Fusion

Jazz music community with discographies, reviews 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, Gary Burton, Don Ellis, Chico Hamilton, 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)

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MILES DAVIS In a Silent Way Album Cover In a Silent Way
MILES DAVIS
4.64 | 117 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
4.80 | 13 ratings
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HERBIE HANCOCK Crossings Album Cover Crossings
HERBIE HANCOCK
4.59 | 64 ratings
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MAHAVISHNU ORCHESTRA The Inner Mounting Flame Album Cover The Inner Mounting Flame
MAHAVISHNU ORCHESTRA
4.57 | 83 ratings
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MILES DAVIS Bitches Brew Album Cover Bitches Brew
MILES DAVIS
4.56 | 107 ratings
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MILES DAVIS Dark Magus: Live at Carnegie Hall Album Cover Dark Magus: Live at Carnegie Hall
MILES DAVIS
4.60 | 32 ratings
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MAHAVISHNU ORCHESTRA Birds of Fire Album Cover Birds of Fire
MAHAVISHNU ORCHESTRA
4.52 | 84 ratings
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EDDIE HENDERSON Realization Album Cover Realization
EDDIE HENDERSON
4.56 | 18 ratings
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MICHAL URBANIAK Fusion III Album Cover Fusion III
MICHAL URBANIAK
4.95 | 4 ratings
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CHRIS POTTER Circuits Album Cover Circuits
CHRIS POTTER
4.92 | 4 ratings
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PAT METHENY Pat Metheny Group : The Way Up Album Cover Pat Metheny Group : The Way Up
PAT METHENY
4.47 | 31 ratings
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MILES DAVIS Get Up With It Album Cover Get Up With It
MILES DAVIS
4.45 | 40 ratings
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fusion Music Reviews

CHICK COREA Return to Forever

Album · 1972 · Fusion
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FunkFreak75
During the two years after participating in the August 1969 recording sessions for Mile Davis' seminal album, Bitches Brew, Chick had participated in the recording of many diverse albums--from Miles Davis' live albums to Wayne Shorter and Larry Coryell's experimental First Wave Fusion albums Supernova and Spaces, respectively, but more, he chose to hang around his more steadfast jazz compatriots Jack DeJohnette, Dave Holland, Eric Kloss, Joe Farrell, and Gary Burton. Return to Forever marked his own first foray into true j-R-F as a bandleader.

1. "Return to Forever" (12:06) now I know where the idea for The Northettes (and other Canterbury female vocals) came from! Flora Purim's angelic and ethereal wordless vocalese performs as if another instrument in the weave with Chick's Fender Rhodes, Stanley Clarke's fairly-untreated electric bass, Airto Moreira's classical jazz drumming, and Joe Farrell's background flutes. (24/25) 2. "Crystal Silence" (6:59) a beautiful Fender Rhodes song that features the respectful and only intermittent inputs of Joe Farrell's soprano sax and Airto Moreira's shakers and bells--a song that would be expanded upon significantly with vibraphonist Gary Burton on the album of the same name that would come out later in the same year. (14.5/15)

3. "What Games Shall We Play Today?" (4:30) a gentle Latin-bossa nova light (reminding me of Burt Bacharach/Hal David's "Do You Know the Way to San Jose?") with Flora actually singing over the Fender Rhodes, Latin drums and bass lines and BOB JAMES-like keyboard and flute melodies. A light, innocuous song illustrating Chick's pop capabilities. (8.875/10)

4. "Sometime Ago / La Fiesta" (23:13) the whole of Side Two is occupied by this sprawling tune--a -part suite that starts out with Chick's vibrating Fender Rhodes being reacted to from the right side by Stanley's gentle, respectful double bass play. Eventually, in the third minute, Chick backs off to allow Stanley some solo time bowing his bass. Then Joe Farrell's flute and Airto's full drum kit get into the act for a couple minutes of more active, full-ensemble play until things begin being dismantled at the end of the seventh minute. By 7:30 a new more Latin/Brasilian motif starts up over which in the ninth minute Flora Purim begins singing (a rather simple, cheesy English lyric--which makes me wonder how beautiful this might have been had it been sung in Flora's native Portuguese tongue). Both Chick and Joe continue mirroring and creating variations on the main melody that Flora's vocal uses (rather rigidly, I might add). Both are creative but never really getting very daring--until, finally, the 12th minute when Chick and Airto seem to egg one another on--sweeping Joe up into the frenzy (with piccolo?). Overall, this light and delightful second movement lasts for about six minutes before there is a slow down and return to Chick's solo Fender Rhodes, tout seul. For the next couple of minutes he continues to gently, introspectively explore the main melody that he, Flora, and Joe had just been using before a slow down and complete stop at 15:25 signals an opportunity for the whole band to jump back in with a more percussive Latinized version of the four chord vamp they'd been using, this time with Joe playing his soprano sax up front. At 7:18 the whole key signature shifts and with it the melody line, now sounding much more aligned to a different, more Spanish theme and melody (Olé!)--but the shift was so subtle! If you weren't paying attention you might not even notice it! Joe swoops and soars covering the entire octaval capacity of his sax until the 20th minute when the band pretty much comes together to carry the melody together. Then Chick, Airto, and Stanley switch into a different kind of style while maintaining their carry of the same melody (basically), giving Joe a break for a minute. Stanley is walking all over that fretboard and Chick is really hammering and tickling his keys. Then Flora's hand percussion and Joe's sax step back in to liven up the final 90 seconds. Fun, melodic, sophisticated, though not as individually flashy as future RTF albums. (41/45)

Total Time 46:48

An album that really explored the more spacious, contemplative potential of the newly emerging wave of Jazz-Rock Fusion, Chick used his Return To Forever project as a means to exploring his curiosities with the world of electrified instruments and emerging new sound treatments--as well as some of his fire and vigor.

A/five stars; despite the feeling that these guys are just getting into their exploration and exhibition of Jazz-Rock Fusion, the music here is so melodious and the musicianship so high (though never mind-blowing as the future RTF individuals would display) this is truly a masterpiece of First or Second Wave Jazz-Rock Fusion. (First for the exploration of "uncharted territory," second for the use of forms and sounds that are already being explored by others--like Weather Report.)

NUCLEUS Ian Carr With Nucleus : Solar Plexus

Album · 1971 · Fusion
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FunkFreak75
Recorded in December of 1970, this was Ian Carr's relatively-new "jazz-rock fusion" project's third album release (though many cite Chris Spedding's Ian-Carr-less album from 1970, Songs Without Words as another Nucleus album, which would make Solar Plexus the band's fourth release). Here we see the final appearance on Nucleus/Ian Carr albums of Karl Jenkins, Chris Spedding, Jeff Clyne, and drummer John Marshall while at the same time we see the significant contributions of a number of hired guests to thicken and give variety to Ian's band's sound.

1. Elements I & II (2:12) full-on experimentation with the latest advances/offerings from the world of electronics: here a VCS3 synthesizer, courtesy of Keith Winter, joined by bowed double bass, flanged electric guitar notes, and metallic percussion noises. Interesting and, actually, rather structured! (4.5/5)

2. Changing Times (4:44) so many elements here that refer to other songs, other artists--like HERB ALPERT, OLATUNDE BABATUNJI, HUGH MASAKELA, BURT BACHARACH, and so many others An absolutely brilliant blend of so many styles and sounds: like a brief history of Jazz-Rock music! I'm glad! If anyone in the early Fusion world had a grip on where Jazz-Rock Fusion was coming from and the many, many arms and tentacles it could reach into, it was Ian Carr. A complete visionary! (9/10)

3. Bedrock Deadlock (6:52) opens sounding like a song from mediæval church music with oboe and bowed double bass dancing around one another in a kind of pre-tango pairs dance. Quite lovely--and brilliant! At 1:49, then, the classical music intro ends, there is a pause, and then a full band jumps into a weird motif that forces enters the listener to enter into a mish-mash of early-Beatles psychedelia. At 3:48 a horn section of saxes starts up a new expression of the main melodies--which is then countered by Ian Carr's own competing melody presentation from a horn section that he leads. Mix into the weave Chris Spedding and Jeff Clyne's own competing thread and we have a really cool, really beautiful weave of doubled up melodies--all supported by the rhythm play of John Marshall's drums paired up with Chris Karan's conga play. Cool mathematical exercise! (9.5/10)

4. Spirit Level (9:20) opening with another anachronistic weave of multiple "old" instruments that lasts about 60 seconds before turning into a little sprite-like dance between guests Tony Roberts' bass clarinet and Ron Matthewson's bass--which goes on for about two and a half minutes while late-night jazz brushed drums eventually join in as well as harmonically-arranged horn section. The bass clarinet and bass continue on well into the sixth minute before the band slides into a slightly more substantial jazz motif with sticks being used on the drum kit and Ian stepping up into the lead position while Chris Spedding, Ron Matthewson, Chris Karan, and the other horn players all fall into interestingly creative support roles. Another interesting song that sounds and feels like a journey through several time periods and styles. (18/20)

5. Torso (6:12) a song that feels somewhat rooted in the popular "beach rock" that became popular in the 1960s. There is also a Spanish hue to the song--quite like the Animals version of the classic tune, "Don't Let Me Be Misunderstood" (and the later version by Santa Esmeralda) as well as The Mamas And The Papas' chords from "California Dreamin'" and future [June of 1971] hit, "One Fine Morning" by Canadian band Skylark. A real rousing, rollicking, and engaging tune that makes you want to get up and move! (9.5/10)

6. Snakehips Dream (15:16) a song that starts out as if borrowing an old James Brown R&B motif to ge t started: bass, drums, two rhythm guitar tracks (on the left: more rhythm-oriented with lots of strumming of fast-changing chords; on the right with more jazz sounds and intonations. I'm guessing that Eumir Deodato and his guitarist John Tropea had this in mind when playing/recording for "Also Sprach Zarathustra (2001)"). Weird to just be noticing how there are virtually no keyboards on this album! The first four minutes of this are just as described: all R&B exploration of a theme, but then horns enter and start to fill some spaces and accent others until Brian Smith branches off into the sunlight to posit a smooth tenor sax solo over the hep R&B jam. At the 8:00 mark two different horn groups break off to perform a call-and-response passage that serves as a bridge to Ian's turn to solo--this time on a flugelhorn. Meanwhile, Chris Spedding's two guitar tracks continue to improvise, exploring and entertaining just beneath the lead and rhythm sections. (27/30) Total Time: 44:36

As suggested above, Ian Carr's vision for Jazz-Rock Fusion's potential is about as complete as anyone's that I've encountered: where others are imitators or simply jumping on a bandwagon with the other "cool kids" (like Miles, Freddie Hubbard, Art Farmer, Sonny Rollins, Herbie Mann, Jack DeJohnette, Donald Byrd and even Herbie Hancock (who was really more into exploring the latest and greatest technologies), Ian is actually totally committed, invested, and immersed in the movement--which I really admire. On Solar Plexus one can see Ian growing: spanning two worlds at the same time, with one foot still drawing from all that was fresh and innovative in the pop-jazz world of the 1960s while the other is in the forward-thinking, potential-realizing of his own imagination.

A-/five stars; another minor masterpiece of cutting-edge, exploratory Jazz-Rock Fusion from one of the true leaders and apostles of the movement.

IAN CARR Belladonna

Album · 1972 · Fusion
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FunkFreak75
In effect a NUCLEUS album, I can see, however, how/why Ian Carr dropped that moniker for this album in that only one musician (other than himself) remains from the original Nucleus albums (Elastic Rock and We'll Talk about it Later). (Brian Smith.)

1. "Belladonna" (13:42) an album that sounds very much as if it is taking its cues and inspiration from the post-Bitches Brew work of Joe Zawinul & Wayne Shorter (who had just launched their WEATHER REPORT project with both the self- titles debut and 1972 release, I Sing the Body Electric, both having been released prior to Belladonna's July recording sessions) and especially, Herbie Hancock, whose Mwandishi and Crossings albums had also both been released prior to Belladonna's recording sessions. (In case you were wondering, Chick Corea's Return to Forever album had its European release in September of 1972, two months after, Belladonna came out.) While Brian Smith's soprano sax is the real start of this show, Gordon Beck's peaceful Hohner electric piano is a key component to its success. While Brian's play and melodies are quite pleasing, even enjoyable, the song never gets elevated into anything but a long late night contemplative--and, perhaps a fitting inspiration for Vangelis Papathanassiou for the spacey "New Age" music that would occupy his attention for the rest of his life. (26.333/30)

2. "Summer Rain" (6:13) after a 90-second slow and deliberated intro in which Ian's trumpet and Brian's tenor sax set the melodic groundwork, this song is blessed by a dynamic breakout performance on the "dirty" Fender Rhodes by a Kiwi age-mate of Ian's, Dave MacRae (who would stay with Ian for the next three Ian Carr/Nucleus albums). I find myself not only absolutely mesmerized by this piece, but actually loving both the sound and melodies created by Dave and his Fender Rhodes. (It's the same sound that French downtempo chillout band AIR used so successfully on their massively-popular 1998 debut album, Moon Safari.) Bass, jazz guitar (mixed far-left into the background) and chill drums progress throughout the length of the song. Weird to hear Allan Holdsworth--the Allan Holdsworth--relegated to playing rhythm/background jazz guitar using neither his own trademark scales nor his own "trademark" sound. (9.6667/10)

3. "Remadione" (3:48) flutes take up a full two minutes of this song's opening while dirty Fender Rhodes electric piano (L) and more rock/proggy lead electric guitar gently support. The third and fourth minutes see the full band engage in another AIR-like downtempo motif while Dave and Allan ramp up considerably their "duel." (9/10)

4. "Mayday" (5:41) opening with the "Shaft"-like cymbal play and over all sound of Bitches Brew and Mwandishi/Crossings, Allan is strumming away wildly in the background while Dave MacRae and Gordon Beck. At 3:35 the band's rhythm section feels as if it finally "falls into" the song's main motif--which is an awesome jazz-rock groove while Brian continues soloing. The finish is tailed off with a coordinated horn section riff and poof! It's over! I'm not so great a fan of Brian's sax solo (most of the time I don't even hear it) but the bass and double keyboard play are awesome. (9.125/10)

5. "Suspension" (6:15) opening tracks dedicated to bamboo flutes, electric pianos, and percussion sounds is kind of cool--definitely evoking garden and/or Japanese/Asian images/feelings. Roy Babbington's bass enters around 1:15, soloing on its own as if trying to find its place in the mix, but then suddenly at 1:55 he "falls into" a steady riff that becomes the foundation for the rest of the song--and which Allan Holdsworth doubles up with his own lowest octave strings. Meanwhile the bamboo flute and Gordon Beck's dreamy Hohner electric piano continue to explore the background but now we add Ian's trumpet up front left and, soon, Dave MacRae's dirty Fender Rhodes in the right channel. The bamboo flutes disappear as Ian and the two electric pianos continue to explore their passions on their own tracks with their own separately effected instruments (Dave's Rhodes getting particularly wild--sounding like a wile organ or heavily-treated lead guitar). Despite a rather mundane and pastoral opening, this one became something quite interesting--especially with that cool Fender Rhodes sound flailing aggressively away in the final third. (9.125/10)

6. "Hector's House" (4:33) though definitely firmly rooted in the rock traditions, this one has one of the more convincing jazz-rock feels to it--all built on a riff and motif that is not so far from the opening song, "Song for the Bearded Lady" from We'll Talk about it Later. Brian Smith really tears an awesomely-smooth high-speed performance on his soprano sax in the second and third minutes while Allan Holdworth really rips up the soundwaves in the fourth with his jazz-rock guitar shredding. Once again there are such highs in this song to offset the lows/deficiencies. (9.125/10)

Total Time: 40:12

One of the most significant outcomes of the making of this album is the meeting of young Allan Holdsworth and elder statesman Gordon Beck as the two would forge a life-long friendship that would result in their collaboration on no less than four albums over the next few decades.

A-/five stars; a minor masterpiece of highly-creative First or Second Wave Jazz-Rock Fusion.

FREDDIE HUBBARD Keep Your Soul Together

Album · 1973 · Fusion
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FunkFreak75
Creed Taylor and his production crew are on a roll: showing that they know how to make money (and gain radio airplay) with the new "jazz-rock" instrumental musics--and Freddie Hubbard is open to trying--and his band up to the task!

A1. "Brigitte" (9:07) a song that Freddie would protect and promote in future concerts and albums (absolutely perfected on 1979's Love Connection), that here incorporates Ron Carter's bass as the central focal point of the song--with electric piano, percussion, and, later, drums very much revolving around the bass. Freddie's lead trumpet exists as if standing on top of or outside of the thin and lush bass-cored sonosphere playing beneath him. Still, this is a finely-crafted, beautifully-painted version of a great song. No wonder it became such a standard for him. Nice performances by the bass players as well as George Cables on Fender Rhodes. (18.25/20)

A2. "Keep Your Soul Together" (9:52) on this song Freddie tries to express his own perspective/interpretation/vision for the potential of the Jazz-Rock Fusion movement. The song's instrumental/sound palette is without a doubt reflective of the influence the recent popularity of Deodato's "Also Sprach Zarathustra -2001" and Prelude--both of which came out earlier in they 1973 and which were recorded and produced by the very same production team that Keep Your Soul Together is being produced. I think that the jazz world--and especially the money-conscious record companies like Creed Taylor's unit here--had become quite enamored of the idea of making money--making a living--at creating and promoting the music they loved. The sound Freddie (and engineer Rudy Van Gelder) pulled out of these sessions is, therefore, in my opinion, no mistake. And, since it is a sound that I love, it is no mistake that I really like this song. (18.5/20)

B1. "Spirits Of Trane" (9:07) a fast-cruisin' song that reminds me of the sounds and pacings of some of the songs on MILES DAVIS' landmark Jazz-Fusion albums--particularly Bitches Brew and Jack Johnson. Freddie produces a great, spirited solo in the second and third minutes and is then followed by an equally energetic performance from tenor saxophone player Junior Cook--all the while the rhythm section providing more than enough fuel to keep everyone flowing. But then, at the 4:30 mark there is a slow down and clear out to make way for George Cables to solo on the Fender Rhodes--while the band switches to a cool walking-bass blues motif for a bit, but then switches back to the rapid cruise pace--all while George is soloing over the top! Great stuff! At 6:30 then we hear another clear out so that drummer Ralph Penland can have some spotlight: a nice solo that ends with some rudimentary play before the full band rejoins to finish at the fast-cruisin' speed--but, no! After the band dissintegrates, Freddie continues playing, tout seul, before the band rejoin to pull off a "big finish." (17.5/20)

B2. "Destiny's Children" (10:19) anchored with some cool, laid back R&B bass play and some LENNY WHITE-sounding drum play, the band leader is freed up to explore lots of melody ideas up top (because the bass 'n' drums have such a solid offering down below). The song might even exist without anyone else's contributions but Ralph, Kent, Ron, and Freddie, but George Cables does provide some nice textural "filler" as well as an okay solo in the seventh minute (using some unusual warble effects on his electric piano). This is my favorite song in terms of the playing of the core rhythmatists--especially Ralph Penland. It's also got some nice harmonizing play from Junior Cook's tenor sax in the final few minutes. A great rhythm track like this makes ten minutes fly right by--even when the solos aren't quite mind-blowingly great. (18/20)

Total time: 38:27

Keep Your Soul Together displays Freddie's deepening commitment to the electronic enhancements available at this time (and being explored much more aggressively by other jazz musicians) while not fully or crazily moving into that "psychedelic" world. Drummer Ralph Penland almost seems to be more of a follower than hard-line leader of the rhythm section: his play seems to respond/react to the play of the others more than set the pace and terms--yet he's completely solid. It seems that the basses are the motivators, George Cables the glue that holds them all together, and Freddie the driver up top. I really like the way Freddie has bought into the Jazz-Rock Fusion scene. Four songs, four great contributions to the peaking era of Second Wave J-R Fusion.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion and one of Freddie Hubbard's finest contributions to the new musical movement.

BILLY COBHAM Inner Conflicts

Album · 1978 · Fusion
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FunkFreak75
This time incorporating the talents of some old favorites along with the continued promotion of some of his new collaborators (including the Escovedo family), Billy continues to remain staunchly loyal to the principles of sophistication and quality of "peak era" Jazz-Rock Fusion even if this is his most Latin-heavy production to date.

A1. "Inner Conflicts" (10:49) Instead of one of Billy's stark drum solos that he occasionally enjoys placing on his albums, we have here an experiment with drums, programmed drums, and synthesizers all woven together. I do not have a problem with this--especially in light of the album's title. I do, however, find myself a little annoyed at the effects placed upon the drum sounds (like I did on the last song of the Billy's previous album. I find the flange effect particularly cool when the drummer is keeping time or when the song is fading in or out, but when the drummer is this active and nuanced it feels diminishing.) The manual synthesizer work is not very melodic nor is it sophisticated--not unlike Larry Fast's work on his Synergy albums or Patrick Moraz's The Story of I album. (17.625/20) A2. "The Muffin Talks Back" (9:52) opening with quite an interesting (and somewhat distracting) combination of synths, rhythm guitar, and percussive creating a kind of funky Star Wars "Cantina" sound world, the music soon launches into a before smoothing out a bit in the second minute into a kind of Latin-Disco true Jazz-Rock Fusion song. The electric guitar solos (and rhythm play) seal the deal--bringing a two guitar "Prince of the Sea" feel to it like Lenny White's final song from Venusian Summer. (This marks the nth number of times my brain has noted similarities to Lenny's 1975-76 production in Billy's albums from the period soon after.) The performances from everyone involved are quite dynamic, especially the three percussionists and keyboard maestro Don Grolnick. The vocal interjections are a bit odd, as are Al[ph]onso Johnson's bass chords in the seventh and eighth minutes as well. The final two minutes feature an awesome electric guitar solo riding on top (or within the percussion weave) that I'm guessing is Steve Kahn's guitar. If you're a lover of wildly-full percussion work, this would be a great song for you to enjoy! (18.5/20)

B1. "Nickels And Dimes" (7:21) a very interesting and engaging song with multiple motifs each with its own tempo and melodies--the second one really putting Ruth Underwood (Zappa)'s xylophone and the amazing horn section to the paces. A highly complex funk weave. Wonderful stuff! The music smooths out a bit in the fourth minute with a nearly-straight-tempo pattern over which George Duke is given copious time and room to perform a nice Fender Rhodes solo. Then we turn to more percussion based section with bass, winds, and "distant" horns backing John Scofield's extended guitar solo. At 6:10 we return to the "Can't Get Next to You" Discofied motif for some excellent work from the horn section and some prime Billy Cobham drumming. (14.25/15)

B2. "El Barrio" (6:30) another Latin percussion-dominated intro weave that finally gives way at 3:00 to a very pleasant Cubano-feeling motif in which whistles, timbales, bells, and bass are woven into a cheery, upbeat sound reminiscent of stereotypic Latin carnival. The welcome sound of Julian Priester's trombone is given the song's first solo, followed by a somewhat quieter guitar (mixed within the weave of the horn section) from Steve Kahn. Julian gets some shine again as the song ends. I would very much have preferred if this song had been extended! Too bad! (9.25/10)

B3. "Arroyo" (4:15) a slower almost SANTANA-like song with more great interplay between the percussionists (including Billy) while Alphonso maintain's a steady melodic groove over the top within which George Duke's keys and John Scofield's acoustic guitar take turns offering smooth, steady solos (almost in deference to the awesome groove being maintained by the rhythmatists). Nice finish if a slight comedown from the highs of the other four songs. (9/10)

Total Time: 38:51

Once again I feel ever-so grateful that Billy Cobham remains firm and true in his commitment to the high principles of "peak era" Jazz-Rock Fusion: refusing to slide into the easy job of creating Easy Listening Smooth Jazz (which we know he is capable of). The man was and still remains a staunch promoter of high-class Jazz-Rock Fusion.

A-/five stars; another minor masterpiece of "peak era" Third Wave Jazz-Rock Fusion from one of the "true believers" of the movement.

fusion movie reviews

JACO PASTORIUS Jaco

Movie · 2015 · Fusion
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Maxsmusic
A truly great retrospective of the greatest bass player through the words of musicians and his closest associates. It traces his early influences with cuban music and jazz, growing up in south Florida. Jaco learned to play the bass after having an injury to his arm which forbid him from playing his first love, the drums. He is a true drumming bassist. He fused the rhythm of percussion, the groove of soul and the essence of improvisation into a holistic motif of beauty. Thus he is now considered a pioneer of innovation and true musicality. He probably influenced more bass players and all musicians with his unique style. The movie also explores his tragic demise and how his mental problems caused him to slide down into a deep dark hole of misery. He left a mark on music and is solely missed.

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

Movie · 2008 · Fusion
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FunkFreak75
Have you seen this concert footage? If not you are missing an important document that preserves for all-time the mind-blowing guitar technique and genius of one of the greatest electric guitar players of all-time. The song selection, the band members present, the vocalists' contributions, are all sublime and masterful--plus we are here seeing the introduction to the world one of the new blood in bass player Tal Wilkenfeld. Vinnie Coluaita may be the best drummer of the past 25 years--How lucky are we to get these artists all playing such gorgeous, powerful songs? Whether he plays his own tunes or covers classics from others' pens, Jeff Beck is a master--raises every song and every performance to a new level never before imagined. Thank you, Jeff Beck! Thank you, Ronnie Scott's! Thank you video technology!

WEATHER REPORT Live At Montreux 1976

Movie · 2006 · Fusion
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Maxsmusic
The mid 70's was the pinnacle for jazz fusion and this concert captures the energy and excitement of the era. The artists were playing in front of large crowds and making money. This band evolved from the post bop of the 60's and was super talented. The leader was a keyboard virtuoso and he wanted to create a new sound fusing jazz with rock. Weather Report actually had hits played on the radio, which was unheard of for a jazz band. This is not traditional jazz, as this was the electronic era and the musicians wanted to crank it up and play with synths and feedback. The 70's was the decade of experimentation in all forms of music and they took the jazz format to its limit. On bass the incredible artist of Jaco Pastorius, who had only recently joined the band, makes his mark with a vengeance. He plays as a true great bassist with feel and funkiness. This music is a direct offshoot of the Miles Davis school of music. It is highly recommended for the art it conveys. 5 stars.

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.

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