Classic Fusion

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The Classic Fusion genre at JMA includes those jazz artists who added rock, funk and world beat influences to jazz in the late 60s and 70s, and also to those artists who continue to play in this original fusion style today. Some important leaders in this genre include; Larry Coryell, Tony Williams, Miles Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Weather Report, Return to Forever and Soft Machine.

Rock musicians who use jazz as part of their musical language can be found in the Jazz Related Rock genre. Other more modern style jazz fusion artists can be found in the (Post 70s) Eclectic Fusion genre.

classic fusion top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 60 min. caching

MILES DAVIS In a Silent Way Album Cover In a Silent Way
MILES DAVIS
4.69 | 88 ratings
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HIROMI Hiromi's Sonicbloom ‎: Time Control Album Cover Hiromi's Sonicbloom ‎: Time Control
HIROMI
4.77 | 21 ratings
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HERBIE HANCOCK Crossings Album Cover Crossings
HERBIE HANCOCK
4.67 | 47 ratings
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MILES DAVIS Bitches Brew Album Cover Bitches Brew
MILES DAVIS
4.64 | 79 ratings
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MAHAVISHNU ORCHESTRA The Inner Mounting Flame Album Cover The Inner Mounting Flame
MAHAVISHNU ORCHESTRA
4.64 | 61 ratings
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MILES DAVIS Get Up With It Album Cover Get Up With It
MILES DAVIS
4.66 | 27 ratings
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MILES DAVIS Pangaea Album Cover Pangaea
MILES DAVIS
4.68 | 20 ratings
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JEAN-LUC PONTY Enigmatic Ocean Album Cover Enigmatic Ocean
JEAN-LUC PONTY
4.66 | 22 ratings
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EDDIE HENDERSON Realization Album Cover Realization
EDDIE HENDERSON
4.79 | 11 ratings
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MILES DAVIS Dark Magus: Live at Carnegie Hall Album Cover Dark Magus: Live at Carnegie Hall
MILES DAVIS
4.64 | 23 ratings
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MILES DAVIS Live at the Fillmore East (March 7, 1970): It's About That Time Album Cover Live at the Fillmore East (March 7, 1970): It's About That Time
MILES DAVIS
4.79 | 9 ratings
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TERJE RYPDAL Terje Rypdal Album Cover Terje Rypdal
TERJE RYPDAL
4.81 | 8 ratings
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classic fusion Music Reviews

AL DI MEOLA Casino

Album · 1978 · Classic Fusion
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Miler72
I can understand why I stayed away from Al Di Meola solo albums, but looking back, this is a prime example not to judge a book by its cover. 1978's Casino is his third solo album, which sports such a tasteless cover you may expect some horrific lounge jazz/fuzak, but I am happy to say it's nothing of the sort. He continues on the same Latin/flamenco fusion he explored on Elegant Gypsy, so that means if you like that album, you'll have no problem with Casino, although I don't feel the album really brings anything new to the table that he didn't already do on Elegant Gypsy. A good deal of the album bears more than a passing resemblance to Santana, I guess Di Meola was inspired by albums like Caravanserai, Welcome and Borboletta enough to record albums in a somewhat similar style. While I enjoy those Santana albums, I tend to have problems with some of the vocal songs, and Al Di Meola avoids that problem by making it all instrumental (although Land of the Midnight Sun did feature one vocal track, it was surprisingly nice). "Fantasia for Two Guitars" is one of those all-flamenco guitar pieces he tends to include on his albums, but the rest of the album has various help from various musicians, including Mingo Lewis, who, unsurprisingly played in Santana. There's also a version of Chick Corea's "Senor Mouse", which a version was recorded by Return to Forever off their 1973 album Hymns of the Seventh Galaxy. The RTF version naturally didn't feature Di Meola's guitar playing, but instead Bill Connors. Still this version is quite recognizable, but I imagine RTF performing this piece live quite a bit with Di Meola on board. At first I was a bit dismissive of Casino, but gave it another listen and found it actually an excellent album and worth having if you enjoy Latin fusion.

TOMASZ STAŃKO Purple Sun

Album · 1973 · Classic Fusion
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snobb
Polish trumpeter Tomasz Stanko is most probably country's best known jazz musician for some decades and prestigious ECM label in-house artist. Better known (especially outside of his homeland) from his ECM-sound recordings, in his early ears Stanko played quite different music. Started his career still at late 60s, Tomasz played with in Polish legend Komeda band, starting his career as leader in early 70s.

"Purple Sun" is Stanko quintet third album recorded live in empty hall of Music School in Munich,Germany. All-Polish quartet is completed with German bassist Hans Hartmann here. Album contains four originals (twolong and two shorter pieces). Confusingly enough, "Purple Sun" is often classified in music media (partially Polish) as early example of Polish avant-garde jazz which it isn't.

In reality bass-drums-trumpet-sax quartet with violinist Zbigniew Seifert on board plays high energy fusion strongly influenced by Davis' "Silent Way" and "Bitches Brew". Representing contrast difference from popular Stanko ECM albums of contemporary (chamber) jazz, "Purple Sun" with its raw energy and quite free structure possibly sounds as avant-garde piece for traditional Stanko listeners but everyone familiar with early Miles fusion will confirm their musical similarity.

Stanko's fusion is more European comparing with Miles - there are less American jazz roots (no groove) but lot of German krautrock influence in a form of straight power flow and rock-psychedelia. And yeh - the level of musicians virtuosity is far not as in Davis fusion bands.

Still music sounds really fresh and inspired and common "rockish" aesthetics could be attractive for fans of jazz-rock. In all cases, this album (reissued in Poland on CD at least twice so quite accessible) is not for numerous fans of ECM-period Stanko. Lovers of early Miles fusion will probably find here a nice example of similar music recorded by one of the best Polish jazz musician ever.

RETURN TO FOREVER Light as a Feather

Album · 1973 · Classic Fusion
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Miler72
This is apparently the first true Return to Forever album as the previous album, entitled Return to Forever, was released as a Chick Corea solo album, but it featured the same musicians, so that's how the name stuck, I guess. Light as a Feather continues the Brazilian jazz/Bossa Nova influence, with Flora Purim providing vocals and husband Airto Moreira on percussion. Chick Corea uses strictly electric piano and Stanley Clarke provides only stand up bass here. This is an incredible album, it doesn't have the break-neck Mahavishnu Orchestra-fast playing of Hymn of the Seventh Galaxy or the progginess of Romantic Warrior, it has a more relaxed vibe, but what a wonderful mood Chick Corea and Co. creates here, with lots of lengthy instrumental fusion passages, and of course a Brazilian feel that is ever present. Every time I hear Flora Purim sing, I expect her to either sing in her native Portuguese (she doesn't, she sings in English, since this was aimed for the American audience, naturally) or break into "The Girl From Impanema". Never happens. I wasn't sure if I would like this album, but instead it really knocked my socks off. Usually vocals in fusion albums are a big turn-off for me, but of course Flora Purim being Brazilian works amazingly well here, giving that Bossa Nova influence. If you like Brazilian jazz as well as fusion this album is a totally required!

AL DI MEOLA Land of the Midnight Sun

Album · 1976 · Classic Fusion
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Miler72
Having been blown away by Return to Forever's Romantic Warrior (an album that literally took me years to warm up to, though, but once I did...) and Lenny White's Venusian Summer, I went and tried Al Di Meola's debut album, Land of the Midnight Sun. Like Lenny White's Venusian Summer, he doesn't hire a steady band, just whatever musicians want to appear, but Mingo Lewis of Santana (of the Caravanserai/Welcome/Borboletta-era), Jaco Pastorius, Steve Gadd, Stanley Clarke, even Chick Corea, and others appear. The first two cuts sound a whole lot like Romantic Warrior-era RTF meets Santana, which is no surprise given the members involved. He does a unaccompanied Bach piece on acoustic guitar, and do an atmospheric spacy prog number "Love them from 'Pictures of the Sea'". Surprisingly Stanley Clarke provides vocals here in that spacy prog manner, which does this piece justice. "Morning Fire" is a multi-movement suite, but it's basically one long jam with tons of fretless bass playing from Jaco Pastorius. In fact this was a big reason he ended up a member of Weather Report and became a valuable asset to the band. The last piece is largely Chick Corea on piano and Al Di Meola on guitar, and a rather relaxed piece.

This is truly a great album of Latin-influenced fusion, that I can highly recommend to those who enjoy Return to Forever (naturally) and fusion-era Santana.

JOHN ABERCROMBIE While We're Young

Album · 1993 · Classic Fusion
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Steve Wyzard
THUNDERSTORM FADING TO SLOW DRIZZLE

The 1990s were not a golden age for ECM Records in general, or for John Abercrombie in particular. He entered the decade still focused on the guitar-synth/electronic experimentalism that was not popular with his fan base. Then he formed the trio featured on this album, with Dan Wall on Hammond organ and Adam Nussbaum on drums. While We're Young is the best of the three albums this trio recorded, but for those who were hoping for another album along the lines of 1975's Timeless, you may be disappointed. Which is not to say that it's a bad album, but it could have been so much more.

While We're Young is quite simply a dichotomy: the first four tracks feature the atmospheric, boundary-pushing music Abercrombie is known for, while the last four tracks are much more relaxed, and well, mellow. Listen to the hushed opening measures of both "Rain Forest" and "Stormz". The former builds slowly to a fabulous pinched-tone Abercrombie electric solo. The latter showcases a drum/guitar duet, and Abercombie's bended/tremolo notes must be heard to be believed. On "Dear Rain", Nussbaum plays only cymbals over Abercrombie's clear tone and Wall's sustained chords. "Mirrors" is this album's most aggressive and uptempo number, with a drum/organ duet and Wall handling the bass line under Abercrombie's solo. It leads one to wonder what a double-bassist or electric-bassist could have contributed to Abercrombie's understated but distinctive, fluid yet bluesy playing on this album.

After an impressive start, the brakes are applied and the intensity fades. To put it plainly, the last four tracks are elusive, muted, effortless, moody, peaceful, leisurely, etc. There are occasional moments of vigor and energy, but for the most part both compositions and performances pale next to the previously established sound-world and blend one into another. Abercrombie's amplified acoustic on "Scomotion" would fit right in on most any Pat Metheny album of the last 20 years. Such a drastic change-of-pace on an album's second half is not unprecedented, but it is disheartening after such a promising beginning.

At 59:08, While We're Young doesn't overstay its welcome, but the final four tracks do not help matters. Perhaps it's unfair (especially with the passage of decades) to compare everything Abercrombie records with the incandescence of Timeless or 1976's Gateway, but a precedent was indisputably set. If you're a long-time Abercrombie listener, there is much to enjoy on this album, but it can't rightfully be classified among his best. Thankfully it doesn't meander into the long-winded aimlessness of some of his later albums, and it does provide enjoyable listening every time it comes off the shelf. But that's all.

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WEATHER REPORT Live in Germany 1971

Movie · 2010 · Classic Fusion
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Sean Trane
Well if the world still has to find some live recording from the very first studio all-star line-up (not likely, though), at least we've got now something very close to and we can even see the quintet at work with this just-as-famous version in the form of a German TV show called the Beat Club. With only Airto Moreira gone, replaced by Brazilian countryman Um Romao, the other four being Vitous, Shorter, Mouzon and Zawinul, Weather Report embarked on this TV show adventure not knowing that Alphonse Mouzon would leave the band in a while.

As you'd expect this broadcast consisted mainly of tracks from the debut album, but some are fairly different as WR always made improvisation their force. So you'll recognize 'Umbrellas generic structure, but drafted fairly differently, not just because of Romao's constant change of percussions instruments - he's one of the visual focus of the group, who otherwise remains fairly static and even blows a flute (and later some whistles) for a short while. One of the big difference between the studio album and this broadcast is that Miroslav has taken up the electric bass (his contrabass is still very present but mainly played with a bow), thus allowing even more energy to invade the quintet's shared space. The group's steaming-hot improvised fusion is simply awesome and flows naturally from your speakers like a river of fresh lave spewing out from your volcanic woofers.

Clearly the gravitational centre of the band is Zawinul's Rhodes, but it is clear that it is the group's tightness its main force. Morning Lake is much needed breathing space, starting out slowly with Shorter's sax signalling the dawn for Romao's birdsongs. Just past that Dom pulls an Brazilian berimbau . Drummer Alphonse sings funkilly (rather well, too) a rare sung track in the closing medley, but it's will veer into the Dr Honoris Causa - later on the Body Electric album.

A while later, Mouzon would leave the band and be replaced by drummer Erik Gravatt and this line-up would go on to record Body Electric and the Tokyo concert (released in 77, but part of it in the ISTBE album) and in the process become the definitive line-up of the Vitous- era Weather Report But for now, this German TV broadcast is an inestimable witness of the group's almost original line-up, and is just as essential as their debut album, the Tokyo concert or Body Electric.Too bad it's relatively short, though. Run for this baby...

DIXIE DREGS Live At The Montreaux Jazz Festival

Movie · 2005 · Classic Fusion
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Slartibartfast
This was the Dixie Dregs lineup that I first come to know live and otherwise. The Montreaux Jazz Festival performance was used for side two of the LP Night of the Living Dregs. I had no idea the concert was filmed. This represents the band at their prime. Keyboardist Mark Parrish, would soon be replaced by T Lavitz, who is a better keyboard player, but this as this performance testifies, he was no slouch either. Oddly enough, the back cover of this DVD shows a band picture with the original keyboardist from Freefall, Steve Davidowski (guess there was only room for one Steve in this band). Steve Morse was at his most inspired around this time, even though he has certainly grown in skill over the years.

The set list is a little disappointing as it lacks some of the prime cuts from What If (Night Meets Light, Odyssey, Travel Tunes, What If), but I'm not complaining. Now I have something more than just memories of the many Dregs shows I saw back then. It is more of a forward looking set which includes Attila The Hun, that didn't show up on an album until three years later. Also of note, but of less interest to progressive rock fans, is the bluegrass style ditty, Kathreen, never released on a regular album, but only showed up on their demo album, The Great Spectacular, from 1975. If you have a copy of that album, you have something rare, indeed.

Thrown in for bonus are two live TV appearances, one on American Can'tstand (Bandstand) and one on Don Kirschner's Rock Concert. On the former, you get to see them both try out a vocalist, in an attempt to appeal to a more mainstream audience, and with Mark O'Connor, who only played with them for one album, but a few great live shows before the band disbanded for a few years.

As great as the band studio albums were, the live shows took things to an even higher level. Now you can see what you missed, unless you didn't.

JOHN MCLAUGHLIN Abstract Logix Live! / The New Universe Music Festival 2010

Movie · 2011 · Classic Fusion
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js
Abstract Logix’s New Universe Festival of 2010 was probably one of the more significant fusion concerts in recent history, and it is all captured in excellent form on this concert video. Many of the top names in current fusion are here and what a great varied and colorful approach they all bring to this music that will always be associated with its 70s roots. Ranjit Barot fuses fusion with Indian flavors and orchestral music, Human Element bring back the beautiful noise and chaos that has been absent since the early days of jazz-rock, Wayne Krantz takes on the modern NYC flavor with his harsh jarring free funk, Jimmy Herring plays sentimental, sometimes delicate, progressive rock flavored fusion, and of course the great John McLaughlin rounds it all up with high speed post bop mixed with funk and contemporary fusion. Every single performance is top notch and very convincing in letting us know that there is still plenty of life left in this sometimes maligned genre.

The music on here is great, but the video itself is even better. Its amazing how far concert videos have come over the years. This one is clear as a bell and features lots of accurate close-ups of the musicians as they display their virtuoso skills. They say that fusion is a musician’s music, if that is the case, then this video is a great learning tool for the aspiring player. Much of the footage on here goes right to the source and features the musician’s hands as they work their scales and fret boards. Any aspiring fusionist can pick up a lifetime of high speed licks and extended technique by studying this video and even stop-starting it it frame by frame. Long gone are the days of vague camera angles from way far away and pointless shots of musicians grimacing while they play, this video is all about accuracy and showing you exactly how this music goes down. This is a spirited and enthusiastic concert and highly recommended for fans of modern fusion.

MAHAVISHNU ORCHESTRA Live At Montreux 74/84

Movie · 2007 · Classic Fusion
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Slartibartfast
The 1984 appearance of the MO was a lineup that didn't have any of the previous MO lineup of musicians except for John. Still there was a pretty impressive roster. Jonas Hellborg, on bass, steals the show. I suspect he's been rather influenced by Jaco at this point. Also, we also have Bill Evans, fairly fresh out of his stint saxing with Miles Davis. There's also a fine drummer, Danny Gottlieb, who'd played with Pat Metheny prior. Don't know much about Mitchell Forman. With John experimenting with the Synclavier Guitar so much, the keyboards are almost redundant in this ensemble. I had a hard time sitting through this at first. It definitely has that '80's taint, if you know what I mean. But I've warmed up to it. It's a bit like an attempt to return to the magic of the original lineup that doesn't quite get there. Still, if you judge it in the context of the time, it's not too bad.

I got this for one reason and one reason only, it was the two video bits from the Apocalypse lineup of Mahavishu Orchestra. Actually calling them bits isn't quite accurate. Wings of Karma and Hymn to Him are actually decently long pieces. I was pleasantly surprised to see that they had some actual orchestra musicians with them there at Montreaux. The first inkling I got that there was some live footage from this MO lineup was a poor quality video of Smile of the Beyond on a certain video clip web site many of us know of. It's very disappointing that we only get two clips from the show with video and the rest are audio only. I'm guessing the rest of the original footage has been lost. One can only hope that it will resurface. The performance is a bit more structured than the more compact MO's could be live, but that's to be expected due to the larger number of musician's involved. Still the core band does get to work in some improvisation, McLaughlin in particular.

This release is all in all a pleasant surprise for 2007, but there's more video out there from the older Mahavishu Orchestras, and I hope to see that material surface soon. It gets a four on the round up.

JEFF BECK Performing This Week...Live At Ronnie Scott's

Movie · 2008 · Classic Fusion
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Slartibartfast
Holy crap, there's a new Jeff Beck live DVD out there!.

...I thought as I saw this at the record store. This is why it's important to keep those local independent brick and mortar record stores open: you'll never know what you'll find browsing.

As near as I've been able to find out, Jeff Beck (THE Beck, not that other guy) hadn't been touring in a long time, but rather was sticking to special performances. To make up for it, sort of, he did a week's worth of shows at London's Ronnie Scott's Jazz Club in late November 2007. I've never been there, but it looks a little large as some jazz clubs go but still reasonably intimate. I'm pretty sure you don't need binoculars to observe any performances there.

Jeff has assembled an interesting set of musicians, the oldest being Jeff himself (b. 1944), Vinnie Colaiuta (1956) on drums, Jason Rebello (1969) on keys, and Tal Wilkenfeld (1986) on bass. Vinnie I know best from association with Zappa, Jason's new to me but I found out has worked with Sting, Tal (new to the music scene) hails from Australia and judging from her performance she is someone to really keep your eye on. Guests appearances by Joss Stone, Imogen Heap, and Eric Clapton, heyyy.

The set list, not really the proper term as it must have been culled from all the shows, is an impressive collection of material spanning Jeff's career so far. Original stuff includes Beck's Bolero {is this not actually a cover?}, Led Boots, Scatterbrain, Angel, Blast From The East, Rollin' And Tumblin'. Also some nice covers thrown in for good measure including Eternity's Breath!, Cause We've Ended As Lovers {never really seemed like a cover to me}, People Get Ready, A Day In The Life, You Need Love). You also get some interviews as bonus material and the DVD booklet is a nice read. 21 tracks altogether, mixed in Dolby 5.1 and DTS surround sounds with a 16:9 video format, I might add.

Wish I was there but this is the next best thing. It's one hell of a way to experience one hell of a guitarist. It's a live assortment, but due the quality and quantity I am rounding this one up.

Artists with Classic Fusion release(s)

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