(Post-70s) Eclectic Fusion

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Part One

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 70's 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.

Part Two - The 21st Century

As we move further into the new century, modern eclectic fusion has become more eclectic than ever. The styles of music that a jazz musician may fuse have become virtually limitless. Today's jazz musician can utilize almost every genre of music known to man, as well as music from any era or place on the globe. Meanwhile, the early hip-hop and punk influences in modern fusion have become less of a defining feature, as both hip-hop and punk became a part of mainstream culture, in other styles of music, long ago.

(post-70s) eclectic fusion top albums

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

BOBBY PREVITE The Coalition of the Willing Album Cover The Coalition of the Willing
BOBBY PREVITE
4.98 | 5 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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CURLEW Bee Album Cover Bee
CURLEW
4.83 | 3 ratings
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CURLEW Live In Berlin Album Cover Live In Berlin
CURLEW
4.83 | 3 ratings
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MASADA At The Mountains Of Madness (Electric Masada) Album Cover At The Mountains Of Madness (Electric Masada)
MASADA
4.83 | 3 ratings
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MEDESKI MARTIN AND WOOD Radiolarians I Album Cover Radiolarians I
MEDESKI MARTIN AND WOOD
4.69 | 5 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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PAUL MOTIAN The Paul Motian Trio at the Village Vanguard Album Cover The Paul Motian Trio at the Village Vanguard
PAUL MOTIAN
4.75 | 2 ratings
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PAUL MOTIAN Paul Motian Trio: Sound of Love Album Cover Paul Motian Trio: Sound of Love
PAUL MOTIAN
4.75 | 2 ratings
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KAZUTOKI UMEZU Eclecticism Album Cover Eclecticism
KAZUTOKI UMEZU
4.52 | 4 ratings
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PAUL MOTIAN Paul Motian Trio: It Should Have Happened a Long Time Ago Album Cover Paul Motian Trio: It Should Have Happened a Long Time Ago
PAUL MOTIAN
4.49 | 4 ratings
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MASADA 50⁴ (Electric Masada) Album Cover 50⁴ (Electric Masada)
MASADA
4.48 | 4 ratings
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(post-70s) eclectic fusion Music Reviews

HASHIMA The Haywain

Album · 2017 · (Post-70s) Eclectic Fusion
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snobb
Serbians Hashima debuted two years ago with album which sounded like chamber rock band play fusion, with precisely composed and executed songs and calculated sound. The only imperfection in their music was very static,almost academic take on jazz/rock, the music which by its origin is dynamic and vibrant.

Now, two years after, they return with their second release - Dutch painter Hieronymus Bosch's "The Haywain" inspired work which seriously differs from their debut. Dark and pessimistic as Northern European painter's art, Hashima's music is low-tempo and liquid, but contains lot of internal energy and sharpness. Closest example are Finnish Black Motor playing avant-garde jazz like if they were blues-rooted heavy metal power trio. Still Hashima music's roots are quite different and on "The Haywain" they sound more like unusual post-rock quartet with double bassist and tenor sax player on board playing avant-garde jazz.

The opener (and longest album's song) "Dance No.3" is a true bomb. Spiced with Portuguese rising star Susana Santos Silva trumpet vibrato soling (which surprisingly adds more Balkan feel to music then rest of the band) it blows your minds away. Everyone familiar with Nordic project "Angles" music can think about "Dance No.3" as minimalist "Angles'" hit with better controlled emotional coloring, like walking on the edge but never crossing the danger border.(Susana Santos Silva's fans have possibility to see her as part of probably best European progressive big band Fire! Orchestra just a few month ago; Angles and Fire! Orchestra both have some same musicians on board).

Rest of the album is played by quartet themselves and without free trumpet solos they become even slower,darker and more...chamber. Similarly as on their debut, music here develops as on rock and not a jazz album. Songs all are perfectly composed and precisely played/recorded, just rhythm/melody changes right in the middle of any composition without even a trace of preparation for such a change moves all music somewhere towards modern avant-garde field. Still, all components are such melodic and never too long-lasting, that quite complex music in whole sounds as good contemporary avant-rock album (think Kayo Dot) rather than the avant-garde jazz one.

There even are a shredding guitar sounds and thunder-like drums dueling with tenor sax, and whole album lasts just forty minutes - as good rock album from the times when good rock albums still existed (and we all know that it was such times when music has been released on vinyl since CDs were just something from futurologists dreams). Guys don't try to demonstrate technical abilities or speed at all, music sounds quite simple (but is far not so simple!), but at the end of the day I felt like I'm back in 70s and just listened to my another new great rock album.

Is jazz a new rock in 2017? I am not sure but I can seriously recommend "The Haywain" to open ears progressive rock fans unsuccessfully trying to find a new King Crimson during last two or three decades.

Not really a jazz album (from jazz purists point of view), this is the music I listened again and again last few days and one of the biggest discovery of last years. Balkans' jazz has their heroes from now.

P.S. And - I imagine that Hashima and Susana Santos Silva's whole common album could be a great thing as well!

KUBIKMAGGI Things

Album · 2017 · (Post-70s) Eclectic Fusion
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snobb
Kubikmaggi are piano trio from St.Petersburg,most European Russian city founded on eastern Baltic shores by Peter the Great, most "European" of all Russian tsars to date. Built on former Sweden-controlled territories by best French and Italian architects of the time, it was a result of an ambitious czar's project "to cut the window to Europe" for Russia. The project itself has been always a big challenge never fulfilled in full, but it gave to Russia and the world one beautiful place with very specific atmosphere, true "east meets west"(Eurasia Meets Europe),true creative boiler where Nordic rationalism is mixed with Russian metaphysical spirituality.

Originally a piano trio (or sometimes quartet), Kubikmaggi are not only a product of few hundred years of intellectual exclusivity and grey St.Peterburg's sky but as well a continuation of modern Russian avant-rock tradition, similar to Western RIO movement. Nothing's strange - Kubikmaggi's pianist and vocalist Kseniya Fedorova is a daughter of Russian avant-rock cult figure Leonid Fedorov, leader of Auktyon band.

Kubikmaggi's evolution from their debut "Needless"(2008) music till now is very impressive. Started as alternative rock quartet (with guitarist) on their debut, band sounded as bunch of students singing pretentious lyrics and adding odd sound effects trying to be different and attract attention at the same time (don't even want to mention terrible "experimental" sound mix). Here on "Things" they sound much more mature. Sound is very soft and uncompressed, not a classic "Nordic" one though. There is lot of blood and groove in album's music,with successful addition of saxophone on one song(opener).

Paying main attention on music itself,Kseniya sings only in a few places (incl. reworked in reggae key Little Tiger's song "Laying Under The Sun" from popular Soviet times children cartoon). Sounding more jazzy (partially because of sound mix),new album's music is better balanced but still contains same components as before - alternative rock's energy, snippets of brilliant tunes, some jazzy arrangements and in whole accessible and crazy mix of rational and irrational (an obvious Fedorov's genetic roots in father/Auktyon's music).

Not as screaming,intimate and sharp as Auktyon, Kubikmaggi with their third album continue the honorable tradition of St.Peterburg's avant-garde rock (and around) musical scene, and they do it well.

JEAN LOUIS Jean Louis

Album · 2008 · (Post-70s) Eclectic Fusion
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siLLy puPPy
JEAN LOUIS is a rather unique freeform avant-garde jazz meets avant-prog type of power trio from Paris, France. So original is their sound that they managed to come in second in the La Defense National Jazz Competition in 2007. Their self-titled debut release came out the year following and displays all their interesting fusion styles with a healthy diverse palette of eclectic influences. The band is a mere trio with Aymeric Avice on trumpet, Joachim Forent on double bass and Fracesco Pastacaldi on drums but like any excellent power triumvirate of sound, have the ability to encapsulate a much larger band experience with a huge swath of styles and eclecticism that makes this eponymous debut quite an intriguing listen. While no guitarist on board, Forent manages to make his bass sound as fuzzed-out as a peach orchard often reminding me of bands like Zu or Aluk Todolo in the process.

The rhythms are quite the strange mix of avant-garde jazz with Avice’s angular trumpet playing style and avant-prog type of rhythmic or should i say anti-rhythmic spastic meanderings. So think a mixture of 60s Sun Ra with a Miles Davis flare mixed with Thinking Plague and a noisy math rock band like Lightning Bolt and you’ve got half the picture! This band doesn’t stay still too long and after an intense hardcore workout they delve into extremely psychedelic meltdowns. Just check out the mind bending freakiness on “Airbus.” In addition to the instruments listed i swear there are other sounds to be found on here. My guess is that they use different percussive objects as there are lots of clanking and banging sounds. There is also a distinct cello sound on “Tranche” which means there must have been some studio guests participating.

This album is a major wild ride that has taken me forever to find on physical format as the CD is out of print and quite expensive but can be heard on the band’s Bandcamp site. This is one that must be experienced to be believed. The dynamic shifts from the passively surreal to the full out aggressive assaults on the eardrums is staggering as each member deftly weaves his respective instrumental riffs in a perfect complimentary way. This album has it all. Intricate melodies, scary storms of cacophonous walls of din, distinct jazz parts, avant-prog run amok and progressive workouts of exquisite virtuosity. The members of JEAN LOUIS are clearly aiming for the most ambitious of the ambitious music nerds out there of which i am one of! This is one of those relentless type of albums that just slaps you in the face with one surprise after another therefore I LOVE IT!!!

SONS OF KEMET Burn

Album · 2013 · (Post-70s) Eclectic Fusion
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snobb
During sixties and than seventies England spent wearing a crown of one of world's leading nation representing to the whole world rock culture, all that music,worship,life style and hysteria. The Beatles,Rolling Stones,Cream,Led Zeppelin,Deep Purple,Black Sabbath and even Sex Pistols - British acts ruled the world. Speaking about more artsy/quirky than mainstream rock side-stream of so-called "progressive rock", England was and still is absolutely dominating origin. The story of jazz in Britain are far not so glorious.

True, this country gave to the world some greatest musicians as guitarists Derek Bailey and John McLaughlin, bassist Dave Holland and reedist Evans Parker, but it's hard to speak about influential or at least easy recognizable British jazz scene doesn't matter if we mean 50s,60s or 70s. Eighties were the only exclusively glorious period with birth and short but impressive invasion to the all world's scenes of acid jazz (who doesn't know Jamiroquay,renown hats and cars collector?). Still, acid jazz (even if demonstrating some true jazz attributes) was more part of modern clubbing culture and influenced much more later non-jazzy DJs/electronics trends than "classic" jazz.

New Millennium bring some changes in that historically sad situation and (mostly with nu jazz invasion) English new jazz scene became not only much more alive, hip and creative, but now, after a decade of renaissance, to think about London as about European jazz capital doesn't sound as a joke.

From Portico, mixing unusual sound of hang with electronics,to almost cult chamber piano trio of Phronesis to younger and less serious GoGo Penguin,British nu/contemporary jazz artists won strong following in Europe. Beside of them and similar, there are different stream of modern jazz in UK, and Sons Of Kemet are among its brightest representatives.

Grew up in same post-progressive rock/acid jazz/techno-clubbing sound environment, the quartet of two drummers and tuba player led by reedist Shabaka Hutchings on their debut album go their own way. "Sons.." combine African rhythms (not Afrojazz,but more street-wise folklore rooted raw ones) with Caribbean calypso and reggae adding British rock-scene so characteristic melodic tunes. All that are presented in quite hip form of today's clubbing culture, without losing its rawness.

As a result, "Sons Of Kemet" sounds as modern incarnation of South African jazz artists,who seriously influenced British jazz (and rock) in late 60s-early 70s, or ska revolution of late 70s-early 80s. Band doesn't care much about virtuosity, their arms are raw rhythms, New Orleans' marching bands shamanism and in whole very modern urban sound (one of two band's drummers is Seb Rochford, founder and leader of another hip British band,Polar Bear). Big part of album's songs are catchy and can easily attract much wider listener than regular jazz fan (closer "Rivers Of Babylon" is freaky cover of Boney M.'s disco hit from 80s), but at the same time serious listener can find lot of free jazz elements almost everywhere.

With their debut, "Sons Of Kemet" jumped on the forefront of British creative jazz scene in a very few month, but later released just one more album. It's difficult to say what are their future plans if any since band's leader Shabaka Hutchins in 2016 released his strongly African music and spiritual jazz influenced debut as leader "Wisdom Of Elders" (on Gilles Peterson Brownswood Recordings). In all cases, Sons Of Kemet debut is significant evidence of most current original British jazz and it sounds pretty fresh and modern today as it did four years ago.

ORNETTE COLEMAN Body Meta

Album · 1978 · (Post-70s) Eclectic Fusion
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snobb
Ornette Coleman was the one among a few jazzmen who started playing what later has been titled "a new thing" still in late 50s. His album "Free Jazz" gave the tag for all new jazz direction which dramatically changed genre's scene for decades to come. Still at the late 60s-early 70s it looked Ornette got stuck in his music(his excellent "Science Fiction" from 1972 is an exception only confirming the sentence).

Fortunately for us jazz lovers he did it again - in late 70s Ornette returned back with new jazz revolution again. His new quintet came all-electric this time - two(!) guitarists, bassist and unorthodox drummer Ronald Shannon Jackson beside of Coleman himself. The music,if still rooted in early free jazz, was seriously different and at the moment sounded extremely modern and non-conventional at the same time. Influenced by some time's dominated trends, Ornette's new music was closer to jazz fusion, or better to say - free funk still staying within jazz idiom.

First ever recorded example of Ornette's new music has been released on their "Dancing in Your Head"(1977) - 31 minute-short LP which contained only one true new band's composition "Theme From A Symphony" (which initially has been planned as EP release) and completed with four-and-half minute "Midnight Sunrise" world fusion piece,recorded with Master Musicians of Jajouka. Then in 1978 same band releases "Body Meta" - true first full album of "harmolodic" jazz. Five compositions, almost forty minutes of excellent energetic and free mix of groovy pulsation, drummers acrobatics and extremely inspired and focused Coleman sax soloing, one among best in his career.

Comparing with many recordings,released by Coleman and his followers later, "Body Meta" has one big advantage - because of permanent changes of tunes and rhythmical structures whole album doesn't sound all that much repetitive and initial fresh and positive impression doesn't change to boredom after first fifteen-twenty minutes of listening.

Coltrane (and his collaborators/followers) will develop and explore this new for the time sound for decades to come but "Body Meta" still will stay one of style cornerstone album in jazz history.

(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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