Fusion

Jazz music community with review and forums

Rock and RnB came from jazz in the 1940s via the jump blues genre. Needless to say, over the years jazz, rock and RnB have enjoyed a close relationship and have cross-influenced each other from the beginning. In the mid to late 60s, rock and RnB under went major changes with rock becoming much louder and more experimental under the influence of artists such as Jimi Hendrix and Cream, while RnB became more syncopated and abstract with the new funk sound created by James Brown, Bootsy Collins, Sly Stone and Larry Graham. Meanwhile, Latin jazz was undergoing similar experimental changes under the guidance of artists such as Hermato Pascoal and Flora Purim.

At this point in the mid to late 60s, any intersection between jazz, rock, funk and Latin became a radically different form of music that eventually came to be called fusion. Pioneers in the world of fusion include Larry Coryell, Jermy Steig, Charles Lloyd, Jack DeJohnette, John McLaughlin, Tony Williams, Soft Machine, Brian Auger, Miles Davis, Joe Zawinul, Wayne Shorter, Chick Corea and Dreams (Billy Cobham and the Brecker Brothers)

fusion top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 24 hours caching

MILES DAVIS In a Silent Way Album Cover In a Silent Way
MILES DAVIS
4.66 | 102 ratings
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MILES DAVIS Bitches Brew Album Cover Bitches Brew
MILES DAVIS
4.56 | 89 ratings
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HERBIE HANCOCK Crossings Album Cover Crossings
HERBIE HANCOCK
4.57 | 54 ratings
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MAHAVISHNU ORCHESTRA The Inner Mounting Flame Album Cover The Inner Mounting Flame
MAHAVISHNU ORCHESTRA
4.55 | 69 ratings
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BILLY COBHAM Shabazz Album Cover Shabazz
BILLY COBHAM
4.63 | 16 ratings
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MAHAVISHNU ORCHESTRA Birds of Fire Album Cover Birds of Fire
MAHAVISHNU ORCHESTRA
4.46 | 70 ratings
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MILES DAVIS Dark Magus: Live at Carnegie Hall Album Cover Dark Magus: Live at Carnegie Hall
MILES DAVIS
4.51 | 26 ratings
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EDDIE HENDERSON Realization Album Cover Realization
EDDIE HENDERSON
4.58 | 15 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
4.67 | 9 ratings
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MILES DAVIS Pangaea Album Cover Pangaea
MILES DAVIS
4.45 | 22 ratings
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LES MCCANN Invitation to Openness Album Cover Invitation to Openness
LES MCCANN
4.55 | 9 ratings
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HERBIE HANCOCK Sextant Album Cover Sextant
HERBIE HANCOCK
4.36 | 42 ratings
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fusion Music Reviews

SOUNDS OF LIBERATION New Horizons

Album · 1972 · Fusion
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Igor91
Philadelphia's Sounds of Liberation created an excellent, yet obscure, jazz/fusion LP. The year was 1972 and the doors of creativity that were kicked open in the late 1960's had not yet been closed by the increasingly corporate music industry. The music scene was still fertile and the Sounds of Liberation were keen on capitalizing on the opportunity to create something unique. New Horizons is an intoxicating mixture of jazz rock/fusion, free jazz, and African music. All of this is wrapped in a slightly psychedelic aura. The opening track, "Happy Tuesday," even has a Krautrock vibe to it. The 19-minute song features a driving, repeating rhythm accented with African percussion instruments, while the rest of the band jams along. A wonderful trip! The rest of the album does not disappoint, continuing on a similar sonic path. The performances are excellent and the recording and production is decent for an independent release of that time. A highly recommended lost fusion classic!

HERBIE MANN Stone Flute

Album · 1970 · Fusion
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js
Along with Miles Davis and Eddie Harris, Herbie Mann was one of the most eclectic jazz artists of his time, with albums ranging from pop to avant-garde, any single album can be in a totally unique style that is unlike any of his other albums. 1970’s “Stone Flute” is one such album, as it finds Herbie experimenting with drifting ambience, psychedelic sound and a sense of time suspended. The music on here is very similar to sound experiments that Miles Davis was performing as he was making the tracks that would show up a few years later on “Big Fun” and “Get Up With It”. If Mann didn’t hear any of those sessions, I’m sure he heard the somewhat similar “In a Silent Way”, certainly both artists were trying out similar ideas and approaches as they sought to produce music that hung in the air with a sense of infinite space.

Herbie has a backing band on here, but they are mostly in the background as side one slowly unfolds with Mann’s flute, sometimes double tracked., dominates the proceedings. A time warped version of the Beatles “Flying” is a highlight on this side of the album. Side two opens with the more busy and dissonant free fusion of “Miss Free Spirit”. This track also features the only solo from vibraphonist Roy Ayers who unleashes a torrent of scattered scales. Side two closes with two abstract ballads that put Herbie front and center again. There is no keyboard player listed on the credits, but the sound of held chords on a Lowery organ show up often. There is also a string quartet who are often arranged deep into the mix adding more vague sounds mixing with the other background instruments. If you enjoy Miles spaced out tracks like “He Loved Him Madly” or side four of “Agharta”, you will probably like “Stone Flute” too. This album was very much ahead of its time as it pre-dates more recent efforts by artists like Brian Eno, Bill Laswell and much of today’s nu jazz scene.

TERJE RYPDAL Conspiracy

Album · 2020 · Fusion
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Steve Wyzard
COMEBACK OR FINAL THOUGHTS?

For those of us who can never get enough of albums like What Comes After, Odyssey, and Chaser, this album came as a HUGE surprise. For the past 20 years, Terje Rypdal has entirely devoted himself to classical composition and experimental collaborations, as opposed to the fusion performances that saddled him with the sobriquet, "the Jimi Hendrix of Norway". Without warning, we are suddenly graced with a retro/throwback album called Conspiracy.

With Stale Storlokken on keyboards, Endre Hareide Hallre on basses, and Pal Thowsen on drums/percussion, Rypdal's worldwide fan-base can be forgiven for thinking this is an outtakes album from the late-1970s or early-1980s. All of the classic trademarks are here: the soaring, ascending, infinitely-sustained guitar tones, dreamy pre-digital organ textures, busy bass/drums, thunderous dirges, and a general howling, wind-driven sub-Arctic atmosphere.

Composed entirely by Rypdal, he never dominates the material and everybody receives a chance to show their stuff. Three tracks in particular deserve comment. "By His Lonesome" is an ethereal backdrop for a Hallre bass solo: Rypdal doesn't even enter until almost the 2-minute mark. "Baby Beautiful" (the longest track at 8:01) opens with tinkling tuned percussion before Thowsen (who longtime ECM listeners will remember from Arild Andersen's quartet in the 1970s) sets up a rhythmic pattern for the solos to follow. The album closer "Dawn" begins with a very low rumble, as if a huge double bass section is playing in the distance, before dissolving into guitar effects and then vanishing.

Recorded in Oslo in February 2019, the immediate initial reaction to Conspiracy regards its length: 35:04. We've come a long way from the mid-1990s where everybody felt it was obligatory to issue 65-minute albums. Now that the LP has returned to the mainstream, shorter albums are once again back in fashion, but at what cost? Rypdal is now in his 70s: the cynical are likely to dismiss this as just a cash-grab to help with inevitable healthcare costs. Some would suggest this is an exercise in nostalgia, perhaps an aural last-will-and-testament. When there is such a deep, accessible back-catalog (even tribute albums), one might be tempted to say, "Not bad, just not much." Conspiracy neither greatly adds to nor subtracts from Rypdal's recorded legacy, but is rather an excellent quick reminder of just what he did so uniquely well.

JOE FARRELL Moon Germs

Album · 1973 · Fusion
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Steve Wyzard
FUSION MASTERPIECE

It's sad that since his untimely death in 1986, Joe Farrell has been mostly forgotten. Sure, the albums he did with Chick Corea, Elvin Jones, and even Andrew Hill still have their adherents, but albums like Moon Germs remind us he deserves to be remembered as far more than just a side-man. And while this is a CTI album from 1973, don't worry: there's not an overbearing orchestra in sight.

The four tracks on Moon Germs (Farrell's "Great Gorge" and "Moon Germs", Chick Corea's "Times Lie" and Stanley Clarke's "Bass Folk Song") all follow a similar pattern: begin leisurely before launching into ridiculous speeds, Farrell takes the first solo, Herbie Hancock (electric piano - less than a year away from Head Hunters) takes the second solo, a very young Stanley Clarke (electric bass) and Jack DeJohnette (drums) add their irrepressible best, before everyone returns to the beginning. Farrell, known for his Rollins-ish tone on the tenor, plays only soprano sax on this album, with the exception of "Bass Folk Song" which is his flute showcase. Like soloing, especially from these guys? On this album, solos go far beyond the usual 10-30 seconds each.

The word "masterpiece" gets thrown around all too often, but Moon Germs truly deserves it. While released in close proximity to many other fusion classics that are still revered today, this album can stand head-and-shoulders next to any of them. Highly recommended to fans of all the players involved, but most especially to Herbie Hancock fans. If you enjoy his Crossings/Sextant period, you MUST hear his performances on this album!

PAT METHENY From This Place

Album · 2020 · Fusion
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darkshade
Pat is back! With a new lineup, bringing over long-time bandmate at this point, Antonio Sanchez, on drums. On bass is Linda May Han Oh, and on piano is Gwilym Simcock. The band is backed up by an orchestra. This is arguably one of his best albums over a 50 year career, which is quite a feat this late in the game. I haven't felt this great about a Pat Metheny album since The Way Up, released almost 15 years prior to this album. There's been some good stuff released in between, but nothing that has been as enjoyable as anything from 2005 and earlier... until From This Place.

From the massive prog-jazz opening track America Undefined, to the final heartfelt Love May Take Awhile, this album is a journey, and an emotional roller coaster, as Pat's best albums usually are. I enjoy every track here. The opener is very intense, with even some kind of rock out section in the last part, very exciting way to open things up. Same River is very classic Pat Metheny, Pathmaker is possibly the most fun tune on this album, and the harmonica player from The Way Up appears on The Past Is Us, a great tune. The emotional title song touches on the political climate of the late 2010s, but I think the final two pieces, Sixty-Six, written for Pat's age at the time, and the aforementioned Love May Take Awhile, are two of the most powerful pieces of music Pat has put out yet. The orchestral strings really shine on these last two.

I am reminded of Lyle Mays throughout this album, who passed away about a week before this album was released. The tune Sixty-Six takes on a whole other meaning for that is the age Lyle was at his passing, and the music is reminiscent of the Pat Metheny Group classic, "Last Train Home" makes it seem like a tribute to the life of Lyle Mays. The piano work of Gwilym Simcock is to be commended as he really brings out the spirit of Lyle throughout the music of From This Place. The orchestra does this as well, providing the synth-heavy background ambience Lyle would often provide in the PMG along with is piano playing, with an orchestra instead.

Overall, this album is like a marriage of Secret Story and The Way Up, while also bringing back some of the mid-Western sound from the 70s bands, with a pinch of the 80s PMG sound for good measure. All the while pushing things forward, there are many surprises throughout, some things I've never heard Pat do before. As far as his guitar playing, of course it's fantastic as usual, but this time he sounds more inspired than usual as of late, and his classic tone is back. Pat has never sounded so good. His clean guitar tone here is well balanced and warm, unlike his previous few albums where his tone was dry, far-away sounding, and cold.

Highly recommended for anyone who is even slightly into Pat's music. Great album from the modern master of Jazz.

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WEATHER REPORT Live in Germany 1971

Movie · 2010 · 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 · 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 · 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 · 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 · 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 Fusion release(s)

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