(Post-70s) Eclectic Fusion

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As the original fusion movement that was started in the late 60s began to fade in the late 70s, a new generation of musicians led by Blood Ulmer, Bill Frisell, John Zorn, Ronald Shannon Jackson, Bill Laswell, Steve Coleman and Vernon Reid introduced a new style of jazz and rock fusion that arose from the initial efforts of Ornette Coleman's Prime Time band, Miles Davis' "Get Up With It" and "Dark Magus" albums and the jazzy, funky post-punk 'no wave' scene in New York City. This new fusion was both more aggressive and eclectic than the typical output of the 70s fusion artist. The Post-70s Eclectic Fusion artist not only uses elements of jazz, funk, and rock; but he is also likely to pull from a diverse set of influences including, but not limited to; New Orleans drum lines, klezmer, jump blues, hip-hop, hardcore punk, exotic lounge, drumnbass, and Bulgarian wedding music. The (Post-70s) Eclectic Fusion genre at JMA is rooted in the aforementioned artists, but continues to grow and gain popularity worldwide, particularly in Japan and Northern Europe.

Not all of the artists listed in this genre are necessarily harsh and aggressive, but Post 70s Eclectic Fusion tends to have a modern urban sound, often influenced by the cultures of punk and hip-hop, whereas Classic Fusion tends to be rooted in the bohemian atmosphere of hippie, Afrocentric and beatnik culture. In Classic Fusion there tends to be a much stronger Latin and post bop influence in the rhythms, also Classic Fusion artists tend to blend their influences into one style, while Post 70s Eclectic artists may play in distinctly different styles from one song to the next, or even within one song. Its not unusual in this genre for artists to play in a humorously de-constructive style, or in a way that exaggerates the nuances of older styles.

Some of the jazz styles that can be found in this genre include; the M Base movement, free funk, the so-called 'knitting factory scene' and the harsher side of the modern Japanese jazz scene.

(post-70s) eclectic fusion top albums

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BOBBY PREVITE The Coalition of the Willing Album Cover The Coalition of the Willing
BOBBY PREVITE
4.95 | 3 ratings
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LIBERATION PROPHECY Last Exit Angel Album Cover Last Exit Angel
LIBERATION PROPHECY
5.00 | 2 ratings
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AKA MOON In Real Time Album Cover In Real Time
AKA MOON
5.00 | 2 ratings
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MASADA At The Mountains Of Madness (Electric Masada) Album Cover At The Mountains Of Madness (Electric Masada)
MASADA
5.00 | 2 ratings
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CURLEW Live In Berlin Album Cover Live In Berlin
CURLEW
4.83 | 3 ratings
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CURLEW Bee Album Cover Bee
CURLEW
4.83 | 3 ratings
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BILL FRISELL Have a Little Faith Album Cover Have a Little Faith
BILL FRISELL
4.64 | 7 ratings
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MASADA 50⁴ (Electric Masada) Album Cover 50⁴ (Electric Masada)
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4.71 | 4 ratings
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DJAMRA Transplantation Album Cover Transplantation
DJAMRA
4.75 | 2 ratings
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HUMAN FEEL Galore Album Cover Galore
HUMAN FEEL
5.00 | 1 ratings
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BILL FRISELL Big Sur Album Cover Big Sur
BILL FRISELL
5.00 | 1 ratings
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BROWN VS BROWN Odds and Unevens Album Cover Odds and Unevens
BROWN VS BROWN
5.00 | 1 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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(post-70s) eclectic fusion Music Reviews

XADU Xavi Reija / Dusan Jevtovic : Random Abstract

Album · 2015 · (Post-70s) Eclectic Fusion
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js
Xadu is a modern jazz/rock duo made up of drummer Xavi Reija and guitarist Dusan Jevtovic. Although “Random Abstract” is their first album under this new moniker, this is the second album they have recorded together, as Dusan played guitar on Xavi Reija’s “Resolution”, which was released just last year. The only difference between the groups that perform on both albums is that Reija’s album featured Bernat Hernandez on bass, while “Random Abstract” has no bass player, and that lack of a third band member does make a difference.

Dusan is an interesting guitarist, although he started out as a more typical fleet fingered fusion guitarist, his solo album, “Am I Walking Wrong”, found him working more with distorted sounds and heavy sonic noise textures. On “Random Abstract”, he seems to mix these two worlds, still relying on a lot of distorted sounds, but also working in more of his earlier fusion style too. The balance of these two styles has resulted in a more interesting and musical approach for Dusan than on his previous solo album. This mix of noise and jazz-rock chops may remind some of Sonny Sharrock‘s work in the 80s and 90s. Xavi Reija provides his usual virtuoso drumming that combines fusion, free jazz and heavy rock. The two sound great together, but that third voice is missed sometimes.

Most of the tracks on this CD are good, with the best material coming in the middle of the album where back to back tracks, “New Pop” and “Something In Between”, feature the best solos and energetic duo interplay on the album. The weakest tracks happen on the second and third cuts where the duo makes the mistake of using some sort of looping device to provide something like a repeating bass line. As either song wears on, the automatic repeating lines become more of a nuisance than anything else. The duo format may sound a bit thin at times, but adding a dull repeating voice doesn’t help.

There is a lot of potential here, and there are moments on “Random Abstract” where that potential is reached, but its possible there is a better album still to come from these two. Much of this CD comes across as a recorded jam session, which isn’t bad, but more developed material would probably serve these guys well, as well as someone on bass.

VIJAY IYER Break Stuff

Album · 2015 · (Post-70s) Eclectic Fusion
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js
Breaks in music often refer to gaps of silence, some long, and some very short. Its a consideration of these ‘breaks’ and their importance that fuels much of Vijay Iyer’s new album, “Break Stuff”. Despite the pioneering work of Morton Feldman, John Cage and Stockhausen, some consider the manipulation of silence to still be an uncharted frontier in music. Besides the previously mentioned highbrow composers, breaks have found their way into popular music via the art of dubbing and other DJ tricks. Breaks in today’s music world can also refer to break beats and other DJ derived rhythms, and that sort of break also shows up on “Break Stuff”.

There is so much variety on here, Iyer is a restless creator and he fills all 70 minutes of this CD with a wealth of ideas and styles. “Break Stuff” opens somewhat pensively as Iyer explores some very interesting tone colors on the piano. I’m not sure how he gets all of his striking sound effects, possibly by going inside the piano, or that’s how it sounds at least. Partway through the second track, Iyer shifts into fusion mode playing strong rhythmic right hand solo lines that echo the young Chick Corea. On fourth track, “Hood” (named for DJ Robert Hood), Iyer and his group show their appreciation for Detroit techno, the form of techno that imitates African music in its complex rhythmic relationships. Other groups, such as Dawn of Midi, have attempted this sort of thing, and it seems Iyer and his group have achieved the best synthesis of techno and jazz yet.

The variety on this CD continues as Iyer takes on Monk’s “Work”, and shows a Monk styled playful sense of mischief. Other original tracks show Iyer and his rhythm section working with dense textures that recall recent works by Craig Taborn. Bassist Stephan Crump and drummer Marcus Gilmore supply intelligent support throughout, with Gilmore’s bold and original contributions taking on more importance due to the highly rhythmic nature of this album. To Iyer's credit, one of the very best tracks on the album is a solo piano take on Billy Strayhorn’s sublime “Blood Count”, which Iyer plays elegantly, allowing the rich harmonies to speak for themselves.

Where is modern jazz heading these days, “Break Stuff” offers a lot of possibilities, and despite this album's very eclectic material, it all fits together and makes sense. The uniting factor that ties all these tracks together is the band's stuttering modern rhythms that utilize silence, as well as sound.

SATANIQUE SAMBA TRIO Misantropicalia

EP · 2004 · (Post-70s) Eclectic Fusion
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siLLy puPPy
SATANIQUE SAMBA TRIO is a very strange band from Brasilia, Brazil. Their name and imagery suggest a black metal band, but this is more of a parody of black metal because this is nothing even remotely close soundwise. The name is also a misnomer as this is neither Satanic nor a trio. The band throughout its history ranges from five to seven members. This music is actually a hybrid of the avant-prog of such greats as Henry Cow or Univers Zero mixed with traditional Brazilian pop and avant-garde samba jazz.

The instruments consist of guitar, bass, drums, trumpet and cavaquinho which is a small Portuguese guitar with four strings. This music is very avant-garde to say the least utilizing the most dissonant avant-prog and RIO leanings as heard in the strangest offerings of Henry Cow, Art Zoyd or Aqsak Maboul only presented with samba-jazz instrumentation. The weaving of traditional Brazilian sounds into the mix is what makes this truly unique. While the samba sound can be discerned at times, it is often obfuscated and twisted with extremely complex time sigs and electronic manipulations.

While the best of what this band has to offer from their future releases is here on the debut album MISANTROPICALIA, they also have a strange fascination with “The Snow EP” from Coil on a few ambient tracks with the vocals and melody almost identical to that release. If you are not familiar with Coil’s music this could be an interesting addition outside the avant-samba offerings heard here but i find it a little irritating to hear it here interspersed between the regular tracks. It sounds like they just throw in the ambient vocal tracks for filler and it is basically too much of a Coil rip off for my comfort. This is a decent slice of avant-prog-jazz by SST but it is better displayed on the following albums “Sangrou” and “Bad Trip Simulators 2 & 1” where they shine in their fullest avant-garde samba jazz regalia.

VIJAY IYER Break Stuff

Album · 2015 · (Post-70s) Eclectic Fusion
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snobb
After two decades on jazz scene and almost twenty albums released, from more avant-garde early works on American labels to series of catchy chamber jazz and world fusion releases on German ACT,pianist Vijay Iyer built strong reputation as one of most potential modern jazz pianist. It's not strange than that last year he signed contract with ECM, one of the highest acknowledgment evidence for every jazz musician. And here he presented some surprises.

His ECM debut, "Mutations", is nothing less than suite for electronics,piano and string trio, exceptional work for Vijay till now. His second release on ECM, coming from same 2014, is "Radhe Radhe: Rites of Holi" - music for musical movie. "Break Stuff", his just released ECM album, is more usual trio music, but all isn't so simple even here.

On "Break Stuff" Iyer returns to his long-standing trio with bassist Stephan Crump and drummer Marcus Gilmore and the music here sounds a bit more traditional to him,but only from first impression. In reality, acoustic trio wrap to post bop frames all collection of musical genres from minimalist "Mystery Woman" to dissonant "Geese" to almost hip-hop streetwise "Hood". Vijay playing is still quite calculated but unusually warm,even lyrical in moments and all album sounds as one well-made modern creative but easy accessible work. It's far not easy to play music which is complex but sound simple, even more difficult to make such album of many multi-genre and even multicultural elements without sounding eclectic. On "Break Stuff" Vijay succeeded in both.

I have been a bit surprised with album's sound here - it wasn't been recorded in Oslo Rainbow or other usual ECM European studio, but as rule US-recorded albums sound as well as European. Here the sound even being clear is too compressed and tight even for ECM standard, it looks like all music's lifelines is killed by this way. Adding more blood and fresh air to playing and producing would make this album really great. In all other aspects "Break Stuff" is strong and really interesting Vijay job, opening new horizons.

XAVI REIJA Resolution

Live album · 2014 · (Post-70s) Eclectic Fusion
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kev rowland
Xavi is recognized as being one of Spain’s top jazz drummers, and over the last fifteen years has built his reputation by working with artists such Steve Hogarth (Marillion), Gary Willis (Tribal Tech), Monica Green (The Supremes), Caco Senante, O 'Funk'illo and Pep Sala Joaquin Calderon. But he has also been working on his own bands, releasing ‘Two Sides’ with DX Project, two albums with the Xavi Reija Electric Quintet as well as trimming that down to the Xavi Reija Electric Trio who prior to this had released a DVD. Now he is back, again in a trio environment, with Bernat Hernández on bass, and Dušan Jevtović on guitars. Bernat also played with Dušan on the latter’s album ‘Am I Walking Wrong’ which was released last year.

When I first started listening to jazz as a child, it was bands led by drummers that I became most interested in, and the very first jazz album I ever bought with my own money was by Gene Krupa. There is something about music being geared towards the complexity and freedom that comes from a powerhouse at the back that really lifts the overall, and if you normally listen to metal then you would have to agree that Testament’s recent stunning live opus just wouldn’t be half as dynamic if Gene Hoglan wasn’t behind the kit. Only four of these compositions are group numbers, with the other seven all scored by Xavi, but the common theme throughout is the sheer amount of space that these guys have given themselves to work with. That they are all stunning musicians are never in doubt, but they know the importance of simplicity as well as complexity, and know the right time to deliver what is required, with fuzzed distortion adding to the overall sound.

The three musicians work off each other, and the result is an avant garde album that combines improvisation with funk and melody, distortion and feedback with clean struck notes, polyrhythmic sounds with simple timekeeping, so much so that the listener never really knows what is coming next. A very strong production tops off yet another incredibly strong release from the Moonjune label. www.moonjune.com

(post-70s) eclectic fusion movie reviews

MEDESKI MARTIN AND WOOD Fly In A Bottle

Movie · 2011 · (Post-70s) Eclectic Fusion
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js
“Fly in a Bottle” is a documentary that follows Medeski, Martin and Wood while they are on tour developing the music that will become “Radiolarians”, as well as some of the recording sessions for that same album. The music on here is excellent, MM&W have a come a long way over the years. They were always a talented band from the start, but their confidence has grown. The funky tunes are funkier than ever, and the psychedelic jazz-rock tunes are more powerful, imaginative and original. Almost any music fan might enjoy watching their concerts and even some of their recording sessions, but a lot of the rest of this DVD is for hardcore fans only.

Along with the footage of MM&W playing music, you also get a lot of footage of them on tour visiting ecological tourist spots and talking, hanging out etc, which is where I think a lot of non-fans will probably start losing interest. They seem like nice sincere guys, but they aren’t particularly entertaining or charismatic, which is often the case with nice sincere guys. There are also some artsy short videos that follow the main feature, some more entertaining than others. Fans of MM&W may want to pick this up, it’s a well-made video and the music is excellent, but non-fans may find this lacking in substance in places.

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