(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

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

BOBBY PREVITE The Coalition of the Willing Album Cover The Coalition of the Willing
BOBBY PREVITE
4.95 | 3 ratings
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5.00 | 2 ratings
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5.00 | 2 ratings
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4.83 | 3 ratings
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HUMAN FEEL
5.00 | 1 ratings
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5.00 | 1 ratings
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BILL FRISELL Disfarmer Album Cover Disfarmer
BILL FRISELL
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

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

TOHPATI Tohpati Bertiga: Riot

Album · 2011 · (Post-70s) Eclectic Fusion
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js
Tohpati Bertiga is the latest fusion project from guitar virtuoso Tohpati Ario Hutomo. On the band’s first album, “Riot”, he teams with bassist Indro Hardjodikoro and drummer Adityo Wibowo to make a fierce hard jazz-rockin instrumental trio. Those who miss the early days of jazz rock, before cheezy guitar synth patches and digital effects smoothed out all the nice rough spots, will certainly enjoy Tohpati’s naturally distorted guitar sound and rare tasteful use of effects. Not only do the early days of jazz rock have an influence on this crew, but also the raw NYC punk jazz scene of the 80s as well. This trio also has a penchant for tightly wound compositions with frequent time signature changes which reveal an interest in math-metal and modern progressive rock. Putting all this together you end up with something similar to Tony Williams Lifetime crossed with mid-70s King Crimson live jams, Battles and Vernon Reid. Although bassist Indro easily holds his own in this powerful power trio, much of the interplay in this group comes down to the virtuoso skills of the drummer and guitarist. In this respect this band recalls other classic drum/guitar duos such as Mitchell/Hendrix, Blood Ulmer/Ronald Shannon Jackson, Fripp/Bill Bruford, McLauglin/Tony Williams, Holdsworth/Tony Williams and so on. Fans of intense guitar shredding will find a lot to enjoy here, Tohapti and his rhythm section are relentless.

XAVI REIJA Resolution

Live album · 2014 · (Post-70s) Eclectic Fusion
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js
“Resolution” is the latest album from virtuoso jazz fusion drummer Xavi Reija, and it finds him making some big changes in his music. Gone are the keyboards and saxophone, as well as the 70s based classic fusion music he was playing that was reminiscent of early Cobham and mid-70s Weather Report. Instead, Reija presents a stripped down band with just avant-funk fusion bassist Bernat Hernandez and noise centered guitarist Dusan Jevtovic on board. The resultant music moves far from the 70s into something that sounds like three creative guys with jazz skills playing a sort of modern noise dub post math rock thing. Jevtovic is an interesting guitarist, he obviously can play some rapid fusion flavored scales if he wants, as he displays for a bit on “Shadow Dance”, but usually he prefers to work with sounds, textures and spare notes that linger. His simple but effective ringing tones may remind some of Nicky Scopelitis, only with more distortion. Hernandez’s playing on here ranges from nimble funk along the lines of Marcus Miller, to heavy distorted dub lines ala Bill Laswell. Sometimes the three together sound like what Sonic Youth would sound like if they had a really good rhythm section, or possibly the noisier side of the Wetton, Bruford, Fripp gang.

For about the first two thirds of this CD the music on here is very strong, modern and creative, but it is a very lengthy CD (equal to a double LP) and towards the end it seems like the music starts to loose some focus and drive. No big deal though, you still get plenty of great cuts. For long time fans of Reija, sure there is a drop-off in “jazz” elements on this one, but on the other hand, its great to hear something that is this new and original. If you are interested in some math/post-rock flavored jams played by guys who have way more creative skills than the type of people who normally play this sort of music, then go grab a copy of “Resolution”.

PRAXIS Transmutation (Mutatis Mutandis)

Album · 1992 · (Post-70s) Eclectic Fusion
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siLLy puPPy
PRAXIS was an experimental rock project that incorporated aspects of metal, rock, funk, prog, avant-garde, noise, turntables and whatever else could be fit in. It all began in the brain of producer and bassist Bill Laswell who was obsessed with collaborating artists together to construct what he called “collision music.” The project included an ever changing cast of musicians over the project's two decade plus span, but on this release we get Buckethead on guitar and additional toys, Bootsy Collins of Parliament fame on bass and vocals, Bernie Worrell also of Parliament on keyboards, Brian “Brain” Mantia on drums whose played with countless acts ranging from G'n'R to Tom Waits and DJ AF Next Man Flip on turntables and mixer.

This album starts off nicely on a rock meets dub note with “Blast / War Machine Dub” and throws in a lot of DJ type funk with avant-garde proggy keyboard solos in this track and the several that follow. Buckethead adds a face-melting guitar solo here and there and the music is mostly instrumental save the Bootsy Collins suave vocal contributions on the funkfest “Animal Behavior.” The album continues down the rock and funk track with ambient guitar stretches but always with a melodic construction in mind. Buckethead puts out all the sounds he became famous for later but this was where he unleashed all of that for the first time and PRAXIS was really the impetus for his successful solo career.

I would imagine that even for those that are on board with this kind of avant-garde music probably will not be loving the extremely bizarre and strange 16 minute plus closer “After Shock (Chaos Never Died)” which is so experimental that it reminds me more of the strangest sound collages ever constructed by the likes of Faust, Dedalus or other Krautrock and space rock artists of the 70s. It starts off rather accessible with funky bass, guitar solos and gospel-inspired organs, but somewhere down the way it just gets WEIRD! If listened to closely though you will hear a subdued pulse that actually strings it all together during the strange and bizarre sound effects that wax and wane throughout the piece's entirety. The turntables and vocal samples mixed with the church organ parts can take you from a comfort zone to the twilight zone and back again and then somewhere else completely.

I personally think they pull this crazy sonic wackiness off exceedingly well. Be forewarned this is not for everybody. You truly must have an eclectic musical palette and really relish the syncretism of all the styles and genres of music that you love mixed and mangled to the point where there's no such thing as a musical genre any more. More of the funky parts here especially with Bootsy on bass and vocals really remind me of Buckethead's “Monsters & Robots” album where Bootsy guest starred. Even the guitar work here from Buckethead reminds me of that period of his career. What can I say? My kind of bizarre mind-bending sonic sludge!

SATANIQUE SAMBA TRIO Bad Trip Simulator #2

Album · 2010 · (Post-70s) Eclectic Fusion
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siLLy puPPy
The interesting thing about this Brazilian band's music is that it so successfully manages to NOT sound like anything else. They have taken their avant-garde sound to an arena that I have never experienced before and although that probably sounds like enough to scare off the musically unadventurous, this is not just random noise. This band has structure and patterns that do repeat although most often not.

SATANIQUE SAMBA TRIO is strange for many reasons. They are not particularly Satanic as far as I can gather. They are a quintet and although there is samba in this stew, they also incorporate jazz-fusion, bossa nova and rock. However none of these genres are instantly recognizable since they are all mangled together in such an extreme manner that this leaves you wondering if these guys have been licking rainforest frogs or something. You may or may not love this but you certainly won't leave thinking you've heard this all before.

The only thing that comes to mind when I hear this is what it would sound like if a chamber rock RIO band like Univers Zero decided to add all the above mentioned genres to the mix with a little electronics here and there and upped the tempo a bit with a lot more changes piled into their sound. That might come close but this band has carved out a musical niche that no one else has. The only question remains is will anyone follow. I did and i'm not sorry for it. If you love extremely unorthodox and challenging RIO fusion then you should check these guys out.

(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.

Artists with (Post-70s) Eclectic Fusion release(s)

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