(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 on modern fusion are less noticeable now, as both hip-hop and punk have become a part of mainstream culture in other styles of music long ago.

Another growing development among many top jazz leaders; including Greg Osby, Dave Douglas, Craig Taborn, Jason Moran and others, is a musical hybrid that mixes modern fusion, with avant garde jazz and post bop, often played by acoustic, or mostly acoustic ensembles. Such music is often hard to classify, but often it can find its best fit in (Post 70s) Eclectic Fusion.

(post-70s) eclectic fusion top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 5 min. caching

BOBBY PREVITE The Coalition of the Willing Album Cover The Coalition of the Willing
BOBBY PREVITE
4.98 | 4 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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MEDESKI MARTIN AND WOOD Radiolarians I Album Cover Radiolarians I
MEDESKI MARTIN AND WOOD
4.73 | 4 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 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
4.75 | 2 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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LIBERTY ELLMAN Radiate Album Cover Radiate
LIBERTY ELLMAN
5.00 | 1 ratings
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(post-70s) eclectic fusion Music Reviews

BOBBY PREVITE The Coalition of the Willing

Album · 2006 · (Post-70s) Eclectic Fusion
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Rokukai
All one needs to know for a hell of a rock inspired jazz roll is a little background and a look at the credits

Drums, Percussion – Bobby Previte,Stanton Moore Guitar [Electric,12-string,Slide], Bass [Electric] – Charlie Hunter Harmonica – Stew Cutler Organ [Hammond], Bass [Electric] – Jamie Saft Saxophone [Tenor] – Skerik Trumpet – Steve Bernstein Tambourine [Occasional] – Dark Star

To know this has the makings of a true classic. Inspired by allout jazz musicians and their fondness for classic rock energy, this album rises above the rest and truly brings fusion to the contemporary scene. Any fan of the collision of rock and jazz should look listen to this and turn it up to 11. The Coalition of the Willing did several gigs in NYC that can be found on Internet Archive for nothing. Run to it.

SATANIQUE SAMBA TRIO Sangrou

Album · 2007 · (Post-70s) Eclectic Fusion
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siLLy puPPy
This is where the SATANIQUE SAMBA TRIO really come to life on their first full-length album SANGROU (something in Portugese about bleeding). This is avant-samba come to fruition and i love it. Everything about this album works for me. While the debut EP “Misantropicalia” was promising the band utilized a bit too much blatant Coil ripoffisms for my taste. While there are tracks on this one that have clear references to Coil=esque experimental electronic, the band have clearly found their niche in the extreme Samba In Opposition category which in retrospect reminds me of aspects of Mr Bungles “Disco Volante” in how they can take different styles and genres of Brazilian music and spastically intersperse them into a nice rhythmic flow. I say rhythmic because that is the glue to the madness experienced here. If you seek melody there are plenty of nice catchy Brazilian and otherwise things going on but what makes this very avant-prog is how things come and go and take you on a wild ride. This is a totally instrumental ride.

It’s very rare that i hear something that is utterly unique and makes me have to listen a few times to catch on to what’s going on. SATANIQUE SAMBA TRIO which is neither satanic nor a trio (but does have some Samba going on) is a bizarre, energetic and avant-musical entity that has incorporated Brazilian traditional music, Rock In Opposition progressiveness along with electronic and hard rock. While things can always sound good on paper, SST delivers the goods. They have the knack to tie all these musical aspects together in unique ways. They do this not only by alternation of styles but also have an incredible knack for overlaying various ideas.

This is only for the most musically adventurous. There are several things going on at the same time and most of it is definitely for the tastes of extreme free-jazz (but highly rhythmic) lovers that utilize the influences of Samba, rock and melodic aspects of Brazilian music. This is music that is designed to melodically titillate and create bewilderment and obfuscation. If those are thrilling aspects in your musical tastes then SST will satisfy to the n-th degree. My musical tastes are all over the map and i surely couldn’t listen to this all the time, but when i want one of those musical trips that’s equivalent to a roller coaster going through an earthquake tunnel in Disneyland while traditional musicians play under the influence of mind-altering substances then this music more than hits the spot. This album deserves 5 stars for being totally unique, bold, daring and also hits that special funny bone that makes me laugh while being blown away. Not an easy feat. While the following albums follow suit, this one started the whole thing and has a perfect mix of ideas laid out in the most satisfying way. Brilliant.

STEVE COLEMAN Steve Coleman and The Mystic Rhythm Society : Myths, Modes and Means

Live album · 1995 · (Post-70s) Eclectic Fusion
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js
Saxophonist Steve Coleman first hit the scene in the mid 80’s with his personal take on funk-jazz that he called M Base funk. Coleman’s M Base vision was modern and urban, with spiky angular rhythms that interconnected in ways that pushed the funk into avant-garde deep waters. By the time we get to 1995’s live set, “Myths Modes and Means”, Coleman’s music has expanded into an eclectic collage of sounds that owes as much to older African traditions than funk, fusion or jazz. Yet, it is this use of classical African sounds that puts “Myths, Modes and Means” on the forefront of today’s music scene, more than just jazz or fusion, this is African music for the new century.

It is a colorful ensemble that Coleman presents on here, Steve mans the sax chair while trumpeter Ralph Alessi joins, or battles him on trumpet. Two keyboardists (Andy Milne and a then new to the scene Vijay Iyer) provide piano and tasteful synthesizer, while two percussionists (Rameesh Shotham and Josh Jones) provide rhythms from India and Africa. Rapper/poet Kokayi adds occasional hyper verbal assaults that work great with the music. We’ve all heard bad attempts at mixing jazz and rap, but there is none of that nonsense on here, Kokayi’s lyrics are tough, rhythmic, real and improvised on the spot. All of this is anchored by the hard rhythm section of Reggie Washington on bass and Gene Lake on drums. The icing on the cake is the Koto playing of Miya Masaoka. A couple lengthy tunes on here open with solo Koto playing, and the Koto’s sound and scales set a mood that stretches back many centuries. The Koto is not exactly an African instrument, but it fits really well, filling in for Egyptian instruments that disappeared over the years.

The music on here is just as eclectic as the instruments that are used. There is plenty of Coleman’s hard edged abstract funk, but there also moments when Coleman produces sounds on the sax that mix with the percussionists in a way that recalls field recordings of classical African music. On “Song of the Beginnings” a string synthesizer is used to solo over African percussion, furthering the idea Afro-Futurism. You won’t find too many more albums that can logically mix somber solo Koto playing with hard-edged hip-hop. There is so much music on here, its hard to believe this is just one CD. Wth three ‘epic’ 20 minute plus African odysseys, plus four more potent shorter tracks, this album seems like a three LP gatefold set from the 70s.

SLIVOVITZ All You Can Eat

Album · 2015 · (Post-70s) Eclectic Fusion
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js
Slivovitz has been around for about a decade now, and “All You can Eat” is their fourth album. While Slivovitz has always been an interesting band, with “All You can Eat’, they seem to step up their game with a stronger, more mature sound and are proving themselves to be a force to reckon with on the international fusion scene. Slivovitz hails from Italy, but their music reveals influences from the Middle East, and Eastern Europe as well. Some have referred to their music as ‘gypsy’ influenced, but their influences are far more diverse than that. Along with the ‘ethnic’ European sounds, Slivovitz can also recall the music of Fred Frith and Frank Zappa, as well as other artists who mix diverse international influences. In line with their musical vision, Slivovitz uses an eclectic array of instruments that includes violin, saxophone, trumpet and harmonica, all backed by a muscular guitar driven jazz-rock rhythm section. This large group functions like a mini-orchestra that has many tone colors to draw upon.

The core of Slivovitz has always been Ricardo Villari on violin, Marcello Gianni on guitar, Derek Di Perri on harmonica and Pietro Santangelo on saxophone. Over the years, their rhythm section has been changing a member at a time, it’s the new current team of Vincenzo Lamagna on bass and Salvatore Rainone on drums that has pushed Slivovitz into a stronger more cohesive sound. The hot trumpet work of Ciro Riccardi is the icing on the cake. All of the tracks on here are good, but three stand out due to their well developed arrangements and strong melodies; “Persian Night”, “Yahtzee” and “Hangover”. Along with good solos, interesting arrangements are a key feature of Slivovitz’s appeal.

CHRISTIAN SCOTT Stretch Music

Album · 2015 · (Post-70s) Eclectic Fusion
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js
The last couple months of 2015 have been a great time for fans of current jazz. First Matthew Shipp and Dave Douglas come out with top notch avante-garde post bop selections, and now Christian Scott Atunde Adjuah hits us with his visionary future-fusion called “Stretch Music”. You can call this music ‘fusion’, but this isn’t your grandfather’s fusion. In Scott’s artistic vision, the old 70s based jam sessions are replaced with unique compositions and sophisticated harmonic movement. Each song is a gem of electro-acoustic orchestration backed by modern rhythms, and for those who miss the old gnarly distorted jazz-rock jams, Scott includes a couple of those too.

Scott pulls from a wide variety of musical material on here; “TWIN” is a mournful trumpet melody over a driving African rhythm, “The Corner” is avant-funk, “Of a New Cool” is an orchestrated lounge tune with drumnbass rhythms that goes into a post bop jam, and “The Last Chieftain” gets into free rhythms and a screaming trumpet solo. There are many more tracks where Scott more or less makes up some genres of his own, while every tune has a sound and texture that can only be described as ultra-modern.

Scott surrounds himself with a great cast of players on here, with special mention for the flute playing of Elena Pinderhughes, the sax work of Brandon Cook, and some guitar guest spots for Matthew Stevens. Christian’s main asset on here is his compositions, but his trumpet playing is also strong, and he is one of the few modern players who doesn’t aways recall Miles or Freddie Hubbard. It is hard to get a voice of your own on the trumpet anymore.

(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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