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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)

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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

4.39 | 603 ratings
KIND OF BLUE
Davis, Miles
4.46 | 129 ratings
TIME CONTROL
Uehara, Hiromi
4.38 | 410 ratings
IN A SILENT WAY
Davis, Miles
4.37 | 863 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.32 | 355 ratings
SPECTRUM
Cobham, Billy
4.29 | 615 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.35 | 155 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 221 ratings
CROSSINGS
Hancock, Herbie
4.27 | 367 ratings
BITCHES BREW
Davis, Miles
4.26 | 534 ratings
ELEGANT GYPSY
Di Meola, Al
4.34 | 112 ratings
VISITATION
Pohjola, Pekka
4.29 | 212 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.58 | 32 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.24 | 407 ratings
ROMANTIC WARRIOR
Return To Forever
4.27 | 167 ratings
THE WAY UP
Metheny , Pat
4.29 | 134 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.23 | 468 ratings
CARAVANSERAI
Santana
4.40 | 57 ratings
L'AXE DU FOU
Forgas Band Phenomena
4.23 | 351 ratings
ABRAXAS
Santana
4.32 | 87 ratings
MODRÝ EFEKT & RADIM HLADÍK
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

HALLUCINATION ENGINE
Material
SLOW TRAFFIC TO THE RIGHT
Maupin, Bennie
TRANSFORMATION : SPEED OF LOVE
Sancious, David
DESCENDRE
Rypdal, Terje

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Latest Jazz Rock/Fusion Music Reviews


 Do They Hurt?  by BRAND X album cover Studio Album, 1980
3.45 | 80 ratings

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Do They Hurt?
Brand X Jazz Rock/Fusion

Review by DrömmarenAdrian

4 stars I found this record for small money at a second hand store. I fell for the cover and of course I had heard the name "Brand X" before, knew that it was something with Phil Collins but had never heard them at all. Well, the awesome cover showing a lady meeting a crocodile at her driveway was released 1980, thirtyfour years ago, and it was Brand X's fifth album. I guess the crocodile asks the lady if her shoes hurt. A record with such an artistic cover must be great did I think and bought it. Now have I listened to it some times and I love what I hear and it is of course much more than Phil Collins, he's just present on two tracks. I think this is just how I want jazz rock to be and it feels so much like the seventies. The music is authentic and such as candy for my ears.

Just one song has some form of vocals, "Act of Will" which John Goodsall, the guitarist sings. The bassist is Percy Jones on the most tracks and he does such a lovely job. He plays around and makes the bass shimmer on for example "D.M.Z" a splendid jazz rock song. "Fragile" is another lovely piece which I would call elegant and "Voidarama" has so lovely feelings in the guitar work. The best track I think is "Triumphant Limp" which is so joyful and talanted. The main themes come like sweet caresses to me and Peter Robinson, John Goodsall, John Giblin, Robin Lumley and Phil Collins have done that very well.

I don't know how the other Brand X records sound so I can't compare them, but this was great. If more records were like this, could I exclaim, but there are so why complain. This though is a obvious four star record. Perhaps some of the bands others are even better. I would recommend this for you friends!

 One of a Kind by BRUFORD, BILL album cover Studio Album, 1979
4.06 | 209 ratings

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One of a Kind
Bill Bruford Jazz Rock/Fusion

Review by FragileKings

3 stars I love Bill Bruford's playing with Yes and I heard some great stuff with King Crimson. Furthermore, I enjoy hearing him speak on music documentaries. I read his autobiography and he cited "One of a Kind" as a favourite album, along with King Crimson's "Red" which I also like. Then in Stephen Lambe's book, "Citizens of Hope and Glory: the Story of Progressive Rock," the album is mentioned as one of 65 albums worthy of hearing. My curiosity piqued, I ordered the album earlier this year.

The album opens with a quick steady beat on what sounds like an early electronic drum or a large sheet of thick plastic and is presently joined by a jolly synthesizer rhythm that made me think, "Oh, good gravy, no! Not another Cozy Powell!"

Several years ago, I bought "Over the Top", an album by Cozy Powell that featured Don Airey, Gary Moore, and possibly a guest appearance by Jeff Beck if I recall correctly. I had high expectations but the album was almost embarrassing to play. Most of the music was written by Airey (who I think is a remarkable player) and was almost like supermarket muzak in sound with added classical and jazz references. Blame the synthesizer sound. I might have played the album through twice before finally selling it and deleting it entirely from my iTunes library.

Fortunately for Bruford and me, the music of this track does become less embarrassing and more enjoyable, though for a piece of music with a title like "Hells Bells" I would have expected something less like a pop song treated to muzak and then mixed with jazz.

The rest of the album sounds better most of the time. The main problem I have here is that jazz / rock is not something I have added to my music collection prior (except for Dixie Dregs) so I have a hard time loving the tunes as much as someone with a developed lexicon in Canterbury and other forms of jazz fusion rock. "One of Kind" has a tendency for each track to sound a little similar to the others. Of course they are all distinct. The first 30 seconds of each track will tell you that. But there's a kind of formula that insists that each track have some drama somewhere, some melody somewhere, some slower lounge jazz parts, and some flash solos. Just hit shuffle.

Bruford doesn't try to show off as he did when he was younger. Instead he chooses safe 4/4 beats much of the time and adds in fills when required. The times his playing perks up my ears is usually a well-timed and effective drum fill as the music transfers from one part to another. In his autobiography, however, he said that he was happy to write music and work it over with talented musicians and let them create the fabulous music out of his offering. I would say that he has achieved that here.

Allan Holdsworth is of course a wizard during his solos. His technique clearly must have inspired many young guitarists who would contribute to the sound of the rock guitar in hair metal bands in the 80's. There is again a kind of sameness at that crops up at times. Holdsworth will play a few melodic notes and then do a quick run of fingers over the fret board on many of the tracks. "Five G" features some fuzz tone playing that is a nice variation on the album. Basically, I'm left with the impression that Holdsworth can do amazing things with the guitar but repeats himself frequently.

Dave Stewart uses a variety of sounds from his polysynthesizers, some of them more effective and pleasing than others. "One of a Kind" part one employs a keyboard setting that sounds really dated. I can't imagine how they thought this sound was a good one. "Byown, byown" go the keyboards. "Hey, great sound. Let's use it on the album." His choice for sound setting in "Travels with Myself - And Someone Else" includes what must have been labelled as "flute" or "clarinet" but like so many early and also cheaper synthesizers these days too, it doesn't really sound like what it is supposed to sound like. All the same, Stewart makes it work here. "The Abingdon Chasp" includes some pleasant lounge jazz piano as well in parts.

Jeff Berlin deserves mention as the guy cannot be allowed to play just an ordinary bass line on any track that I noticed. His genius as a bass player really shows through even when he's just playing the bass behind the soloists. He also gets a cool bass intro on "Five G" and a frenetic solo elsewhere.

Though there are a few tracks that have moments that sound great to my ears, the composition to win it for me is "Fainting in Coils". It has a dark beginning and some terrific jazzy keyboards. Parts are light and simple, others darker and suspenseful. This track treads over a few different terrains and serves as a great summary of the album while holding enough excitement to stand out as the pick of the litter. Everyone really lays into it for the conclusion. Aside from this track, there are excellent parts to crop up throughout the album and tracks like "The Sahara of Snow" parts one and two and "Five G" are also very good examples of this band's abilities.

Though the music may sound a little repetitive at times and I am quite the novice at this point, I still think the playing is superior. I personally can't quite feel obliged to give it four stars because I find it hard to consider this as an excellent addition to just any prog collection as there are surely people like me who can't quite be so thrilled about the jazz element. On the other hand, if you love jazz fusion, jazz, or Canterbury then this might just be not only an excellent addition but an essential one. So take note that my three stars are for my taste personally and I fully recommend this album to anyone more inclined to appreciate it.

 Suffer by GONGZILLA album cover Studio Album, 1995
3.96 | 22 ratings

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Suffer
Gongzilla Jazz Rock/Fusion

Review by siLLy puPPy
Prog Reviewer

3 stars GONGZILLA is a rightful extension of the larger GONG family tree. This debut album includes Bon Lozaga ("Time Is The Key," "Leave It Open," "Pierre Moerlen's Gong Live") and Hansford Rowe ("Time Is The Key up to "Full Circle Live '88") and Benoit Moerlen ("Gazeuse" to "Leave It Open.") The album definitely fits into the jazz-fusion category started by the Pierre Moerlen's Gong on "Gazeuse." The opening track starts off hard and heavy and in my opinion qualifies as jazz metal with its hard and heavy approach to jazz fusion but starting with the second track we get a steady stream of lifeless ballads that remind me of the worst of Pat Metheny and it just doesn't make my tail wag.

There are a few tracks on this album that make me happy but overall I would have to say that this is a very hit and miss affair. I absolutely love the name of this band and album cover and was expecting more but when all is said and done I find this to be an OK but not outstanding extension of the Gong heritage. Disappointing especially because of the large input of talented musicians but I find that many an Alan Holdsworth contribution sounds samey and this is no exception. Good for a few tracks but nothing more.

 Time by 7 FOR 4 album cover Studio Album, 2004
3.53 | 32 ratings

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Time
7 for 4 Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars Drummer Klaus Engl shared his time between 7 For 4 and his earlier band Serum, but as Serum demised in 2003 he focused on his work with the emerging Heavy Fusion German act, which was now moving on to the recordings of a second album, titled ''Time'' and eventually released on MGI in 2004.Female singer Conny Kreitmeier, who later collaborated with several German acts like Panzerpappa, RPWL or Schizofrantik, participates in one track.

Do not expect any signs of stylistical changes between ''Time'' and ''Contact'', this was another Heavy Prog album by the Germans, fusing primarly the jazzy looseness with other styles such as Heavy Metal, Neo-Classical Music and a bit of Funk.Wolfgang Zenk tries really hard to keep a balance between egoistic guitar manipulations or virtuosic soloing and more melodic offerings, either way or another his repertoire includes complex hooks and twists along with furious soloing, characterizing more or less the material played by the whole band.While acts such as PLANET X or LIQUID TENSION EXPERIMENT are the obvious comparisons, I can even here echoes of vintage groups such as FOCUS or RUSH in 7 For 4's material, from the old-styled jazzy fests of JAN AKKERMAN to the powerful leads of ALEX LIFESON.Like many contemporary Heavy Rock and Prog Metal acts, 7 For 4 have an evident tendency to add some Classical terms in their music.Keyboard parts are great, ranging from frenetic flashes to dominant runs with the piano providing even some Avant-Garde lines in the process.The result is an album of almost all instrumental music for fans of Tech Prog Rock and Metal with endless thematic turns.Only exception comes from ''Where are you now'', the track that features the performance of Conny Kreitmeier, and sounds like a mix of KING CRIMSON-ian Fusion with Alternative Rock, pretty decent but a bit out of the album's mood.

I can't say that ''Time'' is close to the masterful tracks composed by LIQUID TENSION EXPERIMENT, but there is some great instrumental stuff contained in here and if you like technical but balanced Prog Fusion with a heavier edge this is a very good effort.Recommended.

 Fantasizer! by WATSON, DEAN album cover Studio Album, 2014
4.01 | 17 ratings

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Fantasizer!
Dean Watson Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars 3.5 really

Third album named Fantasizer from 2014 of this excellent multi instrumentalist, is another worthy release in jazz fusion prog realm. I really like all 3 albums released so far with a plus on Imposing elements, to me his best album so far. Here Dean Watson plays all the instruments and I might say that he is pretty good on every instrument, some more then ok passages overall. What I like more is that Watson has many ideas, covering a wide spectrum of genres from jazz fusion a la return To Forever, to more heavier jazz fusion aproach not far from Derek Sherinian solo albums combined in places with more symphonic parts, the result is good for sure, but not so great as on Imposing elements. Twig, Freak or Nomad are definetly highlights with spectacular guitar arrangements and furious keyboards here and there. All in all definetly worth purchase any of his albums, he is one of most talented musicians in last years and he need a wider recognition world wide. I personaly even find this Fantasizer good towards great, my number on album from him remains Imposing elements. Not to forget another intresting art work. 3.5 stars.

 Get Up With It by DAVIS, MILES album cover Studio Album, 1974
4.28 | 61 ratings

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Get Up With It
Miles Davis Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

5 stars This was the last studio album Miles recorded before taking an extended layoff, and it's really a compilation of songs recorded from 1970 to 1974 with various lineups. There's some really interesting thoughts in the liner notes from flautist David Liebman. I have to say that this is a top three studio album for me when it comes to Miles Davis recordings. And part of the charm is how different yet familiar some of these tracks are.

Disc one starts off with "He Loved Him Madly" which I believe is the center-piece of this recording. It's a tribute to Duke Ellington who had just passed away less than a month previous to this song being recorded in June of 1974. What blows me away with this over 32 minute track is how minamilistic and melancholic it is. Brian Eno is said to have been greatly influenced by it. I was reminded right away of Terje Rypdal's "Whenever I Seem So Far Away". It starts with Miles on the organ which Liebman notes he did a lot to start off a composition. We get sporadic percussion and drums as the guitar comes in. The first change is before 13 minutes when the flute comes in. Just tripping here as it plods along slowly. The trumpet takes over from the flute after 16 minutes and cries out of the dark over and over. More flute and trumpet to follow. I would never have thought Miles would have created a tune like this. "Maiyshr" is also from 1974 but is a catchy song with organ, bass and percussion leading the way as the guitar comes and goes. Flute comes in around 2 minutes then trumpet a minute later. Themes are repeated. Check out the guitar after 10 minutes. "Honky Tonk" recorded in 1970 features John McLaughlin on guitar as well as some cool sounding clavinet from Herbie Hancock. It gets fuller 2 minutes in and there's so much going on with all these intricate sounds. Great track! "Rated X" from 1972 features all the musicians from the "On The Corner' recording sessions. Organ to start and Miles plays this throughout. An intense sound kicks in as the organ floats over top. So good! Man this is crazy with the electric sitar and dissonant organ.

Disc two begins with another over 32 minute song called "Calypso Frelimo" recorded in 1973 and it's similar in style to "He Loved Him Madly". Some insane trumpet blasts in this one and it's very adventerous sounding. Flute arrives 5 minutes in then sax around 7 1/2 minutes and it will eventually duel with the trumpet. It all stops dead after 10 minutes then it slowly comes back tonight with plenty of atmosphere as sporadic sounds come and go. Organ and bass at first with percussion then flute after 15 minutes. The trumpet cries out mournfully over and over after 17 minutes. The tempo picks up around 22 minutes and it becomes quite intense before 28 minutes to the end. What a song! "Red China Blues" is from 1972 and it's very bluesy but just over 4 minutes in length. Plenty of harmonica here along with brass arrangements. "Mtume" is from 1974 and it has a lot of percussion and bass throughout. The guitar is prominant as well and the rhythm is repetitive and really good. I really like the organ as well especially 12 1/2 minutes in. Some crazy trumpet runs late. "Billy Preston" ends it all and it's from 1972. This is a trippy tune with some electric sitar, guitar, organ, trumpet and a beat standing out.

A must for fans of adventerous music and especially for fans of Miles Davis' electric period.

 Fantasizer! by WATSON, DEAN album cover Studio Album, 2014
4.01 | 17 ratings

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Fantasizer!
Dean Watson Jazz Rock/Fusion

Review by Conor Fynes
Prog Reviewer

4 stars 'Fantasizer!' - Dean Watson (75/100)

Upon occasion, I'll open up a review of an album by commenting on its artwork, and this is one such case wherein I'll indulge my love of good cover art. Multi-instrumentalist Dean Watson is presented here as were he in the midst of some transcendental metamorphosis, caught in a place where the lines between the real and imagined are blurred. Watching this solo fusioneer develop since his debut Unsettled back in 2010, I've also watched the Ron Eady's art grow along with it, and while its always possessed a sort of dreamlike atmosphere, it's never looked so bold and memorable. There's always been a weight of importance placed on the artwork in a Dean Watson project; the music and art are two sides of a collective experience, and the aim of the music (if I'm not mistaken) is, in part, to creatively interpret the feelings conjured by the art. With that in mind, when I opened my copy of Fantasizer! and found myself instantly struck by the cover, I knew there was a great hour of music lying in wait for me... and I wasn't wrong!

Dean Watson's music has long stood at the crossroads of intensely composition-based prog fusion. While most acts that bear the vague 'fusion' label tend to come across as jazz bands that discovered the virtue of rock rhythms (but still always rooted in jazz custom), Watson fancies himself a fairly impartial arbiter between jazz and rock, to the point where Fantasizer! could be labelled as one or the other without fault. His influences are much less ambiguous however; King Crimson is apparent in the music's rhythmic discipline and cerebral atmosphere. The shifting piano work is quickly redolent of Chick Corea and, depending on the style he's chosen at the time, his guitar work recalls either Pat Metheny or Joe Satriani. Dean Watson's work is eclectic and varied (I even recall progressive metal traces as far back as the debut), but there's a strong sense of style and identity here, something many an artist who dared to merge genres has sadly done without.

First and foremost (and this may be what separates him most from the jazzmen) Dean Watson is a composer. There are many in jazz and fusion that write material as a staging point for improvisation and spontaneity in the performance. Good improvising is a slice of heaven when it's done right, but Watson doesn't leave anything up to chance. Fantasizer! remains a haven for Watson's expert guitar and synth leads, but I don't think there's a single measure of music that was devised accidentally. Fortunately, Dean Watson has once again proven himself to be a master composer with this sort of style. Fantasizer! will shift between heavy and smooth passages with a near-cinematic grace, sometimes giving the impression there's less complexity at work than there really is. Unlike show-y or overtly technical music (an impression Watson's music has since drifted from), Fantasizer! lets the atmosphere and ease of listening through, although you'd be wholly mistaken to assume there isn't calculus spewing forth from the music's solid undercurrents.

Although Dean Watson hasn't demonstrated as much of an improvement in songwriting these past two years as I heard on the excellent second album Imposing Elements, the execution has been polished. This was an issue I've had with Watson's music since the beginning; while the drums are still undeniably programmed (and suffer for it accordingly), there's a livelier tone to the mix. As tends to be the case with prog fusion, Fantasizer! puts the virtues of the intellect before the heart; even so, there are some beautiful sections that switch the emphasis. For a song with a length that begs the 'epic' label, "Caged Creator" is surprisingly smooth for the most part, though it soon builds to a climax worthy of any progger's ears, complete with eerie mellotron warmth, with a melancholic beauty offset only by the twitchy prog freak-out that shortly follows it. "Solemn" is a fitting denouement to the album, a simple piano composition with a tugging sense of longing and melancholy. If Fantasizer! lacks any consistency in its emotional impact, all is well by the album's end.

Fantasizer! is another great chapter in the career of an artist I've been virtually following since day one. To be certain, it hasn't made as much of an impact on me as Imposing Elements, if only because Dean Watson's second album left that much less room for improvement. At the end of the day, many of the feelings (good and bad alike) I had for the first two records have come to bear once again on Fantasizer!. Regardless, whether you're coming from the jazz, prog or instrumental rock spheres, a truly gifted composer is hard to come by. With that in mind, Dean Watson comes recommended to fans of each and any of the three.

 Seven Steps to Heaven by DAVIS, MILES album cover Studio Album, 1963
4.13 | 39 ratings

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Seven Steps to Heaven
Miles Davis Jazz Rock/Fusion

Review by thwok

4 stars I'm surprised no one's posted a review of Seven Steps to Heaven yet. I believe it's discussed on the great companion site to PA - JazzMusicArchives. I owned a copy of Seven Steps to Heaven when I was young; now I remember why I dug it so much! I should give props to my older brother Joe for my exposure to jazz. While it's not nearly as groundbreaking as some of Miles's classic albums, Seven Steps is one of my favorite jazz albums and deserves 4 stars in my book.

Maybe the reason that there aren't any reviews of Seven Steps so far is because it's not fusion. This album is pretty much straight bop to hard bop. I find some of Miles mid 60's stuff, before In A Silent Way, a little hard to sit through. I don't have that problem with Seven Steps. The songs, mostly standards from earlier times, are melodic and accessible. I think this would be a good introduction to Miles for people who like jazz, but don't listen to a lot of it.

I think my favorite tracks are the faster ones: "Seven Steps", "Baby Won't You Please Come Home", "Joshua". As for the musicians, they're all terrific. George Coleman, the sax player, may not be as distinctive as Miles' more legendary collaborators. He still does a superb job. The songs on Seven Steps to Heaven are memorable, and the playing is brilliant. So, this one gets four stars.

 Dawai In Paradise by BUDJANA, DEWA album cover Studio Album, 2011
3.49 | 5 ratings

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Dawai In Paradise
Dewa Budjana Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars An Indonesian guitarist from Bali, born in 1963.His style was much influenced by jazz guitarists like John McLaughlin, Pat Metheny or John Abercrombie and in 1980 he started his first band Squirell with his schoolmates in Surabaya.Squirell lasted until 1985, when Budjana went to Jakarta to start a career as a session player and became a member of Spirit and Java Jazz.In 1994 Budjana opened a new and long chapter with Gigi, while from late-90's and on he recorded several solo albums.After no less than four personal records he came to the attention of Moonjune Records, which decided to release his fifth work ''Dawai in paradise'', originally launched in 2011 on the Indonesian Demajors label.Budjana plays acoustic, electric and synth guitars and he was helped by a list of 20 mostly native guests, among them were though Dave Carpenter (bass, R.I.P), Howard Levy (harmonica) and Peter Erskine (drums).

This is a beautiful and flexible guitar-led Jazz Fusion album with strong references to Indonesian Music, I wouldn't call it an Ethno-Fusion album by any means, because the ethnic elements are basically supportive, but their display adds a nice personal touch to Budjana's jazzy style of playing.His early influences surface here with some strong chops and solos, while he occasionally dives into melodic themes to deliver a unique listening experience with sensitive touches sitting next to more technical plays.Budjana may be the central hero of the album, but this does not mean you have to always face his accomplishment as a guitarist.Maybe as a composer would be a better expression, because with a good dose of violin, strings and flutes and the omnipresent use of piano and keyboards Budjana came up with inventive Fusion arrangements, ranging from folky parts and acoustic tunes to Electric Jazz and Prog Fusion.Some parts are much inspired by 70's Jazz Fusion and the works of PAT METHENY or BRAND X, other pieces sound closer to Ethno-Fusion with the exhibition of Indonesian Music popping up here and there, offered via some lovely tunes.The album is definitely a grower, but once you get into it, it could become an eveyday listening even for non-casual Prog fans, the deep sense of melody along with the dreamy soundscapes allow Budjana's music to become pretty friendly and enjoyable.

Thanks to the guys of Moonjune be sure to taste a different side of melodic Fusion via Budjana's ''Dawai in paradise''.Indonesian Music meets 70's and modern Jazz Fusion in a respectable way full of interesting ideas.Strongly recommended...3.5 stars.

 The Essential Herbie Hancock by HANCOCK, HERBIE album cover Boxset/Compilation, 1986
3.95 | 2 ratings

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The Essential Herbie Hancock
Herbie Hancock Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

4 stars I have long had an intention to listen to Herbie Hancock's most progressive fusion albums from the 70's. Also in general I haven't yet formed a closer picture of the large discography of the legandary American jazz keyboardist, but this 2-CD compilation served as a good basic introduction a couple of years ago. It covers the years from 1962 to 1996 (the CD was released in 2006). I had made myself a "best of the best" single disc of it, and after listening to it this morning with great pleasure I thought to write the first review here.

I'm fond of jazz (favouring more recent stuff, vocal jazz and fusion included) but I'm not an expert in the genre's historical phases. When I listen to a canonised classic jazz musician it's not so important for me to fully ackowledge the musician's place in the genre development. One of Hancock's achievements is the vast diversity, including the aforementioned progressive fusion, hip hop and other danceable styles. Some of his music perhaps goes too much into territories not very pleasant to us prog listeners.

The opening tracks 'Watermelon Man' and 'Round Midnight' (the latter being an overplayed jazz standard, not written by Hancock or even associated to him especially) didn't make it to my own CD, but starting from 'Cantaloupe Island' from his perhaps first masterpiece album Maiden Voyage (1965) the music feels timeless, not worn-out in the least bit. The title track of that album is wonderful, nearly 8-minute composition with plenty of progressivity. The music has intelligence and passion in perfect balance, as well as groove and melody. Side by side with Hancock's piano the leading role is given to e.g. reed instruments, such as Freddie Hubbard's cornet/trumpet.

The late 60's collaborations with MILES DAVIS are also represented, but not the electric fusion side of it. Finishing the first disc, 'Joanna's Theme' is taken from the Death Wish soundtrack (1974). It's really good to have the music in chronological order, so the compilation gives an overall picture of Hancock's different phases. Disc Two wanders from acoustic piano trio stuff to fusion and to the futuristic electricity of 'Rockit'. The New Standard (1996) was an album that covered e.g. Peter Gabriel ('Mercy Street'), Simon & Garfunkel, Prince and Sade. Here it's represented by HH's own tune 'Manhattan'.

There's no doubt that connoisseurs would have much to argue about what's included and what's not, not to speak about the inability to pack the whole respectable career in just two discs, but even with an emphasis on well known tracks this is more than a decent compilation, and a very functionable introduction.

Data cached

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
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
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
YIORGOS FAKANAS Greece
FANG CHIA United States
FANTASIA CROMATICA Argentina
FARMERS MARKET Norway
FEEDBACK Slovenia
FENOMEN Turkey
FERMÁTA Slovakia
FICTION United States
FINNFOREST Finland
FIRE MERCHANTS United Kingdom
A FISH'S DIVING SUIT Germany
DAVID FIUCZYNSKI United States
FLAMENGO Czech Republic
FLAT 122 Japan
BELA FLECK AND THE FLECKTONES United States
FORGAS BAND PHENOMENA France
PATRICK FORGAS France
THE FOURTH WAY United States
THE FOWLER BROTHERS (AIR POCKET) United States
FRAGILE Japan
FRAGMENT37 United States
FREAKZOID United States
FREE WAVE SYSTEM Italy
FREEHAND United States
BILL FRISELL United States
FROGG CAFE United States
FUGU France
FULANO Chile
FULLMOONS Greece
GALLIARD United Kingdom
GAMALON United States
GARAGE A TROIS United States
GARAJ MAHAL United States
JAN GARBAREK Norway
AL GARCIA United States
GARLIC Italy
ROBERT GENCO Italy
GENRE United States
IAN GILLAN BAND United Kingdom
GIS MAJ ES Serbia
CHRISTOPHE GODIN France
GOLD United States
GOLDEN AVATAR United States
GONGZILLA Multi-National
GOOD GOD United States
JERRY GOODMAN United States
GORO WINS Argentina
GUTHRIE GOVAN United Kingdom
GOZZOZO France
GRAND GENERAL Norway
LE GRAND NEBULEUX France
JACQUES LA GRECA France
GRIMACE FEDERATION United States
GRITS United States
MUCK GROH Germany
GROTESK Germany
GROUP 87 United States
THE GROUP Finland
GUADALQUIVIR Spain
GUILLAUME PERRET & THE ELECTRIC EPIC France
WLODZIMIERZ GULGOWSKI Poland
GUNESH ENSEMBLE Turkmenistan
GURTH Spain
JUKKA GUSTAVSON Finland
VASIL HADZIMANOV BAND Serbia
MARY HALVORSON United States
JAN HAMMER United States
HERBIE HANCOCK United States
HANSFORD ROWE COLLECTIVE United States
JON HASSELL United States
HEAD United Kingdom
HEADBAND Germany
DICK HECKSTALL-SMITH United Kingdom
HECTIC WATERMELON United States
RONNY HEIMDAL Norway
JONAS HELLBORG Sweden
A HELMET OF GNATS United States
EDDIE HENDERSON United States
ALEJANDRO HERRERA Argentina
JAKE HERTZOG United States
DAVID HINES United States
ALLAN HOLDSWORTH United Kingdom
HOWEVER United States
HUGHSCORE United Kingdom
HUMAN ELEMENT United States
GARY HUSBAND United Kingdom
I KNOW YOU WELL MISS CLARA Indonesia
IBIS Sweden
ICARUS United Kingdom
ICEBERG Spain
ICONOCLASTA Mexico
IF United Kingdom
IGZIT-NINE Japan
IMÁN CALIFATO INDEPENDIENTE Spain
IMPACT FUZE Russia
IMPULS Czech Republic
INNER DRIVE Russia
IRON KIM STYLE United States
JOHN IRVINE United Kingdom
ISOTOPE United Kingdom
IZVIR Yugoslavia
RONALD SHANNON JACKSON United States
JAGA JAZZIST Norway
JAM CAMP United States
BENNY JANSSON Sweden
JARKA Spain
JAZZ PISTOLS Germany
JAZZ Q Czech Republic
JINETE AZUL Argentina
JENS JOHANSSON Sweden
ALPHONSO JOHNSON United States
JOIN IN Germany
JULIAN JULIEN France
JUPU GROUP Finland
JUTRO Yugoslavia
KADA Hungary
KALEIDON Italy
KANDAHAR Belgium
KARCIUS Canada
KASEKE Estonia
KBB Japan
KEHELL Japan
KENNEDY Japan
KENSO Japan
KICK THE CAT United States
KLAN Poland
KORNET Sweden
KORNI GRUPA / KORNELYANS Yugoslavia
KOSTAREV GROUP Russia
KRAAN Germany
KRABAT Germany
KRAKATOA United States
WAYNE KRANTZ United States
KRÉ Venezuela
VOLKER KRIEGEL Germany
KROKOFANT Norway
KUJAKUON Japan
KUMINA.ORG Finland
KUNDALINI Sweden
LA DESOOORDEN Chile
LABORATORIUM Poland
LAND OF CHOCOLATE United States
SHAWN LANE United States
LASTING WEEP Canada
LEB I SOL Yugoslavia
LEHMEJUM Brazil
LEPRECHAUN Chile
TONY LEVIN United States
LIGHTHOUSE Canada
LIGRO Indonesia
LINDWURM Germany
LIVING LIFE Italy
DIDIER LOCKWOOD France
THE LONELY BEARS Multi-National
LOTUS Sweden
RENAUD LOUIS GROUP France
LUMINA Brazil
MAAD Italy
JOHN MACEY United States
MACHINE AND THE SYNERGETIC NUTS Japan
MACKENZIE THEORY Australia
MADE IN SWEDEN Sweden
MAELSTROM United States
MAGNETIC SOUND MACHINE Italy
MAHAGON Czech Republic
MAHAVISHNU ORCHESTRA Multi-National
MAHAVISHNU PROJECT United States
MAHJUN France
MAHTRAK Brazil
DIDIER MALHERBE France
SEAN MALONE United States
MAN DOKI SOULMATES Multi-National
MANDRILL United States
MANEIGE Canada
MANFRED MANN'S CHAPTER THREE United Kingdom
MANOGURGEIL Finland
MICHAEL MANRING United States
MICHAEL MANTLER Austria
MAR DE ROBLES Chile
MARBIN Multi-National
THOMAS MARRIOTT United States
MATERIAL United States
MATHEMATICIANS United States
MATS-MORGAN (BAND) Sweden
BENNIE MAUPIN United States
MCGILL MANRING STEVENS United States
SCOTT MCGILL United States
JOHN MCLAUGHLIN United Kingdom
MCLUHAN United States
MECKI MARK MEN Sweden
MEDESKI MARTIN & WOOD United States
MEDIABANDA Chile
MEGAN QUARTET Estonia
MENTAT ROUTAGE France
METALWOOD Multi-National
METAMORFOSIS Spain
PAT METHENY United States
CARLO MEZZANOTTE & SYNTAXIS Italy
MISA MICEVSKI Serbia
RIGEL MICHELENA Venezuela
MICKYLEE Serbia
MIDNIGHT SUN (RAINBOW BAND) Denmark
RADOMIR MIHAJLOVIC TOCAK Yugoslavia
BARRY MILES United States
MIND GALLERY Canada
MINDFLOWERS Hungary
MINOKE? Japan
MIRAGE France
MISSING LINK Germany
MISSUS BEASTLY Germany
MIST SEASON Finland
THE MISTAKES United States
TOSHIYUKI MIYAMA & HIS NEW HERD / MASAHIKO SATOH Japan
MOGUL THRASH United Kingdom
MOIRA Germany
NILS PETTER MOLVAER Norway
MOMBASA Multi-National
MONGOL Japan
MONSIEUR DUBOIS Netherlands
MOOGG Italy
MOOSE LOOSE Norway
MORAZ & BRUFORD Multi-National
MORPHEUS Germany
ALAN MORSE United States
MORSOF Japan
MORTA Canada
MOUSE ON THE KEYS Japan
ZUZO MOUSSAWER Brazil
ALPHONSE MOUZON United States
MUSICA URBANA Spain
MYSTERIES OF THE REVOLUTION United Kingdom
NADOIEDA Italy
NANU URWERK Germany
MAREK NAPIORKOWSKI Poland
NAPOLI CENTRALE Italy
NATHAN MAHL Canada
NATSUMEN Japan
NDIO Netherlands
NEXT ORDER Japan
NGUYÊN LÊ France
NIACIN United States
NIMA & MERGE United States
NOA Japan
NOETRA France
NOVA Italy
NUCLEUS United Kingdom
Ô-LIOSTÉRE France
OCTOBER United States
ODRAREG Venezuela
L' OEIL DU SOURD France
OHM United States
OHMPHREY United States
ONE SHOT France
ÁNGEL ONTALVA Spain
OPA Uruguay
OPUS-5 Canada
L' ORCHESTRE SYMPATHIQUE Canada
OREGON United States
OSIBISA Ghana
MAGNUS ÖSTRÖM Sweden
KIYOMI OTAKA Japan
OTIS GROVE United States
OTOWALA United States
OUT OF FOCUS Germany
OUTRE MESURE France
THE OWL WATCHES United States
OZONE QUARTET United States
PAIENS Canada
PANAMA RED Germany
PANOPTICON Belgium
PANTA RHEI Germany
PANZERBALLETT Germany
PARALLEL MIND United States
PARANOISE United States
BARBARA THOMPSON'S PARAPHERNALIA United Kingdom
HERMETO PASCOAL Brazil
PASSPORT Germany
JACO PASTORIUS United States
PATTO United Kingdom
PERIGEO Italy
MIKI PETKOVSKI Yugoslavia
PHLOX Estonia
PI-ER-2 Poland
PINK FREUD Poland
PLACEBO Belgium
PLANET X United States
PLANETA IMAGINARIO Spain
PLINI Australia
PEKKA POHJOLA Finland
JEAN-LUC PONTY France
COZY POWELL United Kingdom
POWER TOOLS United States
PREDMESTJE Yugoslavia
PRIAM France
JULIAN PRIESTER United States
PRIORITY Japan
PRISMA X Chile
PROBE 10 United States
LES PROJECTIONNISTES Canada
PROTEUS United States
PSI Germany
PSICOMAGIA United States
PSP (PHILLIPS SAISSE PALLADINO) Multi-National
PTF Japan
PUPPENHAUS Germany
PURPLE CERISE EXPERIENCE Canada
QUARTIK Canada
QUARTO SENSORIAL Brazil
QUASAR Australia
QUASER Japan
QUI Japan
RA QUINTET United States
RADIUS United Kingdom
RAGA BOP TRIO United States
RAHMANN France
RAYUELA Argentina
THE REAL AX BAND Germany
REFORM Sweden
XAVI REIJA Spain
RELEASE MUSIC ORCHESTRA Germany
RENAISSANCE SOUND United States
RESIDENTS OF THE FUTURE Multi-National
RETURN TO FOREVER United States
RHESUS O France
JEFF RICHMAN United States
RIFF RAFF United Kingdom
ROBOTOBIBOK Poland
ROCK JOINT Japan
ROHMER Italy
DAVID ROSE United States
ROUGH RAMBLERS United Kingdom
ROUND 11 Italy
ROUND HOUSE Japan
RUDDER United States
TERJE RYPDAL Norway
SAM (SLICK ALEXIUS MENNIGMANN) Germany
DAVID SANCIOUS United States
SANTANA Multi-National
CARLOS SANTANA Mexico
DON SCHIFF United States
ART SPIKE SCHLOEMER United States
SCHÖNFELD United Kingdom
SCHOOL OF THE ARTS United States
KRZYSZTOF SCIERANSKI Poland
JOHN SCOFIELD United States
SCOPE Netherlands
SCREAMING HEADLESS TORSOS United States
SECRET OYSTER Denmark
TONY SENATORE United States
SEPTEMBER Yugoslavia
DEREK SHERINIAN United States
SHIBUSASHIRAZU Japan
THE SHIN Georgia
WAYNE SHORTER United States
SIMAK DIALOG Indonesia
SIX NORTH Japan
SIXUN France
SKIN ALLEY United Kingdom
SKYWHALE United Kingdom
SLIVOVITZ Italy
SLOCHE Canada
THE SLOWMOVIES Italy
SMAK Yugoslavia
SNOWBALL Germany
SOLAR PLEXUS Sweden
SOLIS LACUS Belgium
SOLSTICE Canada
SOLUTION Netherlands
SOMBRE REPTILE France
SONCNA POT Yugoslavia
SPACE CIRCUS Japan
SPACED OUT Canada
TONY SPADA United States
SPECIAL OTHERS Japan
SPECTRUM ROAD Multi-National
SPEED LIMIT France
SPHERE 3 United Kingdom
SPHEROE France
SPIN Netherlands
SPINETTA JADE Argentina
SPLASH Sweden
SQUAREPUSHER United Kingdom
ST.ERHART France
STEELY DAN United States
STEEP United States
STRETCH IT TO THE LIMIT Peru
STRING CONNECTION Poland
STRINGS ARGUMENTS Japan
STROMBOLI Czech Republic
DARYL STUERMER United States
SUL DIVANO Argentina
SUNBIRDS Multi-National
SUR OCULTO Argentina
SURGERY Germany
MITSURU SUTOH Japan
SYMPOZION Israel
SYNCOPE Canada
SYNCRISIS Germany
SYRINX France
T.R.A.M. United States
TANTOR Argentina
TASAVALLAN PRESIDENTTI Finland
TAU CETI Brazil
TESSERACT United States
TETRAGON Germany
LA THEORIE DES CORDES France
THIRSTY MOON Germany
STEVE TIBBETTS United States
TIDELINE Belgium
TIEMKO France
KEITH TIPPETT GROUP United Kingdom
TO BE Germany
TOHPATI BERTIGA Indonesia
TOHPATI ETHNOMISSION Indonesia
JUKKA TOLONEN Finland
TOMORROW'S GIFT Germany
TONBRUKET Sweden
TONTON MACOUTE United Kingdom
TÓRAX Argentina
DAVID TORN United States
TOSHIMI PROJECT Japan
TOTAL ISSUE France
TOUBABOU Canada
RALPH TOWNER United States
TRANSIT EXPRESS France
TRI-OFFENSIVE Japan
TRIAL X Argentina
TRIANGULIZONA Croatia
TRIBAL TECH United States
A TRIGGERING MYTH United States
TRIO 96 Japan
EL TRIO Dominican Republic
TRIOSCAPES United States
TRIOSHIFT United States
TRIOXYDE United States
TRIPOD United States
TROUT QT Finland
ERIK TRUFFAZ France
TRURL United States
TRYO Chile
TUATARA United States
TUNNELS United States
JARTSE TUOMINEN Finland
TURNING POINT United Kingdom
TWO SIBERIANS (Белый Острог / WHITE FORT) Russia
ÜBERFALL Switzerland
HIROMI UEHARA Japan
JAMES BLOOD ULMER United States
UMEZU KAZUTOKI KIKI BAND Japan
UNDER THE BIG TREE United States
UNDERTAKERS CIRCUS Norway
THE UNITED JAZZ AND ROCK ENSEMBLE Multi-National
UNOMA Spain
UPRIGHT Canada
MICHAL URBANIAK Poland
UTOPIANISTI Finland
UZEB Canada
UZVA Finland
VENEGONI & CO Italy
VENUS TEBLA Italy
VERDAGUER Brazil
VERTÚ United States
VILLE EMARD BLUES BAND Canada
JAMES VINCENT United States
THE VIOLA CRAYOLA United States
VIRTUAL DREAM Italy
VISUAL CLIFF United States
VITAL INFORMATION United States
VITAL TECH TONES United States
MIROSLAV VITOUS Czech Republic
VOLKOR France
VOLTO! United States
CHAD WACKERMAN United States
LEE WANNER United States
WAPPA GAPPA Japan
WARM DUST United Kingdom
WASA EXPRESS Sweden
KAZUMI WATANABE Japan
DEAN WATSON Canada
WEATHER REPORT United States
THE WEB United Kingdom
EBERHARD WEBER Germany
SUSAN WEINERT BAND Germany
BUGGE WESSELTOFT Norway
WHERE'S THE NINE Canada
LENNY WHITE United States
WHOOPGNASH United States
BENOIT WIDEMANN France
WIGWAM Finland
WILDING/BONUS United Kingdom
TAL WILKENFELD Australia
TONY WILLIAMS LIFETIME United States
GARY WILLIS United States
MARK WINGFIELD & KEVIN KASTNING Multi-National
WOLF United Kingdom
THE WRONG OBJECT Belgium
TAKU YABUKI Japan
STOMU YAMASH'TA Japan
YAZZBOT MAZUT Poland
YOJO Russia
LARRY YOUNG United States
YUUKAI KENCHIKU Japan
ZAAL Italy
ADRIÁN ZÁRATE Mexico
JOE ZAWINUL Austria
ZED United States
ZINGALE Israel
ZODIAK TRIO Germany
LA ZOMBIE ET SES BIZONS France
ZONDA PROJECKT Argentina
ZZEBRA United Kingdom

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