Classic Fusion

Jazz music community with reviews, MP3 (free download/stream) and forums

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
4.70 | 89 ratings
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MILES DAVIS Bitches Brew Album Cover Bitches Brew
MILES DAVIS
4.67 | 80 ratings
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HERBIE HANCOCK Crossings Album Cover Crossings
HERBIE HANCOCK
4.67 | 47 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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ALLAN HOLDSWORTH Metal Fatigue Album Cover Metal Fatigue
ALLAN HOLDSWORTH
4.69 | 11 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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classic fusion Music Reviews

DUŠAN JEVTOVIĆ No Answer

Album · 2017 · Classic Fusion
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kev rowland
t must be said that I wasn’t the world’s biggest fan of Dušan’s last release, 2013’s ‘Am I Walking Wrong’, and I think it was probably the first time I had ever given a Moonjune album a poor review, but I just didn’t get it. So, when this arrived in the post one day I wasn’t immediately over-enamoured, but I opened the digipak and realised that the drummer was none other than Asaf Sirkis, someone whose work I highly admire. The line-up was completed by Vasil Hadzimanov on acoustic piano, Fender Rhodes electric piano and Mini Moog bass, and I was immediately intrigued. Further investigation led to the discovery that the album was recorded in just two days last February, and knowing that they had toured together in different incarnations, as opposed to being put together for a studio project, made me think that this could be quite a special album indeed.

I put aside any preconceived ideas, and as soon as the first notes came out of the speakers I was transfixed. Here were wonderful guitar lines, perfectly accompanied by different keyboards with both lightness and strong bottom end, and then there was Asaf who was playing as if he was the lead player in the band. There are many times during this album where Vasil is valiantly managing to keep it all together, as both Dušan and Asaf attempt to be the main in charge. This is simply a wonderful album, full not only of wonderful melodies but great interplay between all those involved. Ideas bounce between the trio, and there are so many thing son here to enjoy, from brightness and sparks to reflective and delicate, such as on the emotional “Yo Sin Mi”. Dušan’s guitarwork is exemplary throughout, as he switches styles and tones, yet there is always clarity and finesse. This is not a guitarist who feels the need to prove his skills by playing five thousand notes to the bar, but instead shows it every time he uses sustain.

This is one of the most interesting and enjoyable instrumental albums I’ve come across in 2017.

MATCHING MOLE Matching Mole

Album · 1972 · Classic Fusion
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siLLy puPPy
Hard to believe that a simple innocent band like the Wilde Flowers could blossom so quickly and splinter into so many disparate directions. After that fortuitous breakup, both Soft Machine and Caravan continued on in the psychedelic pop world but as Caravan continued to create ever more sophisticated progressively oriented psychedelic pop, Soft Machine on the other hand was hell bent for leather for jumping into jazz-rock territory only to abandon the rock part of the equation altogether. While this was perfectly suited for the such jazz leaning members such as Elton Dean, Robert Wyatt was feeling like a fish out of water and was very quickly getting squeezed out of the band’s decision in musical direction. Come Soft Machine’s “IV” and he had enough.

Whether he was fired or voluntarily left of his own volition is a mute point. The fact was that Wyatt’s creative outlets were being stifled and it was time to move on. Move on he did and while Soft Machine was more interested in proving themselves as jazz musicians and abandoning all the rock creds that created progressive rock’s Canterbury Scene, Wyatt was ready to jump back onto the Canterbury bandwagon and take control of his own musical direction. The result was the cleverly named MATCHING MOLE where Wyatt put the whimsy back in the Scene and created a pun on “Machine Molle” which is simply the French translation of Soft Machine!

Wyatt hooked up with Caravan organist David Sinclair (who remained with that band), original Quiet Sun bassist Bill MacCormick and guitarist Phil Miller who had played with Carol Grimes & Delivery. Wyatt continued his role as a drummer but also contributed a great deal of piano, mellotron and lead vocals. In a way, MATCHING MOLE’s eponymous debut is the first “true” 70s Canterbury Scene album, at least in that famous cohesive sound since both Soft Machine and Caravan while going their own ways remained psychedelic pop and in the case of Soft Machine’s “Third” and beyond, more a jazz-rock fusion band. MATCHING MOLE was the first album in the subgenre to create that perfect fusion sound of psychedelic rock and jamming sessions with all the technical jazz touches side by side with the humorous whimsical style that the style had become synonymous with.

While this was indubitably Wyatt’s baby, he seemed to still be letting other’s influence his decision as to what was to make it on the album. This is abundantly clear on the first track “O Caroline” which is really the one track that doesn’t fit in with the rest. While Wyatt composed the majority of tracks on the album, it was Sinclair and his slick Caravan pop sensibilities who composed the opener “O Caroline,” a track about breaking up with his girlfriend and apparently supposed to be a single as it appears on the remastered version as a bonus track titled “O Caroline (Single version.)” It is a whiny little track with a piano based melody riffing along about, well, girl trouble things. Not necessarily bad subject matter but clearly a stab at some sort of crossover success. While the two following tracks “Instany Pussy” and “Signed Curtain” are also based in catchy melodies and not overtly complex, they do sound more like the classic Canterbury style with an ostinato bass line frosted over with psychedelic touches and the famous organ sound that instantly screams the style albeit more on the accessible side as well. These two track in many ways portend the much more complex leanings of the future Hatfield & The North projects at least in sound.

While the first MATCHING MOLE album starts off rather ho hum with a tame crossover type track and slowly transitions into more interesting musical turf, it really takes off on the fourth track “Part Of The Dance,” the sole Miller contribution creates a lengthy nine minute plus jazzy psychedelic jam session that utilizes all the progressive rock signature sounds with a rad mellotron and organ accompaniment punctuated by a plethora of time signature workouts and Miller’s stellar guitar work that would eventually find a second calling in Quiet Sun. The remaining tracks never deviate from the progressive rock world and only get more psychedelic, more otherworldly and more proggy as they commence. It’s actually quite astonishing how the album ratchets up from totally accessible and borderline cheesy to ultra-sophistication in both musical performance and production values. Perhaps a slow burner but more than worth the wait.

Speaking of production values, this album is fairly notorious for having been poorly recorded despite appearing on a major label like CBS Records when it debuted in 1972, however i highly recommend the newer remastered version that came out in 2012. It not only has a bonus disc with a ridiculous amount of surplus material including alternate session takes and BBC Radio One sessions but also includes the single edits and the stellar previously unreleased near 21 minute prog behemoth “Part Of The Dance Jam” which most certainly would have been included on the album if permission for a double album would have been granted. It is a sprawling jam that takes the MATCHING MOLE psychedelic Canterbury sound and merges it with more of a Soft Machine “Third” type of composition. Not to mention the production has been improved 100 fold and although not exactly sounding like it’s a bristling new album recording in modern times, sounds crisp and clean for an album recorded many decades ago.

TONY WILLIAMS The New Tony Williams Lifetime ‎: Believe It

Album · 1975 · Classic Fusion
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Steve Wyzard
ONE OF THE GREATS!

When the great fusion albums (such as In a Silent Way and Enigmatic Ocean) are being discussed, Tony Williams' Believe It outright demands to be mentioned with them. This might come as a surprise to some, as there are some caveats that should be addressed:

1) Its length. The original LP ran a little over 33 minutes. Later CD re-issues have added extra tracks that don't really add to the album's greatness. Don't think of Believe It as "short", think of it as "succinct" and "visceral".

2) Electric bassist Tony Newton. With a soul/r'n'b background, he's not the first person you'd think of when you imagine who should play bass on a "fusion masterpiece". He acquits himself quite admirably with this line-up, and adds effects to his two compositions that, while hip for 1975, do not ruin the album.

3) Too rock/too jazz. On Believe It, guitarist Allan Holdsworth and keyboardist Alan Pasqua give two of their best performances EVER in their long and checkered careers. If you're a fan of these two, you will LOVE this album. Holdsworth's snarly, distorted tones, however, have alienated many, leading to the "too rock for jazz, too jazz for rock" dismissal he is all-too-often tagged with.

4) The follow-up. This line-up recorded just one other album, Million Dollar Legs. With a hideous cover, vocals, strings, and horns, it is in EVERY way inferior to Believe It and led Holdsworth to bolt for Bill Bruford's new group.

If you can overlook the above and have acquired the taste for classic fusion, Believe It will become a (ahem) LIFETIME listening experience. While very much of its age, this fiery recording session has transcended its contemporaries and will never grow old. There are no weak moments, and the songs and amazing solos are all out of this world. And needless to say, Tony drums up a storm. While he put out many albums and sat in on many sessions, you'd be hard-pressed to find a more dynamic Williams performance recorded after this one. And let it be said here that "Fred" is one of Holdsworth's greatest moments ever!

MARK WINGFIELD Wingfield Reuter Stavi Sirkis : The Stone House

Album · 2016 · Classic Fusion
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js
Most jazz fans are well aware of ‘free jazz’, which has, over the years, become quite common, but on “The Stone House”, Mark Wingfield and Markus Reuter bring something a little less frequented, free fusion. There is some precedent for the idea of free jazz rock/fusion to be found in some albums by Sonny Sharrock, Miles’ live Fillmore sessions, early Lifetime with Tony Williams, Larry Young and McLaughlin, as well as in-between-song jam sessions by fusion influenced rockers King Crimson. Still, such improvs are rare, simply because free fusion can be a risky endeavor. Whereas the free jazz musician is welcome to ignore a regular beat or any melodic content, the free fusion musician has a narrower tightrope to walk as most fusion fans expect some kind of groove, as well as some recognizable solo licks and melodies. To this end, much of “Stone House” is a total success as Mark, Marcus and crew come up with jams that are imaginative and free-wheeling, yet often very musical and a real rockin kick to listen to. At their very best, the two guitarists become a dream team of soaring psychedelic fret work, along the lines of what it would have sounded like if Pete Cosey could have teamed up with Robert Fripp. In between the more magical moments, there is the sort of searching that one could expect from a free improvisation like this, but usually it doesn’t take this crew too long to find what they are looking for. It also sounds like there was a certain amount of post jam editing to single out the best moments, but I may be wrong on that.

Opening track “Rush” contains some of the hottest moments, after the band discards a couple of grooves that don’t click. Once they find the right one, they are off for some very exciting psychedelic screaming fusion guitar work, backed by nimble syncopated rhythms from drummer Asaf Sirkis and bassist Yaron Stavi. The following track plods a bit on a generic rock beat, but number 3, “Silver”, picks up the pace and finds the two guitarists intertwining on some very Frippian intersecting guitar lines. “Fjords de Catalunya” is floating ambient sounds that work really well. Track 5, “Tarasque”, has the band in search mode, followed by some frantic moments, seems the band loses some cohesion on this one. They end the CD strong with “Bona Nit Senor Rovira”, which opens with some intense rocking, followed by more blissful melodic ambience.

There are some really great extended moments on “The Stonehouse”, some of the guitar work is far more imaginative than your average fusion jam, but the listener may also find some moments that find the band in search mode, which is to be expected from a session like this. Overall, a much better CD than I would have expected given the premise it is based on.

DWIKI DHARMAWAN So Far So Close

Album · 2015 · Classic Fusion
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kev rowland


Dwiki Dharmwan is one of Indonesia’s most prominent musicians – a cultural icon in his homeland. Dwiki is an accomplished pianist, keyboardist, composer, arranger, performer, peace activist, and a true cultural ambassador of his beloved country. He has forged a very successful career (one that already spans more than 30 years), performing in over 60 countries with both solo and collective projects. (Dwiki's band, Krakatoa, remains one of Indonesia's most famous bands ever.) This 2015 release was his first on a major Western label, Moonjune, and he has found a home that really suits him. Not only has this given Dwiki the opportunity to have his work heard by a far wider audience, but has allowed him access to some incredible musicians. So, while he contents himself by providing Fender Rhodes Electric Piano, Mini Moog, Hohner Clavinet, Hammond Organ, Korg Synth, Acoustic Piano and vocals (the album is mostly instrumental), he is joined by Jimmy Haslip (bass), Chad Wackerman (drums), Dewa Budjana and Tohpati share guitar duties (although not on the same songs) plus Jerry Goodman provides electric violin on one song. It is often a very Western sounding album, but I Nyoman Windha (Gamelan Jegog, Balinese Kendang, Suling vocals) also has an important part to play/

This just doesn’t sound like an album that has been released in the last few years, but sounds as if it is a lost gem from the Seventies, bringing forth influences and touches of bands such as Weather Report and John McLaughlin. While some of the songs sound highly rehearsed and tight, there are others such as “Jembrana’s Fantasy” that are far more free and improvisational and style, and it is here where the guys move away from classic fusion into an area far move Gamelan influenced.

The sound is warm throughout, aided by the incredible warmth of Jimmy’s bass, and his partnership with Chad cannot be understated, as they seem to always know exactly where each needs to be to provide the support for what is happening above. Highly recommended for anyone who loves classic fusion

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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.

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