Return To Forever
Where Have I Known You Before

THE REVIEW

Released a stunning 34 years ago, "Where Have I Known You Before" is chronologically the fourth album to which the renowned American jazz/fusion pianist Chick Corea brought to life, with the collaboration of Stanley Clark (bass, organ), Lenny White (drums, percussion, bongos) and the great guitarist Al Di Meola, all under the name of Return To Forever.

Despite the band's rather short lifespan, in just five years they produced seven small masterpieces of jazz rock, of which "Where Have I Known You Before" is just one example.
Although the eight tracks present in this LP are attributable to a style more or less usual for the American pianist, it is noticeable how the musical approach of musicians primarily inclined towards a sound closer to fusion, or jazz-rock if you prefer, significantly steers the musical direction towards more "rocking" territories: this is how masterpieces such as the sensual "The Shadow Of Lo" are born, opened by Mr. Corea's piano, which seems to want to give a more classical stamp to the track, but within a few seconds, the keyboards, accompanied by the duo White/Clark along with Al Di Meola, lead us into a very delicate piece of clear fusion derivation.
Moving along similar coordinates as this "Shadow Of Lo", there is also the short "Beyond The Seventh Galaxy", a true fusion anthem, which will go on to influence various bands of the genre, first among them the episode of MVP with Frank Gambale, Shawn Lane, and Bret Garsed, perhaps less passionate, but certainly with a more jaunty approach, I would almost dare to say fun.
During the journey, we also find spaces where the host moves "solo," I am clearly referring to the episodes of "Where Have I Loved You Before", "Where Have I Danced With You" and the two minutes of the splendid title track, a touching solo piano base that marks sweet and melancholic notes, prelude to the last song, the long suite "Song To The Pharaoh Kings", 14 minutes and 24 seconds of continuous instrumental evolutions that, although after repeated listening ultimately become a bit tiring, still manage to perform their task more than honestly. The bass solo that starts from minute 5 and 55 seconds and ends at minute 7 and 10 seconds is breathtaking (bass scholars will have plenty of fun).

Beyond a mere description of the record, what really strikes is the astonishing freshness of the tracks, none of which show their 34 years, resulting not only dynamic and ever-evolving but also modern and endowed with a boldness that not many can achieve.
Although good Chick Corea has hit the mark an infinite number of times during his four-decade career, I don't think I'm exaggerating by saying this is definitely one of his best works, a brilliant work by one of the brightest stars in the firmament of the jazz scene.