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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 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 | 802 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1053 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.33 | 558 ratings
IN A SILENT WAY
Davis, Miles
4.47 | 62 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.28 | 457 ratings
SPECTRUM
Cobham, Billy
4.31 | 219 ratings
TIME CONTROL
Uehara, Hiromi
4.31 | 206 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.25 | 776 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.24 | 649 ratings
ELEGANT GYPSY
Di Meola, Al
4.24 | 566 ratings
CARAVANSERAI
Santana
4.32 | 127 ratings
A BENEFIT OF RADIM HLADÍK (MODRÝ EFEKT & RADIM HLADÍK)
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 438 ratings
ABRAXAS
Santana
4.24 | 521 ratings
BITCHES BREW
Davis, Miles
4.24 | 502 ratings
ROMANTIC WARRIOR
Return To Forever
4.32 | 113 ratings
STADACONÉ
Sloche
4.25 | 201 ratings
LES PORCHES
Maneige
4.29 | 116 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.23 | 255 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.24 | 192 ratings
THE WAY UP
Metheny , Pat
4.22 | 254 ratings
CROSSINGS
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

LAWRENCE OF NEWARK
Young, Larry
DESCENDRE
Rypdal, Terje
AGHARTA
Davis, Miles
ZASTO NE VOLIM SNEG
Smak

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Latest Jazz Rock/Fusion Music Reviews


 Untold Stories by TUOMINEN, JARTSE album cover Studio Album, 2016
3.57 | 4 ratings

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Untold Stories
Jartse Tuominen Jazz Rock/Fusion

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Finns have big hands, at least, that's the impression I get from the few Finnish friends I have - and that is a number that is closer to 10 than to 0. Knowing that, and how small the neck of a guitar really is, it's a miracle someone like Jartse Tuominen can play a guitar at the lightning speeds he sometimes reaches. However, Finns also get older, and on his new album Untold Stories, even Jartse slowed down - compared to his previous two albums, 11 and 15 years ago. I don't think he can't do fast anymore though, but on this album he's nowhere near the frantics he exposed on Progressive.

What he brings us a nice jazz rock album, with a lot of guitar (no surprise), accompanied by a really tight band. On the first three tracks (Extraordinary, Hybrid Fusion, Mesa), it's well performed jazz rock, which reminds of Progressive, but more relaxed and with a nice percussion interlude in Hybrid Fusion.

Time To Go, released as a single in January as part of the Finnish release of the album, is a melodic, melancholic electric guitar ballad with an initial riff that reminds me of Eric Clapton's Wonderful Tonight every time. It works, but leaves me wanting for a conclusion when it ends. This in contrast to the title track Untold, which is just as emotional but has a stronger build up, from acoustic guitar to electric and then to a crying end. In fact, when you think it's done after 4 minutes, the guitar starts crying again.

In between these two tracks are Simppa Goes to Töysä (is this Finnish phonetic for Simple goes to Tulsa?) which jazzy but not too much and has a nice guitar solo, and the straight forward blues rock track Trouble Shuffle. An odd piece on this album, but as a break in the middle it works for me.

Nine Lives is the low of this album for me. Not bad in terms of guitar and keys, but a bit too long (because of it's repetitiveness), but the follow up Yeah Right, another well done jazz rock track makes up for that, together with the heart felt Gary Moore like guitar work on closing track Farewell.

So, Jartse did slow down a bit, but hasn't lost the touch. If you like instrumental, guitar oriented music that leans toward jazz rock, give this a try. If you don't, do the same. It's not Jartse's best album, I have a life long weak spot for Progressive, but still recommended.

Also published on my blog www.angelosrockorphanage.com

 Starfire by JAGA JAZZIST album cover Studio Album, 2015
3.64 | 26 ratings

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Starfire
Jaga Jazzist Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. I'm not sure why I can't get into this band. I have "What We Must" which was okay and I do feel that "Starfire" is a step up from that one, and I have yet to listen to "One-Armed Bandit" which I have and I'm hopeful that will be the one that clicks with me. I have enjoyed this all-instrumental album but I find the electronics to be too much despite also feeling this is fairly innovative. The other thing about this recording that sort of leaves me scratching my head is that while there is an abundance of instruments used on here it all seems to mesh together to the point that I was surprised at certain instruments were even used. This is a different beast for sure.

The thing that really got my attention with the opener "Starfire" was the tone of the synths before 1 1/2 minutes which immediately brought early PORCUPINE TREE to mind, not a bad thing at all. Lots of electronics, flute and synths but I like the calm before 7 1/2 minutes with the vibes. "Big City Music" is my least favourite and the longest track at over 14 minutes. It's still a good song though. I like the electronics that sound like rain to start, it then kicks in after a minute. Kind of a OZRIC TENTACLES vibe that comes and goes on this one as Drew mentions in his review. A calm before 3 minutes with those liquid sounding synths as strummed guitar joins in. An 80's vibe 5 minutes in with those synths that pulse. It turns brighter 8 minutes in then after 10 1/2 minutes we get some crazy synths. That brighter mood returns before 13 minutes to the end.

"Shinkansen" opens with some atmosphere as strummed guitar joins in. Keys around 1 1/2 minutes then flute which reminds me of 70's Fusion. This is good. The flute and a horn will trade off for a while and it's quite catchy before 6 minutes before the flute returns. "Oban" opens with drums with deep synths and electronics. Some 80's sounding synths join in after a minute. It settles down around 4 1/2 minutes then kicks back in before 6 minutes. There's those 80's sounding synths again before 10 1/2 minutes. I like the bass and horns early on in the next track called "Prungen". Sounds like a drum machine but probably isn't and we get plenty of synths. Lots of electronics after 4 minutes.

This did well in PA's annual Album Of The Year results so read BrufordFreak's(Drew) review for a more favourable slant on the music here, plus he's able to distinguish the sounds better than me.

 Cross & Quinn: Cold Sky Blue by CROSS, DAVID album cover Studio Album, 2016
2.96 | 5 ratings

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Cross & Quinn: Cold Sky Blue
David Cross Jazz Rock/Fusion

Review by admireArt
Collaborator PSIKE Team

3 stars This is the kind of release that will hardly "knock your socks off" but will return to your attention when you know the kind of mood it requires for its full enjoyment.

For starters this is not groundbreaking material nor a bombastic release, opposite to that "CROSS & QUINN: COLD SKY BLUE", 2016, is a slow paced, heartfelt (sometimes a bit too much, like track 4), emotional, nocturnal and romantic journey, which travels through very difficult grounds, the 80s' style like ones, or better yet, the recreation of the most refined and rescuable parts of those.

And believe it or not David Cross and Séamus Quinn pull it through with extreme decor, which is almost a miracle. (At times you could bet Robert Fripp is guest, but you will lose the bet.)

As told, once you know what to expect, it turns out to be quiet pleasurable to listen to.

Anyway, it beholds some great moments, nevertheless not exactly flawless as a whole. If expecting Jazz or Fusion this is the wrong place to look for those styles.

***3 PA stars.

 Embryo's Reise by EMBRYO album cover Studio Album, 1979
4.26 | 31 ratings

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Embryo's Reise
Embryo Jazz Rock/Fusion

Review by Modrigue
Prog Reviewer

5 stars The ultimate prog rock journey to Asia

"Reise" is the German word for "Travel", and that's exactly what the album has to offer here: a genuine musical journey... to the East. After the band's average jazz/rock/world releases during the second half of the 70's (last good album being 1973's "We Keep On"), EMBRYO's leader Christian Burchard decided to save his baby and brought with him the other members for a long trip, from Middle-East to India. During their journey, they met various local musicians, played jam sessions and recorded tracks in their company.

Instead of the band's initial jazz/rock/ethnic approach, the music is clearly oriented towards middle-eastern, oriental and Indian styles this time. Most compositions combine these genres with progressive rock (like the great "Kurdistan" and "Farid"), or even punk ("Eis Ist, Wie's Ist"), while others are fully oriental (like the Indian "Chan Delawar Khan" and "Rog de Quadamuna Achna"). As you may expect, the palette of instruments used is very large. The result is astonishing and mesmerizing. This fusion of musical genres was quite original at the time. Furthermore, there are no weak on the record. Such a little treasure will make you travel from desert sands to ancient Asian temples, through mystical lands.

This 1979 opus was the first double album of the band. However, the most common released version nowadays is the single CD edition, which does not include the songs "Paki Funk", "Maharaj" and "Lassie, Lassie", but this does not matter much.

"Embryo's Reise" is one of the finest examples of "world music", presenting a genuine and unique crossing of Occidental and Eastern genres. Even 40 years after, such mastery in mixing these musical ingredients from opposite origins remains still rare. Highly recommended if you enjoy middle-eastern and Indian music! Simply one of the best albums from EMBRYO!

 Following The Unknown by JAM IT! album cover Studio Album, 2015
3.83 | 16 ratings

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Following The Unknown
Jam It! Jazz Rock/Fusion

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars Once again I feel satisfied for the recommendations that I receive via web. This time, I was asked by Nikolaj (who already introduced me to the amazing Pandora Snail) to listen to another Russian band whose music would not let me down, this band was Jam it! A band whose music was unknown to me but that right now I appreciate a lot, simply because the music is great. So Jam it! Is a four-member band that was formed back in 2006 inspired by Mike Portnoy and Dream Theater's music; they have so far released 3 studio albums being Following The Unknown the most recent one, released in 2015. The music can be easily categorized as jazz fusion, and though it does have some metal-like or heavier tunes, I can say this album does not sound like Dream Theater of its offshoots at all.

It features seven songs making a total time of 58 minutes. The opener is "Following The Unknown", an amazing progressive-jazz-fusion song with an outstanding guitar work, though I must say the four members create awesome music, all playing their instruments doing their best but working for the band, so it is evident that at least musically speaking, they get on well each other so the result is pure bliss for the listener. This is a solid song that perfectly works as the opener for this album. "Sea Breeze" is a bit friendlier, I mean, the sound is catchier for prog fans and even for pure jazz fans. After a couple of minutes the song introduces heavier tunes that talks about that influence bands such as Planet X could have had on Jam it! This is a nice song but not my favorite of the album.

"Through the Forest" is a great track, exquisite jazz fusion more in the jazzy side than in the metal one, definitely, with even some 70s nuances that remind me mainly of Dixie Dregs. Great bass lines and amazing drums, complemented of course by the "leading instruments" such as guitar and keyboards. "Mountain of Solitude" is a longer track, reaching almost the 10-minute mark, this one is not that bombastic like the opener, here the sound and rhythm are softer, much softer but enjoyable as well; and though later it progresses and implement new nuances and atmospheres, I think there is something missing, so I could never fall in love with this track.

In "Avalanche" the instruments that caught my attention at first were drums and bass, but mainly drums and that is something not common on me, I actually use to give less importance to drums because they are not my favorite instrument, so when I notice it from the beginning is because they must be awesome, just like they are in this song. I like how the band makes those nice changes, from a soft melodic tune to heavier and rockier moments, all played with delicacy and ambition, always taking care of details. This is one of my favorite tunes here. "Into the Mist" is a softer and shorter track, but man, it is a delicious one. Here its delicacy matched with me, so since the very first time I listened to it I loved it. Music for my senses!

And finally the longest one: "Random Name Hero". A progressive metal / jazz fusion epic with several contrasts, passages that go from soft nuances to heavy and powerful textures. Here I love the work of keyboards and how the band dedicates every single minute of the song to bring different experiences, passages that might tell a story guided by the lead instrument in turn and by the intensity of the sound. Of course, the guitar riffs are also amazing, so it was a great decision to finish the album with this epic track, summing up the best face of Jam it!

The album is wonderful, the musicians are incredibly talented and since I first listened to the album I like it overall, however, I think there are some uneven moments, some passages that I did not love and that in a bad day, I might skip (it has not happened, but might happen), which is why I will give this album 3.5 out of 5 stars.

Enjoy it!

 Romantic Warrior by RETURN TO FOREVER album cover Studio Album, 1976
4.23 | 501 ratings

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Romantic Warrior
Return To Forever Jazz Rock/Fusion

Review by Modrigue
Prog Reviewer

4 stars Progressive fantasy jazz rock

Often considered as RETURN TO FOREVER's best album, "Romantic Warrior" is more avant-garde and less funky than the band's previous efforts. Featuring a more important usage of electronic keyboards and rocking guitars, the musicians also incorporated symphonic/heavy prog elements from bands such as YES or KING CRIMSON in their music. Combined to the strange and charming synthesizers of Chick Corea, the result is quite original and inspired, while remaining accessible. The question is: what's the relation with the title?

"Medieval Overture" (by Chick Corea) is in fact not really medieval. Instead, this composition is a rather retro-futuristic spacey jazz/rock with various keyboards in the style of YES. Very nice, and sets the tone for the rest of the disc. Lenny White's "Sorceress" is the funkiest track of the record. Opening with a calm and groovy bass line, it contains a few guitar and keyboards interventions with a slight flavour of McCoy Tyner. In contrast, the title track (by Chick Corea) is fully acoustic. Majestic and delightful, however a bit too long.

Despite its title, the cool "Majestic Dance" is not very dancing but rather the rock-iest passage of the disc with its distorted guitars. This is logic when you know this was composed by Al Di Meola. Stanley Clarke's "The Magician" is the most complex composition, and also my least favorite track. Quite odd and changing, it incorporates fun small melodies. Ironically this song is the only one truly related to the album thematic, as it sounds a little medieval by moments. Once again by Chick Corea, "Duel of the Jester and the Tyrant" is the longest composition. Contrarily to the previous song, the music is more accessible and built around a nice melancholic melody as a main theme, with a few surprises inside...

Only after the listen can you understand the album title. "Romantic Warrior" do not naively refer to love or martial metal songs. Instead, it should rather been taken as an oxymoron that corresponds to the musical style: both calm and turbulent, light and ferocious. Everything is a matter of contrast. Unusual, original and with an unique sound, this 1976 opus is one of the proggiest and greatest achievements of its genre.

Very recommended to jazz rock / fusion aficionados or hard rock fans wanting to discover the style!

 After The Rain by RYPDAL, TERJE album cover Studio Album, 1976
3.90 | 30 ratings

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After The Rain
Terje Rypdal Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars I consider myself a huge Rypdal fan but this album would be the first going chronologically that I couldn't get into. It's unusual as well for this to be Terje by himself without anybody helping him instrumentally, his wife does add some vocal melodies on a couple of tracks though. The followup to this called "Waves" released in 1978 is another one I gave 3 stars to, I'm just not into this period of his music I suppose. Terje plays electric and acoustic guitars, sax, flute, electric piano, bells and something called string ensemble piano which is where the string sounds come from. I can't get over how much Terje's electric guitar sounds like a violin, very much crying out mournfully much of the time. The music is very ambient and pleasant fitting well with the ECM label.

"Autumn Breeze" is my favourite and like many of these tracks it opens with piano before strings and acoustic guitar join in. Vocal melodies 1 1/2 minutes in as it becomes haunting. This is my favourite part on the whole album. The piano is back leading before 3 minutes as the vocals have stopped, then the electric guitar and strings return for the final minute. "Air" is the only other song I can get into. Electric piano and electric guitar lead the way in this beautiful but mournful piece. "Now And Then" is laid back with acoustic guitar melodies throughout while "Wind" is also relaxed but with flute throughout.

"After The Rain" is slow moving with electric guitar and strings. We do get some vocal melodies 3 1/2 minutes in as well as bells. "Kjare Maren" features electric guitar and piano with atmosphere. "Little Bell" opens with piano as the flute joins in before a minute. "Vintage Year" begins with piano as the electric guitar starts to cry out. "Multer" has strummed guitar to start but then the guitar turns classical sounding. "Like A Child, Like A Song" starts with piano then the electric guitar arrives a minute in as it cries out in a reserved manner as piano continues. It actually brightens 2 minutes in. Piano only 3 1/2 minutes in.

Apparently after the rain we should all have a little nap, or is that during the rain?

 Axis by AXIS album cover Studio Album, 1973
3.53 | 19 ratings

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Axis
Axis Jazz Rock/Fusion

Review by ALotOfBottle

4 stars Similarly to their better-known countrymen, Aphrodite's Child, Axis were a Greek outfit, who moved to France, because of the right-wing regime in their motherland. The band was formed in 1970 by multiinstrumentalists Dimitris Katakouzinous and Demis Visvikis. In 1971, they released their debut album Ela Ela, which featured their take on a Greek folk standard of the same title. The work was heavily inspired by the contemporary psychedelic pop. 1972 marked the release of their self-titled album. One year later, Axis released another album by the name Axis, which was radically different than all their previous efforts, only to break up soon after.

The style of Axis' swansong shows strong influence of Canterbury scene bands such as Soft Machine, Egg, and Matching Mole, jazz-rock of Nucleus, Mahavishnu Orchestra or Keith Jarrett, free jazz of Sun Ra and Ornette Coleman, hard rock reminiscent of Uriah Heep and Free, and progressive rock of acts such as King Crimson. There are also some electronic parts that seem to owe a great deal to Can, Tangerine Dream, and Klaus Schulze. So far, so good, right? The elements of the previously mentioned groups seem to work especially well, creating an unclassifiable musical extract. The band's sound is characterized by rich instrumental layers, professional musicianship, and exceptionally clever detailing.

The instrumental abilities of Axis' members really deserve a mention. Demis Visvikis's keyboards play a crucial role in the band's sound. He goes from Thelonious Monk-inspired jazz on grand piano, to bulldozer-like fuzz organ, very much in the vein of Dave Stewart, to ambient Mellotron parts. Chris Stassinopoulos' guitar playing is versatile as well. He finds himself comfortable playing heavy rhythm guitar riffs and jazz guitar solos alike. These are supported by a very competent rhythm section of Dimitris Katakouzinos on bass, who is capable of phenomenal grooves and George Hadjiathanassiou on drums, who keeps up very well with the band's dynamic style.

There are ten tracks on Axis and I could easily say that every single one has its own distinct style. There is, however, a sort of inexplicable link between them that makes them sound alike and prevents the release from sounding inconsistent for that matter. The pieces go from hard rock-fueled 'Waiting A Long Time', to the ambient 'Sewers Down Inside', to free jazz-inspired 'Asymphonia', to majestic, liturgical 'Pa Vu Ga Di'. In short, the band makes great use of their record time, not limiting themselves to only one style.

Throughout its four-year career, Axis managed to release three albums. Their self-titled work from 1973 is their last and definitely their most accomplished effort. Its main characteristics are enormous eclecticism and near-to-flawless musicianship. With such a wide plethora of influences, it perhaps is not very innovative, but entertaining throughout and well-worth your time. Highly recommended for fans of obscure progressive rock and Canterbury scene!

 What Means Solid, Traveller? by TORN,DAVID album cover Studio Album, 1996
3.19 | 7 ratings

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What Means Solid, Traveller?
David Torn Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars It really bothers me that I don't like this album more being as I'm such a big David Torn fan. We get Mitch Mitchell on drums and Cannonball Adderley doing vocals on some tracks. Like Fripp, Torn offers up a lot of electronics to the soundscapes along with some dark, metallic guitar expressions. This is a moody almost industrial sounding recording over it's 65 plus minutes but the big negative for me is the lack of enjoyment I get out of this for some reason, and the enjoyment factor means a lot when I rate an album. And no I don't like the album cover or the album's title either(haha). Terje Rypdal came to mind as well with how cold and melancholic this recording is.

"Spell Breaks" has a haunting atmosphere to start which is promptly run over by the industrial soundscape with the guitar bringing "Elephant Talk" to mind. This isn't the only track to make me think of "Discipline" by KING CRIMSON. Spoken words and drums come and go and then it turns spacey after 3 minutes but it kicks back in after 3 1/2 minutes. A frenzied guitar section around 5 minutes in. "What Means Solid, Traveller?" opens with intricate sounds including percussion as a guitar melody starts to come and go along with some angular expressions. Some vocals after 5 1/2 minutes as things get more heated. "Such Little Mirrors" has plenty of atmosphere and experimental sounds as the guitar comes and goes in a relaxed manner. Percussion after 3 minutes as it builds. It picks up more 5 minutes in before winding down late and ending like it began.

"Tiny Burns A Bridge" is a bluesy down south number with rough bluesy vocals. A laid back piece that turns fuller when the vocal step aside but contrasts will continue. I like the guitar before 6 minutes as it gets intense. "Gidya Hana" sounds like a tribute to KC circa "Discipline". Even the guitar reminds me of that album especially before 2 minutes. "Each Prince, To His Kingdom, Must Labor To Go" has this eerie atmosphere to start before guitar expressions and percussion sounds take over. "Particle Bugs @ Purulia Station" opens with atmosphere as different sounds come and go. The guitar starts to solo around 2 minutes in one of the few catchy or melodic sections on this album. Drums join in as well. A change before 4 minutes but themes are repeated. I hear bass later on for a change. "I Will Not Be Free..." is like "Tiny Burns A Bridge" in that we get a bluesy, down south vibe with those vocals again. "...Til You Are Free" opens with drums along with some wicked guitar before this rhythm kicks in. One of my favs and not like the rest. "Elsewhere, Now Than Waving" is the over 10 minute closer that stays the course of being dark, atmospheric and spacey throughout reminding me of Rypdal.

So not one of my favourite solo albums from David but if your into experimental and atmospheric music you should check this out.

 Go by YAMASH'TA, STOMU album cover Studio Album, 1976
3.34 | 35 ratings

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Go
Stomu Yamash'ta Jazz Rock/Fusion

Review by Greta007

5 stars I revisited this album again after many years and was surprised at the lack of enthusiasm by reviewers here. This is one of my favourite prog albums and ideal for when one is in a relaxed state of mind, right up there with Dark Side of the Moon (or the Easy All Stars' Dub Side of the Moon, for that matter). The musicianship and production are outstanding. Musicians were clearly chosen for the project not only for virtuosity but the quality of their tone. So the sounds produced by this band are a treat for the ears, and remain so in 2016.

So I'll buck the trends and give the album five stars (and I wouldn't give this rating easily). It's a unique and charmingly flawed masterpiece of prog musicianship, production and eclecticism.

If you enjoy intelligent, beautiful, inventive prog played by brilliant musicians, you'll enjoy this album. More than anything, this album is eclectic, including (amongst all the space noodling and space rock), funk, fusion, (normal) rock, symphonic rock, soul, pop and symphonic experimental music.

Some highlights: Steve Winwood's vocals in Nature, Pat Thrall's superbly constructed guitar solo in Crossing the Line (and Paul Buckmaster's orgasmically arranged outro). Al diMeola's various stellar contributions. Stomu Y's edgy percussion and Klaus Shultz's atmospheric noises in Carnival.

For rhythm section buffs, Michael Shrieve's drumming was as immaculate throughout as you'd expect and he formed a most tasty rhythm section with Traffic's Rosco Gee on bass.

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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
APOTHECARY United States
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
BRUCE ARNOLD United States
ARSENAL Russia
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