Jazz Related Rock

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Like its close cousin RnB, rock grew out of the 1940s jazz genre known as jump blues. Needless to say, rock and jazz have had a close relationship from the very beginning. The jazz related rock section at JMA pays tribute to those rock artists who display a certain amount of competent jazz influence in their music. This influence can be displayed via virtuoso extended jam sessions, jazz influenced harmonic language, big band style horn charts or a combination of all this and more.

Jazz artists who utilize rock in their music can be found in the Classic Fusion, (Post 70s) Eclectic Fusion and Post-Fusion Contemporary genres.

jazz related rock top albums

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

SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.75 | 53 ratings
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YES Fragile Album Cover Fragile
YES
4.87 | 10 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.65 | 33 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.58 | 38 ratings
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JIMI HENDRIX Are You Experienced (Jimi Hendrix Experience) Album Cover Are You Experienced (Jimi Hendrix Experience)
JIMI HENDRIX
4.58 | 27 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.79 | 8 ratings
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HATFIELD AND THE NORTH The Rotters' Club Album Cover The Rotters' Club
HATFIELD AND THE NORTH
4.58 | 20 ratings
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FRANK ZAPPA One Size Fits All (as Frank Zappa And The Mothers Of Invention) Album Cover One Size Fits All (as Frank Zappa And The Mothers Of Invention)
FRANK ZAPPA
4.47 | 37 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.49 | 29 ratings
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DAVE MATTHEWS BAND Big Whiskey and the GrooGrux King Album Cover Big Whiskey and the GrooGrux King
DAVE MATTHEWS BAND
4.89 | 5 ratings
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HATFIELD AND THE NORTH Hatfield and the North Album Cover Hatfield and the North
HATFIELD AND THE NORTH
4.50 | 21 ratings
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SOFT MACHINE Grides Album Cover Grides
SOFT MACHINE
4.63 | 10 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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jazz related rock Music Reviews

BLUE EFFECT Meditace

Album · 1970 · Jazz Related Rock
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siLLy puPPy
Formed in the late 60s in what was the former Czechoslavakia which was very much behind the Iron Curtain and musically speaking a million miles away, yet certain bands not only kept up with the times with underground bootleg albums but also managed to weather the political storms and emerge as one of the most successful bands of the era from Eastern European nations. MODRY EFEKT (in the Czech language) or BLUE EFFECT (but have also gone by M. EFEKT, MODRý EFEKT and THE SPECIAL BLUE EFFECT) formed in Prague (now the Czech Republic) in 1968 and led by vocalist and guitarist Radim Hladík who would remain the constant member in the band’s initial two decade plus run. While soon becoming one of Czechoslavakia’s major jazz-fusion and progressive rock bands of the ages.

MEDITACE is a fine mix of Czech language 60s type sounding music primarily based in blues rock not unlike early Led Zeppelin but even at this stage they were showing traces of progressive rock as they were recording this in 1969 with many track including the opener “Paměť lásky” showing less influence from blues and rock and more Western classical elements dominating whether it include choral vocal arrangements, symphonic atmospheres or instrumentation. MODRY EFEKT were masters at creating strong catchy pop rock hooks even at this early stage in their development and although there is no progressive touches of the jazz-fusion type, tracks like “Blue Efect Street” show extremely strong ear worms with bluesy guitar workouts and clever arrangements including the use of a sitar. Most of all MODRY EFEKT demonstrate how beautiful rock music can sound in their native Slavic language tongue although side two was recorded in English which proves that the band had their sites on cracking into the international market from the beginning.

While MEDITACE is laced with excellent rock and pop tracks for their time and place, what’s really lacking at this point is a sense of cohesiveness for an album style as the tracks flounder back and forth from blues rock to classically symphonic and then to folky with almost Motown type walls of sound and then back to more Western generic sounding blues rock. Overall not a bad debut at all especially for being in a region of the world that controlled every aspect of artistic integrity however it would take the soon to be released second album with their country’s other progressive rock giants Jazz Q to steer the band into the more familiar jazz oriented progressive rock that they would stick with for the rest of their days. While i wouldn’t call this debut essential by any means, it certainly shouldn’t be skipped over either. It is quite the pleasant listen if not polished into perfection.

MIRIODOR Signal 9

Album · 2017 · Jazz Related Rock
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kev rowland
So the Canadians are back with their ninth studio album, and a slight change in line-up as they move back to a quartet, but as all of the guys play multiple instruments anyway there isn’t a noticeable difference in that area. As with the excellent ‘Cobra Fakir’, the first word that springs to mind is “staccato”, as this is music that is rapidly moving around and for the most part doesn’t have time for long held-down chords but just wants to get on with it. Coming from a RIO/Avant background, they have been listening to some of the early Canterbury bands as well as to King Crimson and Art Zoyd to create something that is always interesting and complex, and just a little different to much that is available within the prog scene, let alone mainstream.

It is the type of album that will polarise opinions, as those who like it will enjoy it a great deal, while others will fall into the “what on earth are you listening to” camp, and won’t give this album the time it both needs and deserves to get the most out of it. This is complex, with lots of melodies and counter-melodies, with Bernard Falaise often crunching the guitar against myriad keyboard sounds, but that can all change in an instant. It is music that does demand respect and attention, and those prepared to do just that will get a great deal out of this, as it is incredibly rewarding.

MIRIODOR Cobra Fakir

Album · 2013 · Jazz Related Rock
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kev rowland
Miriodor formed in 1980 in Québec City, and have been through some different band formats since then, but are currently a trio comprising founding musicians Pascal Globensky (keyboards, synths, piano) and Rémi Leclerc (drums, percussion, keyboards, turntable) along with longtime member Bernard Falaise (guitars, bass, keyboards, banjo, turntable). Miriodor have long been members of the international RIO movement, but what I find amazing is just how immediate this music is, although it is complex in the extreme and some would find it incredibly challenging. To my ears it is a staccato world where not only am I welcome, but it is somewhere that I want to stay as long as I can.

They have definitely given this album the right title, as a cobra fakir is a snake charmer, who uses carefully concocted melodies to put the mighty reptile into a trance from which there is no escape. That is the same here, as once this hits the player nothing else exists. Imagine Gentle Giant and King Crimson combined at their most eclectic and not allowed out of the studio until they have come up with something that is breathtakingly brilliant, and you may be close to what this is all about. There is no doubt in my ears that this is one of the most important albums ever to come from the wonderful Cuneiform stable and here is something for everyone into RIO, prog, avant music, jazz and/or they have an open mind as to where music can take them. In many ways hard to describe, and definitely hard to ignore, this is a compelling piece of work.

CAPTAIN BEEFHEART Trout Mask Replica

Album · 1969 · Jazz Related Rock
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EntertheLemming
Well I assure you sir, this thing sucks (Don Van Vliet on selling a vacuum cleaner to Aldous Huxley)

Of the many albums that sit gathering dust, undisturbed in the rack yet are routinely adored by their house proud owners, it is perhaps Trout Mask Replica that best represents the disingenuous litmus test for hipster candidates of 'high' office everywhere. What's odd about its assimilation into the pantheon of 'maverick genius' constructions is that it's not even a rock album at all but rather, a free jazz inspired stream of consciousness 'f.u.c.k the lot of you' diatribe that has more in common with a Cecil Taylor arranged 'To Have Done with the Judgement of god' by Antonin Artaud than an unrequited love letter to any Howling Wolf. That's hardly a picnic with your childhood sweetheart and s.h.i.t.s.u puppy of course but it's still unnerving how far removed from the predictable lumpen plod of rawk (psychedelic, blues or otherwise) this album deviates at its furthest outreaches.

And therein maybe lies the key: Most rock fans including your reviewer get rather uncomfortable when their steady diet of cyclic rhythms and anticipated releases from harmonic tension are not resolved in a timely fashion. Listening to such music is tantamount to a delicately balanced guessing game. If I guess correctly what's coming next too often, I'll get bored and lose interest: If I cannot discern any anticipated patterns I'll dismiss the music as too chaotic or random as too few of my guesses are correct. That's probably why I heartily loathe Cecil Taylor, John Zorn, Ornette Coleman, Albert Ayler, Pharoah Sanders, et al as such aesthetic considerations are completely irrelevant to their art. This says more about my limitations as a listener and failing to understand the stimulus to hand but all the same, I want to like this malarkey but erm....am unable. We're also habitually guilty of confusing texture with content e.g. there might be a sax on Brown Sugar but that doesn't make it any closer to Jazz than Rock. The textures at play on Trout Mask Replica have lured many an unwary critic into believing that the electric slide guitars, amped bass and drums menu is consistent with a delta blues themed psychadelicatessen and are invariably frustrated when the Captain and his troops steadfastly decline to serve up such a dish. The only place where texture and content are in accord is perhaps on Hair Pie Bake 1 where Beefheart's solitary soprano sax is redolent of the sort of uncharted musical landscapes of Anthony Braxton. It also explains why so few echoes of Beefheart are present in the music of his avowed wannabees, disciples and acolytes from within the republican realm of rawk like the Residents, Devo, Pere Ubu, Tom Waits, the Fall, PIL etc. The cynical among us would hazard that this is just egregious name-dropping which also lassos Miles Davis, John Coltrane, Sun Ra and anyone else who was considered a bit 'out there' but has crucially just died into the R'OK Corral.

The best Captain Beefheart impersonation I have ever heard is probably from Edgar Broughton circa Sing Brother Sing in 1970 but here's the rub, the unwitting approximation by a completly sh*t faced English actor Oliver Reed on Michael Aspel's chat show from 1984 comes a pretty close second. You are cordially invited to check out the 'You Tube' footage at your leisure. Tread very carefully when using 'derangement of the senses is the gateway to wisdom' as an educational paradigm kiddies. (The playgrounds of the US are littered with casualties on a daily basis)

Don Van Vliet's lyrics are at best, inscrutable surrealistic glossolalia and at worst, when they even approach bad beat poetry, crassly and glibly asinine:

Dachau blues, Dachau blues those poor Jews Still cryin' 'bout the burnin' back in World War Two's One mad man six million lose Down in Dachau blues, down in Dachau blues

We know that the good Captain enrolled as an art major in his youth but dropped out after less than 12 months. Draw your own conclusions if you will but thwarted artists with distinctive facial hair have never done the world many favours.

It seems that like Mark E. Smith of the Fall, the Captain ran his erstwhile Magic band circa 1969 similar to a dark satanic mill owner where dissent was treated with ridicule, physical violence and privation in no particular order. The published testimonies of band members appear to attest to the rather unpalatable conclusion that their Don was an uber controlling c.u.n.t of Mansonesque proportions. Revisionist apologists for this alleged behaviour start to sound like those clueless soccer pundits defending a leg breaking tackle who posit that 'without his underlying psychopathic and sadistic nature his talent would have been thwarted by mediocrities' Try telling that to the lads when they've been neither paid or fed for their unaccredited efforts and have to play a man down after their captain's red card for hacking down his own team. (Apologies for milking the footie metaphors there a tad)

I've also never understood why Zappa's mix is so heavily weighted in favour of Beefheart's vocal as most of these conspire to practically drown out the music and only serve to make prolonged listening a considerable chore. That's a shame as all told, there is much innovation and prescience buried in the bowels of this frankly appalling production to warrant a deeper appreciation of the creative input of the assembled Magic band.

There is some speculative evidence to suggest that the Captain refused to record his vocals using traditional headphones and therefore his delivery is commensurately out of sync with a backing he could only hear via the latency of speaker bleed. Being out of time deliberately would at least require some effort methinks? Anointed if you do, anointed if you don't. (He can't lose)

Long story short: This album isn't really a 'best fit' for any particular genre oriented appreciation site. It is too far removed from the prevailing evaluation criteria and is one of the few purported 'rock' albums deserving of being placed firmly in the 'other' basket.

VP (VYACHESLAV POTAPOV) Water World

Album · 2012 · Jazz Related Rock
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siLLy puPPy
VYACHESLAV POTAPOV or simply shortened to VP is a one man show from Almaty, Kazakhstan who released a series of albums in the 2000s in his own DIY fashion. WATER WORLD is his sixth release and what a major improvement in terms of both production and compositional finesse. When i say one man show i really mean that. Not only does VP construct all the tracks in his own eccentric style but plays all the instruments. One will hear guitar, bass, piano, drums and other percussion and many forms of sampling. Not only is VP gifted as a musician but is also responsible for his own cover art and this one depicting three green children on lily pads and intricate detail of waterfalls is not only a beautiful vision of the fantasy in the true progressive rock spirit. With WATER WORLD, everything came together and VP not only caught the attention of the prog world for his exquisite compositional and production skills but has been solicited by other artists for album artwork as well. While WATER WORLD is the sixth release of VP, it is the first to be issued on a physical format. The digital album was released in 2012 but the physical copy albeit lagging behind its initial release is finally seeing the light of day in the tender year of 2017.

Despite being a totally instrumental album, WATER WORLD is actually a concept album about two different civilizations on a planet in some far away place. They are known as the Krokuts and the Hunty. While it is impossible to comprehend the story through a mere listening of this sophisticated and dizzying complex music, VP has given me the green light to give his little story behind each track that hopefully will translate the music ideas into the heads of those who aren't music nerds! WATER WORLD is quite the eclectic mix of sounds and honestly is totally unique as i can't think of anything else i've ever heard that is an equivalent. Musically this one is all over the map with jazzy fusionist tendencies that also incorporate symphonic touches, ethnic influences, tribal drumming and absolutely bizarre transitions as one style tends to overlap with others and sometimes change things up quickly. This is music for musicians as the time signatures are so bouncy and ever changing that its practically impossible to predict where any given musical meandering will lead. Overall there is a strong jazz-fusion component in how the tracks are constructed with everything from Weather Report airy passages playing out to more erratic Return To Forever type of craziness but instrumentally speaking this is more of a rock / electronic hybrid with guitar and bass shining through in times of heaviness but ambient and ethereal atmospheres also permeating throughout.

I could have NEVER figured out the storyline by the music alone. It's far too nebulous and only with the tutelage of VP could i ever hope to assemble a sense of meaning to each track. To make this easy i have listed each track with the thematic explanation of VP in his own words. His English is very poor and i left his Google translations intact as not to corrupt the meanings. I explain a bit of the music afterwards.

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FIRST track "Intro (Unusual Island)"

ship was off course and got lost in a thick fog. In the morning when the fog, the sailors saw a miracle-island. In the center of this island stood a giant size lot of trees woven together and resembled a huge castle.

Musically: starts out as ocean sounds. Waves churning, seagulls with a simple piano line providing the musical setup and ends with a crazy guitar entering at the last second and fading out

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SECOND track "Vegetational Town - a: Great & Magnificient"

landed and began to explore unknown lands. All the flora and fauna differed from what they knew before.

Musically: begins the complex time signatures and changes in tempo with a frog croaking in the background. A funky bass line picks up a rhythm and then all prog hell breaks loose with mellotrons providing atmosphere, a jazzy rock with avant-prog touches. The music meanders into very complex arenas. I hear some Steve Howe inspired guitar licks, Zappa-esque jazz-fusion and even Chic Corea style keyboard runs and ultimately ends with crickets chirping in the background.

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THIRD track "Vegetational Town - b: Stem"

the study, the sailors met a miracle of nature - the tree, the stems of which gave off a glowing liquid that flowed on the ground and freezing was a very beautiful crystals. People have greed began to fill the backpacks and pockets of this strange breed. They do not know that for the local inhabitants it was the sacred tree, and exuding a fluid sacred tears of the gods.

Vegetational Town - including: Invasion of the Field Mice Night, when the sailors took a break. During a night's sleep, they are attacked by hordes of rodents. So people know that the island is not only beautiful but also dangerous.

Musically: begins with an ambient swirling effect of synthesizers in the background and then a jazzy interaction between the guitar and bass. Sounds somewhat like a psychedelic Return To Forever type of sound. The track continues mostly in jazz-fusion mode but picks up tempo with more rockin' percussion and bass.

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FOURTH track "Night Revelation Of Antackena"

about the uninvited aliens, the tribe Khunts turned for advice to his sorcerer Antakhena. Night Adelroth did the ceremony and learned that the aliens had defiled gods currently taking tears of the gods. He got really pissed. It gave people the rodents to scatter them around the island.

Musically: Tribal drums in frenetic speeds are joined by a much slower bass line but picks up fairly quickly and jumps into a frenetic jazz-fusion riff of the guitar with heavy bass and percussion staying chilled out in comparison. It picks up steam at midpoint

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FIFTH track "Geyser"

the same time. Race Krokus also held a ceremony. In their bogs were sacred geyser through which they learned about the aliens.

Musically: starts out slow with clean Floydian guitar lick and cymbals that quickly jump into a more jazz-fusion oriented mood setting. It becomes quite the frenetic jazz-fusion track with all the instruments creating a tempestuous rhythmic dance. The track goes through several shifts of rhythm changes as well as the usual eclectic mix of heavy bass lines with syncopated jazz-from-hell type keyboards

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SIXTH track "Games of Herbs"

beginning of a new day or early morning. I describe as rostitel'nost'û wakes up with first rays of the sun. As dew plays on every blade of grass and every leaf.

Musically: starts off with birds singing as a guitar line gently emerges into the limelight and has a rather Baroque J.S. Bach type of feel to it. Lots of different keyboard sounds dance together. Perhaps a lost Brandenburg Concerto? Well for a while at least. Remains classically rhythmic but becomes jazzy. Really amazing musical mixture here.

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SEVENTH track "Wandering"

a new day and two tribes are feuding with each other Khunts (humanoid) and Crokus (crocodilopolis) gathered for talks. They decided for a short time to stop the war in order to join forces against the aliens. They decided with General witchcraft to inflict on people the magic that has the property of oblivion.

Musically: a steady beat guided by frenetic guitar and groovy bass line. The keys provide atmosphere and tension builds as the recurring groove ratchets up. A brief pause and the keys become the frenetic rhythmic caffeine addicts for a while. While the general rhythmic drive stays the same, it's quite brilliant how the instruments pass the baton taking the lead and carrying it. In the middle of the track everything stops and a drumming display gradually gives way to a new jazzy guitar segment with heavy rockin' drums.

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EIGHTH track "Water World"

: The Taming of  the Geysers ii: ... and on the Water Surface To finish the job they collectively appeal to the mistress of the watery World. Mistress of the watery World through a ritual of "dance on water", which the sailors fall into oblivion. At first this dance is energetic and contains convulsively. The dance Mistress of the watery World produces the Taming of the Geysers. Then the dance turns into a plastic and beautiful ritual (... and on the Water Surface).

Water World. - iii: Detection woke up on the deck of his ship. They can't remember what happened with them before. Around thick fog. At this time two children of the tribe take care of Khunts found by a sailor, whom they found in the woods at night. That is why the sailor left on the island, about him no one knew.

Musically: morning sounds as birds and wolves do their thing and then a quickened groovy bass line meets a piano that seems like it's in its own world. Many counterpoints going on very early. Jazz-fusion feast of the senses with this one. There are many breaks in mood but tempo remains rather steady throughout. Style stays in jazz-fusion as well with a steady rock drum beat allowing the keys and guitars to perform jittery acrobatics all around it. Like most of this album, words don't do it justice. Too removed outside of the listener's experience to convey any sense of musical progressions.

-------

The good: WATER WORLD musically is a brilliant blend of electronic rock and jazz-fusion dished up with heavy doses of avant-prog sensibilities and sounds like no other album i've ever heard. The compositions are quite good and sophisticated and really do deliver an exciting flow of ideas within the context of the genre fusions mentioned.

The bad: unfortunately despite leaps and bounds above previous albums, this still sounds like a homemade product and in need of a more sophisticated production level. Often DIY albums sound as such because they are lacking the proper percussive drive and i feel that is also the case with WATER WORLD. The drum antics are adequate but it sounds programmed. Also i found it impossible to glean any sort of concept album as it's all instrumental and relied on the artist's input to understand it.

When all is said and done, WATER WORLD is an excellent piece of instrumental music that lover's of electronic rock, classical and jazz should appreciate quite well as the complexities of weaving these styles together is phenomenal however this is a rather heady album that requires extreme attention paid to the details for any sense to be had from it. There are really no periods of breathing room and is indeed a challenging album to appreciate, however if you are looking for something unique from an isolated geographical setting of the world, then by all means check out this fascinating sci-fi tale of different worlds all told in a Pekka Pohjola sort of narration by notes sort of way. It's really worth the effort.

jazz related rock movie reviews

KING CRIMSON Neal And Jack And Me

Movie · 2004 · Jazz Related Rock
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Sean Trane
This DVD will please many of the third Crimson phase fans combines two tours: the Beat tour and the Three Of A Perfect pair. Oddly enough, they are presented in a non- chronological order, but this is a very minor point. One of the things I was particularly uneasy about was Bruford's use of electronic percussions and drums and we get a load of those "things" and like all technology novelty, the risk is that it ages poorly and sadly here, it is the case. Another point I had not appreciated is the stage presence of Adrian Belew, which is clearly copied from David Byrne from his collaborations with The Talking Heads - I love the T Heads, but Belew's stage antics are too derivative and ill fitted for Crimson. There are a few tracks present twice and most notably the boring Mate Kusadai.

Strictly on the visual front, Crimson was clearly making efforts to look hip and appeal to a more new-wave-ish public. Those were the days! But I never said that they were good, either!

Among the bonuses, are a video clip and a few titbits, but sadly still missing is that mini- concert footage filmed for the Discipline release and them playing four tracks in front of a red curtain. I may be severe with my rating of this DVD but I am not a real fan of that era.

GONG Classic Rock Legends

Movie · 2000 · Jazz Related Rock
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seyo
This video contains live performances from 1990 Live on TV album. Four original members of GonG are present: Pip Pyle, Didier Malherbe, Gilli Smyth and an oddball-harlequin persona of the spiritus movens, Daevid Allen.

Performance is focused on their legendary Radio Gnome Invisible trilogy, with 3 starters from Camembert Electrique. Since I have no idea what GonG looked like on scene back in the early 1970s (that is, before I took a peek at several Youtube clips recently), I guess this DVD makes up a lot for that, the age of the performers notwithstanding.

In fact, seeing these unique art-performers in their senior age can just assure you how the music and art in general can surpass generations, years and ages if you wish. Musicianship is great, movie direction very good with several cameras shooting from different angles, while only the engagement of the dancers to invoke the mystical gnomey creatures may be seen as too over-stressed.

The finale presents perhaps too long goodbye with the extended "I Am You" jam, but when Daevid jumps down into the audience you can actually see the highly emotional and spiritual connection between the band and the people, done in an almost religious-like chanting. This is excellent video and should be seen by all those who have at least some knowledge of the Planet GonG trilogy repertoire!

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Dick Heath
I remember seeing this originally on BBC 2 a few weeks after it was recorded in one of the canteens of Oxford Poly, and getting a mix of intense pleasure. In particular pleasure from the tour de force that Holdsworth had developed into (and screamed out at me on Feels Good To Me)and the unknown bass-wiz Jeff Berlin. But there was disappointment over Annette's contribution to the set - when her husky voice breathed sex at me on the album.

Now here from the Beeb's archives is the original 70's video quality footage as originally shown on 625 lines. The pleasure points remain, with some details emphasised. However the disappointment is worse, in particular there is a promise of something special as Peacock flounces on part way through the set, dressed as the fashion queen,(thereby drawing the contrast with the blokes in the band). However,again the expectation of something special evaporates quickly - the diva can't 'deave' live in sympathy with the music, the band i.e. her vocals are poor. Fortunately we don't have to suffer this for long and thank goodness for the skip button.

Yes this is a short recording*, and isn't there a missed opportunity here? One DVD burn (of a copy of a copy, etc.) of this gig I saw some years ago and suffering horribly from colour dropout, had the addition of two extra numbers by Bruford recorded off from the Old Grey Whistle Test - here with I think Neil Murray deputing for Jeff Berlin. Surely the Beeb could had offered these as well?

*Interesting to see another Rock Goes To College recording of Herbie Hancock & the Headhunters recorded at the now defuncted Chelsea College, that had resurfaced on BBC 4 2 years ago, was an hour long.

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Slartibartfast
This is incredible. I had the good fortune of seeing Bruford, unfortunately post Holdsworth, at the now defunct Atlanta Agora. I did get to catch Holdsworth touring for his I.O.U. album, but that's another story. My first pass through this concert really gave me the goosebumps.

It is unfortunate that this DVD is only 41 minutes, but the set list is excellent. Four tracks from Bruford's best album, One of a Kind. Annette Peacock even shows up for a couple of songs. I always thought that she didn't fit in well with this kind of music, but it's nice to see her all the same. I hope I'm wrong, but I don't think there's any live video out there of Alan Holdsworth, so seeing him in action is a special treat. One of the things I remember most from seeing Bruford was that at times Jeff Berlin's picking fingers were a blur and seeing him again live, I know I wasn't imagining it. Dave Stewart, or as I like to call him, The Dave Stewart, not that Eurythmics guy, is also a lot of fun to see in action. I noticed he had a music stand with no sheet music, but a synthesizer diagram, interesting. And then of course there's Bill. Those of you who may dislike his electronic drum work, I'm not one, will be happy to him playing strictly acoustic. What can I say? He's really one of best drummers around. The audio quality is excellent and sometimes the camera man crop off Holdsworth's left hand when I'd like to see it, but other than that, this is really nice for a concert captured in 1979.

HATFIELD AND THE NORTH Classic Rock Legends

Movie · 2001 · Jazz Related Rock
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Sean Trane
Actually, this is nothing more than the TV special that got released some 12 years later after the live album. And this release does make a difference, compared to the live Cd. Actually only the respect I have for H & TN, stopped from giving less than two stars for that Cd because the recording was atrociously flat , poor quality and listless.

However, the DVD of that concert is much better and the sound quality is much better than the original Cd release. So the line-up is the same as Miller, Pyle and Sinclair are present and Sophia Domancich is replacing Dave Stewart. Although the newcomer is an impressive player, she does not however fill such gigantic shoes of Stewart. Actually on the latest 2005 tour , Alex Maguire does a credible job, though!

Highlight includes live favourites Matter Anyway and Going For a Song. A much fitter souvenir of that live one-shot reunion tour.

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