electric bass / acoustic bass / organ / synthesizer / vocals
Lenny White – drums / percussion / congas / marimba
Al di Meola – electric guitar / acoustic guitar

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

This Return to Forever set finds guitarist Al DiMeola debuting with the pacesetting fusion quartet, an influential unit that also featured keyboardist Chick Corea, electric bassist Stanley Clarke and drummer Lenny White. On this high energy set, short interludes separate the main pieces: "Vulcan Worlds," "The Shadow of Lo," "Beyond the Seventh Galaxy," "Earth Juice" and the lengthy "Song to the Pharoah Kings." Acoustic purists are advised to avoid this music, but listeners who grew up on rock and wish to explore jazz will find this stimulating music quite accessible.

by Scott Yanow at All Music Guide.

Styles:
Fusion
Post-Bop

Tracks:
01 Vulcan Worlds
02 Where Have I Loved You Before?
03 Shadow of Lo
04 Where Have I Danced With You Before
05 Beyond the Seventh Galaxy
06 Earth Juice
07 Where Have I Known You Before?
08 Song to the Pharoah Kings

Line-up:
Chick Corea – electric piano / acoustic piano / organ / synthesizers / percussion
Stanley Clarke – electric bass / organ / bell tree / chimes
Lenny White – drums / percussion / congas & bongos
Al di Meola – electric guitar / acoustic twelve-string guitar

Return to Forever - Hymn of the Seventh Galaxy (1973)

The second incarnation of Chick Corea's influential fusion group released only a single record, the magnificent Hymn of the Seventh Galaxy. Featuring a more rock-oriented approach than the Flora Purim-Joe Farrell band that was responsible for both Return to Forever and Light as a Feather, Corea and old standby Stanley Clarke join forces here with propulsive drummer Lenny White and electric guitarist Bill Connors. Although Connors lacks the sophistication of Al Di Meola, the young guitarist who replaced him, he possesses a deliciously raw sound that keeps Corea's heady compositions firmly grounded. White introduces a funk aspect to the music, replacing Airto's Latin grooves from the first two records. Clarke is as good, wrenching some truly frightening sounds out of his electric basses. This increased emphasis on electric instrumentation, also displayed in Corea's heavy use of synthesizers, is another thing that separates this record from the previous Return to Forever releases. And as good as the band performances are, it is the quality of the compositions that marks Hymn of the Seventh Galaxy as an indispensable disc of '70s fusion. "Captain Senor Mouse," one of Corea's finest fusion compositions, receives an excellent treatment here. Likewise, the two-part "Space Circus" is a fantastic mix of haunting and grooving elements, with some simply incredible solos thrown into the mix. With Hymn of the Seventh Galaxy, Corea continues his streak of simply timeless fusion albums. The best of the electric RTF albums.
by Daniel Gioffre at All Music Guide.

Styles:
Fusion
Post-Bop

Tracks:
01 Hymn of the Seventh Galaxy
02 After the Cosmic Rain
03 Captain Señor Mouse
04 Theme to the Mothership
05 Space Circus, Pts. 1 & 2
06 Game Maker

Line-up:
Chick Corea - electric piano / acoustic piano / organ / harpsichord / gongs
Stanley Clarke - electric bass / bell tree
Lenny White - percussion
Bill Connors - electric guitar / acoustic guitar

Return to Forever - Light as a Feather (1972)

Of the three versions of Return to Forever, the initial version is of the greatest interest from the jazz standpoint. With Joe Farrell on reeds, bassist Stanley Clarke, Airto on drums and percussion and Flora Purim contributing vocals, this contingent was one of the finest groups of the 1972-73 period even if they only actually cut two records. This particular set includes the original version of Chick Corea's greatest composition ("Spain") along with versions of "500 Miles High" and "Captain Marvel." This music crosses many boundaries and still sounds fresh two decades later.

by Scott Yanow at All Music Guide.

Style:
Fusion

Tracks:
01 You're Everything
02 Light as a Feather
03 Captain Marvel
04 500 Miles High
05 Children's Song
06 Spain

Line-up:
Chick Corea - electric piano
Joe Farrell - flutes / saxophones
Flora Purim - vocals / percussion
Stanley Clarke - double bass
Airto Moreira - drums

Chick Corea - Return to Forever (1972)

The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach -- hardly the sort of firebrand approach to fusion that Miles Davis, Tony Williams, and the Mahavishnu Orchestra were exploring, and far less rooted in funk or rock. Corea also bathes the album in an undertone of trippy mysticism, not only in the (admittedly dated) lyrics, but in his cosmic keyboard wanderings, which remain melodic and accessible through most of the record. There's one genuine pop song in the groovy samba "What Game Shall We Play Today," and while "Sometime Ago" has similar elements, it's part of an ambitious side-long medley that features a stream-of-consciousness intro and a jubilant, Spanish/Mexican-style closing section called "La Fiesta," complete with castanets and flamenco modes. The title track is another multi-sectioned work, featuring Corea and Purim in wordless unison on two different, catchy themes, plus breezy work from Farrell and lots of Brazilian-flavored rhythmic interplay. And the dreamy, meditative "Crystal Silence" is an underrated gem waiting to be rediscovered. Certainly, this edition of Return to Forever wasn't inclined toward high-voltage jazz-rock (as the next one was), but this group's two albums still stand as some of the most imaginative and distinctive early fusion recordings.

by Steve Huey at All Music Guide.

Style:
Fusion

Tracks:
01 Return to Forever
02 Crystal Silence
03 What Game Shall We Play Today
04 Sometime Ago - La Fiesta

Line-up:
Chick Corea - electric piano
Joe Farrell - flutes / soprano saxophone
Flora Purim - vocal / percussion
Stanley Clarke - electric bass / double bass
Airto Moreira - drums / percurssion

Return To Forever & The Headhunters

La Fiesta