Customer Reviews

School Days

5 star:		(19)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

1976 was an extraordinary year for jazz-rock, and a very fortunate year for the CBS label. Weather Report's Jaco Pastorius released his wonderful debut solo album, Stanley Clarke released 'Schooldays', and his band Return to Forever released their 'Romantic Warrior' masterpiece.

It's useful to compare the two bassists' approaches to solo albums. Pastorius assumed a solo album meant just that: although there would be some numbers in a group setting, there should also be at least a couple of tracks where bass was the only instrument. Clarke didn't quite see things that way: his solo albums were more of an opportunity to front numerous different assemblies of highly accomplished musicians. The only rule, as he saw it, was not to use Lenny White or Al di Meola, or you might as well call the result another Return to Forever album.

Here he employs a fantastic roll-call of the leading drummers of the time: Bill Cobham, Eleventh House's Gerry Brown, and ace session musician Steve Gadd. Corea isn't featured at all, so Clarke himself provides some piano, and Dave Sancious and George Duke provides most of the keyboard fest elsewhere.

The album was Clarke's zenith, and his biggest seller. Sadly there's only one acoustic track here, but the electric tracks, to my ear, haven't dated as badly as those on 'Journey to Love'. Over the course of 25 years I have played it to death, and feel I know every note! But this means I cannot forecast how it will sound to new ears. To me it's still hugely enjoyable.

This art form of jazz fusion was never better than this amazing album. At the height of the movement, Stanley Clarke created a collection of pieces that brought together not only great players, but excellent melodies, muscular arrangements, and a profoundly funky edge that leaves most jazz-rock/fusion eating dust.

Into these six tracks, Clarke packs energy, daring and taste. Supplemented by what can only be called the best players in fusion and rock (Jeff Beck, David Sancious, Billy Cobham and, oh yes, John McLaughlin) Clarke removes the bass from the hands of limited slappers and extends playing technique that despite what some may think, is still the gold standard.

Some may compare Stanley Clarke to his putative rival Jaco Pastorius, but while Jaco was a great player, no mistake, Clarke is a great musical mind. The sweep of this music, the careful, but not constricted orchestration, the attention to detail all propel Stanley Clarke to the head of the class.

This album captures what was great about the best Jazz fusion, and indeed of the best of rock music of this time: the sense of limitless ecstatic exploration. In this dogmatic, cramped and idea-free era, listening to Stanley Clarke feels akin to Crimethink. Bring on the thought police, I'll confess.

this is one of my all time favorite fusion cds. Stanley clarke leads an outstanding emsemble of musiicans with his tremendous ability as a bass player. Stanley clarke displays his talent on all the tracks creating an unforgettable amalgam of jazz rock, r&b and some symphonic music. There are few who can take the lead on bass as does clarke. He is backed by such excellent players as david sancious, ray gomez, billy cobham icarus johnson, john macloughlin and more. Listen to the great guitar solo on life is just a game. Feel the energy as well as the outstanding playing on the title track school days. this recording was a tremendous uplift to my spriits when i first purchased it in 1976. It is still great and is a timeless example of what good music is and should be. this is a must have for any rock fan, fusion fan or anyone who appreciates good music.

Widely considered one of the two essential jazz bass guitar records (the other being Jaco Pastorious' eponymous debut record, also released in 1976), "School Days" finds virtuoso Stanley Clarke providing a good indication of what he's made of. Supported by a fine ensemble (usually Raymond Gomez on guitar, David Sancious on keys and either Gerry Brown or Steve Gadd on drums), Clarke creates a record that is very much a funk bass call to arms. And certainly as a bassist, I find myself, even years after I've first heard this one, picking my jaw up off the ground (listening to the first 30 seconds of closer "Life is Just a Game" will do that to you).

One thing immediately noticable about the record is that it's startling diverse, sliding easily from loping funk ("School Days") to slithering synths ("Quiet Afternoon"), old school horn-driven funk jazz ("Life is Just a Game") and even a slice of acoustic calm in the midst of the storm ("Desert Song", featuring Clarke on an upright and guitarist John McLaughlin on acoustic guitar). Throughout, the playing is top notch and it maintains itself as engaging.

One point I'd like to make-- this album is screaming for remastering. The 1990 CD transfer just doesn't cut it. But this aside, "School Days" is a classic, a great slice of funk-driven fusion jazz, and for anyone wanting to see blazing chops on a bass guitar, this is where to look.

Stanley Clarke is one of the few jazz bassists with a purely distinctive style on both acoustic and electric basses. Both are displayed to good effect on this, Stan's most satisfying album. From the driving rhythm of the title track to the beautiful acoustic duet with John McLaughlin, 'Desert Song', this album is a fusion classic. The brief 'Hot Fun' is incredibly funky, but nothing can beat the closing 'Life is just a game', with the dream group of Stanley Clarke, George Duke, Billy Cobham, Icarus Johnson and orchestra. This album is a fusion classic, and rarely leaves my CD player!

Let me clear the line-up first:

Personnel includes: Stanley Clarke (vocals, piano, acoustic, electric & piccolo basses, handbells, gong, chimes); Jack Nimitz, Buddy Childers, Lew McCreary, George Bohanon, William Peterson, Stuart Blumberg, Albert Aarons (brass); David Sancious (organ, keyboards, Mini-Moog synthesizer, guitar); George Duke (keyboards); Billy Cobham (Moog synthesizer, drums); Icarus Johnson (acoustic & electric guitars); John McLaughlin (acoustic guitar); Raymond Gomez (guitar) Gerry Brown (drums, handbells); Steve Gadd (drums); Milt Holland (congas, triangle, percussion).

All the geniuses are together to show the best of their funk jazz effort. Stanley Clarke was always the best in bass rhythm no matter he is solo or with jean luc ponty. He can mix with any situation and creates something anew. This is one of the funkiest jazz I have it with me.

Grab it.....

I keep telling friends that of all the jazz funk albums released back in the 1970's, "School Days" was probably the best of them all. It is probably because Stanley Clarke, the master bassist, didn't resist the time he was living and playing in; he embraced it. He put the funk right in the middle of this album, recruited a brilliant group of musicians who all played with energy and passion, and just let it all come together like any jazz album, be it fusion, traditional, bebop, New Orleans style, free jazz or whatever. This isn't simply funk and jazz riffs being fused; these are well crafted and composed compositions full of emotion, power, and tradition. "School Days," the title track, gets the album started by announcing to the world and any doubters, that funk is here to stay and jazz and funk can easily co-exist. Clarke provides the statement with the legendary funk opening, and the album is off and running. There are no wasted moments either. "Quiet Afternoon" is brilliant. "Hot Fun" is a jazz jam. "Life is Just a Game" is bold and majestic. Each song is a unique piece of creativity that adds to Clarke's statement. Perhaps, he is giving the world a lesson here or maybe he is just remembering when he was in school; regardless, "School Days" was a funk era masterpiece of electric jazz. None of Miles' electric stuff was ever this good, but then again, as I wrote at the beginning, this is the best jazz funk album ever recorded.

Stanley Clarke is truly the king of the fusion bass! Okay, so the "second side" may be a tad forgettable, but the heavy hitting quartet of "School Days," "Quiet Afternoon," "The Dancer" and "Desert Song" makes this a worthwhile listen. "School Days," with its blazing basslines, pounding guitar solos and Steve Gadd's "Pert has nothing on me" drumwork;"Quiet Afternoon" with its sensitive piccolo basswork; "The Dancer" with its tribal polyphythims, and "Desert Song" with its bowed upright bass and laid back melody.

An innovative and dynamic work of art. Stanley combines the talents of many great jazz artists with his works to produce a sound that remains distinctive and original. I remember first purchasing this in the early 70s along with Return to Forever, Miles, Coltrane and others of his skill. The difference is the bridges and sequels within the melody. Truly amazing.

No one sounds like Stanley Clarke. One of the greatest innovators of the electric bass, he defined his place in jazz-fusion music history with albums like School Days. This album contains what I believe to be the Stanley Clarke Anthem in the title track (and being a bass player myself, you cannot consider yourself a practioner of the instrument until you know that main riff by heart). This album combines the harmonies of jazz, the power of rock, and the rich texture of classical music. An absolute must-have for this genre of music. Long live Stanley!