1.1
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Return To Forever
Chick Corea |
12:06 | |||
1.2
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Crystal Silence
Chick Corea |
6:55 | |||
1.3
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What Game Shall We Play Today
Chick Corea |
4:26 | |||
1.4
|
Sometime Ago / La Fiesta
Chick Corea |
23:18 | |||
Digital Booklet
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Toward the end of 1971, Chick Corea formed his first edition of Return to Forever with Stanley Clarke on acoustic bass, Joe Farrell on soprano sax and flute, Airto Moreira on drums and percussion and Moreira’s wife Flora Purim on vocals. On February 2 and 3, 1972, they recorded their self-titled debut for ECM, which included the popular Corea composition "La Fiesta."
Fresh from his work with Miles Davis et al., Corea forged a new personal direction with this “electrifying” album, the title of which later spawned a super group of the same name that would become a lasting institution, albeit with a roving lineup, through the late 1970s.
One can hardly listen to Return To Forever without first noting its distinctive mesh of sound. Stan Clarke keeps things running smoothly on bass, and Brazilian jazz singer Flora Purim gives us evocative (sometimes wordless) vocals throughout while her husband Airto Moreira provides ample rhythmic springboards for Corea’s electric piano acrobatics and Joe Farrell’s windy passages on sax and flute. Each instrument is like a voice in a small choir, and the album has been recorded accordingly.
96 kHz / 24-bit PCM – ECM Records Studio Masters
Tracks 1-4 – contains high-resolution digital transfers of material originating from an analogue master source
Tracks 1-4 – contains high-resolution digital transfers of material originating from an analogue master source
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.95 -2.68 to -0.96 | -19.01 -19.89 to -17.89 | -15.85 -16.70 to -15.10 | 11 10 to 12 | |
1 | Return To Forever | -0.96 | -19.83 | -16.4 | 12 |
2 | Crystal Silence | -2.05 | -19.89 | -16.7 | 11 |
3 | What Game Shall We Play Today | -2.68 | -17.89 | -15.1 | 10 |
4 | Sometime Ago / La Fiesta | -2.11 | -18.43 | -15.2 | 11 |