STANLEY CLARKE

Journey to Love is the second in Stanley's trio of fusion/prog rock albums released in the mid 70s. Preceded by the ambitious self-titled Stanley Clarke, and followed by the tight focus of School Days, Journey has more in common with it's predecessor with it's over- reaching aspirations and sometimes not quite developed musical pastiches. That's not to say Journey is not a great album, it is, but not as great as the more developed and economical follow-up, School Days.

Journey follows a very similar overall schematic as the other two albums, a couple of barn- burning Jeff Beck styled rock/funk workouts, some EW&F future pop, a lengthy suite featuring thirdstream classical/jazz compositions and arrangements, and an acoustic number with McLaughlin and Corea onboard. As usual, the upbeat funk-rock numbers are exceptional with Silly Putty and Hello Jeff ranking with some of Stanley's best. Hello Jeff features an incredible uplifting guitar solo from guess who.

Less successful is acoustic number Song to John (Coltrane). It's not terrible, but sort of unfocused, meandering and bordering on new age jazz during it's first half, and overly busy and flashy in the second half. This thing in the mid 70s where musicians would 'trade licks' can be intense if used sparingly, but unfortunately little these guys did in the mid-70s was done 'sparingly'. Anyway, this number plows onward and sounds nothing like anything ever put out by Coltrane. Finally we get to the ambitious Concerto for Jazz Rock Orchestra, a title lofty enough to attract the attention of the most pretentious of the prog rock set.

This 'Concerto' opens with some nice Satie-like piano figures with string synthesizer before launching into progressive rock like orchestrated assaults, EW&F vocals, space funk and several high energy fusion workouts featuring the blistering guitar work of David Sancious. Taken individually all these sections are great, but it's hard to say if this all adds up to some sort of Concerto, doesn't matter really.

If you like the other two Clarke albums in this trilogy, as well as other progressive rock influenced fusioneers such as RTF, Mahavishnu and David Sancious, you will find a lot to like here.

I will be able to feel wide and room for the technology of him and the performance method if it thinks about the work of Stanley Clarke in the 80's. The style of man who had already established an original performance showed room in the work in the 80's. The flow that gradually established the road to the contemporary music from "Time Exposure" that had been announced in 1984 was appearance of the music at which he had to aim as Solo. The establishment of the music character at which Stanley Clarke aimed is established enough in this album produced from "Find Out" announced in 1985 after the period on four months of about one year.

Music that caught the age will have been music with the quality that derived enough from the base of Jazz/Fusion. The technology and the idea that he cultivated are splendidly reflected in his work in the 80's. And, having decided the overall impression of this album might be very large the part of the realization by the idea and the guest that Stanley Clarke is variegated. The appointment of the musician who has various exchanges for Stanley Clarke shows various respects by the tune. And, the sense of Stanley Clarke of arranging the musician by the tune and the idea of the tune might be the points well along in the age. It might be a calculated flow that never puts out only the technology forward as a part of his room.

Element that receives flow from Clarke/Duke project. And, the success of DUO with Larry Graham that enchants the spectator in "Live Under The Sky" done in Japan in 1985 etc. surely expanded the width of the music character of Stanley Clarke and are doing. And, those element and idea are splendidly expressed by this album. Part of tune and Fusion that arranges song as the entire impression of album. And, abundant ideas of this album that the element of AOR also took have succeeded to some degree as the work.

"Hideaway" are the performances of all by Stanley Clarke excluding the rhythm of Gerry Brown. The line of gentle Bass might be Fusion with the element of AOR and mellow. As for the line of Bass, some Overdub is given. Moreover, the melody to which Bass gets on is established advances with a gentle sound.

As for "Overjoyed", the theme of Bass twines round a variegated sound of the guitar of Stanley Jordan. The negotiation on the guitar and Bass advances alternately with fast and slow. And, the keyboard of Alan Pasqua that raises the quality of the tune never obstructs the tune. Overwhelming solo of the guitar is twined around solo of Bass that understands the tune. The melody of Bass that takes an original sense is impressive.

"My Love,Her Inspiration" is Fusion with the element of AOR where the melody of Sax of George Howard shines. Stanley Clarke is performed by making good use of tenor Bass in this tune. It is in the rhythm section of Alphonso Johnson and Rayford Griffin that supports Stanley Clarke that freely performs a gentle melody. The obbligati of the keyboard that Alan Pasqua is of course good also contributes to the tune.

"Where Do We Go" has appointed the song of Angela Bofill. It might be a tune with gloss with the element of mellow. The perfection of the tune is raised in union the band. Gary Herbig takes charge of Sax. The transposition of Chord with the feature affects well, too. The line of Bass that doesn't obstruct the song might always be appearance of room and the idea.

Old friend's Herbie Hancock participates in "The Boys Of Johnson Street". Especially, the idea and the methodology of Herbie in the 80's might come out from the tune strongly because Herbie Hancock participates. The flow of the keyboard with the anacatesthesia catches the age well. And, it might be a point to have to make a special mention of the existence of Stewart Copeland that participates in this tune. The performance of Stewart Copeland does the performance with an indeed electronic element. And, the performance of Bass to make good use of Slap merges splendidly in the tune. Stewart Copeland and Stanley Clarke shift to the flow by "Animal Logic" after this.

Old friend's David Sancious participates in "Old Friend". It is Fusion round which the sound of a good keyboard for the line of Bass to make good use of cutting twines. The guitar of Dan Huff also contributes to the tune. And, a good idea of David Sancious that appears everywhere enchants the listener. It fights by an of course solo of Bass overwhelming technology. The idea of the tune to which this tune was surely done in the 70's might be followed.

Stanley Clarke plays all musical instruments to "When It's Could Outside" alone. It advances by arranging an electronic melody in the sound of the glittering keyboard. The line of Bass makes a variegated sound. It is ..Fusion by which this tune also caught the age.. finished. The sound of Bass is given Overdub and gives width to the impression of Solo and the theme. The rhythm used might also exactly have an electronic sound in the 80's.

"Listen To The Beat Of Your Heart" has appointed the song of Bernard Jackson. The music that a top musician always creates for the item of Jazz/Fusion gives a superlative degree performance and the idea to the element of the song. The technology will have the part that cannot be processed with machine parts. The tune is contemporary music that catches the age. An electronic sound of Alan Pasqua and the guitar of Paul Jackson Jr also contribute.

"Basketball" will be reminiscent of the tune of Herbie Hancock in the 80's. The melody of Sax of George Howard shines. The tune is Fusion that has an electronic element and is advanced. The performance of a part overwhelming the technology of Bass and good comes out. The transposition of complex Chord is placed and the performance continues the dash feeling.

"I'm Here To Stay" might be a tune for Bass and the song of Larry Graham. It is a gentle tune to which the element of AOR is taken. A good keyboard for a steady rhythm twines with the chorus. The impression of the album might be consistent.

The width of the music that Stanley Clarke expanded in the 80's might be indeed variegated. And, room and the idea are splendidly expressed by this album. And, a variegated guest also is contributing splendidly.

— First review of this album —

Stanley Clarke is one of greatest bass players from fusion classic era. Made his name playing in Return to Forever, he started solo career later. And if some earlier solo albums are still interesting, very soon he started to flirt with disco, and went to more commercial direction.

In 2008 Return To Forever was re-united in their classic line-up and traveled the world with very successful world tour ( recorded on double CD, by the way). Soon after Chick Corea collaborated with John McLaughlin with similar world tour ( and double live CD as well). Clarke with another Return To Forever musician, drummer Lenny White, founded The Stanley Clarke Trio ( with young Japaneese piano jazz star Hiromy Uehara.

So, on this album you will find kind of classical jazz trio ( bass-piano-drums), playing acoustic post-bop and contemporary jazz. There are some jazz standards and some members original compositions.

The music is what the best modern acoustic jazz trio can play - mid-tempo melodic tunes , warm, nostalgic, very intelligent and stylish. All musicians are of highest class, so any modern jazz lover will be pleased by listening of this album. Japaneese traditional "Sakura Sakura" will touch your heart as well as Uehara's "Sicilian Blue". You can't find so warm and tender playing without flirting with pop-music in modern jazz very often!

Last album composition "Under The Bridge" is unusual jazz-cover of known Red Hot Chilly Pepper song!

Very recommended to any jazz lover. For fusion purists - not too much of fusion could be found there. But I think it will be one of the best contemporary jazz albums of 2009!

Virtuoso Bassist Stanley Clarke has been around for a long time, and he's one of the most admired and skilled musicians I've heard (along with Jeff Berlin, Les Claypool, Chris Squire, Geddy Lee, Percy Jones.......) but unfortunately I'm not the biggest 'Fusion' fan - Jazz-Rock yes, Fusion, not so much. 'Hideaway' sees Clarke well into the 80's - neatly cropped mop and a Country-Road jumper with the sleeves scrunched up to his elbows, the music is as neatly manicured as he is. The overall sound of the album is one that's so polished it almost sounds inhuman - don't get me wrong, the playing is superb, his supporting cast of musicians is great (ranging from the likes of drummers Rayford Griffin and Stewart Copeland, to members of his old 'Schooldays' project. Most of the keyboards are played by Alan Pasqua and can sound quite lush. The songs range from easy listening instrumentals, of which a cover version of Stevie Wonder's 'Overjoyed' is quite superb, very mellow, yet I'd swear that the strings of Stanley's bass were molten by the time he finished his blistering solo part. In fact, most of the non-vocal tunes are smooth and laid-back 'fuzak' which are perfectly executed, but those which contain vocals (courtesy of soul oriented singers Angela Bofill, Bernard Jackson and Larry Graham) I find too commercial and 'pedestrian' for my liking. This one goes down as an 80's Jazz-Pop album with some nice moments. 3 stars.

I know that year 1979 wasn't good for fusion and jazz-rock. In fact ,it wasn't too much good for music at all. What we have here illustrates the result.

First song is funk-disco hit with no-bad bass line. But then things go down very fast. Second song is stupid endless repetative disco, killing all forms of life around it!Few other songs try to flirt with soul in jazzy arrangements, but drum machine kills all good ingridients.

"Blues For Mingus " is acoustic piano and heavy bass line standard, but too short, sounds out of place. After goes short instrumental combining synth ambient noise with some bass solos.

Second part of the album is some live recordings from different time and places. Both together it sounds as low budget release with strange target group of buyers.

Even if in rare places Clarke demonstrates his perfect bass lines, altogether that album is below level of acceptability.

First of all,it's an acoustic album. Second-it's a perfect acoustic album! Three of fusion great musicians just made it: tasteful, intelligent work without screaming and thunder, but full of sound nuances and perfect technique.

There are no drummer, so don't expect too much energy or drive. But for sure it isn't sleepy recording. In many senses,it's similar to three of well-known albums of Sl Di Meola-Paco De Lucia-McLaughlin. There as well were three acoustic albums of strings. But whenever in "The Rite Of Strings" beside of Al Di Meola guitar exists violin and some rhythm section ( ok, just Clarke's bass), the music is more structurised and has a bit diversified.

I like DiMeola-DeLucia-McLaughlin acoustic albums, but to be honest, after some songs all compositions sound similar. The reason is quite specific sound of just three acoustic guitars at once. There, in Clarke-DiMeola-Ponty album situation is better: combination of all acoustic guitar,bass and violin let the musicians play more different music.

In it atmosphere, album is soft, a bit nostalgic ( in DiMeola latin jazz tradition), with some warmless coming from Ponty's violin. There are some classic and some original compositions on that album."Indigo" from the very beginning gives you the understanding about the music's waiting for you on that album. "Topanga" brings to warm space of latin-jazz scented with rich acoustic violin's solos. "Morocco " represents perfect violin and guitar interplay.

All in all, I am sure, if you like DiMeola-DeLucia-McLaughlin acoustic trilogy, it's an album for you. As well, it could be interesting for all DiMeola acoustic guitar fans,and for all lovers of good acoustic fusion. Realy very strong example of it!

There has never been a time when music wasn't an essential part of my life. Not as a kid, not as an adult. By choice whether playing it, creating it or just listening to it as a soundtrack for my existence it's always been around. And the #1 reason for that is my undying love and respect for its incorruptibility. I can't honestly say that about anything else I've encountered in the material realm. While I will concede that lyrics can be dishonest, exploitative and adulterous, music is always pure and righteous no matter what form it takes. Music can be dissonant but never disgraceful. It can be strange but never perverted. It can also be uplifting without being shallow, manipulative or artificial and that's what I take away from Stanley Clarke's "School Days" with every spin. I can't say that about many albums but this one always elevates my mood no matter the frame of mind I might find my capricious psyche meandering in and out of and that rare characteristic alone makes it one of my all-time favorites. For therein lies the true magic of music. Its miraculous ability to transform me from the inside. To make me want to dance. To make me smile. To instill a sense of unmitigated joy. This recording does all that and pulls it off with class.

By 1976 Stanley Clarke had firmly established himself as a bonafide trendsetter in the hoity- toity world of progressive jazz rock/fusion. His jaw-dropping work with Chick Corea's revolutionary Return to Forever group had brought him to the attention of millions years earlier and the tasteful solo work he'd produced along the way had solidified his reputation as a far-more-than-competent composer/arranger. But with this particular effort he created a masterpiece that stands the test of time. It will be just as exciting to listen to a millennium from now as it is today. I rank it right up there with another of my cherished fusion LPs, Billy Cobham's "Spectrum," because in the case of each the artist cut cleanly through the pretension and arrogance that so often plagues the genre and elicited unabashed exhilaration and pleasure of performing from every musician involved by setting them free. In a word, they allowed it to be FUN.

"School Days" has a beginning that's as simple as a hopscotch layout but as infectious as the common cold. As Stanley and drummer Gerry Brown lay down a strong foundation guitarist Raymond Gomez barges in with a wild, ferocious attack that brings to mind the angry wailings of a trapped East Texas bobcat who shouldn't be trifled with. I'm not sure I've ever heard a guitar effect quite like it but it screams bloody murder (in a good way). Soon the song's central melody line appears and it fits the title perfectly in that it sounds like a children's refrain emanating from a playground. The breakdown section starts out as refreshing as a summer rain shower due to David Sancious' airy synthesizers as Clarke confidently steps up to the plate to knock out one of the best bass rides you'll ever hear. He patiently allows tension to build between him and the drums, culminating in his producing more pops than Orville Redenbacher as Stanley spanks his Alembic like it was a bratty two- year-old and then, at the very peak, summons a triumphant, feral howl from his instrument befitting that of the Hound of the Baskervilles gloating in the moonlight over his latest kill. (Playing air-bass during this sequence is not only acceptable but encouraged.) He then lets the adrenaline abate as he wisely lets you catch your breath before reprising the catchy melody and settling back to terra firma.

"Quiet Afternoon" is an aptly named slice of soulful serenity. Clarke unveils his specially- made piccolo bass and delivers a perky lead on it while Sancious slips in a flirtatious solo on his mini-moog. Drummer extraordinaire Steve Gadd is, well, Steve Gadd here as he demonstrates the exquisite technique that would make Steely Dan's tune "Aja" a landmark cut a few years later. "The Dancer" is next and its Brazilian street festival groove is irresistible. Don't mistake its uncomplicated, repeating pattern for being demeaning or patronizing, though. A tune can delight and intrigue at the same time and this one does just that. First there's Gomez' and Sancious' multi-tracked harmony guitar/synth theme that is arms-raised-in-the-air, fist-pumping triumphant as it brackets various stirring fills from the virtuosos on board. They all contribute to the cause with their best shot but the gleeful laugh David tickles out of his keyboard is a grin-inducing celebration of the good life. I never get tired of buying wholeheartedly into this song's wonderful, enriching aura.

"Desert Song" is a mesmerizing acoustic duet between giants that concentrates more on feeling than precision and the payoff is wholly gratifying. Spiritual inspiration invigorated many artists in that era and, while the fact that guitarist John McLaughlin was a devotee of Sri Chinmoy and Stanley had been curiously enraptured by L. Ron Hubbard would seem to make for odd bedfellows, the result is enlightening and emotional. Clarke flies over the strings with a speed that would cause a bumble bee to go cross-eyed and McLaughlin's fiery passion is palpable as he pulls and stretches his steel catguts to the breaking point. And, despite the sparseness of the instrumentation, these two masters achieve more in the way of dynamics than most fully-loaded bands. The short "Hot Fun" follows and it peels off from the starting line with more energy than NASCAR at Daytona and plops down more heavy funk on your plate than you can eat in one sitting. Here the sizeable string and brass sections brighten the landscape and the rhythm section of Stanley and Steve is tighter than Silas Marner's pockets during an economic recession. Nothing unbelievable happens but it's entertaining to watch it whiz by in a blur, nonetheless.

The nine-minute "Life Is Just a Game" is the closer and it's as thrilling and supercharged as the smell of napalm in the morning. After a cool keyboard intro and a jolt-you-out-of-your- reverie onset, Clarke & Co. present a brief contemporary vocal passage that doesn't last long enough to fret over, then drummer-of-the-gods Billy Cobham's roiling toms herald an abrupt quickening of the pace and your heart rate. Keyboard man George Duke's sprightly synth runs fit like a glove but don't kid yourself, this thing rocks (or, to brazenly steal a line from my distinguished Aussie friend, "It rawks!") with the best of them. Icarus Johnson's guitar lead is spicy/flashy in a Tommy Bolin kind of way, then Stanley and Billy get down to some serious, and I mean SERIOUS interplay so intense that it'll make your head swim like it's caught in a whirlpool. It's everything you'd expect from these titans and more. They don't leave anything on the field. The song has a great big, fat proggy finale that once again involves a huge, in-your-face orchestral score that delivers the necessary knock-out blow and the albums ends with you thirsting for more.

One of the drawbacks of a lot of jazz rock/fusion is that the majority of its art is more progressive jazz than a genuine melding of that movement with rock's raw sensibilities and attitude. Not so with this album, though. With this stellar recording Stanley Clarke successfully blended the felicity and raucousness of rock & roll with the high-brow integrity of modern electrified jazz and it satisfies on a multitude of levels. Its lack of mind-numbing complexity may not be everyone's cup of Earl Grey and I can savvy that and accept it with grace. But I love it when music moves me and I'm not ashamed to say that every one of the tracks on this album does that without fail and that's not only a precious commodity but a treasure hard to find in this crazy world. Five sparkling, happy stars for this bad boy.

I do like this album but to be honest if i'd known it was an acoustic record i would have passed.I'm just not a fan of unplugged albums,i'd rather have Geddy screaming in one ear and Peart pounding his drums in the other if you know what i mean.We do have 3 Fusion legends though in DiMeola,Clarke and Ponty but how much better would this have been if it was electric and Cobham was on the kit? Oh well,like i said i do like it, but an hour of acoustic music just makes me start to twitch and blink a lot.Not a good sign. "Indigo" is a good opener with the bass and guitar opening things as the violin joins in before a minute.They all play so tastefully here.Nice bass 4 1/2 minutes in. "Renassaince" sounds really good before a minute with the deep bass,intricate guitar and violin coming and going. "Song To John" is the only track that was partly composed by someone outside this group,namely Chick Corea(with Clarke's help).And the John in the title is John Coltrane.It doesn't really kick in in until around 1 1/2 minutes.The tempo eventually picks up. "Chilean Pipe Song" kicks in before a minute.Nice bass again before 2 1/2 minutes. "Topanga" has this pastoral,laid back sound.The violin is prominant after 4 1/2 minutes to end it. "Morocco" opens with guitar and bass.It kicks in with violin before a minute.Some clapping too. I like the tasteful violin playing over the bass and guitar in "Change Of Life". "La Cancion De Sofia" is another mellow tune until it changes 3 1/2 minutes in.Some impressive guitar here. "Memory Canyon" is one of the best songs.Check out the guitar/bass 3 1/2 minutes in.More great guitar 5 1/2 minutes in. This was released in 1995 so most of my favourite performances from these three guys happened 20 years earlier.This is certainly more mature, it just does little for me.

In the early years of the anything-goes seventies Chick Corea's scintillating and envelope- pushing Return To Forever band attracted progressive rock fans like lemmings to steep cliffs, ready to leap recklessly into the unknown just for the thrill of the experience. Everyone could recognize that the raised-on-experimental jazz musicians he enlisted to further the cause were incredibly talented but Stanley Clarke, the who-the-heck-is-THIS-guy bassist, stood out like a Zoot suit at a Chinese funeral and enraptured admirers such as myself literally begged for more. In 1974 we got our wish with this self-named solo effort. While arguably coming up a few fries short of a complete happy meal, it still provides plenty in the way of strong doses of electrified jazz rock/fusion to warrant a place on your shelf and repeated plays.

Stanley wisely surrounded himself with a trio of capable hot shots (drummer Tony Williams, keyboard maniac Jan Hammer and his former RTF bandmate/guitarist Bill Connors) and headed into Electric Ladyland studios to wreak a little havoc. The first number, "Vulcan Princess," is a high-powered ditty that also appears on Return To Forever's "Where Have I Known You Before" album as "Vulcan Worlds." (I guess he liked it a LOT.) The good news is that he could get away with such shady shenanigans because the song is killer-diller, no matter the moniker. Clocking in at exactly 4 minutes, this is the kind of track that encapsulates all that's great about the genre without belaboring the point. This energy-filled, brass-fortified slice of fusion kicks the front door off its hinges like a SWAT team as Hammer's slinky synth bass line allows Clarke to nimbly peck away in the upper register of his fretboard, adding percussive pops to Williams' dazzling drum work below. Tony is one of the best things about this LP and here he gives you but a small taste of what's to follow. The tune's proggy climax segues smoothly into the obviously- related "Yesterday Princess," a brief but gracefully flowing piece where Jan's acoustic piano and Stanley's upright bass create a serene mood. Clarke also sings a verse or two but it only serves to prove that his voice is unremarkable. Thank God he doesn't overdo it.

"Lopsy Lu" is an up tempo dealie with a "walking" beat that's perfect for a brisk stroll with headphones through the neighborhood to sweat off the excess calories ingested by way of gorging on chocolate icebox pie after supper (although you might want to keep at it for more than the 7 minutes this song allows). There's a faint aroma of the melody from Jimi Hendrix's "Third Stone from the Sun" to be whiffed hither and yon but it's of no consequence as Stanley shows off his amazing mastery of his instrument right off the bat and that's what we came here for, anyway. The musicians allow the number to build steadily via clever interplay between these guys and their acute awareness of the basic principles of dynamics keeps things from spilling over into excess. "Power" is next and it begins with an impressive drum solo from Tony, then slides effortlessly into a straight- ahead rock beat before detouring permanently into Funkytown. First the good news: The perky, ear-catching riff/melody line is the best one on the album and Hammer's Moog solo blazes like a California grass fire. The not-so-good news: Bill Connor's nerve-rattling guitar tone dominates. His too-sporadic, jerky ride is ever so grating and not nearly consistent enough to divert your attention away from the repetitive bass line rumbling underneath. As if recognizing this stagnating situation themselves, the boys finally drop into a monotone, single-chord jam to break things up a tad prior to reaching the abrupt ending.

"Spanish Phases for Strings and Bass" is a welcome change of pace. It's a personal and emotional statement from Clarke as he goes solo on the upright and demonstrates clearly that he's much more than just a gimmicky "bottom slapper." Michael Gibbs' sweet orchestration remains sparse throughout and never becomes intrusive. Very nice music, indeed. "Life Suite" follows and it's the longest, most diverse cut on the album. Part 1 opens with a mysterious aura as the kinetic tension between Jan's piano and Stanley's acoustic bass provides some high drama. Part 2 sees them moving into a peppier pace as strong strings and brass add lightning bolts to the proceedings. Williams finally gets to show his mettle as he slays on the drum kit while the rest of the group stand in awe. And the way his tubs are miked it sounds like you're right there in the booth with him. After that they calm the waters with a slick Latin rhythm where Hammer's hypnotic synth lead manifests pure magic. Part 3 is another short-lived yet beautiful interlude expertly presented. Part 4 incorporates a semi-disco beat (hey, it was all the rage at the time) but that's not the thing that kills it for me. It's Connors' lack of tact. It's admirable that Clarke entrusted him with closing the album and in the early going of his ride his subtle approach is easier to digest but when he cranks up the volume he leaves good taste behind and gets carried away with his John McLaughlin imitations to the extent that you want to snip his Ernie Balls with a wire cutter. Jan and the brass posse arrive late to the wild party but by then there's nothing left but a messy, smoke-filled rec room.

Overall the enthusiasm of the players and the technical difficulty involved in their floor exercises keeps the few flubs and missteps from dragging the endeavor down and the result is a satisfying, fusion-filled journey. There are times when composition-wise it's no more than a glorified jam session with exceptional virtuosos struttin' their top-shelf stuff but when it works, it works big time and a splendid time is had by all. And for Stanley Clarke, the best was yet to come. 3.5 stars.

— First review of this album —

Stanley Clark & Friends , live album from year 1993! Made his strong name in fusion collaborated with Chick Corea / Return to Forever in early seventies, Clark became almost idol between fusion bass players. His solo albums just confirmed it.

So, there you can hear almost supergroup in live performance at The Greek Theater,LA. Just two names - Clark by itself and his old mate Billy Cobham - are enough to attract you for listening of this CD. Najee - sax / flute performer are well known as well. So - what are you expecting?

Yes, you right , it is highest standart fusion there. No experimentalism, no raw energy, ok, more as a report for all this years. But very well balanced, soft in sound, very professional.

If you are ready to listen for just on the best fusion players in their rare meeting - it's for you!