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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 01/01/2013

Dick Heath
Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
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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 | 628 ratings
KIND OF BLUE
Davis, Miles
4.38 | 426 ratings
IN A SILENT WAY
Davis, Miles
4.44 | 145 ratings
TIME CONTROL
Uehara, Hiromi
4.36 | 885 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.37 | 161 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 367 ratings
SPECTRUM
Cobham, Billy
4.27 | 635 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.27 | 543 ratings
ELEGANT GYPSY
Di Meola, Al
4.60 | 35 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.26 | 383 ratings
BITCHES BREW
Davis, Miles
4.27 | 224 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.32 | 116 ratings
VISITATION
Pohjola, Pekka
4.34 | 96 ratings
MILESTONES
Davis, Miles
4.24 | 470 ratings
CARAVANSERAI
Santana
4.24 | 353 ratings
ABRAXAS
Santana
4.23 | 424 ratings
ROMANTIC WARRIOR
Return To Forever
4.29 | 139 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.27 | 171 ratings
THE WAY UP
Metheny , Pat
4.26 | 227 ratings
CROSSINGS
Hancock, Herbie
4.33 | 92 ratings
STADACONÉ
Sloche

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

SUDDEN DUSK
However
SLOW TRAFFIC TO THE RIGHT
Maupin, Bennie
GET UP WITH IT
Davis, Miles
VILLAGE LIFE [WITH FODAY MUSA SUSO]
Hancock, Herbie

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Latest Jazz Rock/Fusion Music Reviews


 A Change Of Heart by GOLDEN AVATAR album cover Studio Album, 1976
3.35 | 7 ratings

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A Change Of Heart
Golden Avatar Jazz Rock/Fusion

Review by Argonaught

4 stars Here on PA Golden Avatar is listed under Jazz-Rock/Fusion category; Discogs sages pronounced it Prog Folk.

Both definitions are true and do not contradict each other in the slightest. In fact, A Change Of Heart is an excellent example of peaceful coexistence of a good half-dozen styles. Depending on where in the album you drop the needle, you may hear snippets of lighter electric fusion, or a segment of a well-played New Age ballad, or a good run of folksy prog. The Age of Aquarius, you see, was in full swing in the sun-kissed year 1976.

The lyrics may sound a little too wide-eyed for a hardcore prog disciple, but the vocals are not unpleasant at all, and the way they go about the Hare Krisha, Hare Rama etc. chants is a lot jazzier and user-friendly than George Harrison's, may he rest in peace.

Apart from the usual fusion instruments, Golden Avatar on this album make good use of the strings, congas, flutes, harps and vibes, creating a well-rounded and stimulating listening experience. Well done.

To sum up: a very bright, cheerful, well played and well-timed album. Definitely a good addition to anyone's collection.

 Slav To The Rhythm by FARMERS MARKET album cover Studio Album, 2012
4.50 | 13 ratings

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Slav To The Rhythm
Farmers Market Jazz Rock/Fusion

Review by Lear'sFool

5 stars Another great album from Norway's great jazz parodists. The particular satiric edge they are most known for, especially on the truly masterful "Surfin' USSR", is mostly gone, but they still have the energy and the open mindedness that are their other hallmarks. So in some ways not as good, or at least as humourous, as their earlier material, but otherwise still excellent. They here add some particularly Asiatic sounds to their usual mix of fusion and Slavic folk to great effect. Their powerful, flawless playing allows for the sound to make their usual entertaining romp through the varied genres they indulge in. The title track and "Shiny Happy Gizmos" are the best tracks amongst a spectacular bunch. Recommended to fans of their earlier work, and anyone interested in crazed genre mixes.
 Deep by NIACIN album cover Studio Album, 2000
3.51 | 23 ratings

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Deep
Niacin Jazz Rock/Fusion

Review by TCat

4 stars Niacin is a trio of first rate musicians made up of a keyboardist (organ and piano), bassist and percussionist. Almost every song is instrumental, but there is one exception on this album - track 12 has guest vocalist Glenn Hughes of Deep Purple and guest guitarist Steve Lukather from Toto. The rest of the album is made up of amazing playing and all 3 band regulars are hugely talented. The bass runs rival Geddy Lee, the keyboard solos are right up there with Keith Emerson and the percussion rivals any drummer you can come with including Bill Buford and Carl Palmer. The music can leave your heart pounding when you listen to the technicality going on here. The album is brimming with outstanding solos throughout. There is a lot of jamming going on around the melodies that are apparent on each track. This is amazing listening, for sure and it is definitely progressive jazz/rock fusion, probably relying on the rock side more than the jazz side, but don't worry if you love improvisation because it is all throughout this album.

The main issue I have with it, is that there is not a lot of variety. This would have easily been a 5 star album if there was more variety throughout the album, but as it is, most of the tracks are at the same whirlwind tempo and if you are not paying attention, the tracks seem to meld together. There is an early variation early on the album at the beginning of track 2 with an amazing slow tempo piano solo, but it gets interrupted about halfway through by a return to the same sound evident throughout the album. Another standout here is "Panic Button" which has a bass run that sounds like someone did hit the panic button and the bass is in full-fledged panic mode. With many listens, the melodies start to stand out more, but people looking for variety won't find much of that here. You will find a lot of jamming and top notch musicianship however. But, knowing what the instrumental lineup is, I think you can pretty much imagine how this is going to sound. Organ, bass, drums....quite basic lineup, but every player here is amazing.

This album is probably better in smaller doses because the formulaic playing starts to wear out after about 4 tracks, so 4 tracks at a time is about the recommended dosage for your daily intake of Niacin. So, 4 stars which are awarded because of the musicianship, but know that too much of a good thing can be "too much of a good thing".

 Turn It Over by WILLIAMS LIFETIME, TONY album cover Studio Album, 1970
3.86 | 12 ratings

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Turn It Over
Tony Williams Lifetime Jazz Rock/Fusion

Review by Lear'sFool

5 stars Miles wasn't the only cat pioneering fusion. Most notably was the late great jazz drummer Tony Williams, whose Lifetime band formed around him, organist Larry Young, and the up and coming John McLaughlin on guitar, cut two fantastic albums that helped pave the way. This is their masterwork, with Jack Bruce and his bass joining up, fresh out of Cream, to help them unleash an earthquake upon jazz and prog alike. This album just barnstorms, interconnecting tracks into a sonic force that never lets up. Everyone plays their respective instrument hard, fast, and excellently. It's hard to give special kudos to McLaughlin as usual, since Young and Williams play their hearts out, too. The whole first side stands as the better piece, but there's nary anything wrong with this LP. Highly recommended.
 Surfin' USSR by FARMERS MARKET album cover Studio Album, 2008
4.88 | 7 ratings

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Surfin' USSR
Farmers Market Jazz Rock/Fusion

Review by Lear'sFool

5 stars One of the greatest discoveries I've made on these Archives. Farmers Market loves mixing all sorts of genres in a fusion framework to hilarious and excellent results, and this is shown here to maximum effect. Here they mix jazz, surf rock, Slavic folk music, and all sorts of other tidbits into a side splitting piece of strange, parodic, and wonderful music. They build off of parodies of the classics of surf rock and Bond themes - notably, of course, the two title tracks, and "Lodtschitze Mini Maritza", which has strings that clearly take off from "You Only Live Twice". The track titles often belie the funny nature of the music, with gems such as "One Day, Son, All I Own Will Still Belong To The State" and "Anyone Who Remembers Vladiwoodstock Wasn't There". The sound revolves from folky to jazzy to rocking all in a single track. Very energetic, too. And all brilliantly played. Just one of the greatest albums of all time, this is a spectacular and humourous romp I recommend to everyone. Serf's up!
 Good God by GOOD GOD album cover Studio Album, 1972
4.43 | 7 ratings

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Good God
Good God Jazz Rock/Fusion

Review by Lear'sFool

5 stars Wonderful lost gem of fusion. There's Zeuhl that leans towards fusion, and here is the ever rare fusion that leans towards Zeuhl. This rocks hard, is often very funky, and yet is clearly jazz infused. And our vocalists sing like they're from Kobaia, a very interesting twist to this record. Just listening to the first two tracks gives you a road map for how the album will play out, with "A Murder of Crows" jazz rocking to the fullest, and then "Galorna Gavorna" lays on the funk. Both feature the unique singing style. The whole thing drips of the intersecting of soul, jazz, funk, rock, and disco in the band's native Philadelphia throughout the '70's - another way to describe it, then, is a proggy, rocking take on the whole realm of Sweet Philly. This is just an enjoyable listening experience, bringing all sorts of happy and energetic genres together in a euphoric mix played perfectly. Highly, highly recommended to all fusion and funk fans, and really anyone reading this should try this album out.
 If 2 by IF album cover Studio Album, 1970
3.79 | 32 ratings

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If 2
If Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Released in the same year as their first album in 1970, `If 2' saw English jazz/fusion/rock band If deliver a follow-up album that was just as good, if just a little more instantly approachable than the debut. One of the things that makes this album such a winner is that, in addition to the obviously top-notch musical displays and improvisational skills of the musicians, the band have crafted those elements to a selection of accessible and melodic tunes, without really being any more overly commercial. Soul, psych, funk, jazz and heavy R&B styles are all blended seamlessly with a hard rocking sound, with thrilling instrumental runs carefully executed between strong vocal passages. Oh, and it also happens to groove like a mutha-effer the whole time!!

`Your City is Falling' opens the album in gutsy and up-tempo fashion. A catchy tune sung with bellowing conviction by lead singer J.W Hodgkinson is powered by Dennis Elliott's snappy drumming, John Mealing's nimble Hammond organ ripples and relentless dual saxophone attacks from Dave Quincy and Dick Morrissey. The scathing lyric seem to be condemning watching the city you love change around you, the line "Half religious mockeries that robbed the man who died" is especially vivid, and the repeated exasperated mention of "All the restaurants?" just drives the message home perfectly. The gently melancholic `Sunday Sad' is psychedelic and drowsy, with lovely dreamy flute giving way to Terry Smith's Spanish-style slow-burn guitar solo in the middle that bubbles under and eventually erupts with lusty splintering fire, Jim Richardson's chasing bass stalking the whole time. `Tarmac T. Pirate' (check out the full nonsense title!) is a compact shorter vocal rocker dominated by Hodkinson, but the whole band offering quick little instrumental fills around him throughout.

`I couldn't Write and Tell You' opens the second side, with relentless bass, confident sax blaring and nimble jazzy guitar licks that turn into a psychedelic storm, but a sympathetic heartfelt restrained vocal in the middle over wistful flute is a nice break. `Shadows and Echoes' is a smooth soul ballad, showing that the band was equally convincing on slower, thoughtful numbers as the high energy ones. Reflective flute, lovely harmonies, a warm croon from Hodgkinson and Terry's unexpected nimble-fingered fretboard run in the center is the highlight. `I believe this girl's about to fly...' declares J.W on closer `A Song For Elsa', and fly it damn well does! It's a honking R&B stomper with a roaring vocal, furious propulsive instrumental jamming that alternates with smoky bluesy sax ruminations.

Especially worthwhile is the recent Repertoire Records CD/DVD reissue. Not only is the main album sounding absolutely wonderful, but a short bonus DVD of live vintage footage from 1971 is included. While visually it's fairly average quality, the energy of the live performance from the band is intoxicating, and, not surprising to discover, singer J.W Hodgkinson is a stocky mountain of a man, performing with power and finesse. Several of the tracks from `If 2' are performed, and it's interesting to note just how tightly written they are, as they're not all that different from the studio versions, just with a little added urgency the live environment brings.

Running just over 35 minutes, there's not enough time for any filler material to emerge, as `If 2' races through a range of fusion styles and sounds, expertly played by a bunch of top- notch musicians. It's one of the damn coolest albums in my collection, and just as special to me as If-offshoot Zzebra's second album `Panic', and it never fails to lift my mood. It's been in my collection for some years now, and after dozens upon dozens of listens, it still sounds like sheer musical perfection to my ears!

Five stars.

 Stadaconé by SLOCHE album cover Studio Album, 1976
4.33 | 92 ratings

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Stadaconé
Sloche Jazz Rock/Fusion

Review by HoldsworthIsGod

5 stars In general, this album is like a more listenable Mr Bungle album that was released 15 years too early, and by Canadians, no less. Sloche leaves the Yes-influenced tracks from the previous album by the wayside, in favor for what I would call bipolar Dadaist jazz funk. On tracks like "Il Faut Sauver Barbara", the band coasts effortlessly from every idiom of Prog possible: an intro that has the harmonic sensibilities of a Canterbury scene artist like Gilgamesh, Pink Floyd-esque phase-shifted and Leslie guitars, and sonic hijacking a la Frank Zappa or King Crimson. Songs like the title track or "Ad Hoc" show that the band can groove like there's no tomorrow. All in all, I can't really find a weak track, except for "Le Cosmophile" possibly. There aren't many bad things I can say about this album at all. A band with TWO keyboardist deserves a five-star rating
 Fantasizer! by WATSON, DEAN album cover Studio Album, 2014
3.99 | 27 ratings

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Fantasizer!
Dean Watson Jazz Rock/Fusion

Review by Raff
Special Collaborator Honorary Collaborator

4 stars In the almost ten years I have spent reviewing progressive rock albums of every subgenre, I have come across my share of "solo pilot" albums: that is, projects written and performed by an artist without any outside help. Modern technology has made it increasingly easy for anyone with the know-how to record and release their own music, or even to collaborate with other musicians at a distance without ever meeting each other face to face. Unfortunately, the result of such endeavours is often unsatisfactory for a number of reasons.

However, in spite of the hundreds of technically impeccable but ultimately soulless one-man projects released every year under the expansive "prog" umbrella, there are some refreshing exceptions to be found, and one of them is Toronto multi-instrumentalist Dean Watson. I first met him here on ProgArchives, back in 2010, when he had just released his debut album, "Unsettled". Since I had more time on my hands than I have now, I offered to review it, and found a lot to like in the album, in spite of some flaws, such as the recourse to programmed drums. On the other hand, Watson's sophomore effort, 2012's "Imposing Elements", marked an impressive step forward for the Canadian artist: firmly rooted in the progressive jazz-rock tradition inaugurated by seminal albums such as Jeff Beck's "Blow by Blow" or Billy Cobham's "Spectrum" (not to mention the work of Mahavishnu Orchestra and Return to Forever), it displayed an effortlessly natural flow that belied its "solo pilot" origins. Many of these features can also be found on Watson's third album, "Fantasizer!", released in May 2014.

Slightly longer than either of its predecessors at about 58 minutes, "Fantasizer!" continues the tradition of Watson's collaboration with Toronto visual artist Ron Eady, which this time focuses on a faintly disquieting, yet oddly riveting human face rather than the Gothic-tinged industrial landscapes that graced the covers of his first two albums. The compositions have also become more ambitious, with one track (the intriguingly named "Caged Creator") clocking in at over 11 minutes. Like Watson's debut, Fantasizer! occasionally treads paths familiar to fans of Liquid Tension Experiment and Derek Sherinian's Planet X - influences that are especially evident in the title-track's high-energy moments. The clear, crisp sound quality brings out each instrument in detail, making the most of the rich keyboard layers that form the foundation of Watson's music, and their exhilarating duels with an electric guitar in full flight.

The presence of the piano (a notable addition to the already lush instrumentation) adds a note of stately elegance to those compositions that privilege mood-building rather than adrenalin, such as the mesmerizingly intricate "Freak". Heady mellotron washes mesh with electric piano and synth in the sparse, atmospheric first half of "Nomad" before bass and synth take the lead in coolly sauntering fashion. "Linear Tendency" throws jaunty marimba into the mix, with a bright, sunny feel that introduces one of Watson's finest turns on the six strings. Conversely, "Caged Creator" starts out in a gentle, almost unassuming way, before developing into a vibrant, yet highly cohesive jazz-rock epic that juxtaposes liquid piano and marimba with emotional lead guitar, a sprinkling of heavier-edged riffs, and majestic keyboard soundscapes. Then, at the album's very end, the subdued piano piece "Solemn" shows Watson's skill in creating a wide range of moods.

Dean Watson is a very gifted, very talented musician whose work deserves as much exposure as it can get. Therefore, I cannot but wholeheartedly recommend "Fantasizer!" - easily the most mature of an excellent trio of albums - to all fans of instrumental progressive rock, especially of the jazz-rock persuasion. It is a pity that we will very probably never get to see any of those compositions performed on stage, where I am sure they would sound even more impressive than they do on CD.

 Speak No Evil by SHORTER, WAYNE album cover Studio Album, 1965
4.58 | 17 ratings

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Speak No Evil
Wayne Shorter Jazz Rock/Fusion

Review by Lear'sFool

5 stars Wayne Shorter is loved on these Archives for his work on "In A Silent Way" and with Weather Report. Other than that, however, his only solo output that gets any attention here is his modal/post-bop era and style "Speak No Evil". This is, after all, the solo work of his considered the finest by jazz aficionados, and comparable in quality and position to Herbie Hancock's "Maiden Voyage". Speaking of which, Herbie lays down some of his piano magic on this record. In the end, while not even as prog related as "Time Out" and "Time Further Out" from Brubeck and friends, or "Maiden Voyage" in its special sense, "Speak No Evil" is a masterpiece, and I will review it as such. So Shorter, ever the great composer, leads his backing band well, as he plays his tenor sax with smooth majesty. Herbie lays down some beautiful piano, as is his MO, rounding out the sound; think of an even better take on the interplay between McCoy Tyner's piano and Trane's saxes on "My Favorite Things". The rhythm section is just wonderful at backing this mix of soloists. The whole album is a relaxing trip that makes you forget about evil, forget about everything ill and stressful. Highly recommended to jazz fans, and an interesting listen for any other interested listeners.
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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
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
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