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5 Jul 2017

Return To Forever “No Mystery” 1975 US Jazz Rock Fusion

Return To Forever  feaut Chick Corea “No Mystery” 1975 US killer… Jazz Rock Fusion

The fourth edition of Return to Forever was a band that emphasized the screaming wah-wah guitar of Al Di Meola and every electric keyboard Chick Corea could get his hands on to play furiously fast runs. Where the initial, airy Flora Purim/Airto/Joe Farrell edition gave way to the second undocumented group featuring Earl Klugh, and the third band with electric guitarist Bill Connors, this RTF was resplendently and unapologetically indulgent, ripping through riffs and charted, rehearsed melodies, and polyrhythms like a circular saw through a thin tree branch. Their immediacy and visceral power is why rock audiences were drawn to them, impressed by their speed-demon vagaries as much as their concern for musicality. Thank goodness No Mystery had more than its share of toned-down acoustic moments, as well as the powerhouse fighter jet stance that most of their fans craved. It's not nearly as balanced as the previous album Where Have I Known You Before?, but expounds on those themes -- inspired by Neville not Harry Potter -- in a more progressive though louder manner. The bold, dancing, and funky "Dayride" in a higher octave and vocal-type keyboard range perfectly identifies the group sound in a scant three-plus minutes. The two-part, 14-minute "Celebration Suite" gives you a larger view of the classical Bartok/Chopin influence of Corea, and the dramatic medieval or regal stance they alchemized with so many keyboard sounds. It's pseudo-funky, Spanish in a 6/8 rhythm, wailing with Di Meola leaping forth in true guitar hero form, with some group-oriented perfunctory subtleties and complex lines. The title track is the jewel, an acoustic romp through fields of flowers with Lenny White on marimba buoyed by a beautiful, lilting, memorable melody and shifting loud and soft dynamics -- a classic in the repertoire and a fan favorite. The tromping beat of "Jungle Waterfall" supersedes Stanley Clarke's lithe lines, while noise keyboards dominate the silly "Sofistifunk." Corea's acoustic piano is featured on the chordal, grandiose solo "Excerpt from the First Movement of Heavy Metal," and in duet with Clarke. the improvised "Interplay" shows a more spontaneous rather than rehearsed side of these brilliant musicians. Over time, No Mystery yields mixed results, where initially they were viscerally driven and ultimately impressive. The next phase of the group, as indicated by this recording, would take them into even more technologically dominated Michael G. Nastos ..........

No Mystery continues onward with the 'cosmic' jazz-funk sound of the previous albums, while occasionally exposing Chick Corea's growing fascination with classical music.

By 1975, we were steadily beginning to witness the apex of the jazz fusion movement. As the ideology of 'jazz-rock' became popularized in albums like Miles Davis' Bitches Brew, the possibilities of blending jazz with practically any other genre in music became a growing trend in the following years. From the funk-oriented direction introduced in Herbie Hancock's Head Hunters, to the symphonic grandeur explored in The Mahavishnu Orchestra's Apocalypse, the early 1970s was certainly an exciting time for jazz music as we saw artists transform the genre into something far more abstract than the traditional elaborations of wind, keyboard, and percussive instruments. Return To Forever, though initially making their debut in the fashion of post-bop, began to embrace every trend that was prospering in the fusion scene. The group's fifth studio effort, No Mystery, could very well be seen as a reflective collage of the various creative endeavors that their colleagues were getting themselves into at the time. No Mystery is not only a further expansion on the progressive and funk elements that the group adopted in Hymn of the Seventh Galaxy and Where Have I Known You Before, but it also exposes a rather transitional period in sound as we begin to see Chick Corea unveiling his own fasciation with classical music.

The opening tracks like "Jungle Waterfall" and "Flight Of The Newborn" continue to showcase the group's funk-styled repertoire. Each piece is beautifully orchestrated, particularly "Flight Of The Newborn", which manages to display a formulated balance of emphatic melodies and technical soloing. As usual, the music is often directed by the intuitive synergy of guitarist Al Di Meola and keyboard guru Chick Corea, whose note and chord arrangements are usually drenched in excessive wah-wah garnishes so as to emphasize the intensity of the groove. One of the main things that you'll notice about this album is the lack of tedious impromptu assertions, a certain mannerism that acts such as Weather Report and The Mahavishnu Orchestra often fell victims to. There are no arid passages of long-winded, virtuosic soloing to be found here, only an immediate connection with the music at hand, as every clever scheme in the album is executed with dazzling precision in mind at all times. Take "Excerpt From The First Movement Of Heavy Metal" as an example, it's a rather eccentric piece and embodies layers of contrasting musical notions, and yet, it's surprisingly intriguing throughout. Chick Corea opens the piece with a dramatic piano sequence that echoes the classical stylings of musicians like Franz Liszt, rather than his own traditional jazz roots. Though what makes this piece such a peculiar one is how it drastically evolves in the midsection. Chick Corea's arrangement serves a guide that transitions us into a more raucous, progressive rock jam. This is where the other musicians get their time to shine. Al Di Meola leads the group with some sporadic guitar antics that appear as a cross between Jimi Hendrix's effect-ridden sound and John McLaughlin's fiery prowess. Bassist Stanley Clarke and drummer Lenny White also do an exceptional job at magnifying the bombastic assault of the piece, stunningly complimenting each other in the background and constructing a formidable collective embellishment.

Chick Corea's classically-styled intro/outro solos in "Excerpt From The First Movement Of Heavy Metal" serve to foreshadow the new concepts that are explored in the middle section of No Mystery. The medley between the eponymous track and its accompanying number, "Interplay", is the only moment in the album that truly emanates a classical aesthetic. Exclusively composed under an all acoustic set, and incorporating an arrangement of bowed-strings, as well as Al Di Meola's rapid, latin-tinged guitar-playing, "No Mystery"/"Interplay" is one of the most emotive, and dynamic performances in the entire album. It's interesting to see Return To Forever venturing in this direction because it gives us an early look of the route these musicians would soon embark on. It goes without saying that the classical influences are not as prominent here, and won't really come into fruition until the upcoming solo works of Chick Corea, particularly My Spanish Heart. Nevertheless, it is interesting see these guys questioning their own creative aspirations, and taking their music to new and unfamiliar dimensions. Though as invigorating as all of these mentioned concepts and sounds from the album may be, because of course Return To Forever always save the best for last, none are anywhere near as breathtaking as their 'back-to-basics', epic conclusion. Following in the tradition established by Light As A Feather's "Spain" and Where Have I Known You Before's "Song to the Pharaoh Kings", "Celebration Suite" ends No Mystery with a performance that exhibits enough energy and dexterity to keep the listener at the edge of their seat. From Chick Corea's dulcetly, Spanish-accented melodic theme, to the 'progged-out' spectacles of incendiary musicianship from the entire band, "Celebration Suite" is full of dynamic surprises and innovative marvel.

Looking at everything No Mystery presents within its near 43 minute run, it signifies both the end of Return To Forever's funkier motives, and the introduction of a far more progressive state of mind. The classical elements of this album don't necessarily have a prominent reprise in the upcoming Romantic Warrior, but the idea of branching out to new possibilites is felt just as intimately. It's never been a mystery of any kind that Return To Forever were sincere fans of progressive rock, and though that influence was certainly present in the prior albums, No Mystery marks the era in which the group further deviates from the ethos of jazz and adopts the symphonic instrumentation that bands like King Crimson and Yes were promoting at the time. And yet, even as No Mystery introduces a far more elaborate plot than the previous two 'electric' albums, going further beyond the space-rock patterns and funky textures, it doesn't impose any major renovations in Return To Forever's sound. This is just a foreshadow of what's coming, not the revolution itself. As entertainment value goes, No Mystery is not only one of the group's most enjoyable albums, but also a revered effort in the entire jazz fusion catalogue. It certainly showcases its share of dextrous technical movements, but the music is arranged in a fashion that always emphasizes on instant Hernan M. Campbell ................

Wow. This is a timeless recording by Return To Forever.
The acoustic and electric guitar work of Al Di Meola (only 21 years of age when this classic was released) sends chills up my spine each time I hear it. Chick Corea, the consummate musician, is once again virtuous on the synthesizer, organ, and piano. The drums of Lenny White are tight, and the bass work of Stanley Clarke is immensely complex, yet very sonorous.
This disc is a gem. To give it any less than a five-star rating is criminal. It's good to know music like this exists at an affordable price, especially in our world of hackneyed, superficial pop-music. With each listen of "No Mystery," a new level of music appreciation is procured.
Brilliant stuff..................ByDCW5791.................

As humor and ignorance go hand in hand, I'll let the former lead the latter in a little poke at jazz-wise folk... No Mystery plumbs the paradigmatical prog fusion cum Latin jazz that RTF is acronymically known for (noting that in fact it's not an acronym at all). Paralytic rhythms overtake the funky aspirations of side one, proffered most profusely on Lenny White's darkly funny "Sofistifunk" and in a suffusion of profusity on the seven-minute "Flight of the Newborn" (with a brief layover in Axesaw and the Keys of Reed). If they don't get your foot tappin', try on the metatarsal modalities of Stanley Clarke's bass on "Dayride" or steeling yourself against the humor of "Excerpt From The First Movement of Heavy Metal." Oblations to the great funk nation, the first half of No Mystery is a piece of prog fusion history worth preserving. Side two slips into the matador's suit of My Spanish Heart, a part and yet apart from Mystery's space spelunking start. The title track is patronymic parlor jazz with a forest scorpion's sting (having earlier resided underwood in ruth), the two-part "Celebration Suite" a cause for celebration if you enjoyed My Spanish Heart. The seriality of songs is less important than it was on Romantic Warrior, the ability to transhumanize jazz remains as keen. What occurs is a consubtantiation of creative forces, revealing the mysteries of the universe through sound. Ironically, it was L.Ron Hubbard who pointed out that we as human beings let our attention slip out the open window of a large and foreign word, but jazz critics insist on slippin' 'em in anyway. No Mystery really did win a Grammy in 1975 for Best Jazz Performance by a Group. Far from vindicating the Grammy selection process, I'll simply note that even a blind man can pick the right nutshell in an honest game every third daveconn ......................

When guitarist extraordinaire Al DiMeola joined Return to Forever to record the superb LP "Where Have I Known You Before" the band reached their enormous potential at last, becoming a closely knit foursome that would be hard for anyone to match, much less beat. After touring the rock circuits (just as The Mahavishnu Orchestra had done), stirring up a tidal wave of "have you heard these guys?" word-of-mouth buzz and fan support they reentered the studio to create another fusion work of art.
Bassist Stanley Clarke's "Dayride" is a perfect beginning with its fun, uptempo air and Chick Corea's sprightly synthesizer runs. Clarke and drummer Lenny White lay down some serious funk and Stanley tosses in a little George Benson-like riff singing right before the bridge. The ending is great. "Jungle Waterfall" is a fine example of one of the most endearing qualities of this group. Unlike most jazz ensembles these guys weren't overly obsessed with perfection. Instead they were more interested in finding the right groove for each song even if things got a wee bit loose in the process. This tune has a soulful, disco beat and some excellent guitar vamping from Al. It's a playful romp. DiMeola contributes "Flight of the Newborn" and it is an absolute jaw-dropper. It starts off with a funky rhythm and an intricate melody line. Al uses the wah-wah pedal much like Frank Zappa did in that he manipulates the tone from treble to muted in increments instead of just working it back and forward and it allows him to create some unique sounds as he flies over the frets. Clarke's solo is get-outa-here amazing and White is a blur on drums behind him. It's definitely a "WOW!" inducer for the listener and the last two minutes are so good it's beyond description. Next up is Lenny's "Sofistifunk," a short ditty based on a drum pattern and the name says it all. DiMeola and Corea add some give-and-take licks that are entertaining but the song is just too busy in general and represents the low point of the album for me. They certainly weren't above poking a little fun at mid-seventies musical trends and their tongue-in-cheek "Excerpt From The First Movement of Heavy Metal" is nothing more than a satirical parody (of ELP perhaps?). It starts with a big baby grand piano intro, abruptly introduces a heavy guitar riff that leads up to cacophony and then returns to the grandiose piano motif. The best news is that they don't beat it to death. Now it's time for the album's namesake, the stupendous "No Mystery." All the instrumentation here is acoustic, with White only adding some tasteful cymbals and percussion here and there. Corea's blissful recurring theme is exhilarating and the way they work as a unit is almost spiritual in nature. When Stanley unleashes his bow and solos on the upright bass he takes things to another level altogether. "Interplay" follows and it is a somewhat traditional modern jazz piece that demonstrates what a gifted pianist Chick is as he and Clarke provide all the music. A closed roll on the snare followed by stately notes befitting the entrance of a toreador into a bullring brings us to "Celebration Suite" (in two parts). White creates a one-man drum line as it sounds like he double-tracked his snare over a Spanish marching beat, then they all burst into a flamenco feel with Corea taking the lead on synthesizer. Lenny really shows his stuff as he guides the band through some ferocious accents and changes before they drop back down to the piano. Part II is more of an involved group piece that allows Al to turn in one of his blistering guitar solos that will shear your head off. After a short lull in the action they build things back up to the original "bullfighter" melody before taking it over the top with an ending befitting even the most bombastic of symphonic progressive rock bands. Maybe they were lampooning themselves earlier!

Needless to say, I highly recommend this album. There's a tangible atmosphere of joy coursing through it that is undeniable and impossible to fake. It's also a perfect example of the kind of inspired music that can come from a successful collaboration of virtuosos who can keep their egos restrained long enough to create magnificent art through cooperative teamwork. 4.4 Chicapah .....................

 With such a dream-team line-up (Corea, Clarke, White, DiMeola) you know you're in good hands. Indeed, this is great album, technical delight, ideas galore, it's pleasant, but it's not perfect. The technical skills are burden of this record; they work fine, but I would prefer slight less show-offs, and a bit more coherency. The songs are...brutal. From mellow fusion moments to the insane 32nd-note madness, these guys were in fusion what DREAM THEATER are in prog metal. Technicalities aside, there's a lot to be enjoyed, even if you're not much into fusion. There are some really weird melodies, a funk riff on a synth so deconstructed it sounds almost atonal. But it leads to more conventional tune (if you can call that sinister drumming conventional).
As the name of one song is " Excerpt From The First Movement Of Heavy Metal", I challenge the listeners to find the traces of heavy metal on this fusion record! Oh's not that least not when you are listening to that spasmic piano passage, pseudo-classical and pseudo-flamenco (Albeniz??), which in its full furiousness cross-fades into different arrangement of the you are on your way. Destination is unknown, but it will certainly be an experience. clarke2001 ......................

 I was lucky to see Return to Forever opening for Focus in 1973, with Bill Connors on guitar (damn, would have liked Al). At the time, bassist Stanley Clarke was the 4 string version of Eric Clapton's "God" and I remember how everyone found his ego unbearable, reserving massive applause for drummer Lenny White! That being said, this allegedly newly reforming band was a giant pillar on the jazz-rock scene, along with the Mahavishnu Orchestra, Weather Report, Tony Williams' Lifetime and Larry Coryell's Eleventh House. While "Romantic Warrior" will remain their Everest, this is no shabby second fiddle. Four superlative musicians can hardly screw up (mind you.) and Corea, DiMeola, Clarke and White surely do not disappoint, laying down some torrid funk-laden jazzy extravaganzas that defy logic and mimicry. On the jaunty icebreaker "Dayride", the brisk synths dance with the electric bass, the sprightly guitar swirling in and out of the melody and the wham-bam drumming that whacks your senses. Same for "Jungle Waterfall", a groovy romp with tons of wah-wah guitar, a sweeping main melody that reeks NY (where this was recorded) that just intros nicely for "Flight of the Newborn", a DiMeola penned 7 minute monster that showcases his now legendary sense of power and passion within a couple of blistering solos that will drop your jaw ("speed wah" is how I call it), with Stanley contributing a soulful bass solo that has more feel than ego (God, was he fast , though.) and Chick throwing in some heat seeking synth performances. Amazing track.. "Sofistifunk", a sizzling White composition, is very reminiscent of Cobham's drum/synth noodlings on the latter's legendary Spectrum album, showcasing some insane playing by the boys in the band. Is it funky, do ya think? The exquisitely playfully named "Excerpt from the First Movement of Heavy Metal" is a brief semi-classical fling with some guitar/keyboard dueling that makes the case that would make ELP blush with envy. The 6 minute masterpiece title track starts out like a jazz club classic, Chick's inimitable piano style (arguably one of the supreme pianists on earth) is ravishingly exposed, lyrical beauty displayed with passionate feel and a DiMeola acoustic infusion that defies gravity (one of the craftiest guitarists on earth) , the two soloists combining to transport this track to heavenly heights. "Interplay" acts almost as a goodbye wave encore to the previous extravaganza. The disc ends with the splendid two-part Celebration suite (not to be confused with the PFM classic), which showcases the proggier aspects of this talented crew, taking a Spanish/Andalusian theme and morphing it into a "Don Quixote" ride through torrid musical plains where the sun beats down hard and the windmills defy all the dreamers to fight the imaginary bulls of fate. Drummer White rips through this piece with utter abandon, propelling the two Latin blooded soloists into an uncontrolled frenzy, dizzying electric piano egging the enraged synths on, who in turn flirt with Al's furious guitar stabbings. Truly great stuff, not just for complex prog lovers but simple melancholics like yours truly. This is No Mystery = 4.5 galactic tszirmay .................

Another one of RTF classic line-up ventures that got a bit lost, this album is rarely seen on sale and certainly not the most representative of their discography. Sporting a psych-disco artwork, No Mystery is probably RTF's funkiest effort, but let that not deter you; it's still a worthy RTF album that you're bound to like if you dug their other works. With an unchanged line-up over WHIMYB, NM features vocals, something which hadn't happened over the previous two albums.
Yes, the funk thing is almost overpowering although you're not yet on Hancock's Headhunter album either, but this is sometimes close. The opening Dayride and later on Jungle Waterfall are full and complex funk stuff (ie. Sofistifunk) where the jazz elements are almost eradicated (White and Clarke are the main songwriters on this side), this being enhanced by Corea's disputable synth sounds. The race towards new technology was something that seemed primordial to all these jazz rock pioneers (Zawinul, Hancock and later McLaughlin with those ugly Synclavier guitar effects), often causing them to overuse and abuse these novelties and their music can seem quite dated nowadays, precisely because of these "novelties". One of the rare tracks that escape the Funkmania is the lengthier and ADM-penned Flight of The Newborn that returns to a more conservative fusion and the collectively penned Heavy Metal movement that features Corea's classical roots.

The flipside (all tracks written by Corea) starts with the title track makes a return to more standard jazz (a hint of LAAF, with Clarke's bowed bass) but again veering a bit more classical to the end. Actually, the whole side takes on a very different feel with plenty of Corea's Spanish-influenced classical musical, reinforced with ADM's guitar, the whole culminating with the first part of Celebration Suite, but the second part is not far behind: full 14-mins dramatic Hispanic histrionics and hysterics a gogo: great stuff worthy of their HOTSG album

Saved by its second side, NM is a very schizophrenic album, with its fusion and funk facets: most likely Afro-Americans will prefer the opening side, while the euro-American will prefer the flipside. In either case, NM is again a very good (if not excellent) album, but I would not recommend it as an introduction to RTF's Sean Trane ......................

They actually won a Grammy for this album in 1975 for "Best Performance by a Jazz Group". I do prefer the previous album more, but I tell you, with this lineup it's just a joy listening to all four guys play. This one is definitely more funky than "Where Have I Known You Before".
"Dayride" is a great opener with lots of energy and incredible band interplay. Lots of synths and even some brief vocals 2 1/2 minutes in. Of course White is all over this one. "Jungle Waterfall" is funky man. White and Clarke dominate with Corea adding his synths here and there, while Al plays along. "Flight Of The Newborn" is DiMeola's first recorded composition. And what a song ! More funk with keys to open. The guitar starts to light it up a minute in. Check out the bass after 4 minutes. The drums are just outstanding all the way through. No surprise there. Nice work from Chick before 6 minutes. This song is just a pleasure to listen to. "Sofistifunk" is just as the title suggests...complex funk. This is intricate and funky. "Exerpt From The First Movement Of Heavy Metal" opens with some outstanding piano melodies. Before a minute DiMeola comes in tearing things up. Drums follow with bass. Ripping guitar in this one before it ends as it began with piano.

"No Mystery" opens with piano and a jazzy flavour. Clarke chose to use his double bass on this one, and gets the bow out 2 1/2 minutes in. Intricate guitar a minute later. Chick really leads the rest of the way from 4 1/2 minutes on. Cool track. "Interplay" is really the interplay between Corea and Clarke throughout. "The Celebration Suite" is next. "Part I" opens with a machine gun like drum roll. Marching style drumming will come in around 2 minutes. A Spanish flavour follows. I like when it settles down after 6 1/2 minutes, and also the sound 8 minutes in as it's still calm. Very reflective and meaningful for me. "Part II" opens with a collage of sounds, so much going on it's fantastic ! Guitar starts to take the lead with some blistering melodies. Nice. A change 2 1/2 minutes in as it calms right down. Drums and keys lead the way. The drumming is brilliant.That Spanish flavour is back before 4 minutes. Like the previous album they end it with the longest track.

Easily 4 stars for me. I'm not worthy Mellotron Storm .............

After two albums of furious jazz-rock exploration, the classic quartet lineup of Return to Forever – Chick, Al di Meola on guitar, Stanley Clarke on bass and Lenny White on drums — had established itself as one of the most durable combos in all of jazz. No Mystery was a triumph of the new form: an unstoppable sequence of now-classic tunes, played with total commitment by true masters. The electric pulse of “Dayride” and “Sofistifunk” also makes way for the instantly-recognizable title tune, the first acoustic number played by RTF since the release of Hymn of the Seventh Galaxy two years before................

2008 digitally remastered two CD set featuring a pair of albums from Jazz pianist Chick Corea and his Fusion band Return to Forever featuring Stanley Clarke, Lenny White and Al di Meola. Where Have I Known You Before sas originally released in 1974 followed one year later by No Mystery.

Anyone who is into jazz, jazz/fusion, I am sure remembers these as individual records. I loved them both, but I like Chick Corea & Return To Forever. For me, I think this was some of their finer material. You can get it from Amazon as both original records on disc,so for me I was replacing 2 old LP's. I already knew what I was getting. It is great to have it on cd. Some of the material for the recent comeback on the live disc is also available from Amazon. I certainly give this 5 stars, I love both of these as individual lp's so replacing on cd especially these 2 on was disc, is a good value, & great music.

This release is far superior than the 1980's Polydor releases. There is more DETAIL, instrument seperation, fullness and finally...more BOTTOM. Yes, you can finally hear Lenny's kick drum and his toms have weight, Stanley's basses and Chick's bass synth/low-end synth playing. Also, you can hear Di Meola's comping and Chick's layers of keys/synths. This is like going from VHS to Blu-Ray and I know this music-I have been listening to these (over and over and...) since the earlier 80's on vinyl, then got the horrible CD issues around 1990 and now this.

This 2cd collection is absolutely brilliant, the first cd Where Have I Known You Before is a real electric treat with guitarist Al Dimeola & keyboardist Chic Corea trading riffs back & forth throughout the entire cd especially on tracks like Vulcan Worlds, Beyond The Seventh Galaxy & most notable Earth Juice but the most extravagant song is Song To The Pharoah Kings which really shows off the genius of Chic Corea on keyboards, also noted is the great rhythm section of Stanley Clarke & Lenny White. The 2nd cd No Mystery is a real funk fest with tracks like Dayride, Jungle Waterfall, Flight Of The Newborn & Sofistifunk. Al Dimeola trades riffs with bassist Stanley Clarke on so many occasions it's hard to keep track of, these fusionistic geniuses just pump up the jams on both of these cds with effortless ease. It's hard to believe they both were released in 1974 & 1975 because they are so far ahead of they're time respectively. It's a no brainier that these both stand the test of time & are classics in the jazz fusion world for this very reason they deserve a 5 star review. .................

And a glorious return it was! The 2008 reunion tour of Return To Forever is now over and I was lucky enough to catch the final show this past Friday, August 8, 2008. The show was the second at the United Palace Theatre in Washington Heights. Just to clarify, this reunion featured the classic, mid ‘70s lineup of Return To Forever - founding member Chick Corea on keyboards, fellow charter member Stanley Clarke on bass, Al DiMeola on guitar and Lenny White on drums. There have been other lineups with numerous musicians coming in and out of Return To Forever during their 1972 to 1977 run and I will get into that later. As for now, the focus is on Corea, Clarke, DiMeola and White! It was great to see these guys together again. It was the first time they’d played as Return To Forever since an brief 1983 reunion tour.

Before the show, strains of the Mahavishnu Orchestra and Miles Davis could be heard in the theater. Then the lights went down and a selection from Miles Davis’ legendary 1968 album In A Silent Way was played(which Chick Corea played on). The crowd went nuts when Chick, Stanley, Al and Lenny appeared. Chick greeted the crowd and explained that this was the last show of a very special reunion. He genuinely sounded moved by the opportunity to play with his old friends again. In fact, throughout the evening, the band members took turns between numbers to express how thankful they were to be playing with one another again and to say how much fun the tour had been. It was one Return To Forever love fest!! Each member also thanked folks who played a role in their musical development and lives. Many of these individuals were in the crowd. Chick Corea pointed out jazz legend Roy Haynes who was in the audience! Oh yeah, then there’s the music. Words can’t express the abilities these four virtuosos have! The endless interplay, improvisation and soloing was mind boggling. The show was split into a long first half and a shorter second half, which began acoustic. At the end of the one song encore, the band came out front and were joined by family, friends and crew as they all said goodnight and thanks. It was a nice finale to a special reunion. Even Roy Haynes and actor Laurence Fishburne came on stage! Laurence grabbed the mike to coax more cheers from the crowd and get the band to come out and play one more - a special second encore just for this night! There was lots of R2F love in the theater! Darren DeVivo..........

Line-up / Musicians
- Chick Corea / Fender Rhodes, piano, Yamaha organ, synthesizer, clavinet, snare drum, marimba, vocals, producer
- Al Di Meola / electric & acoustic guitars
- Stanley Clarke / electric & acoustic basses, Yamaha organ, synth, vocals
- Lenny White / drums, percussion, congas, marimba

Dayride 3:15
Jungle Waterfall 3:15
Flight Of The Newborn 7:20
Sofistifunk 3:20
Excerpt From The First Movement Of Heavy Metal 2:45
No Mystery 6:06
Interplay 2:15
Celebration Suite (Part 1) 8:25
Celebration Suite (Part 2) 5:30 

johnkatsmc5, welcome music..





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