Formative jazz-rock fusion group Return To Forever took the stage Saturday night at Freedom Hill Amphitheater in Sterling Heights, Michigan. About midway through the first set, Lenny White took a turn at the mic and addressed the crowd: “In an era of boy bands, this here’s a man band.”
No doubt, for clearly most of those in attendance were males. Likely musicians of some ilk, they were also extremely appreciative for what was about to take place under the pavilion. That is, no less than the classic RTF lineup together after a 25 year hiatus embarking on a world tour.
Drummer White, guitarist Al Di Meola, keyboardist Chick Corea and bassist Stanley Clarke rose to prominence in the popular jazz-rock era of the mid-seventies. Though some RTF recordings feature vocals, this particular crew is best known for instrumental music blending strong rhythmic themes, tasty melodies and intricate jams that would choke a tie-dye vendor.
The air was perfect having just rained, the waning sun bright and low. Anticipation and mood were high as folks shuffled around rather unhurried. Soon though, the band took the stage to a standing ovation and settled in. Starting with restraint, they eased their way into “Opening Prayer” while folks found their way in to the tree-lined amphitheater. After a few minutes… the rockin’ started.
It’s hard to imagine RTF ever sounding this good. While indeed brash young pioneers of the genre back in the day, layering years of experience and exploration on top of that took the whole thing beyond temporal measure. Clearly enjoying themselves and displaying a certain musical telepathy, the compositions were fresh, vital and played anew.
Di Meola was remarkably animated, horsing around with the audience and showing off his lovely rainbow-finish Paul Reed Smith guitar. His licks were snarly and out front, a great blend - like the others - of improvisational prowess and tight control. The guitarist later opened the second set with a couple of acoustic solo pieces, both of which were delicate, fiery and beautifully realized.
During Clarke’s turn at the mic, he remarked how hard the guys had been working to get this tour together. “You know, there’s a lot of notes in this music,” said he to roars of knowing laughter. To be sure, Stanley played his part, at times bubbling riffs and chords off his signature Alembic bass at breakneck speed.
Corea introduced the aforementioned second set - “playing our original instruments” - as a tribute to someone under whose influence they all flourished: Miles Davis. In other words, it was an ‘unplugged’ set. Di Meola stepped offstage after his solo pieces while Clarke manned the double bass and Corea switched to the baby grand. With White remaining behind his kit these guys sparkled in the traditional jazz setting as much as they hammered as an instrumental rock outfit.
At one point Clarke was alone at center stage for the better part of a quarter hour bowing, slapping and outright assaulting his double bass through a maze of improvisations. The biggest ovation of the evening occurred as he pelted out the riff from his solo recording “School Days”, arguably the closest any of these men have had to a hit single. Not often does one see several hundred hands clapping in time to a bass solo, yet there it was.
Di Meola returned for the RTF tour de force, “Romantic Warrior” which closed the second set and found the band lingering at the edge of the stage shaking hands for a good while as the crowd emptied their seats to get close to these legends.
They brought out the electrics once again for the evening’s closing encore, “Duel of The Jester and The Tyrant.” This was another lengthy piece full of energy and interplay as RTF delivered the goods, making it clear that this tour is indeed the jazz event of 2008.
© Stephen Mockensturm for Listen In. Some Rights Reserved.
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