Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, "Hymn of the Seventh Galaxy" (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared). Fusion was a combination of rock and jazz which they helped develop in the early 1970s. Clarke was playing a new kind of music, using new techniques, and giving the bass guitar a prominence it lacked. He drew attention to the bass guitar as a solo instrument that could be melodic and dominant in addition to being part of the rhythm section. For helping to bring the bass guitar to the front of the band, Clarke cites Jaco Pastorius, Paul McCartney, Jack Bruce, and Larry Graham. After Return to Forever's second album, "Light as a Feather", Clarke received job offers from Bill Evans, Miles Davis, and Ray Manzarek of the Doors, but he remained with Return to Forever until 1977. During the early 1980s, he toured with Corea and Return to Forever, then worked with Bobby Lyle, Eliane Elias, David Benoit and Michel Petrucciani. He toured in a band with Herbie Hancock and Wayne Shorter in 1991. In 1998 he founded Superband with Lenny White, Larry Carlton, and Jeff Lorber. Corea produced Clarke's first solo album, "Children of Forever" (1973), and played keyboards on it with guitarist Pat Martino, drummer Lenny White, flautist Art Webb, and vocalists Andy Bey and Dee Dee Bridgewater. Clarke played double bass and bass guitar. Clarke's second self-titled album "Stanley Clarke" (1974) featured Tony Williams on Drums, Bill Connors - Electric Guitar, Acoustic Guitar, and Jan Hammer - Synthesizer [Moog], Electric Piano, Organ, Piano [Acoustic]. While on tour, British guitarist Jeff Beck was performing the song "Power" from that album, and this was the impetus for their meeting and Beck's introduction to Hammer. They toured together, and Beck appeared on some of Clarke's albums, including "Journey to Love" (1975) and "Modern Man" (1978). The album "School Days" (Epic, 1976) brought Clarke the most attention and praise he had received so far. With its memorable riff, the title song became so revered that fans called out for it during concerts.