Stanley Clarke celebrates Return to Forever, pays tribute to Chick Corea, during two concerts at SFJAZZ Center in San Francisco.
It sounds like you will be focusing largely on 1976’s “Romantic Warrior” — Return to Forever’s best-selling album — during the shows at SFJAZZ Center. Why do you think that record struck such a chord with listeners?I think there are a lot of things. It was a very innovative sound. It was done at the perfect time. There were a lot of jazz-rock fans. In those days, it was jazz-rock — the fusion thing actually was later.
When Ken Burns did that “Jazz” , he kind of cut it off at 1965. He kept it as jazz as a museum piece, in my opinion. He never really showed it went into other forms — like Steely Dan.Me, Lenny and Chick were actually jazz musicians. Chick played with Blue Mitchell, Art Blakey. I played with Art Blakey, Stan Getz, Dexter Gordon. Lenny White played with Freddie Hubbard and many people.
Somebody could put on a Yes album and then put on “Romantic Warrior” and the sound was not that much different — matter of fact, hardly at all.I love the fusion work that the band did on albums like “Hymn of the Seventh Galaxy” and “Romantic Warrior.”When you listen to those songs, they have a lot of different influences. It’s not just jazz. It’s not just rock ‘n’ roll. It has a lot of classical influences there. It’s actually ensemble music.
When there was a great guitar solo, or good bass or keyboard or drum solo, they would jump up and scream like they were at a rock concert. We were not use to that.I have a theory about that — that a lot of those fans were musicians.That makes a lot of sense, especially given all that was going on musically with those Return to Forever songs.The focus was on all the parts of music. It wasn’t just playing a couple of Monk tunes, then you write something that’s like Monk.
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