Return To Forever - Romantic Warrior

By the mid 70’s Return To Forever, was most definitely one of the most respected bands in the field of jazz music. But, it wasn’t until their sixth album, Romantic Warrior that the band was able to surpass other fusion bands of the time, and clock record sales, especially for a sibling of jazz music. The concept album revolves around a medieval theme, which becomes quite evident when one sees the album cover or runs through the track titles, and less obviously when one hears hints of Baroque music sprayed over on the album. The band’s most successful album would also be the last album to feature the infamous Chick-Clarke-Al-White line up.

Return To Forever, were predominantly a live band, with a central focus on improvisation of a very high level of professionalism. The same idea is propelled on the title track of the album. Chick and Lenny White serve as the rhythm section on the song, while Clarke and Meola get a large share of the lead work on the song. Interestingly the fills provided by Chick and Lenny, are more so noteworthy than the ingenious lead lines.

Medieval Overture, is a Corea composition which is unique to say the least. The song can be characterized by its short melodies with seem to run into each, without breaking sequence. Sorceress, being drummer Lenny White’s tune automatically pays great detail to the beat, which really rubs of on the listener. Chick has over-dubbed a synthesizer on top his acoustic piano lines, which adds to Clarke’s deep sound.

It is easy to discern the difference in sound associated with the second half of the album. The latter tracks are more rock based and dominated by Al’s distorted guitar lines. The tracks are reminiscent of the sound introduced by the progressive rock bands of the day, whose influence can be read on these tracks. Yet, even through these tracks the hint of medievalism is maintained, but in a tongue in cheek way, rather than in a grave manner.

Majestic Dance, although set in jazz-fusion overcoat, is filled with lighter lines, both in the onset and offset of the track. The track is almost too rock edged, to be termed as jazz. The Magician is by far the most technically complex track on the album, with it’s intertwining lines and multi instrumented partnership runs. The resonating melodies on the song, again draw back to the deliberate inclusion of a classical angle to match the theme of the album.

Dual of the Jester and the Tyrant shows exactly the level of musicianship that is required to be playing the concerning genre of music. The bass work of Stanley Clarke pushes the instrument, out of the bracket of rhythm instruments, and makes its own spot as a lead voice. Al Di Meola too provides his mach speed work against the guidance of Chick’s supportive keys.

Romantic Warrior, features a fair amount of experimentation on the band’s part, which obviously was the basis of the music these musicians played. The medieval theme forced the band to adhere to the sound, even when they would normally avoid straying away from the normal course.

Romantic Warrior; the last work to cherish from the unmistakable line up.