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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 EsbjŲrn 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)

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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

4.36 | 718 ratings
KIND OF BLUE
Davis, Miles
4.35 | 976 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.34 | 498 ratings
IN A SILENT WAY
Davis, Miles
4.38 | 184 ratings
TIME CONTROL
Uehara, Hiromi
4.59 | 45 ratings
THE COLOURS OF CHLOň
Weber, Eberhard
4.30 | 411 ratings
SPECTRUM
Cobham, Billy
4.34 | 186 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.27 | 459 ratings
BITCHES BREW
Davis, Miles
4.26 | 714 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.25 | 595 ratings
ELEGANT GYPSY
Di Meola, Al
4.34 | 110 ratings
MODR› EFEKT & RADIM HLADÕK
Blue Effect (Modrż Efekt; M. Efekt)
4.24 | 523 ratings
CARAVANSERAI
Santana
4.24 | 395 ratings
ABRAXAS
Santana
4.33 | 105 ratings
STADACON…
Sloche
4.32 | 109 ratings
MILESTONES
Davis, Miles
4.23 | 464 ratings
ROMANTIC WARRIOR
Return To Forever
4.32 | 102 ratings
SVITANIE
Blue Effect (Modrż Efekt; M. Efekt)
4.23 | 242 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.23 | 243 ratings
CROSSINGS
Hancock, Herbie
4.26 | 148 ratings
MAIDEN VOYAGE
Hancock, Herbie

Jazz Rock/Fusion overlooked and obscure gems albums new


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

ZASTO NE VOLIM SNEG
Smak
RHESUS O
Rhesus O
DESCENDRE
Rypdal, Terje
RAHMANN
Rahmann

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Latest Jazz Rock/Fusion Music Reviews


 Jeff Beck's Guitar Shop withTerry Bozzio and Tony Hymas by BECK, JEFF album cover Studio Album, 1989
3.44 | 67 ratings

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Jeff Beck's Guitar Shop withTerry Bozzio and Tony Hymas
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja

3 stars 3.5 stars really

After "Flash", "Guitar Shop" definitely shows Jeff Beck back in his element and shows a drastic increase in musical quality. The album isn't a return to his jazz fusion heyday, however; it instead shows a movement towards more straightforward rock sounds.

Musically, much of the album combines funk, big band and hard rock sounds with flashy 80's-sounding keyboards and heavy drumming and Jeff Beck's six string musings sprinkled on top. These songs are somewhat reminiscent of Steve Vai or Joe Satriani's 80's and early 90's rock work, though with a much heavier focus on keyboards. "Sling Shot", for example, wouldn't sound too out of place on "Alien Love Secrets". My favourite of the rock tracks is "Savoy", a funkier song that reminds me mildly of the theme song from Home Improvement (Huu-eeh?)

However, there are three tracks that take on a much different vibe and will appeal a lot more to prog and jazz fusion fans. The first is "Behind The Veil", a softer, reggae groove with atmospheric guitars similar to "The Pump" off of "There And Back". The other two are even more spacey and light in true Beck fashion. "Two Rivers" is a soft, slow-moving ballad and "Where Were You", my favourite track from "Guitar Shop", is a chilling, percussion-less guitar solo piece with light keyboard accompaniment.

Altogether, "Jeff Beck's Guitar Shop" is very good but non-essential listening for prog fans, though fans of Jeff Beck and other solo guitarists will definitely want to pick this one up. I give it 3.5 stars, rounded down to 3 due to the limited prog-like content.

 There And Back by BECK, JEFF album cover Studio Album, 1980
3.36 | 64 ratings

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There And Back
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja

3 stars The third and final of Jeff Beck's solo fusion albums, "There And Back" is probably the bronze winner of the three. After "Wired", the material on this album seems a little formulaic. It opens with "Star Cycle", a funky, Jan Hammer- led fusion song (think "Led Boots") which is not bad in itself - it's quite good, actually - it's just not new enough to be stellar. The next two songs follow in the same footsteps, mellower fusion tracks with simple melodies that are good vehicles for jamming. Good, and especially the guitars - Beck is in fine form through the whole album - but not masterpieces. Side one ends with one of my favourites from the album, "The Pump". A slower, more ballad-like song that focuses more on the guitar is an excellent platform for Beck to deliver an emotional fastball; his playing is very atmospheric and quite beautiful. Definitely a top-notch accessible fusion number.

As with "Wired", side two opens with an uptempo rock-oriented track. "El Becko" is more cut-and-dry rock and roll than "Blue Wind" was on the last album but it's still a strong track with plenty of interplay between guitar and piano. "The Golden Road" drags along at a near-comatose pace before the next spectacular track picks up the pace again. "Space Boogie" is a marvelous virtuoso performance especially in the rhythm section. Written in 7/8 at breakneck speeds, it's mildly reminiscent of "Scatterbrain" from "Blow By Blow" but it's still fresh and original and makes for one great song before the album draws to a close in "Wired" fashion with the sparse, spacey "The Final Peace".

A three star rating is fair for this album; Jeff Beck fans will likely gain a lot more from it but that should be expected. For anyone who isn't a devout follower they'll hear some pleasant jazz fusion and a couple of high quality but not necessarily memorable moments.

 Flash by BECK, JEFF album cover Studio Album, 1985
1.82 | 32 ratings

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Flash
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja

1 stars This is a rather disappointing album from the Jeff Beck I've grown to know and love. It is absolutely nothing like his instrumental fusion albums of the 70's and is quite a lackluster accumulation of talent given that it features such stars as Rod Stewart, Jan Hammer, Jimmy Hall and Carmen Appice. Aside from two or three tracks, it is little more than 80's pop rock with Jeff Beck playing on it. I've come to terms with one of the pop tracks, "Gets Us All In The End", which is a comically typical 80's power ballad that can be fun to sing along to. There is only one song that I'd consider strong, which is the first instrumental, "Escape". If you don't have any qualms with 80's-sounding production and drum machines, then it comes across as a very atmospheric guitar-driven piece that wouldn't sound out of place on "There And Back" or "Guitar Shop". To reiterate, if you're a fan of the progressive rock and jazz fusion, this album would not be for you. If you're a fan of Jeff Beck, this album would not be for you. If you fit into either of those two categories, however, give "Escape" a listen and consider downloading the individual song on iTunes; the whole album just isn't worth an investment from anyone.
 Lightbox by LETCHFORD, CHRIS album cover Studio Album, 2014
4.00 | 2 ratings

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Lightbox
Chris Letchford Jazz Rock/Fusion

Review by buddyblueyes

4 stars Like the satisfied feeling of watching a John Oliver Last Week Tonight segment and knowing someone out there is fighting the good fight, listeners can be inspired and pleased to know that there are some musicians out there doing the same -- promoting exceptional skill and instrumental composition above the influx of regurgitated pop music flooding our secular world at an alarming rate, resulting in the acceptance of mediocrity by the general public as the norm. The music of the young Chris Letchford and the band Scale The Summit prove not having a vocalist does not necessarily mean a band should throw in the towel for having wider recognition and getting higher profile shows. Scale The Summit, through hard work and destined individual chemistry, has been able to open for acts like Cynic, Periphery, and Between The Buried And Me. Chris is more than the sum of just shred metal-based guitar playing in Scale the Summit. In fact, it's probably a mistake to classify Chris solely as a dent or metal player with this solo release. The music he crafts offers the listener a wondrous musical journey -- and for guitarists, a wealth of study in rhythmic variation, fresh phrasings and a keen sense of melody. On Lightbox, he offers these musical sensibilities in a lighter, jazz/fusion-type setting, allowing him to explore and invoke new dynamics, like space and tone, into the music.

Chris' vivid and clean electric guitar tone is stunningly majestic and blends exquisitely well with the piano, reminiscent of Al di Meola, but with his own charismatic feel. Bass whiz of the new guard, Evan Brewer, contributes to the compositions in a mighty fashion (and for those who are not aware of Brewer definitely check out his solo album, Your Itinerary). Both the drums and piano provide tasteful support without overpowering the music. The drums still retain a solid fusion rock backbone and offer up some tasty beat displacements more in the math rock vein.

The crisp music on Lightbox is poignant, the selected tracks are well-defined with purpose, differentiating this music from true jazz, however. There is no swinging, triplet feel on the drums, or solo explorations over comped instrumentation, placing emphasis on melody and tight, shorter arrangements with every note in it's place. Progressively structured in the same vein that Dean Watson and Special Providence approach their song arrangements. It's a great collection of songs that will hopefully provide die hard rock & metal fans a gateway to see if fusion and jazz music will appeal to them.

What's more, it's young, creative musicians like Chris and Evan that are encouraging the next generation of players not to confine themselves to playing just one genre of music. Much like my 5 star rating for Kiko Louerio's Universo Inverso, this reviewer was blown away and thrilled with Chris's softer, fusion-tinged compositions that offer just as much complexity as the technical metal world he's been revered for. However, there's a more fascinating emotional range and maturity present in this music. Mentoring instructors at music schools around the globe teach the philosophy that music is a conversation between the artist and the audience. In that regard (as I'm getting older) it's more satisfying listening to Chris' music now that it isn't screaming at me.

Wishful concert pairing: Special Providence (for the more metal side) or Dewa Bujana (for a jazzier ride).

 Random Abstract by XADU album cover Studio Album, 2015
3.96 | 4 ratings

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Random Abstract
Xadu Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars International project XADU is the name of a collaboration between Spanish drummer Xavi Reija and Serbian guitarist Dusan Jevtovic, both of whom operate out of Barcelona in Spain, and who have worked together in various capacities for a good number of years. This project heralds their first venture as a creative duo, and their debut album "Random Abstract" was released through Moonjune Records in 2015.

"Random Abstract" comes across as an adventurous and at times highly challenging production, where two quality musicians appear to have a jolly good time of using their instruments in at times highly expressive manners, yet without loosing touch on the musical aspects of the total experience. There are liberal amounts of dissonance and twisted sounds indeed, but they are rarely, if ever, random and there are always some details that maintain continuity, and earlier phases are revisited perhaps to stress that aspect of the album. An album to be sought out by those with a taste for quality musicians who enjoy experimenting, and perhaps in particular those fond of adventurous and unusual guitar sounds.

 Santana by SANTANA album cover Studio Album, 1969
4.11 | 271 ratings

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Santana
Santana Jazz Rock/Fusion

Review by Progfan97402

5 stars Santana's appearance at Woodstock certainly left the record company no choice but to quickly have it released. Santana was one of those classic rock groups I always had enjoyed, but given so much of my time had been taken up looking for rare and obscure gems of prog and psych, that I hadn't gotten around to getting much Santana. I am ever glad to get their debut, and what a debut it is! This one seems more rough and unpolished than their more popular followup Abraxas, which I really like. Much of the album is high energy Latin rock. This album shows how much the Afro-Cuban style of Latin rhythms are used, especially the heavy use of congas. Of course, the whole world knows about "Evil Ways", it's became a staple of classic FM rock, and for good reason. It's one of those songs that, yes, it's been overplayed to death on the radio, that it don't bother me, the way "Free Bird" and "Stairway to Heaven" bothers many people (songs that sound impressive when you first hear them, but after hearing those songs a million times since radio DJs never given those two songs a rest,, in fear of losing their audience it does get a bit tiring). I also love Gregg Rolie's style of Hammond organ playing. How about the other songs? "Shades of Time" seems to be cut from the same fabric. They do a cover of Nigerian musician Babatunde Olantuji's "Jin-go-lo-ba", retitled "Jingo" here. Lots of great organ and Latin percussion, I guess doing a song from an African musician drives home the fact the Latin rhythms Santana used were of the Afro-Latin variety. Pierre Moerlen's Gong did a version of it in 1979 on the album Downwind. "Persuasion" and "You Just Don't Care" have a bit of a blues feel to it, while "Treat" has a jazzy feel, demonstrating the jazz influence of Carlos Santana was to be found from Day One. "Soul Sacrifice" is an instrumental jam that became the big highlight at Woodstock. The music here has a jam band quality to it, but not the Grateful Dead variety. They threw in some regular songs (like "Evil Ways") so even more mainstream radio stations have something to play.

Of course, this album largely received positive reviews, but I can't understand why in the life of me rock critic Robert Christgau gave it a C-? I realize Latin music was something he never cared for, but this isn't ordinary Latin music. He pretty pretty much dismissed it as "A lot of noise" and stating his "opposition to the methedrine school of American music". He was sure off base on this one. Most of the other fellow rock critics were more kind. I realize I shouldn't pay much attention to the likes of Christgau, but then he's a perfect example of when rock critics get it wrong (and while I'm at it, usually when rock critics get it wrong is when they pan albums or bands that everyone else loves, sometimes it's the other way around, when they praise albums no one likes, such as the Stones' Dirty Work, liked by the rock critics, hated by the fans).

This might not be a prog album, but why should that bother me? Any fans of classic rock needs this album, it's totally essential, and in fact I actually prefer this over Abraxas (which is too very good, but the more polished nature meant it was a bit less exciting).

 In This Life by DONATI, VIRGIL album cover Studio Album, 2013
4.39 | 14 ratings

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In This Life
Virgil Donati Jazz Rock/Fusion

Review by Ovidiu

5 stars Killer album!Absolutelly stunning piece of true art,a wonderful display of the almost inhuman technical skills for this out of this world musician!Being a longtime fan of this killer drummer,I was absolutelly thrilled to hear thet Mr Donati has a new solo album!And,this too long wait plenty worth it!IN THIS LIFE is far superior,from the technical point of view,but also because of the elaborated compositions,so it's far superior to all PLANET X impressive albums!Why?Simply,because on this album Doanti is pushing his technical skills to some unbelieveble limits,showing that he is almost a human drum machine!The sound is perfect,crystal clear and the diversity of the compositions is very atractive!!!This man can play some math rhythms,polirhythms that are scarry even for the accomplished drummers,not speaking about the beginners,which must be thrilled about this man demonstrations of unbelieveble virtuosity!A hard to dig album,but a very enjoyable musical experience,both for musicians or fans of extremelly technical fusion!!!It's difficult to find something else more technical or spectacular than this album ,because it's damn exceptional and skilled!All the guys in the band are aces and the impressive list of the guests invited,means a new recomendation for an exceptional album!Fantastic album,amazing musicianship,top class fusion album-a milestone album under all aspects!5 stars for me!
 Dictionary 3 by LIGRO album cover Studio Album, 2015
3.92 | 5 ratings

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Dictionary 3
Ligro Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Indonesian trio LIGRO was formed back in 2004, and four years later, they released their debut album "Dictionary 1". They have since released new material every three to four years. "Dictionary 3" is their third studio album, and was released through the US label Moonjune Records in 2015.

Instrumental, expressive and vibrant jazz rock with a stronger emphasis on rock than jazz is what the Indonesian trio provides on their third CD "Dictionary 3". An adventurous creation with improvisational tendencies, loud guitars and distorted effects aplenty, this is a production that should appeal to those who enjoy vibrant and wild instrumental music in general. A certain taste for adventurous and challenging escapades is needed, as is an affection for a band employing avant-garde touches. But for those, who find this description alluring within a jazz rock general context, Ligro is a band that merits an inspection.

 Tuorl by FEAT. ESSERELņ album cover Studio Album, 2015
3.96 | 7 ratings

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Tuorl
Feat. Esserelŗ Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Progressive rock and jazz/fusion related music is frequently deadly serious and overloaded with clinical stuffy playing, right? Not the case at all with Italian instrumental band Feat.Esserelà, and yes, that's actually the confusing band name! `Esserelà' refers to a puppet that resides in the rehearsal room of the band and accompanies them on stage for live performances, and this is an early indication of the sly humour this trio apply to their music! In addition to the goofy cover art and cute cartoon illustrations throughout the CD booklet, it's pretty obvious that they don't take themselves too seriously, although they still display the expected skilful and enviable musicianship. Their debut album `Tuorl' offers plenty of jazz/fusion flair by way of snappy drumming, fiery electric guitar runs, an array of keyboard colour and that warmest of piano that Italian musicians play so beautifully, and it might just be one of the most energetic, lively and fun albums of 2015!

Much of the album is made up of shorter punchy pieces full of energy. Of some of the highlights, manic spastic bursts of Francesco Ciampolini's delirious Hammond organ, Renato Minguzzi's scorching guitar and Lorenzo Muggias's thrashing drumming tear through the amusingly titled opener `Don't Leave Your Dinosauri at Home'. There's plenty of thrashing guts to `Anche Cotoletta', and the foot-tapping beat and singing Hammond throughout `Il Nostra...' holds a Caravan-like playfulness before some smoking hot wailing guitar soloing. Both `What a (Tetra) Pack' and, with its sprightly piano, `Canguros...' could almost be lighter moments off the Seventies Focus albums, and `Symbols' is a grunting groover that almost breaks out disco beats.

But it's the longer pieces that really hint at what the band can do. Although the transitions in the three part `S.R.L.A' aren't too smooth, the piece begins as a drifting distorted guitar drone, crashes into a gutsy guitar drive and closes on a soothing piano finale. Despite all the movement and frenetic diversions elsewhere on the disc, it's when the band settles down a little and offers something a bit more emotional and moving that they really impress. Running over eight minutes, `No ( )' allows plenty of build and controlled flights of jazzy instrumental moods, jumping back and forth between hot guitar runs and piano that's breezy and dazzling, and when called on, Ciampolini displays classy restraint and intelligent thoughtfulness. The peppy ending closes on a surprising quirky Gentle Giant-like bounciness! Breezy late-night piano vibes stroll through `Un Duettrè' Qqua' before laid-back guitar cruises alongside it, another standout moment on a great disc.

Admittedly eleven tracks is probably a bit too many, with occasional repetition creeping in here and there, and some of the shorter pieces would benefit from being developed more and extended rather than being overloaded with little ideas thrown together in the future. But the skill with which so many rapid changes of direction are delivered by the band is stunning, even more impressive considering it's a debut album, and their music in infectious, full of life and spontaneity. Feat.Esserelà are definitely a talented Italian band to keep an eye on in the future, so please investigate this tireless and playful album!

Four stars.

 Blow By Blow by BECK, JEFF album cover Studio Album, 1975
4.07 | 187 ratings

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Blow By Blow
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja

5 stars This album was my introduction into the world of jazz fusion and what a way to unravel a genre! "Blow By Blow" is the first solo effort by Jeff Beck and quite possibly his finest work. Together with a superstar team of talented musicians and production and arrangement talent by GEORGE MARTIN, "Blow By Blow" is 45 minutes of virtuosic jazz fusion bliss. The album's mood fluctuates over the course of listening, with funk and blues rockers like "You Know What I Mean" and "Freeway Jam" counteracting soulful and mystical ballads like "Cause We've Ended As Lovers" and "Diamond Dust". However, Beck and the crew are always sure to expand both intelligently and sensitively on musical ideas, blending and balancing technical marvel and emotion into a seamless musical experience, letting the varied styles of the album work to complement each other.

As far as a "track-by-track", there isn't a single track on the album that I'd consider weak, only "well-done" as opposed to "masterfully executed". "She's A Woman", a Lennon-McCartney co-pen, is one of the most inventive Beatles covers I've ever heard and Stevie Wonder's collaborations to the album are great showcases of the songwriting and playing talents of all those involved. The true masterpiece of the album (after great difficulty making the decision) in my opinion would go to the side 1 closer, "Scatterbrain". After a segue from "Air Blower", this track doesn't hesitate to get going right out of the gate and doesn't back down until the side ends. Richard Bailey's drum work is top-notch, the breakneck 9/8 performance is tight from the entire group and George Martin's arrangements do the song great justice. Don't be alarmed, however; the song isn't just a muddled sea of overblown virtuosity, it contains many great musical moments and is a fascinating, profound listen while not a challenging, inaccessible one.

"Blow By Blow" is a special delight for all of those who love jazz fusion, virtuoso guitar performances in general or just anyone looking for a soothing yet interesting album to listen to. A must-have!

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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
ANTIH…ROE Argentina
APOTHECARY United States
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 (MODR› EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
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
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
CIRCUS United Kingdom
CIVILIANS United States
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 EL»CTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
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