Eloy-Colours (1980)

The German band Eloy's eighth album featured several changes compared to their previous album, "Silent Cries and Mighty Echoes", both in terms of the lineup and the stylistic shift. Drummer Jürgen Rosenthal and keyboardist Detlev Schmidtchen were no longer with the band, replaced by Jim McGillivray and Hannes Folberth respectively, while Frank Bornemann (guitar and vocals), Hannes Arkona (guitars), and Klaus-Peter Matziol (bass) remained at the helm. Regarding their sound, this release maintains a similar direction to its predecessor but with a more accessible and catchy feel, undoubtedly paving the way for future releases that will be more focused on progressive pop-rock without the complexity of the previous work. The simplest melodies, without the pretensions of yesteryear, appear in pieces like "Gallery", "Sunset" or "Impressions", while the progressive "Horizons" continues the tradition of their previous albums and the epic "Child Migration" becomes the high point of this "Colours".

Memoriance-Et Aprés (1976)

Memoriance was an obscure and forgotten French art rock and symphonic rock band that released two compelling albums during the 1970s, now highly sought after by the prog rock community. Formed in the mid-70s, their original lineup consisted of Jean-Pierre Boulais (guitar and vocals), Jean-François Périer (keyboards), Didier Guillaumat (guitar and vocals), Didier Busson (drums), and Michel Aze (bass). Their intelligent fusion of styles, encompassing classic symphonic rock and space rock, is prominently featured on their only recordings. On their debut album, "Et Après", the sounds of a galloping bass, refined and elegant guitars, and certain jazz elements predominate, all underpinned by great musicianship. Tracks like "Je Ne Sais Plus" showcase the virtuosity of its members, crafting a powerful yet melodic, progressive structure with continuous rhythmic shifts. Jazz rock appears in the instrumental "La Grange Mémoriance", while the group's theatrical side is reflected in the title track "Et Aprés", a diverse piece that includes both quiet moments and frenetic rhythms, ending with the accessible and conventional classic rock of "Tracsir". Three years later, they returned with the concept album "L'Écume des Jours d'Apres Boris Vian", based on a 1940s novel by the philosopher and writer Boris Vian. ​​After a maxi-single titled "Sparadrap/Téléphone", released in 1981, the band finally disbanded, bringing their interesting recording journey to an end.

Popol Vuh-In Den Gärten Pharaos (1971)

Popol Vuh were pioneers in expressing the diverse musical ideas that emerged in the late 1960s and early 1970s. With their second release, "In Den Gärten Pharaos" (1971), the band, led by Florian Fricke, demonstrated a clear evolution from their debut album released the previous year. In addition to Fricke (synthesizers, organ, and electric piano), the Popol Vuh lineup for this album included Betina (cymbals and production), Holger Trülzsch (Turkish, African, and Asian percussion instruments), and Frank Fiedler (Moog synthesizers). Comprising two expansive epics of genuinely hypnotic sounds, this is undoubtedly one of the great milestones of popular music, representing a fundamental step forward in the development and consolidation of the various musical movements that would follow. The nearly 20-minute title track, "In den Gärten Pharaos", establishes a surreal, cosmic adventure, with a multitude of ambient sounds and rich instrumentation that alternates between world music percussion, cymbals, organs, and synthesizers. In "Vuh", an even more extensive suite, the medieval church organ is the driving force behind the music, which, supported by synthesizers and the cacophonous sounds of cymbals and drums, creates a sound very close to trance and the deepest meditation. Without a doubt, despite its inaccessibility to the general public, "In den Gärten Pharaos" is a masterpiece of contemporary music and of the most experimental and innovative rock.

Hank Mobley-Soul Station (1960)

Unfairly overshadowed by contemporary musicians like saxophonists Sonny Rollins, Stan Getz, and John Coltrane, Hank Mobley was another of the great legends of hard bop and jazz soul. While not a mere innovator or pioneer, his career was remarkably prolific, releasing formidable albums for Blue Note Records between 1955 and 1970. His style, distinct from Coltrane's aggressive sound or Stan Getz's subtlety, was relaxed, delicate, and melodic. For Blue Note, he recorded some of the finest jazz albums, such as "Soul Station" and "Roll Call", albums of great musical and jazz solidity. In "Soul Station" (1960), Mobley surrounded himself with some of the great musicians of his time such as Art Blakey, Wynton Kelly or Paul Chambers, offering a masterclass in jazz starting with the anthological "I Remember" or the formidable "Dig Dis" and "If I Should Lose You", in which this talented musician also showed his tremendous ability to compose exquisite pieces of the best hard bop in history.

Return To Forever-Where Have I Known You Before (1974)

1974 was the year that the band Return To Forever, led by keyboardist Chick Corea, released their fourth album, "Where Have I Known You Before". On this album, they left behind their Latin jazz influences to delve into the more complex sounds of jazz-rock and fusion, a style that other groups like The Mashavishnu Orchestra were exploring at the time. Furthermore, this album featured the classic RTF lineup, fronted by the aforementioned Chick Corea and supported by drummer Lenny White, bassist Stanley Clarke, and guitarist Al Di Meola. Di Meola replaced Bill Connors, who left the band just as the recording of this album began. "Where Have I Known You Before" is a work that offers top-tier jazz-rock, where all four musicians contribute their own unique styles and sounds. Tracks like the dynamic “Vulcan Words” already demonstrate the perfect synchronization between all the band members, while “Shadow of Lo” is its counterpart, with rich atmospheric keyboard textures and a leisurely pace that gradually builds in intensity. The enthusiastic “Beyond the Seventh Galaxy” contrasts with the melody of “Earth Juice”, showcasing the accessibility of the band's music, while the sublime “Song to the Pharoah Kings” is the album's most elaborate moment, featuring expansive synthesizer sequences, exotic sounds leaning towards Latin influences, and Di Meola's energetic guitar work. With “Where Have I Known You Before”, Return to Forever began their anthological trilogy of essential jazz-rock albums, alongside the dazzling “No Mystery” (1975) and the apotheosis of “Romantic Warrior” (1976).

Return To Forever-Hymn Of The Seventh Galaxy (1973)

Return to Forever's career has been marked by diverse variations within jazz, from the progressive sounds of "Romantic Warrior" (1976) to the rock of "Hymn of the Seventh Galaxy" (1973), passing through the jazz fusion of their self-titled debut album (1972), and the forays into funk and Latin sounds of "No Mystery" (1975). For their third release, "Hymn of the Seventh Galaxy" (1973), band leader Chick Corea introduced a new guitarist, Bill Connors, who replaced singer Flora Purim, and a new drummer, Lenny White, who replaced Airto Moreira, while the rest of the lineup remained Chick Corea himself and bassist Stanley Clarke. On this new album, the band focused on a heavy jazz-rock sound driven by the virtuosity and surreal performances of all its members. Bill Connors's dissonant guitar style, Corea's delicate electric piano playing, and the formidable rhythm section comprised of Clarke's extraordinary bass and White's complex drumming result in an album brimming with dynamic, impeccably crafted jazz-rock pieces. From the brilliant title track to the ethereal "Alter the Cosmic Rain", and from the jazzy improvisation of "Captain Señor Mouse" to the groovy jazz of "Space Circus", this album stands as one of the finest and most essential jazz-rock albums of the 1970s.

Return To Forever-The Mothership Returns (2012)

With a title that is, to say the least, revealing, Return to Forever returned with a double live album 30 years after their last studio release, "Music Magic", in 1977. Featuring a lineup that included regulars Chick Corea, Stanley Clarke, and Lenny White, along with Frank Gambale replacing Al Di Meola and the addition of Jean-Luc Ponty, they undertook an extensive tour in 2011, from which the material included on the double album "The Mothership Returns" was taken. This double album is full of memorable moments, such as the opening "Medieval Overture" from the album "Romantic Warrior", with an incredible performance by all five members of a classic piece in their repertoire. This is followed by other highlights such as "Senor Mouse" and "The Shadows of Lo/Sorceress". It should be noted that the inclusion of Jean-Luc Ponty's electric violin gives a different dimension to the original sound of all the songs included here. On the other hand, while it's true that Frank Gambale could never be compared to Di Meola in acoustic guitar performances, it's equally true that his tremendous electric guitar skills are in no way lacking, even though his style is heavier and more rock-oriented than Meola's. In other tracks like "Renaissance", "After The Cosmic Rain", "Spain", "Beyond The Seventh Galaxy", and "School Days", Corea's piano, Clarke's funky bass, and Lenny White's dynamic drumming stand out for their talented instrumental performances, without in any way diminishing Ponty's violin flourishes and Frank Gambale's energetic guitar work.

Return To Forever-No Mystery (1975)

Beneath its typically psychedelic cover, Return to Forever's fifth album is another of their classic records, though somewhat overshadowed by its placement between their three masterpieces ("Hymn of the Seventh Galaxy", "Where Have I Known You Before", and "Romantic Warrior"). Released several years after the first two and a year before "Romantic Warrior", this fifth record is where the band, led by Chick Corea and supported by Al Di Meola, Stanley Clarke, and Lenny White, delves into the most overwhelming funk, as evidenced in tracks like "Dayride", "Sofistifunk", and "Jungle Waterfall", all from the first side of the original LP, where there are hardly any traces of the group's usual jazz-rock sound. However, it's the expansive jazz-fusion track "Flight of the Newborn" that brings a touch of sanity to the funky rhythms of the album's first half. As a counterpoint to that first side, the second side again showcases the frequent jazz rock with the brilliant "No Mystery" and "Celebration Suite", two compositions where all the musicians demonstrate their extensive instrumental abilities, forming together one of the essential works of jazz rock/fusion of the highest level.

Chick Corea-Return To Forever (1972)

Return to Forever's debut album (though technically a Chick Corea solo project) is a masterpiece of jazz fusion. Its iconic cover art transports us to the distinctive sounds of Corea's Fender Rhodes electric piano, accompanied on this occasion by Joe Farrell's vibrant flute and talented saxophone, Airto Moreira's Latin touch, Flora Purim's warm Latin American sensibility, and Stanley Clarke's understated yet effective double bass. The title track is a musical odyssey, navigating between warmth and mystery, melancholy and disquietness, while maintaining an excellent melody that allows the music to flow effortlessly. In contrast to this title track are "Crystal Silence" and "What Games Shall We Play Today?", two easy-listening pieces featuring Flora Purim's superb vocals. To finish the album comes the epic "Sometime Ago/La Fiesta", a huge 23-minute canvas that accommodates everything from Latin sounds, jazz fusion or melancholic features full of charm to traditional Spanish music, all without ever losing the connection between all those sounds and all those different musical environments.

Return To Forever-Musicmagic (1977)

1977 saw the release of Return to Forever's final jazz-rock album, a work recorded after the departure of guitarist Al Di Meola and drummer Lenny White, leaving only Chick Corea (keyboards) and Stanley Clarke (bass) as the band's founding members. For this album, the duo enlisted drummer Gary Brown and keyboardist/vocalist Gayle Moran, along with a large horn section. At the time, the album had its share of detractors for lacking RTF's usual jazz-rock punch, but despite the absence of a prominent guitarist, it still contains some good moments leaning towards jazz fusion. From the very beginning, the general feeling is that they are returning to the Latin jazz fusion of their early work, but as the minutes pass, that feeling gradually fades into the more conventional sounds of jazz fusion. Although the music here is also less ambitious, tracks like "The Endless Night", "The Musician" and "So Long Mickey Mouse" keep the creative bar quite high, even though this is undoubtedly one of RTF's least distinguished and appreciated releases by jazz rock/fusion fans.

Return To Forever-Light As A Feather (1972)

A year before reforming Return to Forever, adding an electric guitarist (Bill Connors) and venturing into the realm of powerful jazz rock, frontman Chick Corea was immersed in refined jazz fusion with clear Brazilian and Latin influences. Following his debut album recorded for the ECM label, Corea released the elegant "Light as a Feather" with Brazilian singer Flora Purim, drummer Airto Moreira, saxophonist Joe Farrell, and bassist Stanley Clarke. On this second recording, this lineup offers a warm setlist of island and Latin sounds, featuring the versatile "Captain Marvel", the epic "Spain", the classic "500 Miles High", the jazzy samba "You're Everything", and the bossa nova "Light As A Father". From this point on, only Chick Corea and Stanley Clarke would remain in Return to Forever for the next stage of the band, and yet the one that would record this "Light As A Feather" is undoubtedly responsible for one of the best jazz fusion albums of all time.