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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

4.34 | 1050 ratings
KIND OF BLUE
Davis, Miles
4.32 | 1290 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.32 | 281 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.28 | 728 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 699 ratings
ROMANTIC WARRIOR
Return To Forever
4.28 | 592 ratings
SPECTRUM
Cobham, Billy
4.27 | 976 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.28 | 311 ratings
CROSSINGS
Hancock, Herbie
4.25 | 725 ratings
BITCHES BREW
Davis, Miles
4.27 | 293 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.32 | 136 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt)
4.23 | 798 ratings
ELEGANT GYPSY
DiMeola, Al
4.24 | 596 ratings
ABRAXAS
Santana
4.23 | 709 ratings
CARAVANSERAI
Santana
4.28 | 215 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti E Mestieri
4.26 | 257 ratings
LES PORCHES
Maneige
4.29 | 152 ratings
STADACONÉ
Sloche
4.24 | 340 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.29 | 151 ratings
SVITANIE
Blue Effect (Modrý Efekt)
4.63 | 32 ratings
REALIZATION
Henderson, Eddie

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

CAMINO DEL CONCIERTO
Guadalquivir
ETNA
Etna
STRANGE MEETING
Power Tools
CYMANDE
Cymande

Latest Jazz Rock/Fusion Music Reviews


 Canis Lupus by WOLF album cover Studio Album, 1973
3.92 | 61 ratings

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Canis Lupus
Wolf Jazz Rock/Fusion

Review by Psychedelic Paul

5 stars DARRYL WAY's WOLF emerged from the band CURVED AIR when violinist and keyboard player Darryl Way decided he needed a breath of fresh air. He recorded three albums with Curved Air before breezing away:- "Airconditioning" (1970); "Second Album" (1971) and "Phantasmagoria" (1972). He also co-wrote Curved Air's one and only hit song: "Back Street Luv". He left the band to form his own group Darryl Way's Wolf - or simply Wolf - in 1972 with a sense of dogged determination, although his band project never quite managed to achieve the howling success of Curved Air. Darryl Way's Wolf recorded three albums together:- "Canis Lupus" (1973); "Saturation Point" (1973) and "Night Music" (1974). The first album "Canis Lupus" (the Latin name for Wolf), features a number of classical themes, so let's travel Bach in time now to the proggy annus mirabilis year of 1973 and take a look at the album from a 21st century 20/20 vision perspective.

We're journeying back through time and space for "The Void", a spectacular cosmic opening to the album. This lively Jazz-Rock number features warm and silver-toned vocals from singer and bass player Dek Messecar, in powerful combination with a sparkling display of dexterity from Jazzy guitarist John Etheridge, and just to remind us that the piano is a percussion instrument in the orchestra, Darryl Way really hammers away at those piano keys with passionate intensity, backed up by drummer Ian Mosley giving the song some added Wolf bite with his pounding percussion. Well, that's all of the four lupine band members given a well-deserved name-check in the opening, so onwards to the next song: "Isolation Waltz". This song is no Waltzing Matilda though. No, "Isolation Waltz" is a storming rocker, in solid pulverizing 4/4 Rock time, and definitely not some wimpy pendulating Waltzy tune in 3/4 time. Darryl Way's way-out manic violin bow curves through the air demonically throughout this solid rocker, bringing to mind some of the classic Curved Air blasts from the past. In fact, Way's vital and vivacious violin playing sounds like Vivaldi going at pell-mell speed on anabololic steroids. Make no mistake, this band are no wolves in sheep's clothing! If you "Go Down" to the woods today, you might just meet a big bad Wolf, or you might be in for a big surprise with "Go Down", which features the band Wolf in a much mellower mood this time around in this cool and groovy Jazz number. This smooth and sophisticated Jazz would no doubt be best listened to whilst dressed elegantly in a dinner jacket or evening dress whilst coolly sipping on a dry Martini - shaken not stirred - in a salubrious cocktail lounge. Yes, it's that kind of cool Jazzy music that might have featured in an early James Bond movie, or maybe a much more recent Austin Powers movie. Either way, it's a great song. The final song on Side One "Wolf", represents a return to some mean and mighty Jazz-Rock with another vivid violin display from Darryl Way of stunning Vivaldi-esque proportions. This song has claws!

We're off on another crazy helter-skelter violin ride with "Cadenza". What's a "Cadenza" you may well ask? Well, it's a a virtuoso solo musical performance, and that's exactly what you get here from Darryl Way's maniacal violin. In fact, ALL of the musicians in the band are given the chance to display their magnificent musical plumage here with stunning style and panache. There's the inevitable drum solo, a dynamic dazzling display from Darryl Way on the keyboards, and a glittering glissando of guitar soloing. Darryl Way's incredible keyboards soar so high up into the stratosphere on this magnificent magnum opus that they almost go beyond the limits of human hearing. If you play this exhilarating music loudly and your dog starts going crazy, then you'll know the reason why. All in all, it's an outstanding piece of music. There's another invigorating burst of music on the way with "Chanson Sans Paroles" (which is French for "Song Without Words). The music is exactly what it says on the label because it's an instrumental, although the uninspiring term "instrumental" can never do justice to this fabulous piece of music. Take cover and batten down the hatches because Hurricane Darryl is on the Way! You can expect to hear another stunning display of awesome musical virtuosity with Darryl Way's wild and untamed werewolf violin leading the way. This is Jazz-Rock like you've never heard it played before and it's just as good - if not better than - anything Curved Air have ever done. This stormy music is no light breeze. No, this is more like a category five hurricane of unbridled raw power and energy! It's safe to come out now though, because the closing number "McDonald's Lament" is a return to altogether gentler climes. "McDonald's Lament" is nothing to do with a well-known American fast-food chain running out of hamburgers. It's just a gentle slice of Irish Folk whimsy floating on a mellow wave of vivacious violin strings and delicate percussion.

Darryl Way's Wolf "Canis Lupus" debut is an incredible howling performance from beginning to end. If you like Curved Air, then you'll surely love Darryl Way's Wolf. They're like a breath of fresh air. This terrific lupine "Bark at the Moon" music jumps up and bites when you least expect it, so watch out, there's a Wolf about!

 Yr by TIBBETTS, STEVE album cover Studio Album, 1980
4.22 | 27 ratings

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Yr
Steve Tibbetts Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Steve Tibbetts' Yr would eventually, after a smaller-scale release in 1980, get picked up and given a wider release in 1987 by ECM - but don't expect anything like the polished, mannered in-house ECM style here. Instead we get a fusion guitar journey which draws on psychedelic, folk, and world music strands to really stretch the boundaries of the fusion subgenre into entirely unanticipated shapes. With material which could feel equally at home at a jazz club or at a free festival opening for Ozric Tentacles, it's a worthwhile listen for anyone who likes eclectic instrumental music with a strong fusion and folk component.
 4th by D.F.A. album cover Studio Album, 2008
4.10 | 90 ratings

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4th
D.F.A. Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

3 stars Released in 2008, this was the first studio album from Duty Free Area in almost a decade, and still their latest. This is currently available from Moonjune Records on their Bandcamp site at "name your price", so it is a great opportunity to investigate one of the best Italian progressive bands around. Six songs and nearly 70 minutes in length, four of the six are totally instrumental, and while a couple bring in additional strings, the album is based around the core quartet of Silvio Minella (guitars), Alberto Bonomi (Hammond A100, Fender Rhodes, grand piano, synth, flute, vocals), Luca Baldassari (bass) and Alberto De Grandis (drums, percussion, vocals). This fusion album has been hugely influenced by the likes of John McLaughlin, and definitely feels as if it belongs in the Seventies as opposed to the Noughties. Baldassari is probably the most under-stated of the musicians, often staying a long way in the background which allows his rhythm partner to be more bombastic in his approach, often flailing all over the kit. But then at the front are Minella and Bonomi, who back each other up, duet and solo with each knowing their place in the melody and knowing exactly what has to be done to provide just the right emphasis. In many ways this doesn't feel like an Italian progressive album at all, as it feels far more British and American in its outlook which in this context is a very good thing indeed.

I must confess to not being a huge fan of the last track in particular, as the vocal harmonies make it a very interesting piece indeed, especially with the violin, but it is quite at odds with the rest of the album and consequently it jars somewhat. Certainly it isn't representative of D.F.A. as a whole, yet this reflective almost Baroque approach is very well done indeed and it would be interesting to hear an album of this style of music, but for me it just doesn't fit with the rest of it. Given there were 9 years between this album and 1999's 'Duty Free Area' let's hope that this isn't the end of the band just yet. If you have yet to come across them then thanks to the generosity and foresight of Moonjune Records then now really couldn't be a better time to do so.

 Second Wind (as Oblivion Express) by AUGER, BRIAN album cover Studio Album, 1972
3.52 | 31 ratings

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Second Wind (as Oblivion Express)
Brian Auger Jazz Rock/Fusion

Review by sgtpepper

3 stars Brian Auger was always a capable Hammond organ player and you can recognize his style quite fast. He is one of the grooviest jazz-rock Hammond players. I have a problem that I can't discern his albums much and while they sound like a pleasant flow of music, I would prefer them being full instrumental and showing more ambitions, variety and compositional quality.

Second Wind is better than its predecessor because if features more instruments than singing but it can hardly classify as fusion or progressive album. The highlight is Auger's Hammond organ playing, other players are quite average or forgettable with rockin' rhythm, an occassional guitar solo and vocals.

After hearing albums like this, I don't remember much and wish that musicians had been more creative and challenged themselves harder.

 Do They Hurt? by BRAND X album cover Studio Album, 1980
3.44 | 116 ratings

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Do They Hurt?
Brand X Jazz Rock/Fusion

Review by sgtpepper

3 stars Brand X modernize their sound and streamline music further on the 1980's "Do they hurt". On the first track, we have a fantastic bass modern playing seconded by mediocre vocals, simplified drums and 80's keyboards. Wouldn't be surprised if it were inspired by Collins but it seems it wasn't! "Voidarama" has a warm fusion feeling of late 90's with twists of smooth jazz, I really like the sound of the song and guitar fiddling. The atmosphere is let down again by "Act of will" that is closer to new wave than fusion. "Fragile" is a typical experimental Brand X song that even sneaks into post-bop territory although more as a joke I guess. "Cambodia" is another guitar-heavy track, very accessible and far from complex. "Triumphant Limp" with Collins onboard offers a nice groove on cymbals. The best track comes at the end "D.M.Z" is a full-fledged fusion track with a killer bass-drum patter and fresh piano. You can evidence that the players did not take this record as seriously as the previous ones before in 1976-1978.
 Masques by BRAND X album cover Studio Album, 1978
4.08 | 171 ratings

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Masques
Brand X Jazz Rock/Fusion

Review by sgtpepper

4 stars Brand X still going strong even without Phil Collins behind the drum kit. The new drummer is on one side more poppy with way too simple beat structures and very complex in the long suites like "Deadly Nightshade" with its furious tempo or "The Ghost of Mayfield Lodge".

"Access Data" has become a popular concert number, it has a nice symbiose of groove, some instrumental complexity and still does not sound too cold and inaccessible - so has all attributes to capture the attention of most listeners. Keyboards and guitar shine through. "Black moon" is one of the first forays into smooth jazz, a lovely but drumwise very unchallenging track. "Earth dance" with subtle Latin influence is a dark horse on this album thanks to excellent drums, bass and keyboards, I think percussions contribute too.

"The Poke" has a memorable motive.

This is the last classic Brand X album since from 1979, pop-fusion thrash will start appearing on the albums.

 I Spider by WEB, THE album cover Studio Album, 1970
4.12 | 79 ratings

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I Spider
The Web Jazz Rock/Fusion

Review by Psychedelic Paul

4 stars The British band THE WEB are definitely NOT a band for arachnophobes! There's nothing at all scary about their first album "Fully Interlocking" (1968) with its colourful kaleidoscope image on the cover, but their second album "Theraposa Blondi" (1969) features a huge and extremely scary goliath bird-eating spider on the cover which is enough to give you nightmares if you're at all scared of spiders. Thankfully, we're reviewing their third and final album here, "I Spider" (1970), with a curious image of a hand in the shape of a bird's head on the album cover. There was a fourth album in 1971, but the band had changed their name to Samurai by then, so that's another story for another time.

The amusingly-titled, five-piece suite "Concerto for Bedsprings" opens the album, consisting of:- 1. "I Can't Sleep"; 2. "Sack Song"; 3. "Peaceful Sleep"; 4. "You Can Keep The Good Life"; and 5. "Loner". Judging by some of the sub-titles in this 10- minute-long epic, it's dedicated to insomniacs everywhere, although you're unlikely to sleep through this lively Jazz-Rock number. Part 1 "I Can't Sleep" has obvious similarities with the electrically-charged music of Van der Graaf Generator. There's a powerhouse performance from the keyboard player and the vocals are just as erratic and over-the-top as those of Peter Hammill in VDGG. The singer announces at the end of Part 1 "I've got to get some sleep", but there's absolutely no chance of sleeping through the powerful sound of "I Can't Sleep". Part 2 "Sack Song" is a Jazzy cocktail lounge instrumental, sounding somewhat reminiscent of Hatfield & the North in some of their mellower moments, and Part 3 "Peaceful Sleep" is a slightly off-key slice of Canterbury Scene-style Jazz. Part 4 "You Can Keep the Good Life" is a return to an energetic, pounding percussive wave of Van der Graaf Generator-type Jazz-Rock, featuring a scintillating sax solo, and Part 5 "Loner" is a brief return for another bright sunburst of Jazzy cocktail lounge music with a spring in its step to conclude "Concerto for Bedsprings". The whole ten-minute piece is a constantly shifting dynamic, weaving a complex web of stirring Jazz-Rock in dazzling combination with floating mellow waves of the Canterbury Scene sound. All in all, it's a shaken and stirred aperitif of Jazz and Rock combined together into a heady cocktail of great music. Watch out, there's a spider about in the title track coming up next: "I Spider". Let's hope it's just an incy-wincy spider and not a frightening goliath bird-eating spider, or ""Theraposa Blondi" to use the Latin name. No worries, "I Spider" is a slow processional march dominated by the sound of dynamic keyboards and sonorous saxophone. The stately music is soothing and sophisticated, but be prepared because this understated tune has fangs and it creeps up on you unexpectedly (like a spider) and delivers a mighty bite with a crashing crescendo of sound emerging for the grand finale.

Opening Side Two now is "Love You", although this is no gentle sentimental ballad. No, this is a sonic explosion of high-energy Jazz-Rock, so fasten your seat belts and brace for impact. Make no mistake, this is an out-and-out raucous rocker! The bizarrely-titled "Ymphasomniac" is up next. So, what on earth is an "Ymphasomniac" you may well ask. Well, no one knows because it appears to be a uniquely made-up word for the purposes of this album. Don't let the strange song title put you off though, because this is a great song. It's a simply sensational Jazz-Rock jam session, featuring an extended dazzling display of virtuosity, with all of the musicians given the chance to display their magnificent plumage in bright musical colours. It's a real album highlight. You could *almost* believe The Web are a Canterbury Scene band because the final song "Always I Wait" is an 8-minute-long weird but wonderful excursion into the realms of experimental Jazz-Rock. The music sounds slightly discordant at times, but it's ultimately rewarding, like all of the best Canterbury Scene music.

Imagine, if you will, a delicious shaken and stirred cocktail of Van der Graaf Generator in glorious combination with Hatfield & the North and that's the kind of unique album that The Web have woven here. "I Spider" is an album full of constant surprises. Hear it for yourself on the World Wide Web.

 CAB 2 by CAB album cover Studio Album, 2001
4.09 | 16 ratings

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CAB 2
CAB Jazz Rock/Fusion

Review by sgtpepper

4 stars The sophomore effort with the same line-up brings nice moments and complements the debut album. It is more versed in jazz and feels more improvisational.

"Decisions" is reminiscent of the previous title track but only the instrumental chorus comes and sees MacAlpine in the spotlight with perfect soloing. Then Chambers, Auger and other players democratically show off their muscles. "Madeleine" is one of the best tracks on the album with slightly dramatic synth chords and a killer chorus melody with all instruments but keyboards playing irregularly. I like the contrast frenetic Chambers solo with mellow bass/keyboards in the background. "Dennis" is a showcase for the drummer, since he plays the most complex instrumental part here. Let's also mention Hammond well seconding the drums, this song is rhythm crazy! "For Joe" has a 5/4 or so rhythm and a killer guitar leads followed by relaxing electric piano. "South Side" has some almost metallic/prog-rock main motive but plenty of fusion soloing. "Song for my friend" is a fast-pace number with electric piano highlights. Also the bass guitar is kept busy from start til' finish. "Sunday" has a lazy weekend lounge feeling with focus on mood rather than music variety.

 CAB by CAB album cover Studio Album, 2000
4.10 | 30 ratings

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CAB
CAB Jazz Rock/Fusion

Review by sgtpepper

4 stars One of my first forays into a modern fusion, especially the second track that I heard back in 2000/1 without knowing anything about the superstars behind the album. It merges incredible playing chops with accessible music motives and good level of composing. In addition, the guys can show emotions in playing, it's not a tones/second excercise. All three key members are on top of their game joined occasionally by the mighty Hammond by Auger that gives it a more laid-back feeling. The first track has a captivating bass a la Pastorius but also keyboard synths and guitar will raise you from the seat. More consistent is the title track that has two main motives, one of them being a hard-rock riff. All four main instruments take turns to show off their excellent jamming skills while keeping the leading idea bear the structure. "So there is love" has tasty guitar licks and the song reminds me of Brand X and/or Weather Report, while "Just perfect" has a Mezzoforte- like rhythm section. Plenty of Hammond is to be heard in "One for Stern". "Atamanashi" has an African-influenced drive and "Boogie Me" could have similarity to Cobham penned "Quadrant 4". "Elastic Man" has incredible fast guitar lines by the master and "Bernhard" is a nice soft end to this highly accomplished album.
 Another Side Of Genesis by STUERMER, DARYL album cover Studio Album, 2000
1.38 | 5 ratings

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Another Side Of Genesis
Daryl Stuermer Jazz Rock/Fusion

Review by FalconBleck

1 stars #40 Review

I'm going to give the most positive insight on this album... the music works for a fancy Genesis themed restaurant, where they serve the finest scrambled eggs, lamb stews... of all new and old england.

I apreciate this interesting aproach to Genesis music, and i'm intrigued to experience it in its full, i hope that it lives out to the little preview i heard.

1. Follow You, Follow Me 8/10 What a beautyful start, this song feels different and refreshed with this sound, very relazing and everything, sadly, here is where trend starts of Daryl doing dumb overrided with notes solos near the end.

2. Hold On To My Heart 6/10 This version of the song doesn't deviate much from the original, most of the chords are intact and even most of the instruments sound similar, yet the lead voice is replaced with a sweet guitar. While this song keeps it mostly the same, i think that i can appreciate it a little more now, the song had potential for this kind of style already, but i think that it needs to be even more relaxing, Daryl gets crazy near the end and the voices in the background aren't working for me.

3. Taking It All Too Hard 7/10 Another song that i have under appreciated, i really like when different artists give a different perspective on mostly forgotten Genesis songs, so far this one is working really well, i would ommit that bell sound though, i really feel like that sound has hampered the entire record so far. Near the end gives me that feeling of a shopping channel for some reason, not a big fan of that... "SEE OUR LATEST PRODUCT BY STYX CORP, THIS TRANSGENIC MULTI-SPA SOAP WILL SOAK ALL YOUR WORRIES AWAY AND REDUCE ALL HUMANOID POPULATION TO A MAXIMUM OF 4ft SIZE, GET IT AT YOUR NEAREST TESCORP"

4. Throwing It All Away 3/10 I have been a vocal disliker of the original song, and this one doesn't do much to improve it aside from removing Phil Collins annoying lyrics. It even feels worse because the guitar devoids the song from any energy it had and there's also a voice at half the track wich just ruins it even more. Wich helps this song even less is that it has been played so much by now that a new version doesn't add anything.

5. Since I Lost You 4/10 Another song wich i have criticized before because i felt that it lacked something to really portray the sadness in the lyrics, at the beginning i expected this to be the version that would explain to me why was this song conceived like that, but it doesn't, i kind of feel it but not really, the piano kind of does the job, but the guitar and daryl's playing add much more than it should be added.

6. Land Of Confusion 7/10 This song wouldn't work much for a restaurant or shop channel, but damn it sounds like it could be on the game Daytona USA, because of the bass and the brass, i dig this version, it could use more bongoes and even more bass, and it would be better.

7. In Too Deep 2/10 This is so much less than the original version because Tony Banks keyboards where hampered a lot, the chords remain but the notes aren't there for most of the time, not only that but there's also an added voice in some parts of the song, i don't think that this version does a great job at anything.

8. Turn It On Again 1/10 This is an informercial song, the guitar doesn't let any of the song breath, in this case i much preffer Phil's voice over the guitar and the brass. This is a totally inferior version of the song that doesn't add anything new, i don't recommend this version at all. This version showed me all the weakneses of the original.

9. Man On The Corner 2/10 Lots of people like the original song and i don't get it, this version does nothing to remedy that. The song its somehow too exciting and not calm enough to work with anything else on the album or in the context of a restaurant or something like that, the drums should've been ommitted and the high pitch notes should've been fixed to set the mood, but no.

10. No Son Of Mine 4/10 This one obviously doesn't work for a restaurant, maybe for a shop... at this point i don't know, i didn't think much about it because it kept happening all the time through this album, i said this will be the last song i reviewed and forgot to look a little further for the next one. Well, i like this version because it removes the "elephantus" noise, aside from that it really doesn't add much, in fact, it maintains most of the song, i think that this one is ok and not annoying, the only exception being the solo near the end wich is too much and gets boring.

11. Never A Time 6/10 Another forgotten Genesis song, and another one that i think works better for the sound that this album portrays and i thing that this one really adds a little more to the original song, wich felt like a rehash from another song in its original album, this one without all the shared synths in the original version gives an overall better exp- NO! THEY DID IT AGAIN!! The voice ruined everything again.

This album gets a 44/100 wich means 1 star, that's pretty low, i'm sorry, i really wanted to bring a positive view on this but i feel like this album was made rather quickly in just a few sessions, wich could explain why this album is like it is, there's a clear direction but the vision went unrealized.

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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
37°C Serbia
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
ANDREAS AARFLOT Sweden
AARON LEBOS REALITY United States
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABRAXIS Belgium
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ACQUA LIBERA Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAIN ECKERT QUARTET Belgium
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
ANWKOZIK France
APOTHECARY United States
APPENDIX Sweden
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
ARENA Australia
ARIEL United States
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASCORBIC ACID Russia
ASSOCIATION P.C. Multi-National
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