(Post-70s) Eclectic Fusion

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As the original fusion movement that was started in the late 60s began to fade in the late 70s, a new generation of musicians led by Blood Ulmer, Bill Frisell, John Zorn, Ronald Shannon Jackson, Bill Laswell, Steve Coleman and Vernon Reid introduced a new style of jazz and rock fusion that arose from the initial efforts of Ornette Coleman's Prime Time band, Miles Davis' 'Get Up With It' album and the jazzy post-punk no wave scene in New York City. This new fusion was both more aggressive and eclectic than the typical output of the 70s fusion artist. The Post-70s Eclectic Fusion artist not only uses elements of jazz, funk and rock; but he is also likely to pull from a diverse set of influences including, but not limited to, New Orleans drum lines, klezmer, jump blues, hip-hop, hardcore punk, exotic lounge, drumnbass, and/or Bulgarian wedding music.

The (Post-70s) Eclectic Fusion genre at JMA is not about jazz or fusion that is 'eclectic', but rather it is about jazz that is inspired or influenced by the pioneering work of artists such as Ornette Coleman's Prime Time, James 'Blood' Ulmer, Bill Frissell, Ronald Shannon Jackson and John Zorn. Many of today's jazz-rock and fusion artists still play in this sometimes harsh and eclectic style, while others may opt for a more classic 70s sound. The artists with a classic 70s style can be found in our Classic Fusion genre.

(post-70s) eclectic fusion top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm

BILL FRISELL Have a Little Faith Album Cover Have a Little Faith
BILL FRISELL
4.90 | 5 ratings
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AKA MOON In Real Time Album Cover In Real Time
AKA MOON
5.00 | 2 ratings
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NAKED CITY Grand Guignol Album Cover Grand Guignol
NAKED CITY
4.75 | 4 ratings
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MASADA 50⁴ (Electric Masada) Album Cover 50⁴ (Electric Masada)
MASADA
4.76 | 3 ratings
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CURLEW Bee Album Cover Bee
CURLEW
4.75 | 2 ratings
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CURLEW Live In Berlin Album Cover Live In Berlin
CURLEW
4.75 | 2 ratings
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DJAMRA Transplantation Album Cover Transplantation
DJAMRA
5.00 | 1 ratings
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DJAMRA Kamihitoe Album Cover Kamihitoe
DJAMRA
5.00 | 1 ratings
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HUMAN FEEL Galore Album Cover Galore
HUMAN FEEL
5.00 | 1 ratings
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GUTBUCKET Sludge Test Album Cover Sludge Test
GUTBUCKET
5.00 | 1 ratings
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STEVE JENKINS Mad Science Album Cover Mad Science
STEVE JENKINS
5.00 | 1 ratings
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KAZUTOKI UMEZU Eclecticism Album Cover Eclecticism
KAZUTOKI UMEZU
4.52 | 3 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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(post-70s) eclectic fusion Music Reviews

CHARLIE HUNTER Baboon Strength

Album · 2008 · (Post-70s) Eclectic Fusion
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Argonaught
I personally think it's sad that my very first review on JMA should be a one-star one, but equally I find it hard to keep quiet :) ... so here it goes:

For one thing, Baboon lacks true improvisation, which IMO is one of the greatest treasures of modern jazz. Which is especially disappointing in an album that is supposed to be based on a jam session. Instead of free flow of music what I am hearing is a series of notes, strummed on a guitar in a disjointed sequence. With some accompaniment. The music is knocking about drowsily, without any visible direction or purpose, like a Roomba in slo-mo.

Something else of importance that I sought and didn't find was the little thing called grove. It's hard to describe what grove is .. but it's easy to tell if it's there or not.

Finally, I'd describe the musicianship as crude (for jazz) and unremarkable (on this album - don't want to generalize about Hunter's band). Besides, rhythm-wise I'd say most of the album is riding on the slow rock beat, sorely missing the beauty of jazz rhythms.

All in all, this is a complete disaster and it's heading back to Amazon even as we speak --

ROB MAZUREK Skull Sessions

Live album · 2013 · (Post-70s) Eclectic Fusion
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kev rowland
OCTET SKULL SESSIONS CUNEIFORM Cornetist, composer, and conceptualist Rob Mazurek first learned the foundations of improvised music while studying jazz theory and practice with David Bloom at the Bloom School of Jazz in Chicago, and first came to prominence when he formed the Chicago Underground Collective (which ranges in size from duo, trio and quartet to full orchestra depending on what is required and has been going for well over 15 years). He has also worked with more mainstream acts such as Sterolab and Tortoise and has worked on more than 40 albums. This is the first album by the octet and is a combination of some composition and a great deal of inmprovisation in an incredibly charged atmosphere. While often in jazz there is one solist at the time, with the rest providing the support, that is not really the case here as what we have is everyone soloing at the same time, but somehow keeping together providing a direction.

The personnel for this album, along with Rob, was drummer John Herndon, vibraphonist Jason Adasiewicz, flutist Nicole Mitchell, Guilherme Granado on keyboards and electronics, Carlos Issa on guitar and electronics, Mauricio Takara on percussion and cavaquinho (Brazilian ukulele), and Thomas Rohrer on C melody saxophone and rabeca (a rustic Brazilian viola associated with the northeast). It sounds as if Zappa at his most eclectic is having a battle with Miles which results in the sonic equiavalent of a massive thunderstorm. This music is incredibly charged, and one can visualise the lightning passing between players as new ideas spark yet another onsluaght of notes and a different direction.

Mazruek describes the approach as “personalities blending sound ideas that have the potential to expand or contract at any given moment in order to find the hidden spaces that must exist for the elevation and understanding of the origin of where we possibly come from and where we might be going.” Complex and complicated, hard to listen to, this is music that is driving exploration into new areas of jazz that leave the listener drained by the end. www.cuneiformrecords.com

PHIL CAVALIERI The First Third

Album · 2012 · (Post-70s) Eclectic Fusion
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js
Fans of modern jazz rock guitar playing are going to want to take notice of Phil Cavalieri’s new first CD, “The First Third”. Phil has a very unique language on the guitar that borders on the avant-garde, but still rocks enough to appeal to fusion fans. Cavalieri sites Wayne Krantz and John Scofield as influences, and that definitely comes through. Vernon Reid and the jazz-rock side of Sonny Sharrock might also make good reference points as well. Phil’s compositional style, like his guitar playing, is modern and jagged with lots of quick changes surrounding free improv sections. Drummer Ferruccio Dollabona provides modern rhythms, drawing on high speed drumnbass patterns and rapid changeups to match Cavalieri’s non-cliché structures.

This is a first time effort and a mostly homemade project, so don’t expect state of the art production. Still, the roughness of the production can also add to the unpretentious feel of this music. In addition to playing guitar, Phil also adds some decent keyboard playing and some of the bass work as well. Overall, “The First Third” is an impressive freshman effort that shows a very talented guitar player who should have a great future ahead of him.

MACHINE MASS TRIO As Real as Thinking

Album · 2011 · (Post-70s) Eclectic Fusion
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kev rowland
Originally MMT were a side-project of douBt, which contains both Tony Bianco (on drums and loops) and Michel Delville (on guitar, bouzouki and live effects – he also plays guitar in The Wrong Object), and here they have joined with Jordi Grognard who provides saxophones, bass clarinet and flute. ‘As Real as Thinking’ was recorded in just one day towards the end of 2010 in a small studio in Belgium, and the band is clear to make the statement that there are no overdubs at all. This album is all about expert musicians feeding off each other, going where the music drives them, which isn’t always as clear to the listener as it is to those who are undertaking the journey.

The closeness with which Michel and Tony interact is just astounding, and Jordi takes little or no part on “Falling Up” which is by the far the longest song on the album as the guys just go for it – providing an intensity and note density which is incredibly powerful. It is pushing through the limits of avant garde into prog and even into areas that are almost outside of music itself – just an incredible experience. It is incredibly difficult to comprehend the relationship these two musicians have with each other as they keep feeding each other with ideas and energy. In other pieces it isn’t unusual for both Michel and Jordi to be changing instruments as well as styles so that it often feels that there are way more then three guys involved, performing all of this totally live. As the label describes it so well, this was a “session of bold, risk-taking improvisation”. A final moving statement from Tony, “This record was recorded as my beloved wife, Mary, was fighting for her life. She has thus passed away and my playing is a tribute to her beautiful soul.” If you want music that is challenging the norm then this is it, but if you want simple clean repeated pop melodies then this probably isn’t for you. www.moonjune.com

MCCOY TYNER Guitars

Album · 2008 · (Post-70s) Eclectic Fusion
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Sean Trane
McCoy’s latest album is an atypical one, precisely because it features a plethora of gifted guitarists playing with his trio, made from Ron Carter and Jack DeJohnette. If I say plethora, it’s mostly because the featured string players are among the best in the world and come from all part of the jazz spectrum, so much so that the five account for ten. Indeed, along with the veteran John Scofield, we find the “jazz-touche-à-tout” Bill Frisell, the very eclectic Bela Fleck (playing the banjo), Marc Ribot and the son of the legendary ABB-member Butch Trucks. This isn’t to say that Guitars is not a typical Tyner album, quite on the contrary, as you’ll only see him on the dual disc digipak’s cover. The second disc is a DVD featuring some studio footage of some of the album’s tracks plus some interview and musician bater and serious discussions.

From the five guitarists, it’s up to Ribot to open up the album with four numbers, but get ready for a surprise, because the opening Improvisation 2 is from far the most inaccessible and dissonant track of the album, but it’s kept thankfully short. Much more Tyner-like is a 6-mins version of Passion Dance, where Ribot has to crank up the volume in order to match the Tyner trio’s energy level. Excellent rapid-fire fusion-jazz, if you don’t mind my saying so. The much calmer 6-mins 500 Miles (also featured on the DVD) lets Ribot cruise/soar on a much lower amp sonic level, but its second part is less exciting. To close their collab, the Improvisation 1 is much more accessible (and quite longer), and has some slow meandering that could almost count as melody. But Before Ribot finished up his section of the disc, Tyner chose to include the two tracks that he recorded with Scofield, the first of which is an old-Trane reprise, Mr PC (also featured on the DVD), and the bluesier Corner, both fairly typical of Scofield’s usual stuff.

Up next is Bela’s Flecksoundscapes, where he scratches his banjo’s strings in two of his own compositions, including Trade Winds and Amberjack (both too Flecktonish to fit on a Tyner album) but also the Trane-face My Favourite Things, which is surprising but overall the version is enchanting. The two tracks featuring Derek Trucks are probably the most accessible with the more “electric” Slapback Blues and the “get-cuddly-with-the-mate” Greensleeves reprise (also featured on the DVD). The three Frisell tracks close the album with the delicious 8-mins mid-tempo Contemplation (also featured on the DVD), the slow and short Boubacar and the hypnotizing (read modal) Baba Drame and the closing

As for the DVD, it’s packed with over three hours of film (announced as such, anyway), including some of those exciting studio outtakes featured on the album and some less-inspiring a rehearsal at the Club Bluenote or Tyner’s piano-rental check-out. The DVD comes with a neat technology feat, which gives you the option to select the player you want to see or all four at once via the menu. Overall, this DVD is just as essential as the album itself, which not always the case, as the recent return To Forever 4 DVD somewhat missed the mark partially.

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(post-70s) eclectic fusion movie reviews

MEDESKI MARTIN AND WOOD Fly In A Bottle

Movie · 2011 · (Post-70s) Eclectic Fusion
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js
“Fly in a Bottle” is a documentary that follows Medeski, Martin and Wood while they are on tour developing the music that will become “Radiolarians”, as well as some of the recording sessions for that same album. The music on here is excellent, MM&W have a come a long way over the years. They were always a talented band from the start, but their confidence has grown. The funky tunes are funkier than ever, and the psychedelic jazz-rock tunes are more powerful, imaginative and original. Almost any music fan might enjoy watching their concerts and even some of their recording sessions, but a lot of the rest of this DVD is for hardcore fans only.

Along with the footage of MM&W playing music, you also get a lot of footage of them on tour visiting ecological tourist spots and talking, hanging out etc, which is where I think a lot of non-fans will probably start losing interest. They seem like nice sincere guys, but they aren’t particularly entertaining or charismatic, which is often the case with nice sincere guys. There are also some artsy short videos that follow the main feature, some more entertaining than others. Fans of MM&W may want to pick this up, it’s a well-made video and the music is excellent, but non-fans may find this lacking in substance in places.

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