FunkFreak75 Chick going back a decade with some of his oldest friends and collaborators. Here they guys choose to explore some of the hard bop of the pre- and early years of Jazz-Rock Fusion only using their wisdom and more modern equipment from ten years on.

1. "The One Step" (6:05) a very sexy and spacious Smooth Jazz expression of some great melodies, ideas, using some superb jazz skills. If only all Smooth Jazz could have stayed as sophisticated, energetic, and jazzy as this tune! The performances of all four gentlemen are worthy of heaps of praise, but Steve Gadd's nuanced master work is especially smile-worthy. And I love Joe Farrell's smooth, never obnoxious soprano sax play. (10/10)

2. "Waltse for Dave" (7:32) piano, drums, fretless double bass (with some Fx?) establish a little swing action that reminds me of Burt Bacharach's "Wives and Lovers" (which earns the song points since Burt's song is already a favorite of mine). Joe joins in toward the end of the first minute with his mellifluous flute, teasing us with his flirtatious songbird-like melody making while Chick, Eddie, and Steve play quite playfully beneath. I have to say that it is so nice to hear jazz of this caliber being played with such joy and weightlessness! Chick and Eddie's solos are just as light and playful as Joe's making this another delightful song to hear--over and over. (14.25/15)

3. "Children's Song #5" (1:15) a little Burt Bacharach-like ditty with Joe's flute, Eddie's bass and Chick's piano chords all presenting and carrying the main melody as Michel Legrand would with Alexandre La Goya and Jean-Pierre Rampal. Some really nice work from Chick! (5/5)

4. "Samba Song" (10:00) this one sounds like a continuation (or scrapped cut) from the quartet's masterful work on the previous year's The Mad Hatter (my favorite Jazz-Rock Fusion album of all-time). On this one Joe gets to stretch out with his tenor sax while Chick spans the gap between the rhythmatists busywork with his inventive chord play and injections of flurries and flourishes. Chick then takes over the lead in the fourth minute. I have to say that I don't really like the way Eddie's bass sounds or is mixed into the sonosphere, yet his solo seventh minute is outstanding! And then the way they all come back together at 7:45 is so awesome! A shift at 8:15 into a vamp allows for a nice percussion solo from Steve. I'm really catching on as to why this album is so highly regarded (and cherished) among Chick Corea fans. (This is my first time hearing any of the songs on it.) (19/20)

5. "Friends" (9:26) a rather simple bass line with heavily-nuanced drum accompaniment and gentle Fender Rhodes chord play (in the left channel) prepares us for Joe's swallow-like flute play (in the right channel). Interesting sound engineering/mixing choices but I like them! Steve's play is interesting and often awesome throughout and I love the way Chick's electric piano playing becomes more animated in the minute before he takes over as the lead soloist. His solo in the fifth minute, however, sounds a little too milk toast/Bob James-ish: pretty but kind of schlocky--laking his usual creative and energetic flare. Eddie's bass is next and it's another really awesome solo: I really like the way his sound is engineered throughout this creative solo on the upper registers of his double bass. At 6:42 we return to the original form with Joe in the lead position while Steve, Eddie, and Chick feel totally locked into their performances. Great tune! (18.75/20)

6. "Sicily" (6:15) another tune--this one of the fast pace that was so frequently present on The Mad Hatter--that sounds like it came from the Mad Hatter sessions. Such spirited play from all of the musicians--especially Joe and Eddie. I mean, Joe's lead sounds as if he's ready to tear a hole in the stratosphere! Things stumble a little with Eddie's solo: he's trying to conform a little too much to the main melody that Joe had established (with Chick in full chordal support); it's just not my preferred style for him. The return to the opening motif in the fourth minute feels a bit out of synch--as if the foursome have lost a bit of their way--but they regain it just in time for Chick's Fender Rhodes solo in the fifth minute (though this time it's Steve's drumming that I'm drawn to attend to instead of Eddie or Chick). A nice solo even has some interesting slowed-down portions to give it some spice, and then we return to the opening motif with Joe back in his spot as leader--though Chick's keys are right there propelling the melody with Joe's flute. Nice finish! (9.125/10)

7. "Children's Song #15" (1:10) this one is a little off-kilter--as if the mood being captured is one of a unsteady toddler stumbling around on the garden grass after spinning around and around. (4.375/5)

8. "Cappucino" (8:39) a little looser and more-aggressively jazz-oriented in that there is less care given to listener-friendly melody-making and more expression of syncopation and dissonance and minor keys than any of the other songs on the album. It sounds to me more like the rising mayhem and chaos of an advancing hurrricane. The musicianship is awesome with everyone dialed in and committed to the less "friendly" mood and intent. Chick in particular is on fire with his animated play on the piano while Joe's soprano sax feels a bit drowned out within the mix. (18.125/20)

Total Time 50:22

A/five stars; a masterpiece of mostly-melodic Third Wave Jazz-Rock Fusion from one of the true masters of the genre accompanied by one of his favorite and strongest entourages of three.

FunkFreak75 During the two years after participating in the August 1969 recording sessions for Mile Davis' seminal album, Bitches Brew, Chick had participated in the recording of many diverse albums--from Miles Davis' live albums to Wayne Shorter and Larry Coryell's experimental First Wave Fusion albums Supernova and Spaces, respectively, but more, he chose to hang around his more steadfast jazz compatriots Jack DeJohnette, Dave Holland, Eric Kloss, Joe Farrell, and Gary Burton. Return to Forever marked his own first foray into true j-R-F as a bandleader.

1. "Return to Forever" (12:06) now I know where the idea for The Northettes (and other Canterbury female vocals) came from! Flora Purim's angelic and ethereal wordless vocalese performs as if another instrument in the weave with Chick's Fender Rhodes, Stanley Clarke's fairly-untreated electric bass, Airto Moreira's classical jazz drumming, and Joe Farrell's background flutes. (24/25) 2. "Crystal Silence" (6:59) a beautiful Fender Rhodes song that features the respectful and only intermittent inputs of Joe Farrell's soprano sax and Airto Moreira's shakers and bells--a song that would be expanded upon significantly with vibraphonist Gary Burton on the album of the same name that would come out later in the same year. (14.5/15)

3. "What Games Shall We Play Today?" (4:30) a gentle Latin-bossa nova light (reminding me of Burt Bacharach/Hal David's "Do You Know the Way to San Jose?") with Flora actually singing over the Fender Rhodes, Latin drums and bass lines and BOB JAMES-like keyboard and flute melodies. A light, innocuous song illustrating Chick's pop capabilities. (8.875/10)

4. "Sometime Ago / La Fiesta" (23:13) the whole of Side Two is occupied by this sprawling tune--a -part suite that starts out with Chick's vibrating Fender Rhodes being reacted to from the right side by Stanley's gentle, respectful double bass play. Eventually, in the third minute, Chick backs off to allow Stanley some solo time bowing his bass. Then Joe Farrell's flute and Airto's full drum kit get into the act for a couple minutes of more active, full-ensemble play until things begin being dismantled at the end of the seventh minute. By 7:30 a new more Latin/Brasilian motif starts up over which in the ninth minute Flora Purim begins singing (a rather simple, cheesy English lyric--which makes me wonder how beautiful this might have been had it been sung in Flora's native Portuguese tongue). Both Chick and Joe continue mirroring and creating variations on the main melody that Flora's vocal uses (rather rigidly, I might add). Both are creative but never really getting very daring--until, finally, the 12th minute when Chick and Airto seem to egg one another on--sweeping Joe up into the frenzy (with piccolo?). Overall, this light and delightful second movement lasts for about six minutes before there is a slow down and return to Chick's solo Fender Rhodes, tout seul. For the next couple of minutes he continues to gently, introspectively explore the main melody that he, Flora, and Joe had just been using before a slow down and complete stop at 15:25 signals an opportunity for the whole band to jump back in with a more percussive Latinized version of the four chord vamp they'd been using, this time with Joe playing his soprano sax up front. At 7:18 the whole key signature shifts and with it the melody line, now sounding much more aligned to a different, more Spanish theme and melody (Olé!)--but the shift was so subtle! If you weren't paying attention you might not even notice it! Joe swoops and soars covering the entire octaval capacity of his sax until the 20th minute when the band pretty much comes together to carry the melody together. Then Chick, Airto, and Stanley switch into a different kind of style while maintaining their carry of the same melody (basically), giving Joe a break for a minute. Stanley is walking all over that fretboard and Chick is really hammering and tickling his keys. Then Flora's hand percussion and Joe's sax step back in to liven up the final 90 seconds. Fun, melodic, sophisticated, though not as individually flashy as future RTF albums. (41/45)

Total Time 46:48

An album that really explored the more spacious, contemplative potential of the newly emerging wave of Jazz-Rock Fusion, Chick used his Return To Forever project as a means to exploring his curiosities with the world of electrified instruments and emerging new sound treatments--as well as some of his fire and vigor.

A/five stars; despite the feeling that these guys are just getting into their exploration and exhibition of Jazz-Rock Fusion, the music here is so melodious and the musicianship so high (though never mind-blowing as the future RTF individuals would display) this is truly a masterpiece of First or Second Wave Jazz-Rock Fusion. (First for the exploration of "uncharted territory," second for the use of forms and sounds that are already being explored by others--like Weather Report.)

FunkFreak75 A highly-touted album that I'd never heard until this year.

1. "Quartet No. 1" (10:09) spectacular, dynamic, and creative jazz with occasional injections of riffs and melodies that just keep wowing me. Eddie and Chick's performances are particularly engaging to me: often taking my attention totally away from the two other musicians (who are both solid--Michael able to surprise me from time to time with interesting sometimes knee-buckling, riffs). (18.5/20)

2. "Quartet No. 3" (9:36) opesning like an old-time big band piece for the first minute or two but then turning into a Post Bop/Hard Bop tune. Nice performances but not quite what I'm looking for. (17.5/20)

3. "Quartet No. 2 - Part 1" (dedicated to Duke Ellington) (7:05) Chick's solo opening shows him revisiting several of his old riffs, exploring variations on them and blending them into sequences heretofore unheard. I do not know Duke Ellington's style or sound very well (I only own a couple albums of his--one a three-disc set with Ella Fitzgerald), but there are components here that truly do feel and sound like what could be Duke's. A second musician (Michael) doesn't even join in until the third minute--the third and fourth not until the 3:34 mark! However, it is likeable and engaging, mostly for its comforting tempo, but also for Eddie's distinctive sound and his solo phrasing style that just seems to speak directly to my heart. Michael's sax play sounds a lot like it's coming from one of Billy Joel's mid-70s albums. I can't honestly say whether or not I will ever care if I hear this again much less recognize it if I do. (13.625/15)

4. "Quartet No. 2 - Part 2" (dedicated to John Coltrane) (11:48) Yes, we're back in the 1960s with The Jazz Messengers or Miles' Second Great Quintet (though I'd argue that Eddie Gómez is a little more dynamic and entertaining than Ron Carter--who I love and respect tremendously--and Steve Gadd is just not, much as he tries, as fierce and explosive as Tony Williams: his cymbal play is just too smooth and "elegant"). The opening bears some resemblance to the music of MAGMA (and, later, ONE SHOT)--which was, of course, greatly inspired by the man to whom this song is dedicated. Of the four separated pieces, this is probably my second favorite. It's got some really interesting and subtly variable tempos and a bit of a looser structure. (22.5/25)

Total Time 38:38

The opening song was immediately accessible and enjoyable, prompting hours of out-loud repetition and improvised variations on and inspirations from the bass and piano melodies. I'm saddened to have to admit that not only were the Post Bop motifs out-of-reach to my puny little brain, the performances of both Mr. Smooth (Steve Gadd) and Michael Brecker rarely managed to captivate my attention.

A-/4.5 stars; a minor masterpiece of rock-infused Post Bop Jazz that is a real treat if you're a fan of either Eddie Gomez or acoustic Chick Corea.

FunkFreak75 I've never been certain why this album has always, since I acquired it in 1978, maintained a very high place on my all- time list of Favorite Albums, but now, after examining it from the critical perspective of a music reviewer I think I have a better grasp of it.

1. "The Woods" (4:23) a wonderfully atmospheric, psychedelic, even appropriately-comedic collection of sounds and melodies to open Chick's 1977 rendering of Charles Dodgson's famous story. What a great, perfect opening (overture). Like a soundtrack to a book-on-tape. (10/10) 2. "Tweedle Dee" (1:10) piano and cello & strings; sounds very much like one of Yo-Yo- Ma and Edgar Meyer's "Goat Rodeo" pieces from the 21st Century. (5/5)

3. "The Trial" (1:43) Gayle Moran's singing of The Queen Hearts' famous line "Who stole the tarts was it the Kind of Hearts?" is fittingly quite annoying. Perfectly appropriate for this story! (5/5)

4. "Humpty Dumpty" (6:27) great jazz jam that sounds coming from Chick's piano, Eddie Gomez's double bass, Steve Gadd's drums, and Joe Farrell's tenor saxophone that feels more based in the realm of true jazz due to the double bass play but, it does cross over into the J-R Fusion style with Farrell's sax style and Gadd's nuanced drumming palette. The song also does kind of an "overture" job of presenting melody themes that will come up (repeatedly) in later songs. Awesome high-energy, melodic jazz piece! Man are these artists skilled and talented! One of the most tightly composed and performed (recorded) songs I've ever heard! (10/10)

5 "Prelude to Falling Alice" (1:19) Chick's piano, strings, metal percussives, and Gayle Moran (and, later, horns) present the ephemeral framework of the song that follows. (5/5)

6. "Falling Alice" (8:17) Horns are the opening mood and melody setter for this before Gayle brings us into the story. Chick's electronic keyboard play in the instrumental solo sections is at its absolute best but Gayle Moran, Joe Farrell (and the horn section), Eddie Gomez, and Steve Gadd's contributions make this one of my absolute favorite J-R Fuse songs of all-time. It's even better than any RTF song! (20/20)

7. "Tweedle Dum" (2:54) Chick's piano with the strings complement (with Jamie Faunt on double bass) and Gayle Moran's ghost-like vocalise make this an excellent buffer between the album's two highlights. (1010)

8. "Dear Alice" (13:06) Chick's piano arpeggio provides all the support necessary for both Eddie Gomez and Chick's right hand (not to mention Steve Gadd's amazing subtle support on the drum kit) to issue forth two minutes of some of the finest soloing you'll ever hear. At 2:45, Gayle returns to move forward the Alice story before stepping back to allow one awesome flute solo from Joe Farrell (while Chick, Eddie, and Steve continue to provide their amazingly nuanced support.) I LOVE Chick's rhythmic Latin melodies in the background! At 6:40 we bridge into Chick's turn at the lead. It takes a few cycles for him to warm up, but once he gets cooking in the (eighth minute) it's epic! And the support from and Joe, Eddie, and especially Steve is phenomenal. While not quite as mind-blowingly perfect as "Falling Alice" this is, for me, another highlight of the Jazz-Rock Fusion's "Classic Era." Steve's drum play over the final two minutes not only rivals, in my opinion, that of the famous "Aja" sequence but surpasses it! (24/25)

9. "The Mad Hatter Rhapsody" (10:50) Chick and Herbie going toe-to-toe using some of the album's previous themes and patterns. Chick is on piano and Herbie is playing a Fender Rhodes with Eddie, Steve Gadd, and the Joe Farrell-led horns (mixed masterfully with Chick's synth horns) bringing us a rollicking race-track tune with great solos from Chick's Minimoog, Herbie's Fender, The rhythm section is so tight--even when the dance rhythm turns slightly Disco! I'm not crazy about the little Latin motif in the eighth minute, but I LOVE the way they tie it up with Gayle taking us back to the "main melody" of the Alice songs. (19.25/20)

This is an album that I find so hard to find fault with. It may not be as free and unstructured as Bitches Brew or the Mwandishi albums but this musicianship of the very highest order as well as inspired compositional genius. It will be of no surprise to me if the metric ratings for this one come out extremely high.

A+/five stars; one of the finest jazz, jazz-rock fusion, or prog albums I've ever heard/known. In a rather unexpected twist of fate, The Mad Hatter is my highest rated and one of my Top 10 Favorite J-R Fuse albums of the "Classic Era"!

FunkFreak75 Chick's demo hopeful for entry/admittance to the world and work of Broadway composer.

1. "Imp's Welcome" (2:55) very cool intro with many weird, quirky sounds coming from Chick's vast collection of keyboards. (4.5/5)

2. "Lenore" (3:25) great melodic jazz-rock tune with Chick playing off of and against ... himself! Piano, Moog, clavinet, ARP Odyssey, Fender Rhodes, Yamaha organ--they're all playing off one another--as if coming from different musicians on the same stage! Gayle Moran's wordless vocalese at the end is nice touch. (9.25/10)

3. "Reverie" (1:58) opens as a solo piano piece, very pensive and heart-felt, but then Gayle's overly-reverberated vocalese float across the back stage. A sign of how in sync husband and wife are at this point in their lives. (9.625/5)

4. "Looking at the World" (5:29) opening with some previews of some of the future riffs that'll be central to next year's The Mad Hatter, Gayle joins with the rhythm section, this time singing in a more jazz-pop style (with words) before Chick ramps quickly into some heavier j-r fusion between Gayle's multi-track verses. Kind of like an oldie from the 40s with the future jazz-rock fusion that's coming with the Jaco Pastorius version of Weather Report. Interesting "underwater bass" from Anthony Jackson. (8.875/10)

5. "Nite Sprite" (4:31) this one sounds like it feeds right into the RTF Romantic Warrior recording sessions (especially Part II of "The Duel of the Jester and the Tyrant"). A little funkier with Anthony Jackson's bass and Steve Gadd's fantastic near-disco jazz drumming. (9.25/10)

6. "Soft and Gentle" (5:08) with Gayle in the vocal seat for the whole song, this one once again evokes many reminders of Broadway musicals, great chanteuses of old, as well as many old jazz/pop standards of the 1940s and 50s. And I love the presence and powerful effect of the strings, Chick's grand piano, Eddie Gomez's acoustic double bass, Steve Gadd's classy jazz drumming, and the horn section. Quite lovely--as well as being quite a lovely composition. Deserves to be heard. (9.5/10)

7. "Pixiland Rag" (1:10) more light and whimsical keyboard experimentation in a solo format. There's even a little ragtime jazz in here. (4.333/5)

8. "Leprechaun's Dream" (13:03) a thoughtful, rather pensive song that makes one feel fear and uncertainty: as if a person is living in the moment so as to escape having to make any/all decisions in the Big "Real" World. The play of double bassist Eddie Gomez and flutist Joe Farrell are delightfully uplifting--especially playing off of the syncopation genius of Steve Gadd. The contributions of the string and horn sections are also quite welcome. Crossing/blending several unusual styles makes this a rather unique and ambiguous song--making it difficult to define or categorize. Again, I feel that Chick this album's music is best serving as a "getting to know" each other germination fest for what will become Romantic Warrior, and then, The Mad Hatter. Still, it's hard to not admire, respect, and be awed by the performers' performances as well as Chick's growing big-band compositional mastery. (22.6667/25)

Total Time 37:39

This album, as a whole, sounds like an artist that is sitting on a fence, trying to decide which direction to take his music. As displayed here, the talented man has many directions to choose: we here much of his recent Return To Forever style, some of his older Latin roots, some of the future fanciful future dreaming that he's doing, and a surprising number of riffs, sounds, and styles that feel as if they are coming from the world of the Broadway musical (especially Leonard Bernstein)! The question of what he will choose to "specialize" in--and when he'll come out of his haze of confusion and synaesthesia--will be resolved in the next year or two with the demise of his popular and highly- acclaimed Return To Forever project and the repetitious re-confirmation of his solo career. All in all, this is definitely a step toward Chick's other upcoming masterful releases, Romantic Warrior, My Spanish Heart, and my favorite, The Mad Hatter.

A-/five stars; a minor masterpiece of eclectic jazz-rock fusion and another amazing release in a long career of astonishingly high creativity and top-tier quality products.