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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 12/24/14

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

4.37 | 682 ratings
KIND OF BLUE
Davis, Miles
4.35 | 944 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.35 | 476 ratings
IN A SILENT WAY
Davis, Miles
4.35 | 179 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.35 | 178 ratings
TIME CONTROL
Uehara, Hiromi
4.59 | 41 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.30 | 392 ratings
SPECTRUM
Cobham, Billy
4.28 | 427 ratings
BITCHES BREW
Davis, Miles
4.26 | 683 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.26 | 572 ratings
ELEGANT GYPSY
Di Meola, Al
4.33 | 102 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 502 ratings
CARAVANSERAI
Santana
4.32 | 105 ratings
MILESTONES
Davis, Miles
4.23 | 452 ratings
ROMANTIC WARRIOR
Return To Forever
4.24 | 373 ratings
ABRAXAS
Santana
4.32 | 102 ratings
STADACONÉ
Sloche
4.28 | 146 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.39 | 60 ratings
L'AXE DU FOU
Forgas Band Phenomena
4.26 | 182 ratings
THE WAY UP
Metheny , Pat
4.24 | 239 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc

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

ETNA
Etna
WHAT WE MUST
Jaga Jazzist
DEMI MASA
Simak Dialog
CAMINO DEL CONCIERTO
Guadalquivir

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Latest Jazz Rock/Fusion Music Reviews


 Closer Than Skin by CROSS, DAVID album cover Studio Album, 2005
4.00 | 15 ratings

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Closer Than Skin
David Cross Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars More than close

Despite the fact that both Robert Fripp and John Wetton (as well as Peter Hammill of Van Der Graaf Generator) contributed as guests to his previous record Exiles, Closer Than Skin is the David Cross solo album that comes closest to the sound of King Crimson of which Cross was a member between 1972 and 1974. The band that Cross assembled around himself here is really strong and they are a very solid unit as also evidenced by the very good live album Alive In The Underworld recorded shorty afterwards. The material presented here is also strong and I would say that not only is this Cross' best studio album as a solo artist but it is also better than anything released by King Crimson since the 1970's! However, the aforementioned live album is the optimal place to start with David Cross as that album gives a better overview of his whole career featuring several King Crimson songs as well as songs from most of his solo albums including two from the present album.

Being Cross' main instrument, the violin is of course omnipresent in this music but he leaves equal space to the other members. Guitars, vocals, bass and drums are excellently played and important elements. There is however less keyboards than on previous records. This music rocks rather hard and occasionally approaches Metal territory. In those moments where the music takes on a Middle Eastern flavour the band Orphaned Land comes to mind! Also Fates Warning can be a relevant comparison at some points.

When I first started listening to this album I thought that many of the songs sounded similar to each other, but on many further listens they started to distinguish themselves more and the album as a whole kept growing on me. Closer Than Skin is a very good album! If I should complain about something is has to be the fairly dull cover picture.

Highly recommended in addition to Alive In The Underworld

 The Hapless Child and other Inscrutable Stories by MANTLER, MICHAEL album cover Studio Album, 1976
3.74 | 7 ratings

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The Hapless Child and other Inscrutable Stories
Michael Mantler Jazz Rock/Fusion

Review by Dobermensch

3 stars The infeasible high pitched vocals of Robert Wyatt paint doom laden pictures of Edward Gorey's spooky, gothic, illustrated fairy tales on this strange little album from '76.

It's somewhat disturbing if you really concentrate on the lyrics. They're full of child neglect and threat, menaced by ghouls and ghosts. A proper Nursery Crime. At one point one gets crushed by a car! This is a claustrophobic recording, full of sad Victorian children and their ghostly exploits set in a 'Jack the Ripper' atmosphere.

'The Hapless Child' sounds like a missing Robert Wyatt solo album given that he's barely absent for five seconds. Unfortunately he has some real difficulties fitting so many words into each tune. It's no fault of his own. The poetry is word heavy and on reading would seem a huge task in converting to a musical score.

Luckily we've got some first class musicians on board. In particular guitarist Terje Rypdal who sprays out some superb electric fusion guitar jazz along with Jack Dejohnette- himself a jazz drummer. Both somehow just manage to keep things from falling apart completely.

It does sound slightly disjointed and out of time, but that's only due to the massive amount of word play. Good old Nick Mason of 'Floyd' appears on this as a 'talker'. He's dismissed to the background however, so don't get yourselves worked up 'Floyd ' fans. You can barely hear him,

You'll appreciate this a whole lot more if you've seen Edward Gorey's spooky illustrations that accompany his, quite frankly bonkers poetry, upon which this recording is based. 'Gorey' lived between 1925-2000 but you'd be forgiven for believing that he lived in the 1800's. He was a strange character who openly admitted that he was wholly asexual, which reflects his rhymes completely.

From the listeners point of view 'The Hapless Child' is as good an interpretation that you're going to get from 'Gorey's' written word transferred to music.

It was an impossible task.

 Memos From Purgatory by CROSS, DAVID album cover Studio Album, 1989
3.04 | 9 ratings

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Memos From Purgatory
David Cross Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Basking in sax and violins

Memos From Purgatory released in 1989 was ex-King Crimson man David Cross' first solo effort (the 1987 album Low Flying Aircraft listed here under Cross' discography is actually by a band called Low Flying Aircraft which featured Cross as one of the members). This debut solo album is an all-instrumental Jazz-Rock/Fusion album dominated by Cross' electric violin and backed up by a band. It can perhaps be compared to a darker and less cheerful version of The Dixie Dregs. The style also reminds me of the darker and jazzier style in which Steve Hackett performs Genesis' Los Endos live.

Needless to say the music found here has very little to do with what Cross did with King Crimson when he was a member of that band between 1972 and 1974. It is also not very similar to what Cross would do on his later solo albums on which he added vocals and took a more rocking direction. If you want to explore David Cross this is not the best place to start unless you are a big fan of instrumental Rock.

This is clearly a professional recording full of talent and I enjoy listening to this album, but it is not essential listening.

 Unorthodox Behaviour by BRAND X album cover Studio Album, 1976
4.11 | 255 ratings

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Unorthodox Behaviour
Brand X Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BRAND X actually had strange beginnings. The musical entity was formed as a jam band by record execs at Island and A&R and used the name "BRAND X" to generically apply to their music calendar. They initiated the first lineup which consisted of only John Goodsall (Atomic Rooser, The Fire Merchants) appearing on this debut release UNORTHODOX BEHAVIOR. After a bunch of members being replaced only to be replaced again, the band finally ended up with the lineup of Goodsall, keyboardist Robin Lumley (Rod Argent, Anthony Phillips, David Bowie), bassist and marimbaist Percy Jones (Soft Machine, David Sylvian, Eno, Steve Hackett, Suzanne Vega etc) and of course Phil Collins who at this point was entertaining his long desire to play in a jazz-fusion band at the time when Gabriel had left Genesis. We also get occasional soprano sax help form Jack Lancaster of Blodwyn Pig fame.

This album displays some of Collins' most distinguished and ferocious chops that he could dish out. In fact i never understood the hype behind his drumming skills until i finally heard this album. He also adds healthy doses of vibraphones to the mix as well bringing the jazz years of Lionel Hampton to mind. This is a splendid example of 70s jazz-fusion taking a little of the Mahavishnu Orchestra's frenetic energy and mixing it with a Return To Forever type atmosphere and occasional Herbie Hancock funkiness.

All the musicians here are really at their best and the sum of their parts results in an extremely pleasant surprise. While not the most original jazz-fusion album of the 70s, it is nonetheless very consistent from beginning to end with pleasant melodies interspersed with frenetic drum rolls, layers of silence, funky bassm atmospheric synthesizers and rhythmic developments accompanied by proggy jazzed up time signature outbursts and even some sizzling solo trade off between the Moog synthesizers and guitars.

Due to the involvement of Phil Collins, this album actually made it on to the Billboard top 200 albums albeit peaking only at No. 191. Another aspect of this album i really dig is the production. There is great attention paid to details in how notes slide, in the volume control of the instruments in relation to each other and the overall atmospheric development of the album. Great musicianship and beautifully constructed instrumental workouts make this a pleasant listen that i don't seem to tire of. Slightly more accessible than the influences on board but it also delivers on the jazz-fusion goods that even the most hardened fans can get into.

 MoonBabies by PLANET X album cover Studio Album, 2002
4.03 | 124 ratings

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MoonBabies
Planet X Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Well you really can't get any more nerdy or tech-oriented in the music world than the kind of progressive jazz-metal fusion that PLANET X delivers. With founder, keyboardist and ex-Dream Theater participant Derek Sherinian in cahoots with animalistic drum machine extraordinaire Virgil Donati and Tony MacAlpine ripping on the guitars, we are guaranteed a jazz-fusion feast of complexity beyond all expectations.

MOON BABIES is the second release by PLANET X and continues the high velocity virtuosic venomous bite that will leave you gasping for air. While Sherinian and Donati are the official members of this band, on this release we get no fewer than three guest bassists including Billy Sheehan (Talas, Steve Vai, David Lee Roth, Mr Big, Niacin, The Winery Dogs), Jimmy Johnson (James Taylor, Allan Holdsworth, Flim & the BB's) and Tom Kennedy.

The music experienced here is an instrumental sonic frenzy and is the epitome of complex music for complexity's sake but that doesn't mean it is devoid of moods, emotional triggers or atmospheres, it's just that those are not the primary focus. I personally am a fan of this kind of music if it is well constructed, well recorded and breathes some creativity into its lightning fast wankery. Generally speaking the bass is the grounding force for all the loose wires on board here. The general gist is to set up a musical platform for the guitar and keyboards to trade off ridiculously fast runs but Donati's rhythmic drumming can become as fast and complex as anything else on board here.

The first time i heard this i wasn't in the right mood and was put off by it but after a few spins and in the right frame of mind i was blown away and find this music exciting and energizing. Jazz-fusion of the highest quality here where Tony MacAlpine's lead guitar can range from placid Allan Holdsworth to the frenetic Steve Vai and back in a nanosecond. Good job guys. Gotta check out the other albums.

 Mythology by SHERINIAN, DEREK album cover Studio Album, 2004
3.52 | 52 ratings

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Mythology
Derek Sherinian Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

2 stars 2004, Derek Sherinian is here to offer another solo album to the fans of his personal productions.''Mythology'' was released on the InsideOut and Avalon labels in Europe/USA and Japan respectively, line-up/list of participants remains pretty much the same as on the previous album, still Sherinian had sent an invitation to Jazz-Fusion legend Allan Holdsworth to offer his guitar work on a couple of pieces.

Now, another great member of the all-time Fusion Hall of Fame has entered the gates of Sherinian, so expectations were really high for this one.I am pretty dissapointed to say that the result has taken the opposite direction.Sherinian seems to have forgotten about the sense of melody and for what this album will be remembered about will be the endless and tiresome keyboard noodling, extreme technical exhibitions and loose soloing.It's pretty weird to listen to some Hard Rock-in' guitars trying to get on track with Sherinian's fists of keyboard masturbation, the execution by all instrumentalists are reckless, virtuosic and even flawless, but you've to come up also with some decent composing to satisfy your fans.This is not the case.''Mythology'' relies too much on self-indulgent performances, the balance between virtuosity, melody, technique and composition has pretty much faded in my ears and the numerous solo exhibitions are hard to follow, not to say they're not particularly memorable after repeated listenings.The rise of Metal and Hard Rock elements in the place of more Fusion-oriented lines are sounding rather annoying, there are still pieces with interesting moments, like the monumental guitar work of Steve Stevens on ''Alpha burst'', the impressive atmospheric passages on ''God of war'' Sykes' solo and Sherinian's orchestral keys creating a few enganging minutes of well-constructed music or the Latin vibes of ''El flamingo suave'', but the majority in here is about virtuosity and technique, fast solos, egoistic exhibitions and nonsense Metal/Fusion pomposity.

Not meeting my expectations.Flawless in terms of talent and execution, but very low in what you'll recall after the listening.Little to remember actually, so be sure to like furious, bombastic music if you ever lay your hands on this...2.5 stars.

 Hyperthalamus by DENNIS album cover Studio Album, 1975
3.18 | 11 ratings

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Hyperthalamus
Dennis Jazz Rock/Fusion

Review by Dobermensch

1 stars Calling this a 'Supergroup' is a violation of the Trade Descriptions Act. 'Frumpy', 'Thirsty Moon' and 'Tomorrow's Gift' decided to get together and go on the rampage, but fail to deliver anything of historical importance whatsoever.

'Hyperthalamus' is an extremely poorly recorded album which sounds muffled, live and rough. I expected much more from these three moderately respectable Krautrock artists. It sounds like it was recorded live onto a a second hand BASF audio cassette, resembling a pirate bootleg rather than a professional recording. This basically sounds like someone playing music too loud down the stairs when you're trying to get to sleep, where nothing sounds clear and the dynamics are lost in a sea of sludge.

Everything is so straightforward and run-of-the-mill. It's chock full of the aimless guitar jams I should have expected before purchase. The piano-like keyboards are quite nice in a 'Floyd' - ''Animals' kind of way, but then some dreaded saxophone rears its ugly head which has me running for cover as though there's been a bomb scare.

There's too many good Krautrock albums out there without having to bother with this. 'Hyperthalamus' has fleeting moments of respectability with flute and ambient keyboard work, but overall it's something of a disaster in my view.

I have very few commendable observations to make about this faceless, repetitive and one dimensional album. It's one recording that's finally heading for the bin after many years of lying around, wasting space and gathering dust. Calling it truly awful would be unkind but unfortunately it's true.

 Anomaly by MCLUHAN album cover Studio Album, 1971
4.12 | 27 ratings

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Anomaly
McLuhan Jazz Rock/Fusion

Review by Dobermensch

2 stars The superb cover art is the most memorable thing about 'McLuhan'. It's such a pity that the music within is so dated and of it's time.

Maybe some electronics would have helped. 'Anomaly' is played on all the conventional instruments you'd expect to hear from an album released in 1970. It's very 'horn rock' orientated and has some pretty whacked out lyrics to boot which is a plus point. At times it almost enters the territory of Big Band Jazz.

Despite being from Chicago, there's an air of underground Britishness about the whole feel of this recording. I think there's actually twelve musicians that make up 'McLuhan'. I've seen photos of them with their shoulder length hair over their faces like half drawn curtains. In fact I've not seen as much collective facial hair since I was last in the Monkey House in Edinburgh zoo.

David Wright's vocals are pleasant enough but have very little originality, but his spoken parts are pretty good, though infrequent.

All the instruments are played competently enough on this brassy proto-prog album but I always feel disconnected and remote from proceedings. It sounds nothing like the way the cover art looks. I can't give points for artwork so it doesn't look too promising for 'Anomaly' scoring high marks from me.

 III by BROTHER APE album cover Studio Album, 2008
3.35 | 17 ratings

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III
Brother Ape Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars Apparently the remaing trio of Brother Ape, Damicolas, Maxen and Bergman found a very good chemistry, as taped on the -at least- amazing ''Shangri-la'', so there were no further thoughts on replacing the departed Peter Dahlstrom.So the same formation was the one that recorded the band's third full-length album on Progress Records, simply titled ''III'', and launched in 2008.

There is some dramatic reduction of the band's early jazzy influences in this album, of course the combination of Pop, Prog and Symphonic Rock, as presented here, could be fairly called Fusion at some deegree, especially after the band has chosen a style full of quirky keyboards and tempo changes, but this not the Fusion as we know it from Jazz music, this is more of an intelligent blending between different Rock styles without significant jazzy elements.They sound a lot like FREDDEGREDDE, Sky Architect's CHRIS, maybe a bit of BEARDFISH and Bulgarians VIRTUEL, they offer a bombastic sound with poppy influences, catchy tunes and striking themes, but the musicianship remains at a very high level without being overly complex or getting lost in a labyrinth of odd ideas and virtuosic noodling.The sound is relying heavily on synthesizers/keyboard programming, powerful bass work and tricky guitar plays with both electric and acoustic passages and bits of sax, while one of the biggest weapons of the band are the excellent, well-worked vocal harmonies.Apparently they went for a wider audience with this work, mixing Pop with Art Rock, Indie Rock and Orchestral Music with sufficient results, however not surpassing the top quality of the previous albums.But they even can offer some even more serious Prog like on the fantastic ''All I really want'', a track filled with rare emotions due to the romantic vocals, and a very GENESIS/LITTLE TRAGEDIES following atmosphere with Mellotron samplers, acoustic themes, melodic solos and grandiose keyboards.

I am afraid this is not that fascinating than any of the previous works of Brother Ape, I guess becoming a bit poppier means you'll lose some of your dedicated, demanding fans.It's still a pretty cool work of Prog Pop/Neo Prog with tight songwriting, a very fresh approach and convincing compositions.Recommended.

 The Big Picture by CROSS, DAVID album cover Studio Album, 1992
3.18 | 12 ratings

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The Big Picture
David Cross Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Kings Cross

Going deeper into David Cross' discography, I've reached his second solo alum - The Big Picture. Compared to the follow- up Testing To Destruction from 1994, this 1992 album is clearly more consistent and coherent. It lacks the tedious improvisational numbers of Testing To Destruction, but it also lacks the standout tracks of that album. I was previously familiar with a live version of one of the album's tracks, namely the opener Nurse Insane which featured on the excellent live record Alive In The Underworld.

The sound and production values of The Big Picture are those of its time, namely the early 90's. Especially the drums sound somewhat dated, but it is not a big problem for me. The material here is generally of a good standard, and it is a rather enjoyable album from the ex-King Crimson violinist. It does not sound like King Crimson, but nonetheless might appeal to some fans of that band.

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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
BLACK LADDER United States
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
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
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
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
CONTUSION Argentina
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
DISCORDIAN SOCIETY United States
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
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
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
ENERGIT Czech Republic
ENERGY OF SOUND United States
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX VITAE France
EXAMPLES OF TWELVES United Kingdom
EXMAGMA Germany
EXTRA BALL Poland
EYOT Serbia
EZOO Multi-National
ANTOINE FAFARD Canada
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