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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 01/01/2013

Dick Heath
Evolver (Scott)
Man With Hat (Phil)
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Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.47 | 135 ratings
TIME CONTROL
Uehara, Hiromi
4.38 | 614 ratings
KIND OF BLUE
Davis, Miles
4.38 | 416 ratings
IN A SILENT WAY
Davis, Miles
4.36 | 872 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.35 | 157 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.31 | 356 ratings
SPECTRUM
Cobham, Billy
4.27 | 622 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.27 | 529 ratings
ELEGANT GYPSY
Di Meola, Al
4.38 | 91 ratings
MILESTONES
Davis, Miles
4.27 | 372 ratings
BITCHES BREW
Davis, Miles
4.34 | 115 ratings
VISITATION
Pohjola, Pekka
4.59 | 33 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.29 | 217 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.28 | 226 ratings
CROSSINGS
Hancock, Herbie
4.24 | 463 ratings
CARAVANSERAI
Santana
4.24 | 413 ratings
ROMANTIC WARRIOR
Return To Forever
4.24 | 349 ratings
ABRAXAS
Santana
4.27 | 169 ratings
THE WAY UP
Metheny , Pat
4.33 | 90 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.29 | 135 ratings
MAIDEN VOYAGE
Hancock, Herbie

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

ZASTO NE VOLIM SNEG
Smak
NAWYKI PRZYRODY
Robotobibok
DESCENDRE
Rypdal, Terje
SLOW TRAFFIC TO THE RIGHT
Maupin, Bennie

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Latest Jazz Rock/Fusion Music Reviews


 Headlines by SHIVANANDA album cover Studio Album, 1979
3.00 | 1 ratings

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Headlines
Shivananda Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

— First review of this album —
3 stars A swiss obscurity from mid to late '70 named Shivananda with only 2 albums in their pockets , first from 1977 and second from 1979, they disbanded around 1983 remaining totaly unknown. The name of the game here is jazz fusion with progressive touches, quite ok most of the time, I like this kind of jazz fusion, the instruments working all the time and has a light overall sound. The second release from 1979 named Headlines issued at Gnome records with an intresting artwork definetly pleases me from start to finish. The guitar has an important role here, with nice catchy parts, nice grooves and good melodic passages. Some sax is present here aswell, pieces like Shiva's Smiling or Little big men are winners to me, Carlo Milan the guitar player and Kurt Baebi the keybordist made a good job. All in all more then decent, not fantastic but good, maybe similar at some point with dutch band Spin or german jazz fusion bands from that period. 3.5 stars
 Love Devotion Surrender (with John McLaughlin) by SANTANA, CARLOS album cover Studio Album, 1973
3.94 | 86 ratings

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Love Devotion Surrender (with John McLaughlin)
Carlos Santana Jazz Rock/Fusion

Review by siLLy puPPy
Prog Reviewer

3 stars LOVE DEVOTION SURRENDER is a collaboration of two of the greatest guitarists of the early 70s namely CARLOS SANTANA and JOHN McLAUGHLIN. This is one of those spiritual albums that was inspired by their religious guru Sri Chinmoy, whom both men studied under. The album was also supposed to be a tribute to John Coltrane which has reworkings of two of Coltrane's compositions. This era also marks the period where both guitarists were undergoing profound changes in their musical realties. SANTANA was struggling to find a way to move his music which took a good start with his own "Caravanserai" and McLAUGHLIN was on the verge of the Mahavishnu Orchestra imploding.

I have heard about this album for a while and it has always intrigued me because it sounds like it should be one of the most anticipated collaborations in musical history, but after trying to get into this album there are a few things that are going on here, or not going on as the case may be. I feel this album lacks is a true musical direction. The tributes to Coltrane are interesting and they, to my ears, the most interesting pieces on this album, but the rest of the tracks sound more like a battle for dominance than a true merging of talents. Tracks either sound like a Caravanserai era SANTANA song with McLAUGHLIN frenetically going off over it or some kind of jazz-fusion piece that McLAUGHLIN came up with verging on the over sentimental. Point blank, there is NOTHING on this album that even comes close to what these two had done with their bands in the previous years. Still though, it is a pleasant enough listen despite being a disappointment but hardly an album you should sell your kidneys over.

 Cheiro De Vida by CHEIRO DE VIDA album cover Studio Album, 1984
2.89 | 9 ratings

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Cheiro De Vida
Cheiro De Vida Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

2 stars Cheiro De Vida came from Porto Alegre, Brazil and came to life in late-70's, featuring bassist Andre Gomes, guitarists Carlos Martau and Paulo Supekovia and drummer Alexandre Fonseca.In 1981 they moved to Sao Paolo and recorded an album with singer Diana Pequeno, before returning to their hometown and record a second work with singer Bebeto Alves.Later they became the backing band of Victor Ramil, but in 1984 they decided to record an album of their own.The small Acit label showed interest in distributing and promoting this work and the album was released under the name of the band.

Cheiro De Vida played a typical Brazilian Fusion, mixed with some local influences, far from complex and more into creating ethereal and accesible music.They produced a dreamy instrumental atmosphere, which was based on warm melodies, soft jazzy tunes, funky touches and Lounge aesthetics.Nothing progressive around it, the most complex parts are played by the super technical bassist Andre Gomes with the two guitarists providing interesting solos and some decent melodies, while some tracks feature also a good bunch of acoustic textures.Despite their certain approach on accesible Fusion, the music sounds often a bit directionless and confusing, propably because the smooth plays do not translate usually into memorable or trully efficient instrumental tunes.Bass is to high in the mix and the guitars are often left in a secondary role, still there are some nice jazzy moves and more powerful ideas to be found, I guess a more consistent display of these stylings would have worked better.One track, ''Ayisha'', features also a fine full sitar performance.

After the album's release keyboardist Dudo Trentin would join the band for a short time, before the members decided to relocate in Rio De Janeiro.By 1988 Supekovia had also left the band, which was now back to a trio, mainly performing live.A document of the period was released in 2000 under the title ''1988 vivo''.After a short break they returned in 1991 and recorded a big part of a second, still unreleased, effort, but in 1992 they iced their activities with only sporadic performances since then.Alexandre Fonseca participated also in Márcio Rocha's ''Juno'' album from 2000.

Bass-fronted Brazilian Jazz Fusion with accesible compositions, but not effective melodies oe even some great instrumentals.Recommended if you like the lighter side of the genre...2.5 stars.

 Inspired by... M.S.M. Plays The Snow Goose by MAGNETIC SOUND MACHINE album cover Studio Album, 2013
3.00 | 2 ratings

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Inspired by... M.S.M. Plays The Snow Goose
Magnetic Sound Machine Jazz Rock/Fusion

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

3 stars It's absolutely clear that this was a labour of passion for this young Italian band. To record their own version of a classic album. But that's exactly the problem/mistake!

Magnetic Sound Machine decided to re-do Camel's work on their 1975 album Snow Goose. Now, I was never a fan of this record to start with. The original album is indeed beautiful and full of great melodies and catchy tunes but a full instrumental album that is supposed to tell a story???!?? What's the point?

So, when I got to know that Magnetic Sound Machine's version had a narrator on it, it raised my expectations as it would be way more interesting than the original. And it is, indeed! Problem here is, you shouldn't do that!

I'll try to explain why I think so. Camel's Snow Goose album is considered such a classic that no one in good mind would want to hear a version of it, you would just go for the original, and that's what happens here. Magnetic Sound Machine's version is indeed a bit different because of the Italian narration, but in the end, musically speaking, it's just a note-by-note songbook of the original album. In the end you go back to the original!

Though the band did an amazing work with Magnetic Sound Machine Plays The Snow Goose (2013) and the album is a strong and quite enjoyable to listen to, nothing changes the fact that this is just a labour of love and passion by the band recorded for the band itself. The audience.... well, I think old fans would just stick with the original.

But it's worth to check it anyway if you love the original.

 BS&T 4 by BLOOD SWEAT & TEARS album cover Studio Album, 1971
3.30 | 23 ratings

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BS&T 4
Blood Sweat & Tears Jazz Rock/Fusion

Review by GruvanDahlman
Prog Reviewer

4 stars Blood, Sweat & Tears is a terribly uneven band. Though bursting with skill, musicality and vision not many albums are solid. Often enough they are a collection of good, great and even boring material. Unlike other bands in the genre they seemed to draw in opposite directions at times, resulting in an uneven spread. The good parts are superior. The bad or not so good are, quite frankly, not that interesting.

In the year of 1971 Blood, Sweat & Tears released this album, simply entitled 4. As on previous albums the musical contents are made up of jazz, rock, blues, folk and classical elements. The difference being that 4 is a very cohesive and enjoyable album. It is held together in a way I feel some other records fail to do.

The opener, "Go down gamblin", is a terrific piece of raw and heavy jazz-rock. A great riff, fantastic energy and Clayton-Thomas' vocals makes it one of their best hard rock tracks. "Cowboys and indians" is a ballad-ish song with great lyrics and warm atmosphere. "Redemption" opens with a fantastic drum beat and heads into distinctly jazzy territory, as is the case in "Mama gets high": Again, I am not one to go through every track, so I will settle with some final words on the album as a whole.

I think this is a tremendous album. Apart from "New city" this is the one album of Blood, Sweat & Tears I return to the most. It is great from beginning to the piano led end and it's classical theme. What Blood, Sweat & Tears managed to do on 4 is simply to put all that made them great into one fabolous piece of art. Not too sentimental, not too slick and not too overbearing. It still sounds fresh to me and as vibrant as it ever did back in 1971. It did not break any new ground but consolidated what had already been gained over the past few years. The even mixture of hard rock, rock, blues, jazz, classical, folk and what not is very comforting and thrilling, 4 is a charming, energetic and lively album that really shows what Blood, Sweat & Tears was all about in it's first years of existence.

 New City by BLOOD SWEAT & TEARS album cover Studio Album, 1975
3.57 | 10 ratings

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New City
Blood Sweat & Tears Jazz Rock/Fusion

Review by GruvanDahlman
Prog Reviewer

5 stars I clearly remember the day when I at the tender age of 10 picked up this album from my father's collection, putting it on the turntable and going into the kitchen to have a snack. When the first track, Ride captain ride, came on I swear I felt like losing my mind to an eternal groove. It swept me off my feet and keeps on doing so. This is jazz-rock with a slight emphasis on jazz, a good dose of slick funk and a big wallop of rock. The end result is one of my favorite albums and in my opinion the best from B,S&T.

While "Ride, captain, ride" is a jazz-rock kick in the head, "Life" is a decidedly funky affair with great wah-wah and a rolling groove that is amazing. "No show" and "I was a witness to a war" are great, mellow stuff of the highest pedigree. The cover of John Lee Hooker's "One room country shack" is superb and ends the first side of the vinyl in the best way.

Side two opens with "Applause", a song about a performer who's entertaining but really feels lonely. A fantastic song, sad but epic in a jazz-rock way. "Yesterday's music" is a straight forward pop//rock song but a terrific one. Then comes the humour, "Naked man". An oddity but very entertaining and nice melody. The cover of the Beatles song "Got to get you into my life" is inspired and everything draws to a close with the beautiful "Takin' it home", thus ending a wonderful album.

Not many people seem to like, no love, this album as I do. I think it is very underrated, inspired and vibrant record showcasing all that's great with the genre. There's jazz, rock, funk, blues, folk, hard rock and then some. Of special note is the fact that George Wadenius is the guitarist on the album, as he had been for some time in 1975. Being swedish I find it especially cool that one of my countrymen, and such a brilliant one aswell, is part of this album's greatness. I love it, from start to finish. It is an amazing album. Complex, beautiful, accessible and entertaining.

 Chicago XXXVI: Now by CHICAGO album cover Studio Album, 2014
3.00 | 5 ratings

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Chicago XXXVI: Now
Chicago Jazz Rock/Fusion

Review by DrömmarenAdrian

3 stars We discover pieces of eternity all the time and now I have discovered Chicago! They are from the big town Chicago in the United States and they has been playing and recording since 1969 which makes them musical veterans. For this forum htey are famous for their earlier jazz rock but even today they have apparently kept something of their genuineness. Prog Archives lists "Chicago XXXVI:Now" as their twentyfourth studio album but English Wikipedia claims it's their twentythird. Well it doesn't matter. You can guess it is their thirtysixth one!

The record released this year are very checkered in black and white boxes with the traditional Chicago emblem in the middle. The musicians present here are Robert Lamm, Walter Parazaider, Lee Loughnane, James Pankow, Jason Scheff, Keith Howland, Tris Imboden, Lou Pardini and Walfredo Reyes Junior and together they play a lot of instruments such as keyboards, horns, saxophones, trumpets, flugelhorns, trombones, basses, guitars, pianos, drums, organ, vocals and percussionss. They also use a lot of guest musicians.

The music is amazingly produced and the quality is indisputable. Then is it a matter of taste, as usual with music and art. Chicago plays a grown up rock with jazz and brass ingredients and it's very American. The title track "Now" (8/10) is a wonderful example of their musicality. With horns and different vocal parts. You feel you experience the American seventies or eighties in music. That is a feeling you keep during the whle listening session. "America" is a love song to the land or the continent. it is full of clichés and buzzwords but nevertheless it's very pleasant(7/10). "Something's coming I know"(7/10) is the third of the album's best songs and I'd call it very enjoyable. The other songs are well composed and performed and give you something of everything: great musicianship, beautiful instruments and harmonies.

The record is in a few words nice and undemanding. Without being pretentious or too artistic Chicago here has created intelligent pop music. I'd call this record good but not essential. It give's me inspiration to go backwords and explore this band further. Three solid stars! Best song: "Now"

 Türkis by AERA album cover Studio Album, 1979
2.74 | 13 ratings

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Türkis
Aera Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

2 stars By 1977 Klaus Kreuzeder had found himself all alone in the Aera line-up with the other members following different paths.Muck Groh went on for a solo career and to form Grotesk and Christoph Krieger would appear many years later in Groh's Jazz/Funk project Neue Aera along with the former drummer of Aera Wolfgang Teske.Kreuzeder found some talented replacements like Missus Beastly's founding member Lutz Oldemeier on drums, Cyklus' Matz Steinke and Achim Gieseler on bass and keyboards respectively, Helmut Meier-Limberg on percussion (another one to join Neue Aera later), Freddy Setz on drums and various keyboards with Locko Richter, also from Missus Beastly, guesting on bass and Groh playing guitar in one track of the upcoming album.''Turkis'' was released in 1979 on the familiar Erlkoening label.

Looking on the front cover of Aera's third album already you get the feeling that something different is going on.And the truth is that Kreuzeder decided that the group should take a more Jazz Funk direction with this work, apparently hurting the impressive history of the group.The majority of the tracks feature playful, kinky sax parts, lots of percussion, the more commercial GENTLE GIANT-like clavinet vibes with the funky bass lines leading the way.A complete lifting for Aera, on which the turn of the decade had a huge impact, the Germans abandoned their monstrous Kraut-Folk-Fusion amalgam of the past for a slick and more accesible Jazz Fusion style with no evident links to the German Jazz Fusion scene.They even show some tendency to produce melodic parts in the process, which was very strange for anyone having listened to the early efforts of the band.The title-track still shows hints of the past with some blisterring breaks and the display of atmospheric textures, creating a more flexible sound, but the 11-min. ''Dracula'' is propably the only track to hold the interest of the listener.Semi-improvised Jazz Rock with technical bass work and charming sax parts over a neurotic keyboard rhythm, opening the way for a laid-back Fusion mood with jazzy synths and light organ and yet another nice sax execution by Kreuzeder.

Definitely a dissapointment compared to the first couple albums of the band.Well-played stuff, but sounding very pale and less intricate than both ''Hand und fuss'' and ''Humanum est''.''Dracula'' will save the day, but the rest is standard, percussion-heavy Jazz Funk with no particular highlights.Recommended for die-hard fans of the style...2.5 stars.

 Yuukai Kenchiku by YUUKAI KENCHIKU album cover Singles/EPs/Fan Club/Promo, 2010
3.00 | 2 ratings

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Yuukai Kenchiku
Yuukai Kenchiku Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars Smooth Japanese Fusion ensemble, set up in Kyoto in 2009.Original crew were Nami Adachi on flute, Hidehito Tamba on guitar, Shintaro Kanda on bass, Kei Akita on drums and Takenobu Takahashi on keyboards.They made their debut in April 2010 with an eponymous, downloadable 3-track EP.

All three tracks are about 7 minutes long and the opening ''Otolith'' gives a good idea of the band's genuine musical approach.It's kind of CAMEL-esque mellow Prog Rock with Adachi's flute in evidence, combined with contemporary Post Rock rhythms with the Avant-Garde piano lines and the guitar distortions leading the way and offering a loose, slightly improvised atmosphere.''The porcupine dilemma'' follows an extremely similar vein with background, light piano themes and a rhythmic drum/bass duo accompanying the main hero, who is Nami Adachi and his neverending flute drives.Flute-based Post Rock could be a nice descrption at this point, although this track contains also some discreet synth parts at moments.''White in the dark'' is definitely the most melancholic and symphonic piece of all, featuring a balanced sound between organ and electric piano with Adachi delivering some depressive flute work in the process before the rawer minutes towards the outro, which is more jazzy and with JETHRO TULL being a reference point regarding the more powerful flute parts.

Interesting first work by the Japanese.More interesting though is the fact that this one should appeal to both fans of Post Rock and CAMEL/JETHRO TULL.Recommended.

 Here Comes The Crazy Man! by DE BRUYNE, KOEN album cover Studio Album, 1974
3.68 | 3 ratings

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Here Comes The Crazy Man!
Koen De Bruyne Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars Belgian composer, pianist and keyboardist, brother of well-known singer Kris De Bruyne.Koen De Bruyne had his own, unfortunately short, stint in the field of Jazz, Fusion and Funk with a line-up he gathered around mid-70's and featured Placebo's Richard Rousselet on trumpet, Yvan De Souter on bass and Jean Pierre Onraedt on drums.He also used trumpeter Gerard Sabbe, Patricia Maessen on voices, Adelson Defrise on flute and Firmin Timmermans on bongos for his sole album ''Here comes the crazy man!'', recorded at the Studio Madeleine in Brussels and released in 1974 on the Vogue label.

With three pieces of PLACEBO in the line-up the sound here is somewhere between Jazz Rock and Funk with some strong Fusion interactions, making up for a pleasant atmosphere, relying much on the double horns of Sabbe and Rousselet and marked by De Bruyne's keyboard and piano parts.There are some straight links to Jazz with piano and bass in evidence, sometimes without any supporting personel, but there are also some impressive parts with beautiful changes from piano-based to synth-drenched jazzy experiments.Heavy trumpet lines and soft grooves combine for a quite 60's-flavored Psych Jazz, while the addition of Maessen's voice in ''Pathetic dreams'' delivers some ethereal tunes in the vein of compatriots COS.Some moments in here sound a bit directionless and the mood is sometimes a bit softer than expected, but there are decent ideas on jazzy executions, highlighted by some great bass parts and De Bruyne's omnipresent piano.The synth-based passages are likely the ones closer to Jazz Fusion, having a neurotic and dynamic sound and maybe their use should have been more pronounced.''Unanswered questions'' features also the psychedelic flute work of Adelson Defrise, offering another charming variation of De Bruyne's sound.

The following year De Bruyne became a member of the short-lived Jazz Funk act Mad Unity and, of course, he was a regular contributor in the works of his brother Kris.In 1978 he composed the soundtrack of the film by Jan Gruyaert ''In Kluis''.Sadly he passed away shortly after the album's release.

Ethereal and very jazzy album of funky and Fusion ideas.Maybe too mellow in certain parts, but still well-played and warmly recommended.

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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASSOCIATION P.C. Multi-National
ASSOLO DI BONGO Italy
ASTRAKAN United Kingdom
ASTRO CAN CARAVAN Finland
ATMOSPHERES Multi-National
ATTENTION DEFICIT United States
BRIAN AUGER United Kingdom
AUM Brazil
AURORA United States
AVANT GARDEN United States
AVIOLINEE UTOPIA Italy
AXIS Greece
AYERS ROCK Australia
AZIGZA United States
B F Estonia
BAALBEK Argentina
BACK DOOR United Kingdom
BAKMAK Germany
BANDHADA Chile
BANDVIVIL Japan
BANGTOWER Multi-National
PETER BANKS United Kingdom
BARCELONA TRACTION Spain
PETER BARDENS' MIRAGE United Kingdom
IL BARICENTRO Italy
RANJIT BAROT India
BAUHAUS Italy
JEFF BECK United Kingdom
BEDJABETCH France
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOUD DEUN United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
THE BRECKER BROTHERS United States
EVAN BREWER United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CASH PONY United States
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
CHAD SMITH'S BOMBASTIC MEATBATS United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHICAGO United States
CHUTE LIBRE France
CINCINNATO Italy
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMPANYIA ELÈCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
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