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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 19/4/2020
George (historian9)
Scot (Evolver)
Phil (Man With Hat)
Mike (siLLy puPPy)
Maciej (HarryAngel746)

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

4.35 | 1120 ratings
KIND OF BLUE
Davis, Miles
4.34 | 1355 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.28 | 1029 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.28 | 756 ratings
ROMANTIC WARRIOR
Return To Forever
4.28 | 783 ratings
IN A SILENT WAY
Davis, Miles
4.27 | 624 ratings
SPECTRUM
Cobham, Billy
4.26 | 773 ratings
BITCHES BREW
Davis, Miles
4.28 | 316 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.28 | 330 ratings
CROSSINGS
Hancock, Herbie
4.29 | 234 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti E Mestieri
4.28 | 304 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.28 | 271 ratings
LES PORCHES
Maneige
4.24 | 833 ratings
ELEGANT GYPSY
DiMeola, Al
4.26 | 373 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.23 | 629 ratings
ABRAXAS
Santana
4.31 | 138 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt)
4.22 | 739 ratings
CARAVANSERAI
Santana
4.62 | 34 ratings
REALIZATION
Henderson, Eddie
4.28 | 161 ratings
SVITANIE
Blue Effect (Modrý Efekt)
4.28 | 163 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt)

Jazz Rock/Fusion overlooked and obscure gems albums new


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

ZASTO NE VOLIM SNEG
Smak
ETNA
Etna
EL INFIERNO DE LOS PAYSOS
Fulano
RAHMANN
Rahmann

Latest Jazz Rock/Fusion Music Reviews


 Open (with Julie Driscoll) by AUGER, BRIAN album cover Studio Album, 1967
3.47 | 21 ratings

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Open (with Julie Driscoll)
Brian Auger Jazz Rock/Fusion

Review by Artik

4 stars This is very fine album and for 1967 it is superb. It's important link in the evolution of jazz rock. I'm not an expert but there were not many bands pushing the rock part so upfront while not loosing their jazz credentials at the time.They even throw some psychedelic percussion/flute improvisations for a good measure. Graham Bond Organisation comes to mind as another example. There were many brass rock bands created soon enough but Auger/Driscoll album predates almost all of them and surely is not worst. Brass section is excellent as is the rest. Other important parts of the sound are piano/hammond and the expressive vocals by Driscoll and Auger himself. Driscoll voice often brings comparisions with Janis, and quite rightly but it reminds me Maggie Bell from Stone The Crows even more. This album is a bit dated at times but still highly enjoyable and it remains one of the crucial moments in brass/jazz rock history. Four stars.
 Harmony of the Spheres by ARDLEY, NEIL album cover Studio Album, 1979
3.46 | 10 ratings

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Harmony of the Spheres
Neil Ardley Jazz Rock/Fusion

Review by keg11v

4 stars I've been really surprised at how much flack this album seems to have received in review, including the sole review on this website prior to mine. Is it Ardley's most impactful work? Not for most people. Is it a singular effort from an accomplished composer who was exploring new horizons for himself? Absolutely, and to be sure, Ardley's characteristic subtleties with modal jazz still totally shine through in this album. For those coming to "jazz-rock" from more of a rock arena, let me recommend that you crank this album and simply let it ROCK, especially during the first and last portions-- trust me, you'll feel it. There is an established funky groove throughout most of this work, suited with heavy bass lines and tight syncopation that at times even conjures some of the heavier prog-funk, whether or not there is a direct influence. If you like the heavy combo of funk-rock rhythm section with wind instruments & synths as heard in the Nucleus/Soft Machine love-fest, you'll be right at home with this album, which features some of the same musicians. That being said, I'll admit that sometimes the synth-laden leads don't quite deliver the lushness and tonal breadth that we know they were capable of even in the late 1970's. Moreover, some of the best parts of the album are the rarer semi-improvisational sections featuring Nucleus and the power trio core of drums/bass/guitar, which can leave one wanting more. And so, people seem to decide the album doesn't quite fit in any hyphenated genre and dismiss it as half-assed, I guess. I disagree; In Harmony of the Spheres, Ardley presents a delicately composed milestone that not only covered new ground for him, but was certainly a valuable creative outgrowth of the fusions happening in the jazz and rock worlds of the late '70s. The synths aren't competing with the more traditional brass & woodwinds & keys here-- they're carrying them to new territory, or at least making a damned-good attempt to. Keep in mind also that Neil Ardley was a sort of modern day renaissance man, and was well into his alternate career of authoring introductory science books (of which he wrote and co-authored over 100). Featuring synth frequencies tuned to the actual harmonic ratios of the orbital periods of our solar system's planets, this album is something of a musical science project, and it reflects the awe and mystique that has surely imbued our perception of the heavens since at least the Pythagoreans of ancient Greece. This isn't a guy honing his band's improv skills with thousands of hours on stage, but rather a naturalist composing tributes to our cosmos with all the musical tools at his disposal at the time. Harmony of the Spheres, while side-stepping the blistering, overdriven, and frenetic improvisation of some of its peers, is still a unique contribution to jazz-rock, patiently balancing the sophisticated textures of the former with the tight, grooving rhythms of the latter. In the sea of all-but-forgotten prog gems, this album is far less derivative than many and deserves a solid listen-through by any prog fan.
 Big City by WHITE,LENNY album cover Studio Album, 1977
3.55 | 17 ratings

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Big City
Lenny White Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars It's like Lenny tried to do too much here with his second record "Big City". I mean he invited everyone he knew to play on it as we get over 50 musicians and yes we can drop some huge names that are among them even if most play minor roles. I will drop those names later but man we get strings galore, electronics, orchestration, horns, vocals and on and on. There's multiples on almost every instrument. And while I believe this is a pretty big drop off in quality when compared to his debut released 2 years earlier called "Venusian Summer" this isn't that bad. More about my tastes I suppose. So yeah we get Brain Auger, Jerry Goodman, Jan Hammer, Neal Schon, Miroslav Vitous, Benny Maupin, Herbie Hancock, Pat Gleeson and yikes The Tower Of Power horn section(haha).

The low point has to be "Sweet Dreamer" a ballad with quivering female vocals. I can find good stuff on all the other tracks but also negative things. The closer is a live track surprisingly with prominent organ from Auger. The piano dominates as far as keyboards go along with the variety of synths. "Interludes" is short and a two part track but quite good. I really like the drums and bass on the first section while it's spacey on the second. There's electronics and impressive drumming on "Ritmo Loco" another short piece. "Dreams Come And Go Away" is one I'm not into until it turns heavier after 2 minutes with the guitar soloing over top. Some crazy strings late. "Rapid Transit" is fast and the title track good when those horns aren't blasting away.

I find "Big City" along with the one that follows this to be disappointments after that excellent debut.

 European Impressions by CORYELL, LARRY album cover Studio Album, 1978
3.53 | 6 ratings

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European Impressions
Larry Coryell Jazz Rock/Fusion

Review by sgtpepper

3 stars Sitting unaccompanied in front of audience with acoustic guitar only and playing mainly energetic pieces.

The first piece "Toronto under the sign of capricorn" is a varied track starting lightly and then changing into loud chords before fast melodic fills. "For Philip and Django" is the only quieter tracks in terms of intensity, excellent picking. "Rodrigo Reflections" is a dynamic melodic piece. The rest of the album comes from studio, the masterfully played "April seventh" with full of taste. Other tracks are less memorable. "Copenhagen impressions" has an interesting combination of cleverly and quickly played a very soft sounding track with great chord sequence.

Quite a good concert and not too long to grow tired of hearing a single acoustic guitar.

 Jazz-Liisa 1 by UNI SONO album cover Live, 2016
4.00 | 1 ratings

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Jazz-Liisa 1
Uni Sono Jazz Rock/Fusion

Review by Matti
Prog Reviewer

— First review of this album —
4 stars A few years back the Finnish record company Svart Records started releasing the 70's gigs held in Helsinki's Liisankatu studios (hence the titles Pop-Liisa and Jazz-Liisa), organized and broadcast on radio by the Finnish Broadcasting Company YLE. By the way, many of the bands in the Pop-Liisa series happened to be progressive rock bands/artists, including Wigwam and Tasavallan Presidentti. Especially for the Finnish jazz scene the Liisankatu gigs were culturally significant, since there weren't yet any permanently functioning jazz clubs in Helsinki until 1977. Many of the line-ups represented in the series were short-lived, some of them even temporary, but often featuring the leading Finnish jazz musicians of the time. Speaking of Unisono Quartet's stellar line-up, one could perhaps think of Olli Ahvenlahti as Finland's Chick Corea and Paroni Paakkunainen as Finland's Ornette Coleman.

Listen here in ProgArchives as Uni Sono due to the way the name is written on the sole, eponymous album (1975) recorded by a slightly changed line-up, the jazz group Unisono started life already in 1970, touring in Poland as a sextet of Olli Ahvenlahti (keyboards), Seppo "Baron" Paakkunainen (saxophones and flute), bassist Make Lievonen, drummer Reino Laine, trumpetist Mike Koskinen and guitarist Hasse Walli. The two last mentioned made an exit during the extended tour. On September 26th 1973 the remaining quartet performed live in Liisankatu. The set features four pieces, all roughly 10 minutes long.

Ahvenlahti's composition 'Long Tandem' has a steady basic groove anchored on a repetitive piano riff, until a lively piano solo takes the lead from the saxophone. 'Specially For', also by Ahvenlahti, is a mellower and slower tune. The liner notes guess that the lyrical alto sax melody might have been ispired by Gato Barbieri's theme song for Last Tango in Paris. Very beautiful. 'Totuuden aarreaitta - Treasures of the Truth' (by Paakkunainen) is a bit harder to fully enjoy. Not that it would be hard-edged free jazz, it's just sort of minimalist in a way that the listener's attention may get lost during the dry, fragmentary soloing. Make Lievonen's 'Incarnation' has a nice, bass-centred groove, and the saxophone is being played in many different tones, some of them quite gritty. All in all, this is a fine, shortish jazz gig. The sonic quality is excellent.

If you get this album on CD, you'll get another gig on the Jazz-Liisa series, from November of the same year 1973. Taivaantemppeli is one of the short-lived line-ups who never recorded studio albums. Olli Ahvenlahti and bassist Make Lievonen are again present, and the latter is also responsible of each of the three long compositions. Matti Jakola is a less known name but his flute playing is impressive. Guitarist Pekka Rechardt was soon afterwards to join Wigwam. Percussion duties are shared by Upi Sorvali and Tapani Ikonen. This dynamic fusion gig very nicely fits together with Unisono's, and the differences in the combos (e.g. guitar instead of saxophone) only make the whole richer.

 In Concert by URBANIAK, MICHAL album cover Live, 1973
3.96 | 9 ratings

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In Concert
Michal Urbaniak Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. Such a cool story reading about Urbaniak's life in Poland as a child prodigy with the violin and then deciding to master the sax. His love for American Jazz and culture which would mean his eventual move to the USA. This is his first live record from 1973 and it was recorded at the Warsaw Philharmonic in May of that year. A five piece here with the bass player adding electric piano while another musician adds Hammond and Farfisa. Besides Michal's violin play his partner Urszula's vocal prowess dominates this album. Kind of a wish come true for me as I always loved her scat singing and wordless melodies and wished she was featured more. I'm surprised at how "out there" this is at times with the reverb and style especially being a live record. It's been what almost 10 months of Jazz and related listening for me and this is the final add to my top 60 list that has come out of this.

The opener "Bengal" at 17 1/2 minutes and the fourth track "Seresta" would both be featured on his "Fusion" album that would be released the following year in 1974. "Lato" is from 1972's "Inactin" record, and what a record. Then we get two short 3 plus minute tracks that I wasn't aware of previously. That opener is such trip with Urszula's amazing vocal work bringing ZAO's Maurica to mind at times. Urszula's vocals are a higher pitch though and I like how she just sings over the music whenever. On the opener "Bengal" it takes some time to kick into a groove as sounds come and go up to around the 2 1/2 minute mark. Violin is ripping it up 6 minutes in, love the percussion too. It settles back before 7 minutes and man I could listen to this all day. These guys just seem to jam and I can just imagine this Polish audience at such a prestigious venue(haha). Almost silence 9 1/2 minutes in as the audience applauds. The Urszula starts to do her thing. Oh my! Psychedelia comes to mind with the echo and style, Krautrock even. She stops around 14 1/2 minutes as the drums start to solo to the 16 minute mark when the violin returns! More organ, drums and vocals to the end. What a song!

"Spoken" is trippy and short and again has that Psychedelic vibe as vocals echo after 2 minutes. Sparse with sounds coming and going. "Lato" is about the electric piano early on then the violin arrives a minute in. Sparse until after 1 1/2 minutes when it all kicks in including those crazy vocals. It's more powerful after 3 minutes. Again it's such a trip listening to this music. I really like "Seresta" as well with all the same things happening but maybe it's less out of this world. Vocals, violin and organ although the piano leads 5 1/2 minutes in. The closer is like a dress rehearsal, the band warming up as it were.

Just an adventerous, entertaining release that has some uniformity to the sound which I like.

 Mandrill by MANDRILL album cover Studio Album, 1970
3.88 | 26 ratings

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Mandrill
Mandrill Jazz Rock/Fusion

Review by Beautiful Scarlet

3 stars An adequate album. The only standout track on the first side is Symphonic Revolution which I found somewhat memorable. The second side is mostly the sidelong plus one short ditty. The suite is fine in the first half but the last two movements have horrible vocals which make the track not particularly good. Finally the last track is actually quite nice, lovely flute and rhythm, however it lacks vocals which would could have made the song wonderful.

Overall track 1, 2, 4 are dull 3/5 songs

Symphonic Revolution is 3.5/5

Movement 3/5

Chutney 3.5/5

Some good moments, some boring tracks, some good parts and some vision = 3/5

 Bwana by BWANA album cover Studio Album, 1972
3.90 | 15 ratings

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Bwana
Bwana Jazz Rock/Fusion

Review by Beautiful Scarlet

3 stars One of the only progressive rock outfits from Central America and as of this review the only one from Nicaragua. The band runs a Hammond and percussion dominated style of Jazz Fusion.

Track 1 Is a solid instrumental with a nice percussion breakdown.

Track 2-5 are Cumbia (?) songs with vocals that aren't bad but are not my thing either.

Track 6 Is sung partially in English (pretty well surprisingly) and rather 👍

Track 7 Starts out strong but gives way to an excessive instrumental that becomes dull.

Overall an album with its own flavour, no terrible moments but few good moments. Solid 3/5, worth a listen since an album like this will probably never made again.

 Maelstrom by MAELSTROM album cover Studio Album, 1973
3.55 | 38 ratings

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Maelstrom
Maelstrom Jazz Rock/Fusion

Review by Beautiful Scarlet

3 stars Another album filed under Jazz Fusion that should be under Canterbury Scene.

Since everyone is mentioning other bands to describe what these Americans sounds like I'll add my own two cents. These guys kind of sound like Fruupp and Egg.

The reference to Fruupp is because the vocalist on Maelstrom sounds exactly like the singer for them. The reference to Egg is because the music is in that vein of sorta jazzy, sorta not.

The tracks are all relatively short and flow together pretty well. The vocals are nice and soft, saxophone and others are good. Not a masterpiece, some of the vocal parts I'm not amazed by and I wish the songs were longer. A pretty good album still, definitely a must listen for fans of the Canterbury Scene.

 Búcsúzás (Farewell) by KADA album cover Boxset/Compilation, 2001
3.51 | 5 ratings

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Búcsúzás (Farewell)
Kada Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars My favourite band out of Hungary right here. KADA's debut remains one of my favourite Jazz related albums. That was from 1999 while this double live recording was released in 2001 with the actual live dates it was taken from taking place in August, September and November of 2000. A seven piece here with two percussionists, guitar, bass and three horn players. Man this band loves to improvize and play experimental music. The guitarist does bring David Torn to mind with his soundscapes and style. If I was reviewing disc one only it would be a solid 4 stars but man that second disc is like Free Jazz throughout and so hard for me to digest bringing this overall to a 3 star recording unfortunately. Disc one is over 56 minutes while that daunting disc two is almost 68 minutes. So much to like on disc one and I'm surprised that this is live at times because it can be so sparse and slow going and then bang they hit us with authority. Great musicians here all around and I might keep this one around because of that incredible first disc.
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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
37°C Serbia
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
ANDREAS AARFLOT Sweden
AARON LEBOS REALITY United States
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABRAXIS Belgium
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ACQUA LIBERA Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAIN ECKERT QUARTET Belgium
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
ANWKOZIK France
APOTHECARY United States
APPENDIX Sweden
AQUARELLE Canada
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCING WIRES Australia
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
ARENA Australia
ARIEL United States
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASCORBIC ACID Russia
ASSOCIATION P.C. Multi-National
ASSOLO DI BONGO Italy
ASTRAKAN United Kingdom
ASTRO CAN CARAVAN Finland
ATMOSPHERES Multi-National
ATTENTION DEFICIT United States
BRIAN AUGER United Kingdom
AUM Brazil
AURORA United States
AVANT GARDEN United States
AVIOLINEE UTOPIA Italy
AXIS Greece
AYERS ROCK Australia
AZIGZA United States
B F Estonia
BAALBEK Argentina
BACK DOOR United Kingdom
BADDY BAND Bulgaria
BAKMAK Germany
BANDHADA Chile
BANDVIVIL Japan
BANGTOWER Multi-National
PETER BANKS United Kingdom
BARCELONA TRACTION Spain
PETER BARDENS' MIRAGE United Kingdom
IL BARICENTRO Italy
RANJIT BAROT India
BAUHAUS Italy
JEFF BECK United Kingdom
BEDJABETCH France
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
BIFURCATA Mexico
BLACK LADDER United States
TOTO BLANKE Germany
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOSQUE Serbia
BOTH HANDS FREE United Kingdom
BOUD DEUN United States
BOUNTY United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
NICKLAS BRÄNNSTRÖM Sweden
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
CHRIS BUCK United States
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
FRANCIS CANG Philippines
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CODY CARPENTER United States
CASH PONY United States
CATASTROPHE France
CEDDO Germany
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHESTER GORILLA Italy
CHICAGO United States
CHILD'S PLAY United States
CHUTE LIBRE France
CINCINNATO Italy
CIRCUS United Kingdom
CIVILIANS United States
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
COEVALITY United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMBO 8 Sweden
COMPANYIA ELČCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
CONTUSION Argentina
COPERNICUS CROW United States
COPIOUS United States
CHICK COREA 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
CYMBALIC ENCOUNTERS United States
CZAJKOWSKI - MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
DE GLADAS KAPELL Sweden
LOUIS DE MIEULLE France
THE DEAD KENNY G'S United States
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
THE DELUGE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
LA DESOOORDEN Chile
DEUS EX MACHINA Italy
DIDIER Germany
DIES GOA UNIT Monaco
AL DIMEOLA - MCLAUGHLIN - PACO DE LUCIA Multi-National
AL DIMEOLA United States
DISCORDIAN SOCIETY United States
DIVJE JEZERO Slovenia
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DOGG MANSION United States
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
RIENTS DRAAISMA Netherlands
MLADEN DRAGOVIC Serbia
DRAMA United States
DRAW THE SKY France
DREAMS United States
DROBAN-APHERNA Portugal
DUELLO MADRE Italy
JOEL DUGRENOT France
GEORGE DUKE United States
DZAMBLE Poland
E MOTIVE United States
EAST WIND POT Japan
EDGE United Kingdom
EDITION SPÉCIALE France
EDO Canada
EELA CRAIG Austria
ELECTRIC OUTLET Germany
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
ENDLESS SEASON Italy
ENERGIT Czech Republic
ENERGY Sweden
ENERGY OF SOUND United States
ENTRANCE Denmark
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX VITAE France
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WHERE'S THE NINE Canada
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