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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
historian9

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 | 914 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1144 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.30 | 631 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 510 ratings
SPECTRUM
Cobham, Billy
4.31 | 233 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.43 | 77 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.30 | 250 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.26 | 861 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.26 | 597 ratings
ROMANTIC WARRIOR
Return To Forever
4.25 | 616 ratings
BITCHES BREW
Davis, Miles
4.23 | 718 ratings
ELEGANT GYPSY
Di Meola, Al
4.24 | 510 ratings
ABRAXAS
Santana
4.23 | 634 ratings
CARAVANSERAI
Santana
4.27 | 226 ratings
LES PORCHES
Maneige
4.30 | 132 ratings
STADACONÉ
Sloche
4.29 | 140 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)
4.31 | 115 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 142 ratings
MILESTONES
Davis, Miles
4.25 | 212 ratings
PAT METHENY GROUP: THE WAY UP
Metheny , Pat
4.23 | 290 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc

Jazz Rock/Fusion overlooked and obscure gems albums new


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

ETNA
Etna
SHABAZZ
Cobham, Billy
SEPTOBER ENERGY
Centipede
HYPERTHALAMUS
Dennis

Latest Jazz Rock/Fusion Music Reviews


 The Further Side by NOVA COLLECTIVE album cover Studio Album, 2017
3.91 | 78 ratings

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The Further Side
Nova Collective Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. NOVA COLLECTIVE are a new instrumental band that features musicians from the USA and the UK so a multi-national band. We get the rhythm section from TRIOSCAPES and the guitarist and keyboardist from HAKEN. The music is more like TRIOSCPAES than HAKEN as there is a strong Jazz Rock/Fusion sound here. And man this is complex with absolutely outstanding musicianship on display. Some have tagged this with Prog- Metal as well in fact I've seen Jazz/ Metal mentioned. I have to say that I was impressed with all four musicians to say the least but the drummer Matt Lynch is who I'm usually praising when I hear this disc. Nothing like a skilled drummer to make an album sound even better.

"Dancing Machines" opens sounding surprisingly like AREA, I kid you not. It's the tone of those keyboards. The drums kick in followed by bass then here we go! Man that bass shakes the speakers big time. It settles with bass and atmosphere before 1 1/2 minutes then builds. This sounds amazing especially the electric piano. Those AREA-like keyboards are back as themes are repeated. It settles with guitar before 3 minutes as the drums kick back in. Man he can play! It kicks in again and this sounds so good especially the guitar. Hey some organ starts to boil over and were only half way through this track. A heavy sound before 7 minutes, growly is the word. Some great varied guitar work follows to the end.

"Cascades" sounds quite beautiful to start with that melodic guitar and atmosphere. Drums join in with electric piano and bass. Jazzy stuff. Love it! Classy too. It does change to a more "rock" sound around a minute. Organ a minute later. The drumming is killer. A calm with electric piano after 3 minutes but the guitar and more kick in quickly. Check out the ELP-like synths as in "Lucky Man" after 3 1/2 minutes. Themes are repeated and the guitar will start to solo before 6 minutes.

"Air" opens with intricate guitar I think as a keyboard joins in I think. Yes these both sound a little different to my ears, unique maybe. They will come and go during this song. It kicks in to a wondrous sound before a minute before settling back with organ, bass and drums. It starts to pick up. Man this sounds good. Love the bass before 5 minutes and the ripping guitar as the drums pound away. It ends like it began. Another winner!

"State Of Flux" opens with pounding drums, bass and electric piano. The guitar joins in quickly too grinding away. Check out the drum work after a minute. It's so good I'm laughing. It's so cool the way sounds and themes are repeated. It settles before 4 minutes as the bass and drums lead the way. Love that bass as fuzzed out keys join in. It picks up after 6 minutes. Great track!

"Ripped Apart And Reassembled" is like a trip back to the late seventies with that funky vibe led by the distorted sounding keyboards. Almost sounds like clavinet. The synths that follow again bring the late seventies to mind here. Again themes are repeated. It ends like it began. A real treat this one.

"The Further Side" ends it and it hits the ground running. Lots going on before it calms down before a minute. The bass and drums impress before the guitar starts to solo after 1 1/2 minutes. It then picks up after 2 minutes. I really like this. A calm with piano follows then the drums help out before it kicks back in. It's heavy before 4 1/2 minutes. A jazzy calm arrives 6 minutes in then back to the guitar led section. It settles right down after 7 minutes then back to the heavy stuff 8 minutes in.

I'm just so impressed with the way these guys play and the style of music they have presented to us here. They're gunslingers and seasoned pros and this marriage between these two different styles of bands from two different countries worked to perfection.

 The Old Bum's Rush by WILLIAMS LIFETIME, TONY album cover Studio Album, 1972
3.19 | 6 ratings

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The Old Bum's Rush
Tony Williams Lifetime Jazz Rock/Fusion

Review by LupeLoop

4 stars This is a raucous and righteous fusion record. Sometimes frenetic sometimes sludgy. Over all of it, the non-stop, steamy, screamy singing by Linda "Tequila" Logan is a highlight. Her vocal value isn't what is pretty, but what is important. There is something fun and mischievous (possibly insane) in her meandering soulfulness. She reaches heights that are heavy with feeling. And it's a shame I can't find any background or current information about her at all on the Internet. Tony Williams' playing is expressive and explosive throughout. Here there's a pattering and peppering, and here there's a crashing on your head as you get thrown down the stairs. It's a dirty and streetwise vibe, but elegant in its precision. There is gospel, whirring jazz, and rock here of a deeper, darker kind. Even so, it sounds like they had fun playing, and even the liner notes have a kid-like quality to them. Punk bands like The Cramps and Boss Hog have ripped this heavy "out there" sound right off.
 S.U.N. by SUN album cover Studio Album, 1980
3.00 | 2 ratings

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S.U.N.
Sun Jazz Rock/Fusion

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

3 stars An orthodox jazz rock stuff from Germany. A German jazz rock outfit SUN were founded in 1969 under the moniker of PUNISHED SUN. After shortening their band name into SUN in 1974, they launched two long material for a split album via Kerston label, on that other four bands Zyma, Andorra, Penicillin, and Nexus provided tracks. Finally in 1980 they released their eponymous album as their one and only full-length studio-recorded one on their own ... their musical identity can be thought as 'typical' progressive jazz rock slightly tinged with Zappa's influence, easily heard also around the world in those days. Obviously understood why they are unknown because of their traditionality, and if such a technically fantastic album might be revived unless a German Krautrock label Garden Of Delights reissued it in 2008. Forgive me if I'm not correct but I assume all of them had tried to learn and master jazz music and got pretty inspired by rock pioneers (including progressive rock). Their play and technique are quite superb, and every material featuring a strict rhythm section for hard, complex melody lines is excellent indeed, but I'm afraid their sincereness and seriousness might have attenuated Zappadelic quirkiness. The audience can listen to their creation safe and sound, but innovative vibe cannot be found enough, sadly. It might be fine for you to enjoy orthodox jazz rock school.
 Pat Metheny - Ornette Coleman: Song X by METHENY , PAT album cover Studio Album, 1986
3.13 | 33 ratings

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Pat Metheny - Ornette Coleman: Song X
Pat Metheny Jazz Rock/Fusion

Review by samur

4 stars I wonder why it's such a low rating here? Sure, it's hard to digest, but I think that you can say the same about most of krautrock music. For the most part music on this album has the same vibes as some great krautrock, ie. "UFO" by Guru Guru. You just have to surrender and welcome all this sonic noise and then you can hear much more than noise. If you will, be ready for some cool adventures? On the second side music changes into more relaxed and simple to south your mind after it was working on high speed... I recommend to listen to this kind of music with closed eyes, relaxed in kind of meditative mode. This album makes me to discover Ornette Coleman more. Recommended!
 Transfusion by SCHLOEMER, ART  SPIKE album cover Studio Album, 2011
4.00 | 1 ratings

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Transfusion
Art Spike Schloemer Jazz Rock/Fusion

Review by Cometa Rossa

— First review of this album —
4 stars I really was surprised to get so easily, what those famous names on the album cover promise. While an - sorry: ugly - album cover like this is nothing less than suspicous, the music itself is just brilliant. If you like Tribal Tech, Niacin, Hadrien Feraud's first album from 2007, Scott Kinsey or Zawinul's Syndicate or some aspects of Jan Hammer and if you want to hear very good Jazzrock in that style(s) without mainly being a copy of all those artists, but all the takes being emancipated, valid claims on this territories, then get your 'Transfusion'. It's not difficult to find sufficient samples in the net. If you like the samples, you'll enjoy the whole album, for sure.
 Astralopithecus by FILULAS JUZ album cover Studio Album, 2015
3.68 | 3 ratings

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Astralopithecus
Filulas Juz Jazz Rock/Fusion

Review by ProgAlia

3 stars Filulas Juz is an impressive instrumental jazz-rock unit featuring drums (Adriano Morales is an impressive drummer all around, guiding the group through a variety of styles), bassist Luigino Mar'n, guitarist Armando Cuevas, with Fender Rhodes and flute player Jos' Javier Rodriguez doubling on both instruments; guest player Pablo Olaya contributes Rhodes on several cuts, trumpeter Alejandro Sierra plays on a number of others as well, along with percussionist Francisco Jim'nez. Most of the time on the nine tracks, the sliding scale tips far closer to the jazz element, with the Fender Rhodes often recalling Chick Corea's playing, but with the rest of the group they truly forge their own identity. While drums and bass create some stunning grooves, one would be remiss to label this fusion, as the overall identity of their sound generally takes on a much lighter feel, without the heaviness. The odd track here is 'Green Dolphin Skit,' with spoken lyrics in Spanish from guest Juan Regueiro, making it the only track on the entire album with any kind of vocals. The guitar and keyboard interplay on the title tracks sets up beautiful and stirring passages for trumpet, guitar and keyboard solos, while drums confidently leads the group through numerous irregular rhythms. The entire group gets a chance to shine on the epic 'Voyager' as the piece builds and morphs into the closer 'Xena,' with a dreamy bass solo followed by some strange effected moves, eventually giving way to some spirited ensemble work that truly makes these two the most adventurous pieces of the nine. Looking forward to their next release.
 Brutopianisti by UTOPIANISTI album cover Studio Album, 2017
2.96 | 11 ratings

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Brutopianisti
Utopianisti Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

2 stars Though I've been listening to this one and playing pieces from it on my radio show since its arrival on the music scene January first, 2017, I have had a heck of a time trying to 'rate' this unEarthly experiment into uncharted musical territory. The music contained herein is a violent, Mr. Hyde-like version of Finnish genius Markus Pajakkala's UTOPIANISTI though this is mostly him playing various woodwinds and tuned percussives.

Because I have trouble assigning ratings to songs of lengths less than two minutes, only six of the thirteen songs here would have earned ratings. Because I have so little brainpower to be able to compare and then justifiably categorize the music, I have decided to refrain from ratings altogether.

I think the album genius but it definitely pushes the limits and tolerances of all music listeners.

1. "Gróyul Ghóul Ghň!" (01:37) 2. "Gcéme Zéle Dté" (01:46)

3. "Blászh" (02:57) all kinds of animalistic throat-vocal noises parade within the weave of this odd song. At the 30 second mark, the song actually shifts into a milder, more spacious form with the Muppet "Animal"-like growl-speak vocalizations continuing throughout. Then, at the two minute mark there is another shift with a wind instrument taking over. Interesting.

4. "Bhómega" (03:56) opens on a very 'world music' stage--sounding like something out of a JON HASSELL performance at one of the WOMAD festivals. But then, at the 1:20 mark, the drums and other instruments (bass clarinet and synthesized flute or sax on the lead) enter and things settle into a new pattern that feels all right with the rest of the world. Nice soloing over some steady rhythm patterns.

5. "Gabósh Dí Magá" (01:41) growls and reverb effects used on this one make it so cool! The woodwinds and drums weave is perfect support for the Kong Island--fitting song.

6. "Zigévomídá Zwógh" (01:13) the vocals on this song are the highlight as multiple styles are represented-- sometimes even together! Drums are fairly tolerable on this one.

7. "Hóllň" (04:04) opens with a distant repetitive horn loop while the percussionist seems to be testing out the fullness of his drum kit. After over 75 seonds of this, and the listener wondering if the drummer will ever find his way, a long sustained low synth note enters prompting the drummer to seem to at least get "on the run." The synth begins to develop and move around while the drums continue to explore. The final 30 seconds is all synth and distorted vocalizations. I'm not sure how to even assign a rating to this one! It's unEarthly!

8. "Wóókh Ztadás" (01:14) 9. "Zwaáakh" (01:26) 10. "Zhími Bŕgi Dá" (01:10)

11. "Bóm Zói" (02:42) opens with drums and woodwind speeding along at breakneck speed. At the 25 seocond mark the bass clarinet slows down and establishes a rhythmic, looping riff over which drums and synth wreak havoc.

12. "Brümigá Hügu" (03:25) more wild drumming and synth effects noises with more sedate, almost melodic bass clarinet. At 1:20 the clarinet and synths become more jaded, more industrial-sounding while the percussionist continues as before. The final thirty seconds switches to metallic percussives and proto-human vocal growls.

13. "Glüf Zwagó Zigévomídá!" (03:45) xylophone, throat singing, and oddly treated/processed flute open this song. At the end of the second minute, drums, looping bass clarinet, and synth enter to support a upper octave treated flute solo. At 3:10 we enter the final section with bass clarinet, frenetic drumming, and crazed "Animal" vocals.

Total Time 30:56

I have to admit that the Muppets' "Animal"-like tribalistic beating of the drums along with their very plastic sounds leave me feeling a little raw and jaded, but the music is so interesting and, well, for lack of a better word, raw, that I can usually get past it. I wonder if Markus ever heard the Spanish band ZA!'s 2015 album Loloismo before making this album. There are some similarities.

Brutopianisti is genius and masterful but it is neither essential nor even excellent. This is not the kind of music you want to play for your mother or to impress your girlfriend--especially if you don't want to trigger their nervous breakdowns. It may truly be necessary to call this one "for collectors/fans only" though it pains me to do so, it is truly difficult to call it "good" because I'm not sure what it is good for. I like it, I'm fascinated by it, I smile at it, I have given it dozens of listens in order to try to understand and appreciate its genius, but in the end, I'm not sure how to recommend it to another. "Try it if you want to test what extremes you're able to tolerate" or "try it and see how long you can take it before you have to jump out a window." Good luck! If this is truly your cup of tea, then you are a weirder man than me.

 Just Lunatics by LUNAR CAPE album cover Studio Album, 2015
4.38 | 4 ratings

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Just Lunatics
Lunar Cape Jazz Rock/Fusion

Review by ProgAlia

3 stars "Just Lunatics" is a record that is for a particular type of listener, The quality and musical value here are recognizable even if you don't fully embrace its idiosyncrasies. A stylistic mashup that can border on being a little too meandering at times, but ultimately contains enough melody and highly musical passages to stick out to the fan of instrumental world music and psychedelic rock. Many elements are brought into album, and the eclectic melding of psychedelic rock, light jazz, chilled out atmospherics and Celtic, Asian, and Eastern European folk elements create a musical landscape that varies tonally from track to track. Some songs even take on a soundtrack-like vibe and experimental or even Avant bent that can be pretty convincing and trans-formative when the disparate parts align properly. I just wish there were more opportunities in the dynamic that focused the world music elements in some different and more exciting ways.
 Exiles by CROSS, DAVID album cover Studio Album, 1997
3.64 | 44 ratings

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Exiles
David Cross Jazz Rock/Fusion

Review by AndreasGHB

3 stars Mostly quite good but ultimately far from essential. Truthfully this album turned out to be pretty much how I expect it to be. This album came to my attention because of the two Peter Hammill vocals, and that's actually the main reason for me to keep it. The two PH vocals, particularly "Tonk", which also features Robert Fripp, are reminescent of "Disengage" on Fripp's "Exposure" album, and make wish the two would collaborate more. Wetton's vocals on "Exiles" are fine, but ultimately not as good as the original and don't really add anything. "This is Your Life", the other Wetton vocal, sounds like Asia ? YUCK! The only real bummer on the album. Overall, other than that one track, I can't say anything negative about the album. The compositions are fine and the playing is very good, but, as many of the other reviews have said, I don't see myself going back to this album much. It's a perfectly decent album, but just not very memorable.
 Thirsty Moon by THIRSTY MOON album cover Studio Album, 1972
3.70 | 41 ratings

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Thirsty Moon
Thirsty Moon Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars By 1972, the Krautrock scene had blossomed way beyond the hub cities of Berlin, Hamburg, Munich and Düsseldorf into a national phenomena attracting an unprecedented number of talented musicians taking a stab at their best spaced out prog rock. Bremen wasn't exactly the epicenter of the scene but did produce some top notch acts like THIRSTY MOON. The band was initiated by the two brothers, guitarist Jürgen Drogies and percussionist Norbert Drogies after splitting up from a band called DRP. After recruiting a whopping five other members they formed THIRSTY MOON, then recorded some demos and sent them out to Brain Records which was one of the Krautrock heavy hitters of the day pumping out many of the well known names such as New!, Cluster, Grobschnitt, Caravan, Atomic Rooster as well as lesser known acts such as the Wolfgang Dauner Group. The band gained a record deal and released their eponymous debut album in 1972 which included the mixing duties of Conny Planck who would become famous for his 80s involvement with Ultravox and the Eurythmics.

The Drogies brothers managed to recruit a stable lineup but one that didn't see eye to eye in musical taste. While the brothers themselves preferred the harder edged blues rock style of Hendrix and Steve Winwood's traffic, most of the other members were more into the jazz-rock styles of bands like Soft Machine and the "Bitch's Brew" era of Miles Davis. The result of their first album is a creative mishmash of both these musical worlds and dished out in creative doses that allow each track to stand out as totally distinct from the other. The album consists of only five tracks with the first four completing the first side of the original vinyl edition and the monstrously long "Yellow Sunshine" swallowing up the entire B side at 21 minutes and 25 seconds. The seven musicians on board unleash a plethora of sounds including electric guitar, bass, saxophone, clarinet and flute. There are two keyboardists with Hans Werner Ranwig dishing out the ubiquitous organ sounds while Michael Kobs handles the electric piano. There is also a larger than usual percussion section with Erwin Noack contributing congas and regular rock drums as well as the Drogies brothers both adding extra percussive touches.

"Morning Sun" begins the albums with a rather typical jazz-rock style that wouldn't sound out of place on, say, an Embryo album but beginning with "Love Me," the band gets more creative and progressive with not only catchy jazz-infused melodies but jumpy, jittery time signature workouts as well as an extra serving of percussive delights. This one is super cool as it has quirky key changes with energetic bombast before simmering down into a mellow jazzy rocker. "Rooms Behind Your Mind" is a short little heavy rocker that offers some substantial guitar delivery as well as a rather funk inspired bass section. While most of the music focuses on instrumental heft, this one displays the Ranwig's lead vocals as well as an Ornette Coleman inspired sax solo that is electrified and sounds like what John Zorn would make famous a decade later. One again the tribal conga drumming offers an intense percussive spine while the dreamy organ fills add an atmospheric touch to the heavy rock drive. "Big City" clocks in at over eight minutes and is a cool original sounding track that offers background sound effects of "Big City" activities with some sort of "dripping" metal percussion that creates a totally indescribable sound. This one is also a nice mixture of Krauty psychedelic rock with jazz-rock. The grand finale is the epic "Yellow Sunshine" which wends and winds through many different moods throughout its 20 minute plus timespan. It begins as a totally ambient spaced out affair but evolves into a melodic rocker that offer moments of bombast as well as freakier segments with none outlasting their welcome.

THIRSTY MOON remains one of the more obscure Krautrock bands to have emerged from Germany's fertile progressive rock scene and admittedly this debut eponymous release failed to inspire me upon first listen. After a few more spins though the entire thing clicked and began to display its creative uniqueness that separates them from the usual Krautrock suspects. While not jazzy enough to be considered a true jazz-rock band, there are more than enough brass moments and compositional approaches that are only a couple steps away from that labeling. This debut album is a brilliant mix of the heavy psych rock of the late 60s and the tripped out ambience of artists like Klaus Schulze or Tangeine Dreamn all topped off with the jazzy and occasionally folk flavored aspects. For me the extra percussive drive makes this one all the more addictive but all the elements are laid out in highly original compositional approaches. Definitely a band that deserves a lot more recognition in the modern day.

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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
ABRAXIS Belgium
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
AL DI MEOLA - MCLAUGHLIN - PACO DE LUCIA Multi-National
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
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
ARENA Australia
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
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
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
BOSQUE Serbia
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
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