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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 Esbj�rn 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 9/10/2023
Scott (Evolver)
Drew (BrufordFreak)
Mike (siLLy puPPy)
Mira (Mirakaze)

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

4.36 | 1211 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1446 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.29 | 1104 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.29 | 822 ratings
ROMANTIC WARRIOR
Return To Forever
4.28 | 850 ratings
IN A SILENT WAY
Davis, Miles
4.64 | 43 ratings
REALIZATION
Henderson, Eddie
4.30 | 297 ratings
LES PORCHES
Maneige
4.33 | 194 ratings
SVITANIE
Blue Effect (Modrý Efekt)
4.29 | 346 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.27 | 666 ratings
SPECTRUM
Cobham, Billy
4.26 | 844 ratings
BITCHES BREW
Davis, Miles
4.26 | 889 ratings
ELEGANT GYPSY
Di Meola, Al
4.32 | 181 ratings
STADACONÉ
Sloche
4.28 | 339 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.27 | 398 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.25 | 688 ratings
ABRAXAS
Santana
4.32 | 165 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt)
4.27 | 263 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti E Mestieri
4.28 | 208 ratings
J'UN OEIL
Sloche
4.28 | 188 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt)

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

RHESUS O
Rhesus O
SUPER FLY T.N.T. (OST)
Osibisa
LOVE, LOVE
Priester, Julian
SUDDEN DUSK
However

Latest Jazz Rock/Fusion Music Reviews


 Bleak House by RYPDAL, TERJE album cover Studio Album, 1968
4.26 | 36 ratings

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Bleak House
Terje Rypdal Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A 21-year old Norwegian guitarist-composer bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years.

1. "Dead Man´s Tale" (7:03) Hawai'in guitar over Hammond organ and blues band (with loud kick drum) over which Terje sings in a very lovely emotional voice. Total blues. Beautiful interplay between the Hammond and Terje's voice, guitar, and flute. Christian Reim's Hammond play is actually good even if his instrument is recorded a little dirty. (14/15)

2. "Wes" (4:15) big band horns with Terje's chameleonic guitar. The rhythm section sets up a couple of excellent swing patterns that they smoothly from, back and forth, over the course of the album. Great song with great solo performances from Wes and saxophonist Carl Neumann. At times Terje's guitar sounds Wes Montgomery-like, at others less so. (9.25/10)

3. "Winter Serenade" (6:04) imitation wolf sounds with delicate piano tinkling and percussives open this before the piano takes over. Guitar sneakily joins in during the first half of the second minute with a lot of wobbling sounds-- single string and whole fretboard. Horns and drums add a variety of wind-like bursts and gusts as the storm arrives and its intensity increases, varies, and wavers. Ingenious orchestration of musical instruments to achieve such a mirroring "reproduction" of Mother Nature. (9/10): - a) Falling Snow - b) Snow Storm - c) Melting Snow

4. "Bleak House" (7:05) this one starts out soft and slow, sounding very Sixties, but then the loud big band horns join in and the song becomes something totally different--even transforming the guitarist right before our ears. It's part Larry CORYELL, part DON ELLIS ORCHESTRA! The bass, drums, guitar, and saxophone performances are all excellent but it's those horns that carry this one over the top! An excellent, lively, and very melodic song. (14.25/15)

5. "Sonority" (5:21) a song of stunning emotion and tenderness--even from the horns! Terje's electric guitar expresses a feeling of such depth, pain and beauty as to evoke tears. I've only heard Roy Buchanan do it as well! The best song on a great album and one of the prettiest jazz songs I've ever heard. (10/10)

6. "A Feeling Of Harmony" (2:29) acoustic guitar, flute, and wordless voice scatting from the artist alone. Feels sounds like an intimate moment from Maestro John Martyn. (9.5/10)

Total time 33:05

A/five stars; a shocking revelation of masterful jazz-rock fusion A remarkable achievement of music for 1967-68 with some breathtakingly beautiful music. One of the finest most unforgettable musical listening experiences I've ever had the privilege of hearing. If anything on PA is to be considered "essential" in order to try to understand our beloved musical genre, this might be it.

 Devotion by MCLAUGHLIN, JOHN album cover Studio Album, 1970
4.02 | 66 ratings

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Devotion
John McLaughlin Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars John's second solo album but first to be recorded in and released from the United States (Douglas Records). It featured a lineup that included organist Larry Young (with whom he'd been playing for six months in Tony Williams' Lifetime power trio), Billy Rich on bass, and former member of Electric Flag and Jimi Hendrix's Band of Gypsys drummer, Buddy Miles. John immediately distanced himself from the album when during its publication phase as he was disappointed in the way producer Alan Douglas "destroyed" the music when mixing the songs down in John's absence.

1. "Marbles" (4:05) slow build with shimmering organ and bird sounds echoed from John's guitar turns into another monstrously engaging SANTANA-like groove with a bit of a Latin feel to it over which John rips and rents holes in the sky. Larry's organ in support is so perfect: so strong and melodic. The rhythm section is doing their job but nothing very "out of the box" for the first three minutes. (8.75/10)

2. "Siren" (5:55) based on an old feeling blues tune, the heavily-effected bass, organ and guitar are so far beyond the distorted effects Alan Douglas employed to some of Jimi Hendrix's stuff! Great guitar play but probably my least favorite song on the album. (8.666667/10)

3. "Don't Let the Dragon Eat Your Mother" (5:18) a nice, steady, hard-drivin' blues rocker of the Mahavishnu kind with Larry playing both organ and electric piano beneath John's fiery heavily-treated NEKTAR "Journey to the Centre of the Eye"-like guitar. The song meanders around space in its psychedelic LSD trip way, especially when Larry and Buddy are given the solo time at the very end. The problem is: I really like it! (9.75/10)

4. "Purpose of When" (4:42) very bluesy (and very loud) guitar and organ played over plodding bass and drums while Larry's organ and electric piano support from behind. The music may not be great but John is lit! He is burning white hot from the inside out! A difficult song to assign a rating for since the music isn't that great, but John's performance is absolutely jaw-dropping. (9/10)

5. "Dragon Song" (4:13) sounds as tension-building as some of Hollywood's best soundtracks but is perhaps a little too loud and dynamic, but man is John cooking! And Larry holding the Earth still as best he can beneath. Great use of the wah and delay pedals as well. Larry's time in the final minute is too little too late especially with the big finish at the end. (9.25/10)

6. "Devotion" (11:25) great multi-track dynamic play over addictive (and stellar) bass and drum play. I can't say that Larry's contributions are half as remarkable as Johns, but that's okay. This is John's album. Still, he's pretty good in the seventh and eighth minutes (just not as amazing as he is on Love Devotion Surrender or Lenny White's Venusian Summer). (19.25/20)

Total time: 35:40

I find the quartet so much more satisfying than the organ-based trio: Billy Rich is wonderful in expressing his own idiosyncratic personality and I feel that Larry Young is allowed much more freedom to create and be himself. I'm sorry that John did not like the "finished" rendition of the album but I find it quite enjoyable--much more so than any of the Lifetime or Miles Davis works that he participated in during the previous year. I even like parts of this more than some of his Mahavishnu stuff!

A-/five stars; a minor masterpiece of ground-breaking, transformational psychedelic jazz-rock fusion. An album I value more and consider more a favorite than any of the Mahavishnu Orchestra albums! Seriously! Absolutely mind-blowing for its time!

 Dreams by DREAMS album cover Studio Album, 1970
3.60 | 15 ratings

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Dreams
Dreams Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Jazz-infused rock music in the CHICAGO/BLOOD SWEAT & TEARS vein from New York City.

1. "Devil Lady" (3:33) a very concise BS&T-modeled song. (I get the very distinct feeling that the iconic LaBelle song, "Lady Marmalade" pretty much lifted the music from this song,.) Solid song that might have deserved radio airplay. (8.75/10)

2. "15 Miles to Provo" (3:01) a more mainstream pop-oriented song of the CHICAGO, Jimmy Webb or Eric Burden orientation--except for the elaborate play of the horn section that joins in (and dominates) late in the first minute. Besides the dynamic (though oddly engineered) horn play, I like the organ play here from Jeff Kent. (8.75/10)

3. "The Maryanne" (2:25) a very pretty strummed-acoustic guitar-based love song, bass and horns join Doug Lubahn and Edward Vernon as the song progresses. Nice. (9.25/10)

4. "Holli Be Home" (5:42) delicate cymbal play with electric guitar harmonics makes for a very pretty opening. "Distant" horns join in before Ed Vernon takes the lead in vocals. He's mixed a little into the back of the mix--sounding like a song from Broadway's Godspell. The horns are so amazing in support--even getting lead time third minute's instrumental passage (with electric guitar and Tenor Sax). Such a well-constructed song; too bad the sound mix is a little off. Nice song! (9.25/10)

5. "Try Me" (5:10) hard driving jazz-infused rock music with Sly Stone-like vocals, very tight, dynamic, and essential horn play, solid bass play, and emphatic drum play. Watch out world: here is Billy Cobham! (9/10)

6. "Dream Suite: Asset Stop/Jane/Crunchy Granola" (15:21) the first movement is a totally-R&B groove with tenor sax to start it out before the band chimes in and supports vocalist Edward Vernon on a very David Clayton-Thomas-like bluesy-rock performance. The wild horn interplay in the brief instrumental passage in the fourth minute is quite remarkable--and it continues after Ed's next soulful passage. (A great vocal performance here, by the way.) The transition into the second movement, "Jane" is quite murky--almost uneventful as the band members just seem to peter out. At the end of nearly a minute of this nebulous amorphous pool the band reemerges with a more blues- oriented song. One simply cannot help but notice the dextrous skill of these musicians in so many instances of this album, here Billy Cobham's lightning fast fills and the horn players' remarkably precise accents. The third and final movement of this is hard-drivin' jazz-rock fusion, "Crunchy Granola," sounds like it could come from Side One of CHICAGO's 1969 debut album, Chicago Transit Authority--the most accomplished and jazz-rock side of that wonderful album. Billy really gets to shine here beneath all of the funky elements interplaying above. It presents as a long high speed jam until the final two minutes when the music again devolves into the kind of soup of malaise that occurred at the end of the first movement--but is now rescued by an impressive Billy Cobham drum solo. Cool! Wish it had all been as catchy and dynamic as that first movement. (26.5/30)

7. "New York" (5:43) announced by a repeated horn bank chord before dynamic bass, drums and keys jump in--with choral vocals singing a very engaging melody with anthemic lyrics. Great organ and tenor sax performances in the first instrumental passage, trumpet in the second, electric guitar in the third. Such a great, lively tune! The horns, bass, and group vocals are the definite winners here! (9.75/10)

These musicians are so well-adapted to one another --and the horns are incredibly tight when they need to be yet incredibly skilled when they contribute as individuals.

A-/4.5 stars; a near-masterpiece of incredibly well-performed jazz-infused rock music from a veritable all-star lineup of future Hall of Fame artists.

 The Jewel in the Lotus by MAUPIN, BENNIE album cover Studio Album, 1974
4.26 | 23 ratings

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The Jewel in the Lotus
Bennie Maupin Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Recorded after the formal breakup of Herbie's Mwandishi septet, The Jewel in The Lotus harnesses the talents of over half of that septet in Bennie, Herbie, Buster Williams, and Billy Hart but expresses a musical direction quite different than any of the Mwandishi albums (three under Herbie Hancock's name, two under that of trumpeter Eddie Henderson). First of all, the album was produced and released by Manfred Eicher's new ECM label (which leads to expectations of impeccable sound quality), while also being recorded in New York City's Record Plant.

1. "Ensenada" (8:05) fast-paced static two-note bass line and wind chime-like percussion instruments open this song until the reset pause at the 95-second mark signals the arrival of flutes and piano. A song that reminds me of some of Mahavishnu John McLaughlin's more sedate spiritual-oriented songs as well as some of Chick Corea and Gary Burton's duets. At 4:35 there is another reset pause which is then followed by a key change when the instrumentalists resume their wind-chime nature imitation. I really love this song! (14.5/15)

2. "Mappo" (8:25) Bennie's flute leads this one as trumpet, bowed double bass, delicate drum play (from both drummers) and additional percussion inputs support. In the third minute the band starts to establish a kind of tense, dour, even cinematically-frightening motif but then backs off. This is so much like the future music of avant gard pioneers UNIVERS ZERO and PRESENT! But then Latin hand drums enter totally wiping away the cinematic tension, redirecting the tension into some free-jazz kind of play. Even Herbie's discordant piano play in the fifth and sixth minutes (or Buster Williams and Bill Summers' wild play) seem only to add to the tense 20th Century classical music feeling of this. This feels like a very wise and mature composition! Wow! (19/20)

3. "Excursion" (4:47) starts out sounding as if we're in some high mountain Tibetan monastery with the horns, reverberating gongs, glockenspiel, tuned percussion, prayer-like vocalisations, piccolo, bassoon, and, later, discordant and free-for-all double bass riffs, piano hits, and snare and drum fills. The cacophonous sound just builds and thickens the further the song runs until the end when recorder and single-voice vocal chant are left to end the song. Wow! What a journey this man is taking us on! (9/10)

4. "Past + Present = Future" (1:45) piano, distant snare and shaken percussives, long, bowed double bass notes, and multiple flute and reed instruments present this lovely little interlude. (4.75/5)

5. "The Jewel In The Lotus" (9:57) spacey electric piano (with fast-panning reverb) with shaker percussives open this while reed instruments, double bass sprays, delicate cymbal play, and marimba gradually set the stage for Bennie's soprano sax and other reed instruments to slowly, subtly set a melody. I am so impressed with the design of this music! And the discipline it takes to perform it. (And I know from second-hand sources that Bennie is a very exacting, very demanding band leader.) Once Bennie is in front, the music pretty well established and solidified, it kind of loses its appeal to me as it becomes less about mystery and melody and more about continuing the floatability. The individual instrumental choices and contributions are interesting yet they're often so soft and subtle that they do more to deflect my attention off into some tangential place of dreamy sensuality. I hate to detract from the ability to perform such a wonderful (and wondrous) feat, but I kind of want to stay engaged with the song. (17.66667/20)

6. "Winds Of Change" (1:25) multiple reed instruments performing together, in attempted unison. (4.5/5)

7. "Song For Tracie Dixon Summers" (5:14) a lot of space--some times quite empty--around which Bennie and company add small whorls and twists of movement--until the third minute when Bennie's soprano sax leads Herbie, Buster, Billy, and the percussionists into something slightly more definitive and organized. There's just so much space! I usually love spacious music like this but this one is almost too reliant on the long decays of instrumental sound as to not represent music but rather act as a reminder of what the world would be like without music. Interesting! (8.75/10)

8. "Past Is Past" (3:52) Bennie's plaintive, languid soprano sax in duet with Herbie's full piano prowess--at least for the first 90-seconds, then triangle, shaker, timpani, and other hand percussion instruments (and background harmonizing flutes) join the flow (which is pretty much a drawn out three-chord flow). The drummers get to join in--as only accenting percussionists--in the final minute. (8.875/10)

Total time: 43:37

A surprisingly transportive, spiritual experience comes out of listening to this album each time I do so. This is, in my opinion, no small feat. In fact, I would argue that it might take some artists a lifetime to achieve such an effect through their art.

A-/five stars; a minor masterpiece of quite remarkably mature song compositions performed by the remnants of the Mwandishi lineup months after the last Mwandishi session wrapped up.

 Los Músicos Del Centro, Vol. 1 by MUSICOS DEL CENTRO, LOS album cover Studio Album, 1982
4.00 | 1 ratings

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Los Músicos Del Centro, Vol. 1
Los Musicos Del Centro Jazz Rock/Fusion

Review by Heart of the Matter

— First review of this album —
4 stars I have a really happy memory of the first and only time I went to a concert by this band. That happened one lovely sunset at an open, square-type space, with the massive set of equipment and instruments gleaming under the yellow-orange-red bath of dimming daylight. Not only felt, but also sounded like a ship leaving Earth. There wasn't much thunder, anyway, it was rather a matter of the magic of something so big sounding so subtle.

Now, forced by honesty, I have to say that the vinyl record we are talking about doesn't match such an expansive aural experience, but it comes close enough in terms of subtlety, tight musicianship, excellent songwriting and great taste for soli and harmonic setting, let alone the rythmic intricacies that suits so well to a natural-born fusion creature like this. And in addition, there is not a beat left to waste, with each detail coming in precise time and form to round a music of personal and evocative colour.

The album opens with the only vocal track on sight (there is another one where vocals play a choral role, without lyrics). This is sung by guest Litto Nebbia, who does a fine job out of it indeed, perfectly fitting the overall mood and atmosphere of the entire work, with sax coming close to the voice, both rounding original harmonic solutions. And from there on, you will find a distinctive arrangement for each and every nice melody, which are many, and tend to stick to aural memory with such a pleasurable hook. Not one track sounds trivial, however, even for a moment.

In case you wish to refer to a specific moment to have a general look of style and sound, then go to track 3, Siracusa, possibly the best loved track in the batch, which jumped the airwaves back in the day.

 Emergency ! by WILLIAMS LIFETIME, TONY album cover Studio Album, 1969
3.91 | 44 ratings

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Emergency !
Tony Williams Lifetime Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars "The loudest stuff I ever heard in my life," recalled Herbie Hancock of a Tony Williams Lifetime concert that he attended in the fall of 1969. Knowing that he was probably risking his hearing later in life, he stayed for the entire show. "It was ... new. It was exciting and very arresting."

Miles Davis heard the trio perform their amped up set at a club in Harlem in the early winter. John McLaughlin had only been in the US for two weeks (he had come to New York specifically to join Tony Williams' Lifetime project) when he got a call from Miles asking if he would join him in the studio on February 18. This single day of recording would result in the July release of Miles' landmark fusion album, In a Silent Way.

Volume One (35:01) 1. "Emergency" (9:35) power drumming with loud, distorted electric guitar power chords open this one with Larry Young's organ providing the low and middle ground including all of the bass lines. John McLaughlin's guitar playing moves easily between runs that exude smoke and fire and those that evoke comfort and supplicating beauty, while his chord play in support are often jagged, angular, and confusing in their complex intention. Meanwhile, Larry Young gets some time to come out from his cave beneath the bridge (which is exactly when John gets his most ambigous: is he trying to be mean or just provocative?). While some of the sound is a bit muddied (especially in the higher end), the jamming is so focused, so tight, so intertwined. and then it just ends! Probably my favorite song on the album. (19/20) 2. "Beyond Games" (8:17) built over a blues progression, Tony uses his speaking voice to recite some pre-Gil Scott- Heron poetic social commentary. (He sounds so young--like the lead singer of the Brighter Side of Darkness: just sitting in his high school classroom wishing he could say his thoughts out loud. John's guitar is ominous in its support while Larry's organ (and bass line) is almost Timmy Thomas gospel-like. You can tell that this song was recorded on the same take as the previous one--two songs on the same tape continuously--as all of the sounds and levels are the exact same. after six minutes the repetitive four bar four-chord progression gets a little old--which is right when Tony returns to speaking his quotidian poetry advice. (17.5/20)

3. "Where" (12:10) a very-sparsely populated opening is where Tony chooses to start singing his philosophical musings. In the third minute John begins to solo cerebrally while Tony's drums provide steady yet-minimal support and Larry's organ is so quiet it's almost non-existent Then in the fifth minute John begins to go to a higher gear and Larry's right hand and Tony's prowess begin to show--but then all this is cut off at the five-minute mark for a quiet section in which Tony sings his ambigous mult-level questions. This then ends after which Tony's cymbal play and John's small repetive blues chords provide support for a two-minute organ solo. There is a very basic hard-bop motif shifted into in the ninth minute while Larry resumes soloing. This is not the fire and ice that I was expecting to hear from these practitioners of scorched-Earth tactics. (Nor was I expecting lyrics or singing.) (21.5/25)

4. "Vashkar" (4:59) the signatory song of this album, here we have the fiery interplay between drummer and guitarist with the organ providing the glue between them. Lots of stop and start, loud and soft alternations. Great skill that would be better if there was a more pleasing melodic hook. Another favorite. (9/10)

Volume Two (36:28) 5. "Via The Spectrum Road" (7:50) like southern blues swamp rock--and acoustic guitar and not one but two vocalists singing. John's blues-rock lead guitar is purposely placed in the background--sounds as if it's coming from a different room. The nuances are numerous and delightful. Too bad Larry is relegated to being pretty much the bass player. Sounds like something from the Sixties--especially John's raunchy guitar play. Larry's distant and sparse injections of organ chords have an other-worldly spacey feel to them and Tony's drumming is marvellous but overall this is not really something that a musician would really get into. I know this one is considered revolutionary, but it is far from my favorite. (13/15)

6. "Spectrum" (9:52) Wow! What a ride Tony, John and Larry take us on. There is no let-up or break to the break-neck speed that these musicians hurl through space and time--and Larry even gets some lead organ time despite having some very demanding bass lines to keep going. Quite a stunning (and exhausting) ten minutes of hard-bop-based power fusion. John's lead and rhythm play are both quite often abrasive--and unapologetically so as he keeps doing the irritating, angular things he just seemed to temper with bridges of more-classic and familiar (and softer, more melodic) riffs. A very impressive song. (18.25/20)

7. "Sangria For Three" (13:08) another barn-burner, this song has some very experimental passages (like the fifth minute and the 11th and 12th minutes) as well as some that are very hard-driving rock and others that are very Hendrix-like in their powerful blues-rock. This is my other top three song: I just love all of the shifts and turns, the high speed chases and the stuck-in-the-mud experimental passages, and the powerful Hendrix-like passages. (23.5/25)

8. "Something Spiritual" (5:38) not one of the timeless beauties that John would pump out with great regularity over the course of the rest of his career, more a testament to the challenging and repetitive work required to establish a spiritual practice and then keep it going. Great drumming beneath the very repetitious four chords played by John and Larry to mind-numbing nauseum. But I get it! (8.75/10)

Total time 71:29

I can see why this is such an important and, yes, seminal album--especially for the rise and notice of the fusion of jazz and rock 'n' roll musics, but it's really not a an album of great songs: ground-breaking and often great performances, but often so raw and under-developed, rarely enjoyable or "finished" feeling.

A-/five stars; a minor-masterpiece of genre-busting rock- and avant-infused jazz music that would open the doors for all other jazz-rock fusion ideas and bands to come flooding into the fold. Definitely one of THE landmark albums of the J-R Fusion movement.

 Sweetnighter by WEATHER REPORT album cover Studio Album, 1973
3.81 | 182 ratings

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Sweetnighter
Weather Report Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Joe and Wayne's third outing as "Weather Report" may be my favorite album of theirs as I really enjoy the textural approach to song-building over which the soloists are then given expansive room to experiment.

1. "Boogie Woogie Waltz" (13:03) R&B infusing Afto-Caribbean rhythm. I like the loose, airy feel of this: a "Papa Was a Rollin' Stone"-like song that feels as if the musicians are adding their contributions in small doses, not constantly or into an already-established weave (other than the percussion play). Also, I see/feel this as a response to Deodato's "Also Sprach Zarathustra." Amazing how consistent is the restraint shown by the four core members: bassist Miroslav Vitous, keyboardist Joe Zawinul, soprano sax player Wayne Shorter, as well as Andrew White's electric bass guitar. Might be a stretch too long, but . . . (23/25)

2. "Manolete" (5:55) a very pleasant Wayne-Shorter soprano sax-led song that shows off some wonderful experimental wah-volume-controlled electric piano play by Joe Zawinul along with some great double bass and percussion play from supplemental percussionists Herschel Dwellingham on drums and Steve "Muruga" Booker on timpani. (9.25/10)

3. "Adios" (2:59) wind-chime-like hand percussives and serene keyboard washes provide the backdrop for Joe and Wayne to issue some very relaxing waves of their own. Nice tune. (9/10)

4. "125th Street Congress" (12:13) based on a free-form funk bass "line" that, for me, seems to preview all of the rap and hip for the next 15 years. Another weave from the percussion section (and two drummers) is surprisingly open and spacious, creating the perfect groove for Miroslav and Wayne to create their magic while at the same time allowing for lots of room for meditation--at least until the fifth minute when Joe chimes in with some rather abrasive and aggressive keyboard "noise." This soon disappears, leaving the groovy percussive groove for Miroslav and Wayne to feed off. Joe's next reentries are a little less alarming and usually a little more reflective of the work that Wayne is doing though for a time becoming part of (or bouncing off of) the "percussion" weave. A very engaging and eminently entertaining song. (22.5/25)

5. "Will" (6:20) a testural weave of percussives, both hand and cymbal play, coupled with Joe Zawinul's steady chord arpeggi of wah-effected electric piano provide the steady foundation for Miroslav and Wayne to play with the presentation of their own inputs: one short bursts of creative bass chords, the other long-held sedating breaths of soprano saxophone. Very hypnotic. (9/10)

6. "Non-stop Home" (3:52) another amorphous exploration of texture built with experimental sounds over the tight drumming of Eric Gravatt. After 80 seconds, Andrew White's deep electric bass, a second drummer, and an uncredited organ accompany the main melody as delivered through Wayne's sonorous (background) soprano sax notes and Joe's electric piano. Interesting. I like it. It's like a sort of étude. (9.25/10)

Total time 44:22

As I gert to know the world and music of Joe Zawinul and Wayne Shorter I'm coming to believe that their vision is to explore textures more than form--to see how many permutations and combinations of textures they can come up with that will calm and/or soothe the audience/listener into contentment.

A-/five stars; a minor masterpiece of jazz-rock fusion--one that explores the gentler, more hypnotic groovin' side of said fusion.

 Wings of Love by NOVA album cover Studio Album, 1977
3.70 | 49 ratings

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Wings of Love
Nova Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars It is to me very weird to see the Nova albums from the mid-1970s listed as "Italian prog" when all four of them were recorded and produced in London with British producers and engineers with half of the musicians being Englishmen.

1. "You Are Light" (6:19) opens like something from the band's previous effort, Vimana, before getting a little disco- and jazz-imbued. The hooks in the second minute are reminiscent of both DAVE SANBORN and Narada Michael Walden's solo albums. Still, tit is a very engaging, enjoyable, and well-produced song. (8.875/10)

2. "Marshall Dillon" (3:53) a funked up jam in the vein of contemporary artists like Earth Wind & Fire, the Isley Brothers, Kool & the Gang, Ohio Players, Gap Band, Average White Band, and The Brother s Johnson over which Corrado's incendiary guitar is unleashed (but, unfortunately, much more processed). Very nice foundation from bass player Barry Johnson, Renata Rosset, and drummer Ric Parnell. Polished and well-engineered, just not "great." (8.875/10)

3. "Blue Lake" (6:50) rain, river, boat sounds over which Corrado and choir sing angelically. Elio's heavily-treated sax playing over the atmospheric music is nice--could have served more in the lead than the vocals. There are nice performances top to bottom though the mix is often surprising (bass so far forward and vocals and sax mixed into the rest of the soundscape). Renato's blend of keyboards is the song's perfect glue. The most surprising element is the complete restraint (or "absence") of Corrado's blistering guitar (until the very end). Almost a great song. (13.375/15)

4. "Beauty Dream - Beauty Flame" (6:22) a very beautiful pastoral song with subtle but beautiful chords and melodies and exquisite performances from the all-acoustic piano, acoustic guitar, flute, and "Nectar Smile Choir." Very much like Chick Corea's Return to Forever pieces like "The Romantic Warrior." (9.125/10)

5. "Golden Sky Boat" (6:09) starts out as a decent jazzy-rock song before Corrado's vocals and the funky Return To Forever driving chorus enter and dominate. The musicians are really all working out at top speed with bassist Barry Johnson and Renato Rosset's clavinet, Minimoog, and Fender Rhodes doing a masterful job in the low end. Corrado's guitar power chords are a sad joke, taking away from his true skills, talents, and tendencies. (8.666667/10)

6. "Loveliness About You" (5:53) the band here ventures into the sexy-lullabuy world of the future: the pop-pandering sounds (and lyrics) of that which will soon become known as "Smooth Jazz." It's pretty, it's romantic, it's very smooth, but it's moving far away from the complex hard bop and modal jazz forms and styles that launched the J-R Fusion movement. Almost like a watery AMERICA song. (8.875/10)

7. "Inner Star" (6:31) space cowboys! I mean: the sounds of American Country-Western music coming through rock 'n' roll instruments--' la American bands like the ATLANTA RHYTHM SECTION and LITTLE FEET. This is actually a fairly well-balanced song with interesting hooks and performance surprises and a very solid rhythmic base. Though I hate Corrado's guitar playing seemingly bending (down) to the will of the demands of the rock 'n' roll gods, it does help make for a more cohesive and effective song. (9/10)

8. "Last Silence" (5:11) pretty, dreamy music with Barry Johnson's fluid EBERHARD WEBER-like fretless bass and Renato's floating Fender Rhodes keyboard play providing all the cushion one might need to float off to sleep (or opium-induced Nirvana). With this song one can see how Corrado Rustici ended up moving into roles as studio musician (Narada Michael Walden, Angela Bofill, Phillis Hyman, Stacey Lattislaw, Teena Marie, Patti Austin, Aretha Franklin, Whitney Houston, George Benson, Sheena Easton, Kenny G, Calrence Clemons, Zuccharo, Ligabue) and record producer (Zuccharo Sugar Fornaciari, Loredana Berte', Paul Young, Randy Crawford, Elisa, Claudio Baglioni, Ligabue). (8.875/10)

Total Time 47:08

Co-Producer Narada Michael Walden's presence is still very strongly felt in everything about this album--even the spiritually-oriented lyrics. The songs are, however, more standard in format and polish but the sound is, unfortunately, heading toward that "Smooth Jazz" realm that usurped all Anglo-American jazz-rock fusion artists (more like "labels) in the late 1970s and early 1980s. For my tastes this album is too polished and squeaky clean--ready for radio play--even R&B and Contemporary Jazz and Adult Rock Radio formatted stations.

B+/4.5 stars; a near-masterpiece of proggy jazz-rock fusion--though the album as a whole represents quite a varied sample of prog and Jazz-Rock Fusion as it stood in 1977.

 Believe It by WILLIAMS LIFETIME, TONY album cover Studio Album, 1975
4.18 | 81 ratings

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Believe It
Tony Williams Lifetime Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars An album that is as notable for luring guitar phenom Allan Holdsworth away from a pretty good gig with The Soft Machine as it is for being one of the legendary drummer's finest. Allan considered this the most pivotal collaboration of his career.

1. "Snake Oil" (6:30) opening with a truly funked up bass, the surprisingly-raunchy guitar from Allan Holdsworth enters with Tony's surprisingly straightforward drumming to establish a foundational framework within which the band members work in their little nuances of extras until 1:40 when Allan begins a guitar solo of subtly varied guitar chords based on the foundational flow. The band is very tight but, again, surprisingly stiff and unadventurous--until Alan Pasqua starts a clavinet solo around the three-minute mark. Thereafter one can hear Tony start to loosen up and fly around his drum kit beneath the rigid form of his bandmates. In the sixth minute, Allan launches on a surprisingly controlled and "slow" solo for about a minute, and then the song just slow fades! Wow! Kind of weird--and definitely unexpected! (8.75/10)

2. "Fred" (6:48) one of Allan's compositions, it is surprisingly melodic and smooth--especially Allan Pasqua's keyboard parts (which Allan matches with his soft guitar chords for the first two minutes. Tony's play is nice. Electric piano gets the first solo--a surprisingly extended two minute jaunt during which Tony's drum play just gets more and more dynamic. Allan finally enters as the soloist at 3:45--but it's Tony again who garners all my attention--even after 4:25 when Allan finally starts to cook, it's Tony that I am enjoying the most. How can a drummer be this "melodic"? Nice guitar solo finally ends about 5:37 whereupon we reenter the lush keyboard-and-guitar chord sequence of the opening. Nice tune. Great drum display! My favorite. (13.75/15)

3. "Proto-Cosmos" (4:02) a nice driving jazz-rock tune on which Tony once again shines despite more-than-adequate performances from his band mates--just nothing as extraordinary or dynamic as Tony's play. (8.875/10)

4. "Red Alert" (4:39) opening with a rock sound that sounds like the sound palette of Edgar Winter's "Frankenstein." At the end of the first minute bass player Tony Newton is the only one left carrying the song forward as everybody else clears out for a stupendous Allan Holdsworth solo. This is the first time on the album that Allan has displayed any of the fireworks that we heard on his last album prior to this one, The Soft Machine's Bundles. Alan Pasqua gets the next solo on his electric piano in the second half of the third minute. I love how both Holdsworth and Newton (as well as Williams) embellish their own "support" play beneath Pasqua--this is the first time the three have done this to this degree. (8.875/10)

5. "Wildlife" (5:22) a slow, melodic arrangement with upper register electric piano and electric guitar presenting and carrying the BOB JAMES-like melody forward from the start. Holdsworth takes his time taking the first solo slot--and never hits third gear, just maintains and supports the basic melody, pretty much. Pasqua's clavinet is a nice second keyboard and Newton's bass play is the most loose and satisfying that we've heard beneath Pasqua's cool electric piano solo in the fourth minute. I LOVE how the bass and drum play--both fairly straightforaward and sedate--give the feeling of pushing: giving more power and even trying to push the pace up a notch. Really cool feeling! Otherwise, just a nice song. My second favorite song. (9/10)

6. "Mr. Spock" (6:15) another song that seems to have more of a rock and pop orientation--at least until the speed is finally established at the one-minute mark. In the second minute, Alan Pasqua takes the first solo with silence from Mr. Holdsworth beneath--which makes Tony's play even more noticeable. Nice bass play from Mr. Newton. Even Tony's straightforward play is filled with such nuance and subtlety! Holdsworth puts in a decent solo in the fourth minute with Pasqua now completely dropping out. Cool idea! Tony's solo play in the second half of the fifth minute (beneath Holdsworth somewhat annoying distorted three-chord guitar play) feels a little bit "amateurish" for its showy-ness. (8.87510)

Total time 33:36

Overall this is a nice album of almost proto-Smooth Jazz on which Tony Williams shows us some of the amazing power he controls in his most basic drum play. The rest of the quartet are adequate in their play but rarely jaw-dropping. The songs are a little too formulaic with the way in which they are set up to harbor a succession of individual solos (except for "Fred").

B+/4.5 stars; a near-masterpiece of jazz-rock fusion.

 Tale Spinnin' by WEATHER REPORT album cover Studio Album, 1975
3.65 | 133 ratings

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Tale Spinnin'
Weather Report Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Continuing Weather Report's shift to more structured compositions and away from the murky primordial soup of Bitches' Brew/In a Silent Way-esque improvisation that characterised their early albums, Tale Spinnin' finds the band still transitioning towards the style that they'd cement on Black Market and Heavy Weather, and whilst I wouldn't put it on the level of Mysterious Traveller it's a pleasant and compelling listen which manages to be accessible and approachable without necessarily compromising the artistic vision behind it - rather, the band's concept seems to have moved on from its roots definitively at this point. It's now more precise, more technical, less loose and flowing - still good in its own way, but it took a while to grow on me.
Data cached

Jazz Rock/Fusion bands/artists list

Bands/Artists Country
37°C Serbia
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
ANDREAS AARFLOT Sweden
AARON LEBOS REALITY United States
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABRAXIS Belgium
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ACQUA LIBERA Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAIN ECKERT QUARTET Belgium
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANDROID TRIO United States
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
ANWKOZIK France
APOTHECARY United States
APPENDIX Sweden
APPRENTICE United States
AQUARELLE Canada
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCING WIRES Australia
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
ARENA Australia
ARIEL United States
BRUCE ARNOLD United States
FERAS ARRABI Jordan
ARSENAL Russia
ART METAL Sweden
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASCORBIC ACID Russia
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
BADDY BAND Bulgaria
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
BEAT LOVE ORACLE Belgium
JEFF BECK United Kingdom
BEDJABETCH France
BELEDO Uruguay
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
BIFURCATA Mexico
BLACK LADDER United States
TOTO BLANKE Germany
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOSQUE Serbia
BOTH HANDS FREE United Kingdom
BOUD DEUN United States
BOUNTY United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
NICKLAS BRÄNNSTRÖM Sweden
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH 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
CHRIS BUCK United States
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
FRANCIS CANG Philippines
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CODY CARPENTER United States
CASH PONY United States
CASIOPEA Japan
CATASTROPHE France
CEDDO Germany
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHESTER GORILLA Italy
CHICAGO United States
CHILD'S PLAY United States
CHUTE LIBRE France
CINCINNATO Italy
CIRCUS United Kingdom
CIVILIANS United States
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
COEVALITY United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMBO 8 Sweden
COMPANYIA ELÈCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
CONTUSION Argentina
COPERNICUS CROW United States
COPIOUS United States
CHICK COREA United States
CORONARIAS DANS Denmark
THE CORTEX SHIFT Australia
LARRY CORYELL United States
CRAZY SWEDES United States
CURT CRESS Germany
CRIMSON JAZZ TRIO United States
DAVID CROSS United Kingdom
CRY FREEDOM Germany
CRYPTO Netherlands
CYKLUS Germany
CYMANDE Multi-National
CYMBALIC ENCOUNTERS United States
CZAJKOWSKI - MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
DE GLADAS KAPELL Sweden
LOUIS DE MIEULLE France
THE DEAD KENNY G'S United States
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
THE DELUGE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
LA DESOOORDEN Chile
DEUS EX MACHINA Italy
MOHINI DEY India
AL DI MEOLA - MCLAUGHLIN - PACO DE LUCIA Multi-National
AL DI MEOLA United States
DIDIER Germany
DIES GOA UNIT Monaco
DISCORDIAN SOCIETY United States
DIVJE JEZERO Slovenia
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DOGG MANSION United States
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
RIENTS DRAAISMA Netherlands
MLADEN DRAGOVIC Serbia
DRAMA United States
DRAW THE SKY France
DREAMS United States
DROBAN-APHERNA Portugal
DUELLO MADRE Italy
JOEL DUGRENOT France
GEORGE DUKE United States
DZAMBLE Poland
E MOTIVE United States
EAST WIND POT Japan
EDGE United Kingdom
EDITION SPÉCIALE France
EDO Canada
EELA CRAIG Austria
ELECTRIC OUTLET Germany
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
EMISFERO BOREALE Italy
ENDLESS SEASON Italy
ENERGIT Czech Republic
ENERGY Sweden
ENERGY OF SOUND United States
ENTRANCE Denmark
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX OVO PRO Germany
EX VITAE France
EXAMPLES OF TWELVES United Kingdom
EXIL Germany
EXMAGMA Germany
EXTRA BALL Poland
EYES OF ETHEREA Australia
EYOT Serbia
EZOO Multi-National
ANTOINE FAFARD Canada
YIORGOS FAKANAS Greece
FANG CHIA United States
FANTASIA CROMATICA Argentina
FARMERS MARKET Norway
FAROUT Finland
FAT SPARROW Australia
THE FATHERS OF GOOD SOUNDS Russia
FEAT. ESSERELÀ Italy
FEEDBACK Slovenia
FENOMEN Turkey
THE FENTS United States
FERMÁTA Slovakia
FICTION United States
FILULAS JUZ Mexico
FINNFOREST Finland
FIRE MERCHANTS United Kingdom
FIRST LIGHT Australia
FIRYUZA Turkmenistan
A FISH'S DIVING SUIT Germany
DAVID FIUCZYNSKI United States
FLAMENGO Czech Republic
FLAT 122 Japan
BELA FLECK AND THE FLECKTONES United States
FLOYD HUNCHBACK GROUP Switzerland
FLYING ISLAND United States
FONTANELLE United States
FORGAS BAND PHENOMENA France
PATRICK FORGAS France
THE FOURTH WAY United States
THE FOWLER BROTHERS (AIR POCKET) United States
FRAGILE Japan
FRAGMENT37 United States
FRANKIE KIMONO Slovakia
FRAUDPROPHETS United States
FREAKZOID United States
FREE WAVE SYSTEM Italy
FREEHAND United States
FRIENDS United States
BILL FRISELL United States
FROGG CAFE United States
FROM Germany
FROSTY LEO Australia
FUGU France
FULANO Chile
FULLMOONS Greece
FURDA Yugoslavia
G.A.O.S. Japan
GALLIARD United Kingdom
GAMALON United States
GARAGE A TROIS United States
GARAJ MAHAL United States
JAN GARBAREK Norway
AL GARCIA United States
GARLIC Italy
ROBERT GENCO Italy
GENRE United States
GHOST RHYTHMS France
IAN GILLAN BAND United Kingdom
GINGA RALE BAND Austria
REUBEN GINGRICH United States
GIS MAJ ES Serbia
CHRISTOPHE GODIN France
GOLD United States
GOLDEN AVATAR United States
GOLDEN MEAN United Kingdom
GONGZILLA Multi-National
GOOD GOD United States
JERRY GOODMAN United States
GORO WINS Argentina
GUTHRIE GOVAN United Kingdom
GOZZOZO France
GRAND GENERAL Norway
LE GRAND NEBULEUX France
CAMERON GRAVES United States
JACQUES LA GRECA France
GRIMACE FEDERATION United States
GRITS United States
MUCK GROH Germany
GROTESK Germany
GROUP 87 United States
THE GROUP Finland
GUADALQUIVIR Spain
WLODZIMIERZ GULGOWSKI Poland
GUNESH ENSEMBLE Turkmenistan
GURTH Spain
JUKKA GUSTAVSON Finland
VASIL HADZIMANOV BAND Serbia
MARY HALVORSON United States
TIGRAN HAMASYAN Armenia
JAN HAMMER United States
HERBIE HANCOCK United States
HANNIBAL United Kingdom
HANSFORD ROWE COLLECTIVE United States
JON HASSELL United States
JUKKA HAURU Finland
HEAD United Kingdom
HEADBAND Germany
PATRICK HEALY Canada
HEAVEN United Kingdom
DICK HECKSTALL-SMITH United Kingdom
HECTIC WATERMELON United States
RONNY HEIMDAL Norway
JONAS HELLBORG Sweden
HELMET OF GNATS United States
EDDIE HENDERSON United States
ALEJANDRO HERRERA Argentina
JAKE HERTZOG United States
DAVID HINES United States
CHRIS HINZE COMBINATION Netherlands
ALLAN HOLDSWORTH United Kingdom
HOOFFOOT Sweden
HORN Canada
HOWEVER United States
HUGHSCORE United Kingdom
HUMAN ELEMENT United States
GARY HUSBAND United Kingdom
THE HYPERSONIC FACTOR Multi-National
I KNOW YOU WELL MISS CLARA Indonesia
IBIS Sweden
ICARUS United Kingdom
ICEBERG Spain
ICONOCLASTA Mexico
IF United Kingdom
IGZIT-NINE Japan
ILIAD United States
IMÁN CALIFATO INDEPENDIENTE Spain
IMPACT FUZE Russia
IMPULS Czech Republic
INNER DRIVE Russia
INNER SPACE Multi-National
INTRAVENUS Greece
IRON KIM STYLE United States
JOHN IRVINE United Kingdom
ISOTOPE United Kingdom
IZVIR Yugoslavia
RONALD SHANNON JACKSON United States
JAGA JAZZIST Norway
JAM CAMP United States
JAM IT! Russia
BENNY JANSSON Sweden
JARKA Spain
JAZZ PISTOLS Germany
JAZZ Q Czech Republic
JIMMY YOKO & SHIN Japan
GEORGE JINDA Hungary
JINETE AZUL Argentina
JENS JOHANSSON Sweden
ALPHONSO JOHNSON United States
JOIN IN Germany
Hungary
JULIAN JULIEN France
JUPU GROUP Finland
JUTRO Yugoslavia
KADA Hungary
KALEIDON Italy
KALEIDOSKOP Germany
KANDAHAR Belgium
KARCIUS Canada
KARI BAND Japan
KASEKE Estonia
KASHGAR Canada
SENRI KAWAGUCHI Japan
KBB Japan
KEHELL Japan
KENNEDY Japan
KENSO Japan
KICK THE CAT United States
KING CAPISCE United Kingdom
KINKY WIZZARDS United Kingdom
KIYO*SEN Japan
KJOL Switzerland
KLAN Poland
KOKOSCHKA HIGHTOWN ORCHESTRA Germany
KORNET Sweden
KORNI GRUPA (KORNELYANS) Yugoslavia
KOSTAREV GROUP Russia
KRAAN Germany
KRABAT Germany
KRAKATOA United States
WAYNE KRANTZ United States
KRÉ Venezuela
VOLKER KRIEGEL Germany
KROKOFANT Norway
KUJAKUON Japan
KUMINA.ORG Finland
KUNDALINI Sweden
KWORTET United Kingdom
LABORATORIUM Poland
LADY WITH France
LAND OF CHOCOLATE United States
SHAWN LANE United States
LAPIS LAZULI United Kingdom
LASTING WEEP Canada
LEB I SOL Yugoslavia
LEHMEJUM Brazil
LEPRECHAUN Chile
LES TONY MARTINI Canada
CHRIS LETCHFORD United States
TONY LEVIN United States
MINGO LEWIS United States
LIGHTHOUSE Canada
LIGRO Indonesia
LILAC ORCHESTRA Russia
LINDWURM Germany
LIVING LIFE Italy
DIDIER LOCKWOOD France
LOMO United Kingdom
THE LONELY BEARS Multi-National
LOOSENSE Portugal
LOST PEACE Switzerland
LOTUS Sweden
RENAUD LOUIS GROUP France
LOVELY SOCIALITE United States
LUMINA Brazil
LUNAR CAPE Russia
M'Z France
M-ARTEL Russia
MAAD Italy
JOHN MACEY United States
ALEX MACHACEK Austria
MACHINE AND THE SYNERGETIC NUTS Japan
MACHINE MASS Multi-National
MACKENZIE THEORY Australia
MAD CURRY Belgium
MADE IN SWEDEN Sweden
MADRE ATOMICA Argentina
MAELSTROM United States
MAGNETIC SOUND MACHINE Italy
MAHAGON Czech Republic
MAHAVISHNU ORCHESTRA Multi-National
THE MAHAVISHNU PROJECT United States
MAHJUN France
MAHTRAK Brazil
DIDIER MALHERBE France
SEAN MALONE United States
MAN DOKI SOULMATES Multi-National
MANDRILL United States
MANEIGE Canada
MANFRED MANN CHAPTER THREE United Kingdom
MANOGURGEIL Finland
MICHAEL MANRING United States
MICHAEL MANTLER Austria
MAR DE ROBLES Chile
MARBIN Multi-National
PATRICK MARCEL France
THOMAS MARRIOTT United States
MASCHERE VUOTE Italy
MASS MEDIA Italy
MASTER OOGWAY Norway
MATERIAL United States
MATHEMATICIANS United States
MATRIX United States
MATS-MORGAN (BAND) Sweden
BENNIE MAUPIN United States
MCGILL MANRING STEVENS United States
SCOTT MCGILL United States
JOHN MCLAUGHLIN United Kingdom
MCLUHAN United States
MECKI MARK MEN Sweden
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