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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)
Darkshade (Mike)
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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

4.38 | 601 ratings
KIND OF BLUE
Davis, Miles
4.36 | 857 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.36 | 409 ratings
IN A SILENT WAY
Davis, Miles
4.37 | 133 ratings
TIME CONTROL
Uehara, Hiromi
4.30 | 357 ratings
SPECTRUM
Cobham, Billy
4.29 | 614 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.26 | 527 ratings
ELEGANT GYPSY
Di Meola, Al
4.31 | 160 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.26 | 224 ratings
CROSSINGS
Hancock, Herbie
4.24 | 366 ratings
BITCHES BREW
Davis, Miles
4.26 | 216 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.23 | 406 ratings
ROMANTIC WARRIOR
Return To Forever
4.23 | 464 ratings
CARAVANSERAI
Santana
4.23 | 346 ratings
ABRAXAS
Santana
4.30 | 116 ratings
VISITATION
Pohjola, Pekka
4.54 | 33 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.25 | 175 ratings
THE WAY UP
Metheny , Pat
4.30 | 89 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 95 ratings
MILESTONES
Davis, Miles
4.29 | 86 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. 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

FUSION
Urbaniak, Michal
LIVE AT MONTEREY (DON ELLIS ORCHESTRA)
Ellis, Don
A STORY OF MYSTERIOUS FOREST
Ain Soph
WHAT WE MUST
Jaga Jazzist

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Latest Jazz Rock/Fusion Music Reviews


 Time Control by UEHARA, HIROMI album cover Studio Album, 2007
4.37 | 133 ratings

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Time Control
Hiromi Uehara Jazz Rock/Fusion

Review by Fido73

5 stars The second most important album of my life after Björk Homogenic. Surprising for a guy who has grown-up with a big dosage of pure prog like Genesis, Yes, KIng Crimson, to have Bjök and Jazz pianist Hiromi has his 2 greatest inspiration? At least to me it somewhat is. I have discovered Hiromi through a jazz magazine, on a article on the best Jazz Rock album of all time. There was a part on the best new artist in Jazz and Jazz Rock/Fusion, she had just release her second album, Brain, and I decided to give it a try, and bought a copy. As soon as I heard the first song, I already knew I would love it, what a great album. I immediately bought he first album and a another winner here. But when Spiral her third album was release, I was disappointed by it, it's good but not 4 stars+ material. I kind of forget her and went to other genre of music like Björk for instance.

In 2007, I suffer a big depression and one morning, I woke up with the desire to end it all, but a voice in me said that I should go take a walk to my local record store, when i'm down it always calm me down, being in a record store. So I went for the store and when I got to the Jazz section, I saw that a new album by Hiromi at been release that day. It said Hiromi's Sonicbloom, weird, is it what I think it is? Yep, I turn the album over and saw that she added a guitarist, David Fiuczynski, to her usual mix of Tony Grey on Bass and Martin Valihora on Drums. Since she had started her career, Hiromi was 80% Jazz, 20% Fusion. Being a big Fusion fan, and having a new album by an artist that you like coming out in 2007, with not just a Jazz album, but a Jazz Rock at that! I bought it and went to my bedroom, put my headphones, put the CD in the player, lied down on my bed and press play? To paraphrase Björk, in the song Headphones, she sing "My Headphones save my life", it's true, it did, during the song Deep Into the Night, I started to cry like I never did in my life, that song, from that album, save my life, in this particularly gloomy day. It's THE Jazz Rock/Fusion of the new millennium. She's it, one of the most brilliant young artist in Jazz and music in general. All of her album after that one are amazing, but my personal favourite, and I did review it, is Voice.

If you are a fan of Jazz Rock/Fusion, and you still haven't heard her music, don't wait a minute, and get Time Control quick, it's a definitive masterpiece of Jazz Rock + it's all been recorded live in the studio, no overdubs!!!!! 10 Stars Essential: a masterpiece of Jazz Rock music for the 21st century.

 Zero Tolerance for Silence by METHENY , PAT album cover Studio Album, 1994
1.68 | 25 ratings

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Zero Tolerance for Silence
Pat Metheny Jazz Rock/Fusion

Review by admireArt

2 stars The unimaginative creations of a highly skilled performer.

Jazz/Fusion fans have punished this "Zero Tolerance for Silence", Pat Metheny´s 1994 project. Yes, it is hideous but no big news. In fact it is an extraordinary lesson in self-contempt and self indulgence both. I mean, this cd was not given away, but sold! (If you want to hate me, pay for it!)

Lesson 2: No matter how well skilled you are at your weapon of choice, music writing is another galaxy.

Lesson 3: Is no big news Pat Metheny is no "big leagues" composer. Even though, everybody associates him of being Steve Reich´s choice for his 1987 ¨Electric Counterpoint¨, (the electric guitar version of a series of ongoing Reich´s ¨Counterpoints¨), the 3 piece composition was written solely by Reich. (Who humbly admits taking ¨guitar playing¨ advise for its recording by Pat, but that is it.)

Lesson who cares: Everybody knows Metheny´s best attribute is the mastering of his guitars. (Which he owns and displays proudly , like fellow virtuous guitarist and also "minor" composer, Steve Howe.)

How bad? Not worth my time, even for free! But an extraordinary master-class in "IT TAKES MORE THAN PERFORMING SKILLS TO BE AND BECOME A GIFTED COMPOSER", in the never ending music composition´s quest.

**2 (could be worse, at least he is honestly mediocre) PA stars.

 Suite Mexicana by ICONOCLASTA album cover Singles/EPs/Fan Club/Promo, 1987
3.12 | 8 ratings

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Suite Mexicana
Iconoclasta Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars In a rare move by an 80's Prog band and just prior to releasing their third full-length album, Iconoclasta decided to launch a 2-track 7'' vinyl EP with compositions apparently written at the dawn of 1987.This effort was titled ''Suite mexicana'' and released in August 87', the fourth pressing of their own Discos Rosenbach label (a compilation of Mexican Metal bands was the previous one in 1986).

First track ''Mestizaje'' opens with a very pastoral acoustic crescendo and a strong Latin Folk flavor, but soon the familiar Iconoclasta style will come in evidence.A mix of symphonic and jazzy aesthetics in a very dense Fusion amalgam with time changes, complex bass lines, sharp guitar moves with a STEVE HACKETT-like touch and a nice keyboard performance by Rosa Moreno, which includes both symphonic and more quirky executions.A total 7 minutes of rich Symphonic Fusion.''Revolucion en 6/8'' is the second part, starting with the farewell flutes of the previous track and following the same vein.The music is just a bit more pompous with the good changes between electric guitars and keyboards leading the way, while this time the music becomes richer and more retro-styled with the presence of an organ.Lots of Classical influences and symphonic underlines, the band sounds now like Argentinians PABLO EL ENTERRADOR with the balanced guitar/keyboard interplays, but Iconoclasta were a band fond of fusing different influences, as a result they sound pretty virtuosic and diverse, always having links to STEVE HACKETT's personal albums.

Maybe it would be an excess to give this one a strong recommendation, as this suite has been part of several reissues of Iconoclasta's ''Soliloquo'' album.Anyway, if you ever come across a copy of this short vinyl, do not hesitate.Dense and ch

 Hideaway by CLARKE, STANLEY album cover Studio Album, 1986
2.67 | 6 ratings

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Hideaway
Stanley Clarke Jazz Rock/Fusion

Review by Gatot
Special Collaborator Honorary Collaborator

2 stars An R&B music with a bit of jazzy flavor ...

Well ... the reason I write this album is because I have the cassette version of it with a very good quality as this was produced decades ago...but the audio quality is really good and in fact I prefer to play this casssette at my Tandberg TCD 440A than playing any CD with my NAD player. The sound of this cassette is really natural where I can get a full blast of balanced combination among treble , bass and midrange nicely. I do enjoy this cassette record, really, eventhough I played it "zero gain" or flat at my amplifier where the bass and treble were set to 0 level. It's a great experience, really.

My excitement on the audio quality is not really matched at all with my satisfaction against the music presented by Stanley Clarke with this album. In fact, I listened to it with many regret as I don't believe that a musician with such a brilliant capacity and talent like Stanley Clarke created this very mediocre quality of music - not even good ...sorry to say. Well ... if you look at the perspective of pop or R&B music this album might have served good for you. But even under pop or R&B scene there are still many groups that are more ear candy that pleases you such as Incognito or Jamiroquai ... I think. You might then question me why do I mention these two names? It's because this Hideaway album is not that faraway from those kind of music only that this one less funky, overall.

Well ... I can find the album title track is quite good as it presents Clarke's bass guitar solo as melody as well so that it provides some sort of enjoyment. But the problem is that everything was composed using R&B scene, so there is no challenge at all in listening this album. In fact the track where Angela Bovil fill up the vocal work, it's totally a pop music and I wonder why this kind of music is featured here at this website. It's much better to include Chick Corea where the music is much jazz and much complex to what the R&B music offers. I a not saying R&B is not good but it's not suitable for this prog website - I believe. Chick Corea album like "The Mad Hatter" is much more suitable here ....there are lots of prog components eventhough it's 85% jazz.

So to say ... I can only give this album with only two stars as the facts tell me that. You should try it and you might agree with me ....

Peace on earth and mercy mild - GW

 Zero Tolerance for Silence by METHENY , PAT album cover Studio Album, 1994
1.68 | 25 ratings

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Zero Tolerance for Silence
Pat Metheny Jazz Rock/Fusion

Review by Argonaught

1 stars Good Heavens!

I can't say I like experimental music too much. But, when listening to the likes of Elliott Sharp or Ornette Coleman or George Antheil or Mary Halvorson (God love her) I can objectively recognize and appreciate the merit their innovative effort even without being able to enjoy the music on a purely emotional level.

In other words, to get a one star review from me, you need to really hit my aesthetic taste buds with something really, really foul.

IMO, the Zero Tolerance for Silence is an acoustically offensive waste of 38 minutes. To sum up its essence and contents, it consists of a series of distorted guitar tracks, dubbed over other distorted guitar tracks and over still other ones, for the whole duration of the album. It's a close musical equivalent of randomly shooting a few hundred pain tballs of different colors against a concrete wall and calling the result a mural.

 Zero Tolerance for Silence by METHENY , PAT album cover Studio Album, 1994
1.68 | 25 ratings

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Zero Tolerance for Silence
Pat Metheny Jazz Rock/Fusion

Review by socrates0515

5 stars The wealth of negative ratings here should tell you that something is actually happening with this music.

By reading the other reviews here, you'd suspect PM attempted to create another record consistent with his group recordings, more mildly swinging and melodic offerings, played with virtuosity, broadly appealing to fans of so-called "jazz music" and "rock music" alike -- but he failed. Come on. PM knew what he was doing. His records are generally popular (or, at least, popular relative to other records store clerks file under "jazz"), and he's made quite a few for Geffen. This has allowed him to insist to his record company that this music be released to the public. Geffen agreed, likewise knowing what it was releasing.

Living deep within Pat Metheny's soul is a musical scientist. He knows what he's doing, he sets his own parameters, imposes his own structure and draws his own conclusions. Usually, he's the long-haired picker with the winning smile who leads his virtuoso band through familiar and appealing territory. Occasionally he's the Ornette Coleman acolyte paying homage to the master (those outings are likewise mostly panned by reviewers from his usual audience). Here he stands alone, having succeeded in bringing to his listeners a stark and unforgiving music which they'd never elect to put in their ears had they known better. It's a bold risk which has not resulted in his legions of fans suddenly embracing textured music in which harmony and meter are not prioritized. I doubt he expected such.

I shall not attempt to describe the music on this recording. Professor Monk's phrase "dancing about architecture" applies. I find the music here to be immensely revealing about Pat Metheny the musician and the guitar player (yes, there is an important distinction). If you're expecting a follow-up to "San Lorenzo," then this music is difficult. Try taking it on its own terms. It's a strong shot of espresso -- or whiskey. But it bears repeated listening. At times, the music is quite gentle and nuanced. Give it a chance.

Or, don't. But please recognize that an artist violating expectations, even for such learned and esteemed listeners whose reviews grace these pages, risks a strong, negative backlash, not for the music itself, but for the unmet anticipation.

 Night Dreamer by SHORTER, WAYNE album cover Studio Album, 1964
4.08 | 4 ratings

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Night Dreamer
Wayne Shorter Jazz Rock/Fusion

Review by thwok

4 stars I'm surprised that there are only 3 ratings for Night Dreamer on Prog Archives, and no written reviews of this album. Judging from what I've read elsewhere on the Internet, Night Dreamer is generally regarded as one of Wayne Shorter's greatest albums. Like my fellow reviewers, I think it's terrific and fully worthy of 4 stars.

Night Dreamer is the only Wayne Shorter-led album I've listened to a lot. Perhaps that gives a clue to Night Dreamer's lack of exposure. The sound of Night Dreamer is post bop/hard bop. It's completely acoustic, and this is in no way jazz fusion. It is excellent music. I think my favorite tracks are "Black Nile" and "Oriental Folk Song". Wayne Shorter is as well known as a jazz composer as an instrumentalist. The fact that he was one of the primary members of Weather Report, and a favorite of Miles Davis, says it all

On Night Dreamer, Shorter played with some of the best jazz musicians of the 1960's. It's all brilliantly played, but I particularly want to draw attention to McCoy Tyner. I'm not a fan of virtuosity for its own sake, and I don't have many favorite musicians. However, I think McCoy Tyner is the best pianist in jazz. His harmonic ideas are all his own, and no one else can combine jaw-dropping skill with melody like Tyner does. The reason that I wouldn't give Night Dreamer more than four stars, is because it lies on the margins of what most fans of this site would listen to. It's still an excellent addition to any music collection. Anyone who likes mainstream jazz will really enjoy this.

 Hymn of the Seventh Galaxy by RETURN TO FOREVER album cover Studio Album, 1973
4.18 | 214 ratings

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Hymn of the Seventh Galaxy
Return To Forever Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

5 stars After ''Light as a feather'' Joe Farrell, Airto Moreira and Flora Purim all left Return To Forever (they even helped each other in future albums) and Corea and Clarke recruited session drummer Steve Gadd, percussionist Mingo Lewis and guitarist Bill Connors for further rehearsals.While the third work of the band was in the recording process, Gadd quit, as he refused to tour with Return To Forever under the fear of loosing his job as a session drummer and he was followed by Lewis.Drummer Lenny White was then recruited as their replacement and the band headed for the Record Plant Studios in New York.''Hymn of the seventh galaxy'' was re-recorded with White behind the drum kit and released in August 1973 on Polydor.

While Moreira and Purim seem to have adapted the Latin-tinged, ethereal Fusion style of Return To Forever and displayed it in their upcoming albums, the band itself started breaking new grounds, leaving muhg of their Latin spices in the history of the previous line-up and presenting here one of the smokiest and most dense albums the Fusion world ever saw.Corea handles the acoustic/electric piano, organ and harsichord here and Connors' work was to provide the band with some fiery and sharp jazzy soloing.New drummer Lenny White next to the flawless Stanley Clarke offered one of the most technical rhythm sections in Jazz-Fusion.The result is one of the most dense and complex Jazz Rock/Fusion albums of the 70's, every note in here is right to the point and ''Hymn of the seventh galaxy'' offers six pieces of intense Electric Fusion with endless tempo changes, an unbelievable number of breaks and some angular interplays between piano, guitar and keyboards.Fast paces, neurotic executions, solos changing in a blink of an eye, but what will blow your mind away is that every second in here seems correctly placed/played.Latin influences and colors are limited but not absent for a flashback in Return To Forever's previous albums, but when you have to face Corea drifting between electric piano, harsichord and organ, you know what to expect: Emphatic, jazzy musicianship with top performances and incredible technique.One of those albums, where melodies are absent, but you shouldn't care a single minute, because the music is absolutely fascinating, split in six Fusion monster classics.

No words to describe my feelings after listening to this album.This should be exhibited as a seminar for all Fusion freaks and players.Monstrous, instrumental pieces with superb musicianship and tight interactions.Up there, in the top 10 Fusion albums of the 70's...4.5 stars upgraded.

 Bad Heads and Bad Cats by EMBRYO album cover Studio Album, 1976
2.78 | 16 ratings

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Bad Heads and Bad Cats
Embryo Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

3 stars For most prog listeners the best albums by this Munich-based band (which is often seen as part of "Krautrock", at least in the wider sense of the term) are clearly from the early 70's. Like the preceding album Surfin' that has gained very negative reception, the jazz-rock of stupidly named Bad Heads and Bad Cats is coloured with funk flavour and slight ethnic elements. This album is however much better, if not exactly what progheads would prefer to hear from Embryo.

My fave track is the lively 'After the Rain' which has deliciously fresh contributions of reeds and keyboards, but on many other tracks the light-hearted wandering remains more boring. It feels like the group of seven musicians was preventing the music to really take off the ground. The same criticism concerns the two bonuses on the Garden Of Delights edition, but on the other hand they don't pale at all in comparison to the main album. The CD is nicely boosted to 64 minutes. Also the leaflet with lots of pictures (including album covers) must be thanked for. My 2½ stars can be rounded upwards.

[This poor, nothing-better-to-do-at-the-moment sort of review is based on my prog magazine article which dealt collectively several Garden Of Delights re-releases. I hope this explains the lack of depth; I haven't actually listened to the music since April.]

 Between Fire And Ice by GUSTAVSON, JUKKA album cover Studio Album, 2003
2.00 | 1 ratings

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Between Fire And Ice
Jukka Gustavson Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
2 stars Just a quick one for this legandary Finnish (ex-WIGWAM) musician, who has sadly gained only a small amount of reviews at the year's time. Between Fire and Ice is a groovy, blues-flavoured jazz album, and pretty free of more eclectically progressive and personal elements.

The key instrument is announced already in the low quality cover. Iloisesti Hammondilla! (Sorry, non-Finnish readers; that was a clichéd phrase which means "joyfully with Hammond"). Organ jazz as a subgenre of its own isn't among my favourites. I think Hammond as the lead instrument gets a bit boring on the long run. This 64-minute album includes three songs with English lyrics and five instrumentals. Those with vocals ('Walkin' & Talkin'', 'Between Fire and Ice' and 'I'm a Bluesman') are oriented to American blues/funk/soul. The latter two are slow-tempo blues songs, more enjoyable than the sociocritical first song, but they could be by any artist of that genre.

I find it hard to get excited by the album as it sounds quite similar all the time. The mood stays carefree and there's a jam-like spirit in the compositions. The quartet (Gutsi is accompanied by a rhythm section and woondwinds player Pentti Lahti) is competent, no doubt of that. The closing track is a bit closer to the colourful Fusion you hear in his best albums, but prog listeners are adviced to choose other albums. Most of all this is a good and safe offering of merry organ jazz, recommended to anyone who happens to like that. Three stars would be an accurate objective rating, but for a clearer contrast I give only two here.

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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
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
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
COPERNICUS CROW United States
CHICK COREA ELEKTRIC BAND United States
CORONARIAS DANS Denmark
LARRY CORYELL United States
CURT CRESS Germany
CRIMSON JAZZ TRIO United States
DAVID CROSS United Kingdom
CRY FREEDOM Germany
CRYPTO Netherlands
CYKLUS Germany
CYMANDE Multi-National
CZAJKOWSKI MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
LOUIS DE MIEULLE France
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
DEUS EX MACHINA Italy
AL DI MEOLA United States
MCLAUGHLIN AND DE LUCIA DI MEOLA Multi-National
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