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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Jazz Rock/Fusion definition


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

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

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

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

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

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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 | 691 ratings
KIND OF BLUE
Davis, Miles
4.35 | 953 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.35 | 484 ratings
IN A SILENT WAY
Davis, Miles
4.59 | 41 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.34 | 179 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.34 | 179 ratings
TIME CONTROL
Uehara, Hiromi
4.30 | 396 ratings
SPECTRUM
Cobham, Billy
4.28 | 436 ratings
BITCHES BREW
Davis, Miles
4.26 | 692 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.25 | 578 ratings
ELEGANT GYPSY
Di Meola, Al
4.34 | 107 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.23 | 512 ratings
CARAVANSERAI
Santana
4.32 | 105 ratings
MILESTONES
Davis, Miles
4.24 | 381 ratings
ABRAXAS
Santana
4.23 | 452 ratings
ROMANTIC WARRIOR
Return To Forever
4.32 | 102 ratings
STADACONÉ
Sloche
4.26 | 183 ratings
THE WAY UP
Metheny , Pat
4.24 | 240 ratings
CROSSINGS
Hancock, Herbie
4.27 | 148 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.37 | 62 ratings
L'AXE DU FOU
Forgas Band Phenomena

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
HORIZONTE
PSI
CYMANDE
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Latest Jazz Rock/Fusion Music Reviews


 Hiromi's Sonicbloom Live in Concert by UEHARA, HIROMI album cover DVD/Video, 2009
4.47 | 8 ratings

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Hiromi's Sonicbloom Live in Concert
Hiromi Uehara Jazz Rock/Fusion

Review by rdtprog
Special Collaborator Heavy Prog Team

4 stars It's very entertaining to to watch this female pianist play at a very fast tempo, jumping up with a big smile on her face. The music is a jazz rock that display some pure jazz passages with some more rock oriented music. Each musician at some point show some impressive skill with some groovy rhythms, especially David Fiuczynski on the twelve strings guitar. All the songs are above the ten minutes mark delivering some furious rock passages that are mixed with some more relaxed and jazz ones. But what's the difference between this kind of jazz and others jazz rock ensemble is the fast moving play of Hiromi Uehra who let us speechless with her talent and how every notes comes out easily.
 Hiromi's Sonicbloom Live in Concert by UEHARA, HIROMI album cover DVD/Video, 2009
4.47 | 8 ratings

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Hiromi's Sonicbloom Live in Concert
Hiromi Uehara Jazz Rock/Fusion

Review by VOTOMS

5 stars Review n° 220

Hiromi Uehara - Hiromi's Sonicbloom Live in Concert DVD

OK, if you are goin' to buy only one DVD in your entire ridiculous life, you should get this superb show. Don't think twice, just get it. If you never heard of this beautiful lovely crazy jap, you must know that even Chick Corea called her to play and record with him. Now, this is what I call playing with passion. As the music progresses, you're able to witness your own body chilling, a perfect resonance rising together with the song and the musician's strong feeling ascension. The facial expressions of Hiromi and the guys are intense, they're living what they're playing for real. About the virtuocity level of them, Hiromi is the most impressive and skillful piano/keys/synth player from the late years. There is an all-star line-up starring the fusion senior who's played on more than 100 albums David Fiuczynski (Screaming Headless Torsos), the bass master Tony Grey and the Slovak jazz drummer Martin Valihora. This is music for musicians, as any prog should be. Don't miss this fusion masterpiece.

 Ketto by FINNFOREST album cover Singles/EPs/Fan Club/Promo, 1976
2.00 | 2 ratings

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Ketto
Finnforest Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

2 stars This single from the vaults of Love Records followed the debut album, and unlike the first single from 1973, this is instrumental and more or less in the album's Fusion style. At this point the group was actually just a duo of the very gifted Tegelman brothers. They also played in another Kuopio-based band, PETRI & PETTERSSON BRASS (which was no prog, more like entertainment vocal music, oriented to Finnish-language covers of American & British pop songs).

'Ketto' is a serene track featuring basically just synths and piano, rather similar as some minor, instrumental CAMEL tracks on albums such as Nude and Single Factor. Beautifully airy, but it lacks the recognizingly Finnish (and forestial, ha ha) Fusion spirit of the eponymous album.

'Tekee meisseliä' (that's an outdated idiom meaning "to feel good [e.g. sexually]") is a funky, airy and lighthearted jazz-rock piece. Nice but quite forgettable. Also these tracks are featured on "Love Proge 2". 2½ stars rounded down for rather mimimal originality.

 Tyhjyyteen, Syvyyteen by FINNFOREST album cover Singles/EPs/Fan Club/Promo, 1973
2.95 | 2 ratings

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Tyhjyyteen, Syvyyteen
Finnforest Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

3 stars Two years before the eponymous debut album released by Love Records, FINNFOREST from Kuopio, Finland made a single via small Dynamiitti label. The unspectacular vocals - in Finnish, naturally - are by Aaro Mustonen. He soon left the band, which, under the firm guidance of guitarist Pekka Tegelman, continued with instrumental, atmospheric and airy Fusion on their albums.

'Tyhjyyteen syvyyteen' (= Into the void, into the depth) is a fast-tempo rocker with lots of vintage organ work by Jukka Rissanen. Listening to this [proto-]proggy but very brief song one can hardly avoid thinking of WIGWAM as the central pioneers of Finnish prog, but I'm not saying the composition would sound very much like Wigwam - no Pembroke nor Gustavson. In a way it sounds like it was done few years earlier; there's also a little scent of psychedelia. A pretty good track even if not a priceless classic.

'Sanomaton kirkkaus' (= Unspeakable brightness) is a mellow and relaxed mid-tempo song with quite romantic and esoteric lyrics. The comfortable sound resembles PROCOL HARUM with its organ and piano and simple electric guitar notes. If this was a Wigwam song, it surely would be by Jim Pembroke instead of Jukka Gustavson. Both songs can be heard on the "Love Proge 2" two-disc Various Artists compilation.

Finnforest found their own style later on, to the great pleasure of many Fusion-minded prog listeners in and out of Finland, but it's interesting to wonder how they would have succeeded (in the artistic sense, hardly in the commercial sense) with this vocal oriented style. Most certainly they wouldn' have been as unique anyhow.

 A + B by QUARTO SENSORIAL album cover Studio Album, 2012
4.94 | 4 ratings

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A + B
Quarto Sensorial Jazz Rock/Fusion

Review by GKR

5 stars I am always afraid of writting reviews for Jazz... and actually I thin this one must be my first!

I was (sledge)hammered by their music. The heaviness that open the album is somethin that got, and not by the heavy metal taste (that is definetly not their style) but for their improvisation and experimentalism. The acoustic bits are suberbs and the melodies that seems to be more composed and delicately arranged works as well. Their sound mix evertything and the title of their tracks says more than a thousand moth... lyrics. Indeed there are musics that only brazilians will fully comprehend. For example, the mixtures of styles in the track "La Gambiarra", which means exaclty what they are playing! Sorry gringos, you'll not get that.

You know what? A new voice in Brazil is always good. And a strong debut as this certainly is cannot go unoticed. Give'em 5 stars!

 Breaking the Ethers by TUATARA album cover Studio Album, 1997
3.17 | 5 ratings

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Breaking the Ethers
Tuatara Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Taking its name after the New Zealand reptile that resembles lizards but is actually a distinct lineage that goes back to the dinosaur era, the band TUATARA was formed in Seattle by the members of different musical groups that wanted to create an outlet for a more varied sound than the bands they were in. The band started in 1996 by Peter Buck (guitar) of R.E.M, Barrett Martin (drums, percussion) of Screaming Trees, Justin Harwood (bass) of Luna and The Chills and Skerik (sax) of Critters Buggin. The band was actually started to create some soundtrack music but turned into live shows and this debut album BREAKING THE ETHERS. The sounds you will encounter here range from slow and somber to the upbeat utilizing various world folk styles with a jazzy sax touch to the mix with occasional clarinets. The percussion is often strong with congas, vibraphones and marimbas being prominent features but many other exotic instruments ranging from didjeridus, tablas, Tibetan horns, djembes, udus, steel drums and more can be heard.

While this debut is ambitious in its scope, i can't say that it measures up in the songwriting department. Many of the tracks are quite pleasant to listen to but very few actually light my fire and make me want to hear them again. Most are slow and contemplative and would be great relaxation music to enjoy in a nice hot spa at a resort but much of the content here doesn't have enough grit to really get my juices flowing. It truly sounds like a band that is starting out on a journey to create something different from their relative stable careers in the more pop oriented world and haven't learned how to fully exploit the various timbres and flavors of the instruments on display. Nothing on here is as experimental or advanced as other world fusion bands like Codona put out in the late 70s / early 80s. Still this is decent listen and nothing on here is bad or unoffensive in the least bit, just not dripping with originality or contains enough progressive nuts and bolts to spice it up. The only track i really love is "The Getaway" as it is energetic, funky and filled with lots of gusto. While pleasant, the variety on this one is lacking and for a near hour of music it tends to send one to sleepy time by the end of its duration.

 Earthworks by BRUFORD'S EARTHWORKS, BILL album cover Studio Album, 1987
3.12 | 35 ratings

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Earthworks
Bill Bruford's Earthworks Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

1 stars Bridge of inhibition

After the folding of the Jazz-Rock/Fusion group Bruford in the early 80's Bill returned to King Crimson for a while before going deeper into Jazz territory with this new group called Bill Bruford's Earthworks. This is Jazz Fusion with little or no elements of Rock, and even though it can rightly be described as eclectic it is by no means Prog. Hence, anyone expecting a continuation of what Bill did with Allan Holdsworth, Jeff Berlin, and Dave Stewart in Bruford will probably be sorely disappointed by this. (And anyone expecting anything even remotely related to Yes, King Crimson, or UK will of course be even more off the mark.)

The album opens with a cheerful, up-tempo Jazz number that sets the tone for the album. This cheesy little ditty makes me cringe and is one of the worst pieces of music ever coming from an ex-Yes member's solo album! The rest of this album is mostly a bit better than this dismal beginning and there are even a few moments when it gets almost acceptable, but even the better parts are nothing too special and the worst parts are, as mentioned, rather awful.

The drums are obviously in focus and the rest of the sound is dominated by acoustic bass, brass, and some cheesy sounding keyboards. Guitars and other typical Rock instruments are avoided.

It should be clear that I'm not the target audience for this project and anyone not sharing Bill's passion for Jazz is probably well advised to stay away, far away.

 Rock Goes to College by BRUFORD, BILL album cover Live, 2007
3.19 | 15 ratings

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Rock Goes to College
Bill Bruford Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars Back to the begining again

While the Bruford Tapes was released straight after it was recorded in 1979, the present live recording sat in the archives for many years before being released on CD (and apparently there is also a DVD version available, but I haven't seen it). This show was recorded earlier than the Bruford Tapes and features the original Bruford line-up including Allan Holdsworth on guitars and Annette Peacock on vocals. Some of the songs like Sample And Hold, Beelzebub, The Sahara Of Snow (both parts), and 5G are on both live albums, but others such as the two vocal pieces Back To The Begining and Adios A La Pasada - both originally on Feels Good To Me - are only here.

The sound quality of this recording is not perfect and I think it is best seen as of mainly historical interest. If you own the two studio albums One Of A Kind and Feels Good To Me as well as the live Bruford Tapes, I don't think you need this one as well unless you are a fan and collector of all things Bruford.

 Panorama by MAHTRAK album cover Studio Album, 2009
4.39 | 12 ratings

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Panorama
Mahtrak Jazz Rock/Fusion

Review by GKR

5 stars Lately I've been trying to police me, because I found myself giving five stars for several albums followed. Obviously I'm doing first reviews of those works who I most enjoy... but now I was determined to rank and review an album with three stars or something.

I was listening to Brazilian jazz, Airto Moreira and Hermeto Pascoal and also the classic Hubert Laws and Herbie Mann. Then I found the album "Panorama" by MAHTRAK (which seems a wordplay in Portuguese to "matraca" which means someone who does not stop talking). I was ecstatic. It's an album so easy to enjoy but with complex and difficult songs. The progression of some tracks reminds me the guitar of LEB I SOL, although the influence of the band might be more RETURN TO FOREVER. Great keyboard, good rythm section. The band can even go more "hard" and play with "wah-wah" guitar and then return to more "light" sounds.

There goes my day I'd reviewing an album negatively.

 Hänk by SALAIVA album cover Studio Album, 2014
4.00 | 2 ratings

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Hänk
Salaiva Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

4 stars Hänk (a peculiar name) is the second album by this young band from Jyväskylä, Finland. Well, peculiar is also the band's name: it could be translated as "hidden sarcasm", and if you divide the word as "sa laiva", it means "thou ship", in an archaic, poetic use of language. From the liner notes: "This record needs to be considered as a thematic piece of music from some place in some time with some people or animals or whatsoever. Imagine - what is HÄNK?" These vague words are very revealing about the nature of the album. Various places and various moods are being painted by this mostly instrumental jazz-rock, and the listener is free to form his/her own images.

There are as many as 15 tracks, most of them very brief, but the album flows quite seamlessly. This really is an album to be listened as one entity. Therefore I'm not heading into track-by-track approach this time, I'm trying to give you a picture of this music as a whole. As with their debut, the sound is deliciously retro and is likely to give several associations to a listener of 70's prog. The composing frontman Miikka Huisko's slightly Jim Pembroke-ish vocals (but in Finnish!) may be one reason for thinking of early WIGWAM - at their jazziest. Then there's definitely the melodic power of early CAMEL, and the way the vocals come here and there as an extra element, not as the central substance of songs. On the other hand some vocal tracks, at least 'Laulan' (= I sing), have a slight folk element too. The carefree atmosphere may taste like Canterbury's jazzy rock.

Especially the first tracks on Hänk have some resemblance to the angular jazz-rock vibe of FRANK ZAPPA, in a similar energetic form as e.g. UTOPIANISTI, another recent Finnish jazz-rock artist featuring saxophones. Even VAN DER GRAAF GENERATOR and their sax can be mentioned in the analysis of Salaiva's sound, which is loaded with gritty energy, including a flavour of Psychedelic/Space Rock. It's not a polished sound, but I don't have any big complaints about the production. Despite having all these associations, I think Salaiva have a great deal of originality. And the album is wonderfully dynamic, ranging from lively fast compositions to more delicate pieces. Both the atmospheres and the arrangements have more variety than in the debut, which was pretty good too. Warmly recommended for all listeners of retroish jazz-rock.

I bet Salaiva would be great live, because the joy of playing comes through the music even on the studio album. Dear band, if you ever make gigs in Tampere - it's not so far from your hometown - , I can guarantee you'll have the most rewarding audience!

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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
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
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
FRANCIS CANG Philippines
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
CIRCUS United Kingdom
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
FEAT. ESSERELÀ Italy
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
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