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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
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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

4.37 | 643 ratings
KIND OF BLUE
Davis, Miles
4.37 | 442 ratings
IN A SILENT WAY
Davis, Miles
4.35 | 909 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.38 | 164 ratings
TIME CONTROL
Uehara, Hiromi
4.37 | 167 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.29 | 378 ratings
SPECTRUM
Cobham, Billy
4.27 | 655 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.60 | 36 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.28 | 400 ratings
BITCHES BREW
Davis, Miles
4.26 | 556 ratings
ELEGANT GYPSY
Di Meola, Al
4.31 | 121 ratings
VISITATION
Pohjola, Pekka
4.23 | 482 ratings
CARAVANSERAI
Santana
4.23 | 436 ratings
ROMANTIC WARRIOR
Return To Forever
4.24 | 363 ratings
ABRAXAS
Santana
4.32 | 99 ratings
MILESTONES
Davis, Miles
4.32 | 97 ratings
STADACONÉ
Sloche
4.25 | 233 ratings
CROSSINGS
Hancock, Herbie
4.32 | 96 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.26 | 176 ratings
THE WAY UP
Metheny , Pat
4.27 | 143 ratings
MAIDEN VOYAGE
Hancock, Herbie

Jazz Rock/Fusion overlooked and obscure gems albums new


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

PASSPORT - DOLDINGER
Passport
HALLUCINATION ENGINE
Material
DEDALUS
Dedalus
AGHARTA
Davis, Miles

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Latest Jazz Rock/Fusion Music Reviews


 Now Here This (with The 4th Dimension) by MCLAUGHLIN, JOHN album cover Studio Album, 2012
3.15 | 4 ratings

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Now Here This (with The 4th Dimension)
John McLaughlin Jazz Rock/Fusion

Review by Anon-E-Mouse

3 stars Undoubtedly, John McLaughlin has been one of the finest guitar players, composers for nearly half a century. When he gets things right as with the original Mahavishnu Orchestra, with Shakti or some solo projects, not mentioning his works with Miles Davis and many others, or the acoustic trio works, he is just sensational.

Unfortunately, he is also prone to releasing some absolute duds here and there, but more about those perhaps some other time. Suffice to say "Now Here This" falls somewhere in the middle. The rating between 1-5 stars would leave this barely above 2.5 by Prog definitions.

This is not a "bad" album, but I couldn't call it good, either. Ordinary Fusion devoid of any excitements, or definite highlights.

I have "endured" this piece over three repeated runs and found it rather uninspiring and mediocre. Quirky and swift runs on the guitar are impressive alas, there is nothing much new there, more of a repetition of what's been recorded before. The rhythm section - consisting of talented musicians - are pretty much wasted here as they are only engaged to provide a backdrop to those familiar guitar notes. And the overuse of slap-bass by 2012 could be regarded as somewhat "passe".

With due regret, I could not recommend this work as a "must have".

 percept from ... by PTF album cover Studio Album, 2013
4.11 | 10 ratings

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percept from ...
ptf Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

4 stars Out of nowhere came this Japanese quartet in 2009, they most propably were quite known in their homecountry, as they appear to be a very active group in live performances, but it wasn't until 2013, when they came in forefront by Musea.Members were Keisuke Takashima on electric/acoustic violin, Takeya Kito on keyboards, Hiroyuki Ito on bass and Yusuke Seki on drums, they published the first album ''Percept from...'' on Musea's branch label Musea Parallele.Violinist Keisuke Takashima composed all tracks on this effort.

Ptf continue the excellent tradition of violin-driven Japanese Prog groups like KENSO, OUTER LIMITS or MIDAS with some pinches of JEAN-LUC PONTY in the process and present here a delicate and dreamy Symphonic-Jazz Rock with some superb arrangements, beautiful solos and soft rhythms.No fanfares or pyrotechnics, the compositions are carefully arranged till' the last detail, alternating between dramatic sections with really complex musicianship and ethereal melodies with a Classical aura.The short pieces are pretty great, bass and drums are played with consistency, keyboards are used mostly for background purposes, mainly organ and acoustic/electric piano and Takashima's violin is the driving force without question, monumental performances with great hooks, solos and melodies.But the three long cuts, clockin' at over 10 minutes, are something else, featuring outstanding moods and climates with lots of melancholic tunes, romantic soundscapes and dense instrumental moves.Balanced on the thin line between Symphonic Rock and Fusion, this quartet delivers excellent variations in these cuts, performed like mini-suites and creating very emotional material.Some of the best blends between technical and melodious textures you can find around.

Killer album.Violin-drenched Symph Fusion of the highest calibre, fluid, melodious and slightly virtuosic.Highly recommrended, among the best of the year.

 Utopianisti II by UTOPIANISTI album cover Studio Album, 2013
4.09 | 8 ratings

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Utopianisti II
Utopianisti Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

4 stars (My apologies that a whole year passed before I finally reviewed this album.) UTOPIANISTI is the artist name of Finnish multi-instrumentalist and composer Markus Pajakkala. He plays primarily drums and reeds, plus additional keyboards, vibes, programming and "various ethnic instruments". The debut (2011) made it very clear that music can be simultaneously funny and technically impressive; that it feels good for the musician to follow creative madness wherever it leads and to give 110 % commitment to it all. Naturally the listener is free to think that the results are sometimes rather irritating, but the sheer joy of music cannot be denied. This nearly 79-minute second album is even more ambitious, fuller of ideas and containing bigger arrangements. And with a charming hand-drawn cover art!

The tracks 1-8 are the album's main body "which took a year to carefully form and craft itself", and in contrast to that, the next four pieces under the moniker UTOPIANISTI MEETS BLACK MOTOR & JON BALLANTYNE were composed in a day and recorded live at JJ Studio, Tampere, August 2nd, 2012. And as a "bonus track" there's nearly 10-minute, breathtaking 'U.L.J.C. (The Unnecessary Leftover Jam Session)' which definitely sounds better than its title. But let's return to the start, to the main tracks each with a different line-up of guest musicians.

'Mekonium Fist' (according to the foreword "inspired by our first diaper change where four hands weren't enough") is hectic and fast. 'The Vultures Were Hungry' mixes opera vocals with ZAPPA- like avant-rock. 'Pohjola' is probably the best track, a gorgeous Fusion piece in the spirit of PEKKA POHJOLA to whom it is dedicated. It stays more serious than the album as a whole, without losing freshness and certain musical joy. 'Tango Succubus pt. 2' is sung in Finnish by opera baritone(?) Waltteri Torikka. This very angular piece featuring also an accordion reminds a lot of the 90's cult band HÖYRY-KONE.

On the meaty jazz-rock number 'The Forest of the Bald Witch' there are delicious contributions for e.g. flute, organ and guitar. Like three other tracks, 'Bisphenol A' features The Utopianisti Big Band, and has an emphasis on heavy brass and programming. It is my least favourite, as well as the 7th one, a hilarious, ethnically oriented (Balkanesque) tune featuring accordion and fiddle among others. ALAMAAILMAN VASARAT, the instrumental descendant of Höyry-Kone, did enough of this kind of silly crap (sorry).

If there had been only these eight tracks, I wouldn't much like this album with so many annoying things in it. The live tracks featuring Jon Ballantyne on piano and electric piano are airier, jazzier and more thoughtful, in other words quite free of the silliness. With a suitable use of skip button you'll have a wonderful musical trip with this extraordinarily brave release. My subjective rating would be three stars, but for the masterful musicianship and some amazing highlights it deserves four.

 What is Constant by PTF album cover Studio Album, 2015
4.47 | 10 ratings

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What is Constant
ptf Jazz Rock/Fusion

Review by floflo79

5 stars Great. This album is just great. This is jazz rock/fusion at his best. I'm not a big fan of the genre, but this album is really, really good. Two tracks of 7 minutes for the opening and the closing, and one suite of 42 minutes called The Thing, divided into four parts. It's hard to make more progressive. The musicians are awesome, and the compositions are really smart and great. All the fans of JR/F should like, or love, this album which is my favorite album of 2015 for me at this moment. I think that 2015, who already gave great albums in one month, will be a great year for prog.
 If 2 by IF album cover Studio Album, 1970
3.84 | 35 ratings

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If 2
If Jazz Rock/Fusion

Review by tszirmay
Special Collaborator Crossover Team

4 stars I am such an ass! Going through 45 years without hearing something as marvelous as British jazz-rock legends IF is a crying shame. If I only knew IF! LOL. So what did it take to get me up to speed after such a long period of inertia? A stupendous review by my Aussie music mate Michael reminded me that I had been missing out on something quite delicious in view of my profound adoration of Nucleus, Soft Machine, Isotope, Traffic, Sunbirds, Wigwam and even Tasavallan Presidentti! I was perhaps misguided in hearing comments about similarities with Chicago and Blood, Sweat & Tears , both of which are not exactly in my range of goodies.

I opted for the deluxe DVD/CD package of the IF "2" release, a beauty that has a live DVD recording as well as the studio effort, all nicely put together with an amazing booklet, artwork etc?I was already familiar with keyboard whiz John Mealing (who later graduated to Passport and the Strawbs) as well as accomplished drummer Dennis Elliott who of course became a famous Foreigner. Dick Morrisey is a sax legend, so I knew enough to be at least conscious of their existence but the big surprise for me was guitarist Terry Smith, a wicked stylist with amazing technique a la Steve Cropper (blues and a distinct RnB country feel), a rock solid bass player in Jim Richardson and a real cool vocalist in J.W. Hodgkinson. I had never heard of these three, so I was in for a thrill. Though this is late 60s music , it stills smokes quite brightly and is a joy ride from beginning to end, it got me thinking that we would need some upbeat stuff like this in our currently apathetic/doom-laden culture. (Sorry Pharell but "Happy" is not quite enough to heal the world).

Things begin in radiant fashion with a sprightly "Your City is Falling", Hodgkinson grabbing the mike stand and showing who is the boss, while the lads pummel mightily in the background. The mood is balmy, warm and inviting, a really faultless opening salvo that sets the tone perfectly.

An extended platform for improvisation is the 8 minute+ "Sunday Sad", a Spanish guitar motif finds itself escorted by a flute caress which then quickly merges into a slick rambler that fumes, smokes, smolders and rages with torrid passion, fueled by the loaded double brass assault of Quincy and Morrissey on saxophones and another fine vocal performance by J.W. Bassist Richardson carves some manic grooves while Terry Smith does a splendid job on his axe, a gritty and sulphurous affair that is just awe-inspiring. Mealing's grumpy organ is shoved along by Elliott's sturdy drumming and lo and behold, this is such exhilarating music!

The Brits love their weird song titles (hello Canterbury lads) and "Tarmac T and the Lonesome Nymphomaniac" (what year? 1969, hmmm, pretty racy, wot?) certainly qualifies, a bluesy trippy ditty with a manic vocal that has a definite Traffic/BST feel, spread-eagled by a sick sax flirting overtly with the fuzzy wuzzy organ (that is innuendo-laden wordplay for you), sensual and sexual jazz-rock with some serious soul.

Driving your vintage MG or Triumph Spitfire, propelled by a bass-mad "I Couldn't Write and Tell You", gives the music a down to earth meaning, surprising the listener with inimitable genius, a flute from nowhere, a consistently believable vocal delivery , a solid beat and some glittering solos all within its 8 minute sinews. Terry Smith glitters on his axe, a blistering technique that nears supersonic speeds, frenzied and acidic. Wow! Has anyone noticed where my jaw landed? Yeah, baby!

Smooth? You want some velvety class , well it does not get creamier than the suave breeze heard on "Shadows and Echoes", sounding like some jazz toone from the 50s movies, a cool cat skinning his brushes, upright bass bopping along while the crisp and clear guitar does some marauding. A wide mouthed vocal again does the trick, versatile and groovy.

Hey, you wanna another oddball song title, look no further than the quirky "A Song For Elsa, Three Days Before her 23rd Birthday", I mean, C'mon! Doggone it when Brits can out soul the Yanks, and that's including the 'brothers'! At least in musical terms, British blues and jazz bands of the 60s and 70s certainly played a part in emancipating white crowds into getting off on black music (Hey, Jimi, How ya doin'?). Here Quincy and Morrissey play majestically, a pure joy and total marvel to witness and revel in.

What a great record and I can bury my ignorance now by pursuing the entire catalogue!

Merci, Michael!

4.5 Rudyard Kiplings

 Ni Vent... Ni Nouvelle  by MANEIGE album cover Studio Album, 1977
4.04 | 90 ratings

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Ni Vent... Ni Nouvelle
Maneige Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

4 stars 1975 was also the last year of Jérôme Langlois with Maneige.Due to musical differences he parted ways with the band and moved on to a solo career, while he also started writing music for TV and cinema productions.Paul Picard joined the band permanently on drums and Alain Bergeron was the only one to handle some piano parts during the next sessions.The third album of Maneige ''Ni vent... ni nouvelle'' came out in 1976 on Polydor, featuring guest musicians Andre Pelchat (from L'Infonie) on sax, Jean Prefontaine on viola and Chantale Remillard/Denise Lupien on violin.

Forget about the long compositions of the previous efforts and the interesting leading keyboards of Langlois for this album.Does this mean that Maneige sounded less tasteful or moreover commercial?No way, ''Ni vent... ni nouvelle'' does not contain any long pieces, in fact none clocks at over 6 minutes, but the music remains extremely sophisticated, fascinating and complex, showing an obvious turn towards more jazzy rhythms and solos and presenting an instrumental lifting.The sound is now heavily relying on flutes, sax and electric guitar with occasional piano interludes and frequent injections by the invited string section.The music is great with countless interplays, managing to be delivered in a dreamy fashion, which still bursts incredible individual and teamwork skills.The overall style contains soft symphonic touches, the already known rural vibes and a heavier Prog Fusion attempt with the guitars having a dominant role compared to the previous albums.What's really exciting about the album is how the hell these guys maintained this efficient profile, balancing between chamber and jazzy arrangements, after a quite significant instrumental change.To my ears this one sounds even better than ''Les porches'', even introducing a few somewhat bombastic sections between the elaborate and efficient interplays and ends up to offer a nice bunch of amazing electroacoustic mini-suites.

Superb album.Jazz meets Classical meets Folk meets Rock Music in one of the best displays ever to see the light by a Prog band.Instrumental flexibility, excellent interactions and lovely orchestrations.Highly recommended.

 Uoma by UZVA album cover Studio Album, 2006
4.20 | 28 ratings

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Uoma
Uzva Jazz Rock/Fusion

Review by Conor Fynes
Prog Reviewer

4 stars 'Uoma' - Uzva (74/100)

I must admit; I wasn't quite sure what to expect from Uzva's Uoma, the third (and presumably final) album of their career. I was first taken aback by their second record Niittoaika, a beautiful work that managed to reinvent the fusion of classic prog rock and jazz in a refreshing way. While nowhere near as impressive as their sophomore, Uzva's debut Tammikuinen Tammela offered a different sort of experience, closer to the chamber rock style of a band like Aranis than anything strictly jazz-related, although once again, Uzva managed to surprise me with their fresh take on a familiar genre.

There's no doubt that Uoma is a technical triumph beyond its predecessors- it took two years to record this album, and the instrumental wizardry Uzva only ever implied they were capable of on past albums takes a strong role in Uoma. Be that as it may, it is the first time I feel Uzva's venture into a new realm has not resulted in a fresh style. For better or worse, Uzva's third album saw them finally marry themselves to prog fusion, as well as the stylistic bells and whistles the label implies. The intimately pastoral tone that in part defined them has made way for progressive fireworks and a fitting demonstration of their obvious chops as players. In a way, it's as if the big wish I had with the debut has been fulfilled; still, I am left feeling like I would have preferred to hear Uzva continue their pursuit of woodland atmosphere and dynamic restraint.

Of course, I do not mean to imply that Uoma is a bad album by any stretch; the change is in most ways an evolution rather than a hindrance. Most of all, Uoma succeeds in bringing the talent and tightness of Uzva to the forefront. Before this, the band made it plainly obvious that they could pull off sophistication of a Gentle Giant or King Crimson calibre, but they chose not to, instead favouring whatever felt best for the composition itself. While there were times even during Niittoaika where I might have wished to hear something more explosive, I think the restraint did more good than harm; above anything else, it set them apart from the legions of equally skilled fusioneers that weren't afraid to strut their skills. In that sense, in spite of the fact it is undoubtedly the most challenging of the three Uzva albums, it is also the most conventional.

In keeping with the band's tradition, Uoma primarily operates with longer suites, broken up into shorter tracks to better get the impression across that they work better as movements of music rather than well-rounded songs. Among these, "Arabian Ran-Ta" is the most instantly gratifying piece, wrapping itself around exotic flute instrumentation and atmospheric tension unheard on Uzva's past work. "Chinese Daydream Part 1" is also noteworthy, if only for the fact that it recalls the immersive atmosphere of Niittoaika. The obviously King Crimson-influenced "Vesikko" ("Part 3" begins with a crunchy riff borrowed from Crimson's "One More Red Nightmare"); like the album's opener "Kuoriutuminen", "Vesikko" is best described as a meticulously composed jam rather than a full-bodied composition. Stretches of time are set aside for the sake of building leads, although Uzva never venture far or long from the written framework.

Uoma is magnificently performed, and aspects from both their chamber rock and jazz fusion styles have found their way here, although it's clear by this point that Uzva had declared their undying love for the latter. There is no doubt that Uzva's third album is the most challenging and layered thing they would ever produce. Even so, in spite of its technical accomplishments, I'm not hearing the same moments of near- cinematic beauty that defined y experience of Niittoaika. The compositions have given up some of their atmosphere for the sake of demonstrating skills we already knew Uzva were capable of. I have no doubt that some will see Uoma as the strongest offering by Uzva. I prefer the moderation and restrained arrangement of their second. If anything may be said to conclude an exploration of Uzva's striking (yet brief) discography, it's that they successfully managed to reinvent themselves with each new record. Regardless whether the changes were favourable enough, that is a feat in itself.

 Tammikuinen Tammela by UZVA album cover Studio Album, 2000
3.53 | 24 ratings

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Tammikuinen Tammela
Uzva Jazz Rock/Fusion

Review by Conor Fynes
Prog Reviewer

3 stars 'Tammikuinen Tammela' - Uzva (58/100)

Uzva's second album Niittoaika ranks among the more promising albums I've heard lately. Although prog fusion is far from alien to most fans of progressive rock, it was the way they brought jazz in with the progressive traditions that made Uzva's sound and style so compelling. Unsurprisingly, the refreshing experience I had with Niittoaika impelled me to explore further into Uzva's relatively small discography. Anyways, here we have it: Tammikuinen Tammela, a debut that released quietly two years prior to its successor at the turn of the millennium. As I expected, the rich arrangements and thoughtfully restrained performances were part of Uzva from an early stage. Unfortunately, in spite of their strong technique and interesting stylistic foundations, Uzva's debut lacks the focus and purposeful momentum that made Niittoaika such a hit with me.

I don't believe I'd be making such a far stretch in calling Tammikuinen Tammela an example of 'lounge prog'; while Uzva are clearly capable of pulling off instrumental complexities of a Gentle Giant or King Crimson nature, they purposefully keep things mellow and light for the most part. Moments like the energetic, clarinet-led opening riff to "Part IV" allude to potential Uzva have yet untapped; for the most part, Tammikuinen Tammela takes the form of a laid-back, largely acoustic interplay between musicians. While Niittoaika and their third record Uoma may be defined (albeit prolematically) as a prog-jazz fusion, Tammikuinen Tammela would be relatively well-placed as chamber rock. Unlike many of the 'chamber rock' acts I'm familiar with (Aranis and Univers Zero, to name a couple), Uzva favour individual expression over rigid composition. Uzva's jazz influences aren't terribly apparent on the debut, but based on the fluid and not always apparent structure of their songwriting, it's not surprising they evolved into a jazzier act later on.

It's conceivable that this loose-yet-richly-layered sort of chamber rock exploration could have worked wonders- potentially even more than the later works which left less up to chance. The technical interplay is certainly here, but Tammikuinen Tammela is held back by how restrained and lacklustre the music often sounds in spite of the obvious technical skill. While dynamic and instrumental fireworks are by no means essential for great jazz, chamber rock or even prog, Uzva's decision to keep things light and meandering is a death knell for the album. It's clear from the harmonies and unison that Uzva composed the music with great care, but the muted energy and consonant harmonies feel hollowed somewhat by the lack of other elements of composition, namely purposeful structure, melodic hooks, a sense of build-up and dynamic. To be fair, there are parts of Tammikuinen Tammela that kick it up a notch (see: the aforementioned intro to "Part IV", or the album's jazz-rock and marimba-infused finale) but it's not enough to put the leisurely parts in context.

Tammikuinen Tammela is a portfolio of some excellent musicianship and talent with harmony-based arrangements. It may have been as engaging as Niittoaika too, if it had anything else to offer on top of that. True to the chamber music tradition, the performance feels amplified and simultaneously limited by the austere composition-based restrictions it places on itself. In the case of Tammikuinen Tammela, it feels like there are inspired performances wanting to get out and place an even greater emphasis on the musicians' individual expression (arguably being the strongest part of Uzva's debut) but it seems the band are torn between letting their spontaneity and dynamism run free, or focusing their structure and performance. As it turns out, with Niittoaika two years later, they chose the latter approach, and haven't looked back since.

 Niittoaika by UZVA album cover Studio Album, 2002
3.77 | 37 ratings

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Niittoaika
Uzva Jazz Rock/Fusion

Review by Conor Fynes
Prog Reviewer

4 stars 'Niittoaika' - Uzva (77/100)

Uzva is among the rare few that, while entirely deserving of the 'prog fusion' label that's tossed their way when discussing genre, fuel their music with a sensibility that appeals to the heart as much as the brain. Indeed, it's a shame that so many artists who pair progressive rock ingredients with a jazzy context (or vice- versa!) tend to lose sight of the fact that both styles are best when the technical prospects give way in part to hooks and atmosphere.

Given that preface, it should not be a surprise that Niittoaika trumps many of its contemporaries as a solid reinvention of traditional progressive rock. While many of the genre-based expectations a listener might have for either side of the fusion are fulfilled, Uzva's balance of traits is refreshing; the austere atmosphere and tonal experiments (closely resembling King Crimson in their heyday) and flute leads (fairly damned well analogous with prog in a rock setting) are here in full, as are the irregular chord choices that jazz listeners should be right at home with. It's the way that Uzva combines these familiar traits is what makes Niittoaika impressive; the egotism and fertile potential for loose jams are put aside in favour of compositions tightly structured and rich with atmosphere. Adding to that instrumentation heavy in flute and cello/violin leads, and it feels almost as if Niittoaika is the soundtrack to a wordless, woodland nature documentary.

Uzva's second album consists of three tracks, and to my delight, each distinguishes itself from the other two from the first listen onwards. "Soft Machine", as any seasoned prog listener might suspect, takes a fair bit of inspiration from the classic band of the same name. It's slow to build, but even at its most leisurely, there's the certain impression that Uzva haven't left much up to chance or spontaneity. The album's middle movement "Afrodite" is arguably the best of the three; it's helped a great deal by its warm atmosphere and focused attention on melodic lines. "Drontti" (an unassuming epic that reaches past the seventeen minute mark) continues the increasing momentum; after a short acoustic intermezzo ("Drontti 3.1"), Uzva pick up the pace and don't let up until the album is over. I might argue Uzva milk the finale too long for their own good (the otherwise mellow album has a near-ridiculously bombastic conclusion) but it is good to hear a more energetic side of Uzva before Niittoaika finishes up.

While the finale might leave listeners with a different impression, Niittoaika is a fairly mellow album; while the band themselves are tight and clearly focused (this stuff is undeniably far more difficult to pull off than the relaxed atmosphere might imply) Niittoaika demands nothing of its listener. Fans of progressive rock may see this as a fault. From where I'm coming from, it sounds like Uzva have done something that many in modern prog have attempted, and few others have actually managed to pull off; they've taken the traditional aesthetic of the genre and made it their own. Niittoaika lacks the boldness to rewrite the book as it were, but the vision here is refreshing and, above all, enjoyable.

 Classics In Jazz Part 1 by DAVIS, MILES album cover Singles/EPs/Fan Club/Promo, 1954
4.00 | 1 ratings

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Classics In Jazz Part 1
Miles Davis Jazz Rock/Fusion

Review by thwok

— First review of this album —
4 stars I've been focusing on reviewing recordings from the unreleased albums list here at Prog Archives. The last thing we need is another review of Script For A Jester's Tear, or Kind of Blue for that matter. I wouldn't even want to read my OWN reviews of these classic albums! I love Miles, especially before the mid 1960's, so I picked Classics in Jazz Part I. This album is apparently one of the recordings that was complied for the better-known Birth of the Cool release. Wikipedia has some good information on The Birth of the Cool, but information about this release is a little hard to find.

I think this is a terrific record. All the songs are enjoyable, and the instrumental performance are justifiably famous. With only four songs, it's hard to go wrong. I think Classics in Jazz Part I would be a good place for anyone who is just starting to listen to Miles. This is Davis at his most accessible. If your looking for Jazz Fusion, which would be the main focus of this website, this is not even in the same ballpark. Classics in Jazz Part I is on the borderline between bop and cool jazz. However, this is some very enjoyable Miles Davis.

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
BLACK LADDER United States
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOUD DEUN United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CASH PONY United States
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
CHAD SMITH'S BOMBASTIC MEATBATS United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHICAGO United States
CHUTE LIBRE France
CINCINNATO Italy
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMPANYIA ELÈCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
CONTUSION Argentina
COPERNICUS CROW United States
CHICK COREA ELEKTRIC BAND United States
CORONARIAS DANS Denmark
LARRY CORYELL United States
CURT CRESS Germany
CRIMSON JAZZ TRIO United States
DAVID CROSS United Kingdom
CRY FREEDOM Germany
CRYPTO Netherlands
CYKLUS Germany
CYMANDE Multi-National
CZAJKOWSKI MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
LOUIS DE MIEULLE France
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
DEUS EX MACHINA Italy
AL DI MEOLA United States
MCLAUGHLIN AND DE LUCIA DI MEOLA Multi-National
DISCORDIAN SOCIETY United States
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
DREAMS United States
DROBAN-APHERNA Portugal
DUELLO MADRE Italy
JOEL DUGRENOT France
GEORGE DUKE United States
DZAMBLE Poland
E MOTIVE United States
EAST WIND POT Japan
EDGE United Kingdom
EDITION SPÉCIALE France
EDO Canada
EELA CRAIG Austria
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
ENERGIT Czech Republic
ENERGY OF SOUND United States
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX VITAE France
EXAMPLES OF TWELVES United Kingdom
EXMAGMA Germany
EXTRA BALL Poland
EYOT Serbia
EZOO Multi-National
ANTOINE FAFARD Canada
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
Hungary
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
CHRIS LETCHFORD United States
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
MACHINE MASS Multi-National
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
R-11 Italy
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 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
SHIVANANDA Switzerland
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
SPACES United States
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
SUPERFLUOUS MOTOR Canada
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 CAKE 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
XTRA Italy
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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