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Jazz fusion
Trumpet playerMiles Daviswas a key figure in the development of fusion
Stylistic origins
Cultural originsLate 1960s, United States
Derivative forms
Other topics
List of musicians

Jazz fusion(also known asfusion,[3]jazz rock,andjazz-rock fusion) is apopular musicgenrethat developed in the late 1960s when musicians combinedjazzharmony andimprovisationwithrock music,funk,andrhythm and blues.Electric guitars, amplifiers, and keyboards that were popular inrock and rollstarted to be used by jazz musicians, particularly those who had grown up listening to rock and roll.

Jazz fusionarrangementsvary in complexity. Some employ groove-based vamps fixed to a single key or a single chord with a simple, repeated melody. Others use elaboratechord progressions,unconventional time signatures, or melodies withcounter-melodies.These arrangements, whether simple or complex, typically include improvised sections that can vary in length, much like in other forms of jazz.

As with jazz, jazz fusion can employ brass and woodwind instruments such as trumpet and saxophone, but other instruments often substitute for these. A jazz fusion band is less likely to usepianoanddouble bass,and more likely to useelectric guitar,electric piano,synthesizers,andbass guitar.

The term "jazz rock" is sometimes used as a synonym for "jazz fusion" and for music performed by late 1960s- and 1970s-era rock bands that added jazz elements to their music. After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s in parallel with the development of a radio-friendly style calledsmooth jazz.[4]Experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach.

History

[edit]

Coryell and two worlds

[edit]

WhenJohn Coltranedied in 1967, rock was the most popular music in America, andDownBeatmagazine went so far as to declare in a headline that: "Jazz as We Know It Is Dead".[5]AllMusicstates that "until around 1967, the worlds of jazz and rock were nearly completely separate".[6]

GuitaristLarry Coryell

GuitaristLarry Coryell,sometimes called the godfather of fusion, referred to a generation of musicians who had grown up on rock and roll when he said, "We loved Miles but we also loved theRolling Stones."[7]In 1966, he started the bandthe Free SpiritswithBob Moseson drums and recorded the band's first album,[5]Out of Sight and Sound,released in 1967. That same year,DownBeatbegan to report on rock music.[7]After the Free Spirits, Coryell was part of a quartet led by vibraphonistGary Burton,releasing the albumDusterwith its rock guitar influence.[5]Burton produced the albumTomorrow Never Knowsfor Count's Jam Band, which included Coryell,Mike Nock,andSteve Marcus,all of them former students at Berklee College in Boston.[5]

The pioneers of fusion emphasized exploration, energy, electricity, intensity, virtuosity, and volume.Charles Lloydplayed a combination of rock and jazz at theMonterey Jazz Festivalin 1966 with a quartet that includedKeith JarrettandJack DeJohnette.[7]Lloyd adopted the trappings of the Californiapsychedelic rockscene by playing at the rock venue theFillmore West,wearing colorful clothes, and giving his albums titles likeDream WeaverandForest Flower,which were bestselling jazz albums in 1967.[5]FlautistJeremy Steigexperimented with jazz in his band Jeremy & the Satyrs with vibraphonistMike Mainieri.The jazz labelVervereleased the first album (Freak Out) by rock guitaristFrank Zappain 1966.[7]Rahsaan Roland Kirkperformed with Jimi Hendrix atRonnie Scott's Jazz Clubin London.[7]

Miles Davis plugs in

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As members ofMiles Davis' band,Chick CoreaandHerbie Hancockplayed electric piano onFilles de Kilimanjaro.Davis wrote in his autobiography that in 1968 he had been listening toJimi Hendrix,James Brown,andSly and the Family Stone.[7]When Davis recordedBitches Brewin 1969, he mostly abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album "mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion."[8]Davis played his trumpet like an electric guitar—plugged in to electronic effects and pedals.

By the end of the first year,Bitches Brewsold 400,000 copies, four times the average for a Miles Davis album. Over the next two years, the aloof Davis recorded more often, worked with many sidemen, appeared on television, and performed at rock venues. Just as quickly, Davis tested the loyalty of rock fans by continuing to experiment. His producer,Teo Macero,inserted previously recorded material into theJack Johnsonsoundtrack,Live-Evil,andOn the Corner.[9]

AlthoughBitches Brewgave him agold record,the use of electric instruments and rock beats created consternation among some jazz critics, who accused Davis of betraying the essence of jazz.[10]Music critic Kevin Fellezs commented that some members of the jazz community regarded rock music as less sophisticated and more commercial than jazz.[11]

Davis's 1969 albumIn a Silent Wayis considered his first fusion album.[12]Composed of two side-long improvised suites edited heavily by Teo Macero, the album was made by pioneers of jazz fusion: Corea, Hancock,Tony Williams,Wayne Shorter,Joe ZawinulandJohn McLaughlin.

A Tribute to Jack Johnson(1971) has been cited as "the purest electric jazz record ever made" and "one of the most remarkable jazz rock discs of the era".[13][14]

According to music journalist Zaid Mudhaffer, the term "jazz fusion" was coined in a review ofSong of InnocencebyDavid Axelrodwhen it was released in 1968.[15]Axelrod said Davis had played the album before conceivingBitches Brew.[16]

Davis sidemen branch out

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John McLaughlinperforms during hisMahavishnu Orchestraperiod

Miles Daviswas one of the first jazz musicians to incorporate jazz fusion into his material. He also proved to be a good judge of talented sidemen. Several of the players he chose for his early fusion work went on to success in their own bands. His guitar player John McLaughlin branched out, forming his own fusion groupMahavishnu Orchestra.Blending Indian classical music, jazz, and psychedelic rock, they created a whole new style just as Davis had. Davis's live albums during this period, includingLive-EvilandMiles Davis at Fillmore,featured McLaughlin.

Davis dropped out of music in 1975 because of problems with drugs and alcohol, but his sidemen took advantage of the creative and financial vistas that had been opened. Herbie Hancock brought elements of funk, disco, and electronic music into commercially successful albums such asHead Hunters(1973) andFeets, Don't Fail Me Now(1979). Several years after recordingMiles in the Skywith Davis, guitaristGeorge Bensonbecame a vocalist with enough pop hits to overshadow his earlier career in jazz.[9]

While Davis was sidelined, Chick Corea gained prominence. In the early 1970s Corea combined jazz, rock, pop, and Brazilian music inReturn to Forever,a band that includedStanley Clarkeon bass guitar andAl Di Meolaon electric guitar. Corea divided the rest of his career between acoustic and electric music, non-commercial and commercial, jazz and pop rock, with a band for each: the Akoustic Band and the Elektric Band.[9]

Joe Zawinul and Wayne Shorter started very influential jazz fusion bandWeather Reportin 1970 and developed successful career along with major musicians likeAlphonse Mouzon,Jaco Pastorius,Airto MoreiraandMiroslav Vitoušuntil 1986.

Tony Williams was a member of Davis's band since 1963. Williams reflected, "I wanted to create a different atmosphere from the one I had been in...What better way to do it than to go electric?" He left Davis to formthe Tony Williams Lifetimewith English guitarist John McLaughlin and organistLarry Young.The band combined rock intensity and loudness with jazz spontaneity. The debut albumEmergency!was recorded three months beforeBitches Brew.[7][17][18]

Although McLaughlin had worked with Miles Davis, he was influenced more by Jimi Hendrix and had played with English rock musiciansEric ClaptonandMick Jaggerbefore creating the Mahavishnu Orchestra around the same time that Corea started Return to Forever. McLaughlin had been a member of Tony Williams's Lifetime. He brought to his music many of the elements that interested other musicians in the 1960s and early 1970s: counterculture, rock and roll, electronic instruments, solo virtuosity, experimentation, the blending of genres, and an interest in the exotic, such as Indian music.[9]He formed the Mahavishnu Orchestra with drummerBilly Cobham,violinistJerry Goodman,bassistRick Laird,and keyboardistJan Hammer.The band released its first album,The Inner Mounting Flame,in 1971. Hammer pioneered the use of theMinimoogsynthesizer with distortion effects. His use of the pitch bend wheel made a keyboard sound like an electric guitar. The Mahavishnu Orchestra was influenced by both psychedelic rock andIndian classical music.The band's first lineup broke up after two studio albums and one live album, but McLaughlin formed another group in 1974 under the same name with jazz violinistJean-Luc Ponty,one of the first electric violinists.

After leaving the Mahavishnu Orchestra in 1975 Jean-Luc Ponty signed withAtlanticand released number of successful jazz fusion solo albums that entered top 5 of theBillboardjazz chartsin mid '70s — '80s.

During the late 1970s,Lee Ritenour,Stuff,George Benson,Spyro Gyra,the Crusaders,andLarry Carlton[19]released fusion albums.

Jazz rock

[edit]
Jazz-rock
Stylistic origins
  • Jazz
  • rock
  • jazz fusion
Typical instruments
Derivative forms

The term "jazz-rock"(or" jazz/rock ") is sometimes used as a synonym for" jazz fusion ".The Free Spiritshave sometimes been cited as the earliest jazz rock band.[20]

Rock bands such asColosseum,Chicago,The Ides of March,Blood, Sweat & Tears,Chase,[21]Soft Machine,Nucleus,Brand X,the Mothers of InventionandIFblended jazz and rock with electric instruments.[22]Davis' fusion jazz was "pure melody and tonal color",[22]while Frank Zappa's music was more "complex" and "unpredictable".[23]Zappa released the solo albumHot Ratsin 1969.[24]The album contained long instrumental pieces with a jazz influence.[25][26]Zappa released two albums,The Grand WazooandWaka/Jawaka,in 1972 which were influenced by jazz.George DukeandAynsley Dunbarplayed on both. 1970s bandSteely Danhas been lauded by music criticNeil McCormickfor their "smooth, smart jazz-rock fusion."[27]

The jazz artists of the 1960s and 1970s had a large impact on many rock groups of that era such asSantanaand Frank Zappa. They took jazz phrasing and harmony and incorporated it into modern rock music, significantly changing music history and paving the way for artists that would follow in their footsteps. Carlos Santana in particular has given much credit to Miles Davis and the influence he had on his music. While Miles Davis combined jazz with modal and rock influences,Carlos Santanacombined these along with Latin rhythms and feel, shaping a whole new genre,Latin rock.Other rock artists such asGary Moore,The Grateful Dead,The Doors,Jimi Hendrix,andThe Allman Brothers Bandhave taken influences from blues, jazz,blues rock,jazz rock and incorporated it into their own music.

According to AllMusic, the term jazz rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation...jazz rock first emerged during the late '60s as an attempt to fuse the visceral power of rock with the musical complexity and improvisational fireworks of jazz. Since rock often emphasized directness and simplicity over virtuosity, jazz rock generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s:psychedelia,progressive rock,and the singer-songwriter movement. "[28]

According to jazz writer Stuart Nicholson, jazz rock paralleledfree jazzby being "on the verge of creating a whole new musical language in the 1960s". He said the albumsEmergency!(1969) by theTony Williams LifetimeandAgharta(1975) by Miles Davis "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.[29]

In the 1970s, American fusion was being combined in the U.K. with progressive rock and psychedelic music. Bands who were part of this movement included Brand X (withPhil Collinsof Genesis), Bruford (Bill Brufordof Yes), Nucleus (led byIan Carr), and Soft Machine. Throughout Europe and the world this movement grew due to bands likeMagmain France,Passportin Germany,Time,Leb i SolandSeptemberin Yugoslavia, and guitaristsJan Akkerman(The Netherlands),Volker Kriegel(Germany),Terje Rypdal(Norway),Jukka Tolonen(Finland),Ryo Kawasaki(Japan), andKazumi Watanabe(Japan).[7]

Jazz metal

[edit]
Jazz metal
Stylistic origins
Typical instruments
Other topics

Jazz metalis the fusion of jazz fusion and jazz rock withheavy metal.Animals as Leaders' albumsThe Joy of Motion(2014) andThe Madness of Many(2016) have been described as progressive metal combined with jazz fusion.[30]Panzerballettblends jazz with heavy metal.[31]

Jazz pop

[edit]
Jazz-pop
Stylistic origins
Cultural origins1960s, United States
Derivative formsSmooth jazz

Jazz pop(or pop-jazz, also calledjazzy pop) is pop music with jazz instruments, soft production, commercially viable, and radio-friendly.[32]In jazz pop, the music has less improvisation, but retains the melody and swing of jazz.[33]Robert Palmer fromThe New York Timescited that jazz pop should be distinguished fromjazz rock.[34]Examples of jazz-pop musicians areKenny G,Bob James,andGeorge Benson.

Smooth jazz

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Main article:Smooth jazz
Spyro Gyracombines jazz with R&B, funk and pop.

By the early 1980s, much of the original fusion genre was subsumed into other branches of jazz and rock, especiallysmooth jazz,a radio-friendly subgenre of fusion which is influenced by R&B, funk, and pop music.[35]Smooth jazz can be traced to at least the late 1960s, when producerCreed Taylorworked with guitaristWes Montgomeryon three popular music-oriented albums. Taylor foundedCTI Recordsand many established jazz performers recorded for CTI, includingFreddie Hubbard,Chet Baker,George Benson, andStanley Turrentine.Albums under Taylor's guidance were aimed at both pop and jazz fans.[citation needed]

The merging of jazz and pop/rock music took a more commercial direction in the late 1970s and early 1980s, in the form of compositions with a softer sound palette that could fit comfortably in asoft rockradio playlist. The AllMusic guide's article on fusion states that "unfortunately, as it became a money-maker and as rock declined artistically from the mid-'70s on, much of what was labeled fusion was actually a combination of jazz with easy-listening pop music and lightweight R&B."[6]

MichaelandRandy Breckerproduced funk-influenced jazz with soloists.[36]David Sanborn was considered a "soulful" and "influential" voice.[36]However, Kenny G was criticized by both fusion and jazz fans, and some musicians, while having become a huge commercial success. Music reviewer George Graham argues that the "so-called 'smooth jazz' sound of people like Kenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the 1970s."[37]

Other styles

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Punk jazz

[edit]
Main article:Punk jazz

In the 1990s, another kind of fusion took a more hardcore approach.Bill Laswellproduced many albums in this movement, such asAsk the Agesby avant-garde guitarist Sonny Sharrock andArc of the Testimonywith Laswell's bandArcana.Niacin (band)was formed by rock bassist Billy Sheehan, drummer Dennis Chambers, and organist John Novello.[7]

In London,The Pop Groupbegan to mix free jazz and reggae into their form of punk rock.[38]In New York City,no wavewas inspired by free jazz and punk. Examples of this style includeLydia Lunch'sQueen of Siam,[39]James Chance and the Contortions,who mixed soul music with free jazz and punk rock, and theLounge Lizards,[39]the first group to call themselvespunk jazz.[39]

John Zorntook note of the emphasis on speed and dissonance that was becoming prevalent in punk rock and incorporated them into free jazz with the release of theSpy vs Spyalbum in 1986. The album was a collection ofOrnette Colemantunes played in thethrashcorestyle.[40]In the same year,Sonny Sharrock,Peter Brötzmann,Bill Laswell, andRonald Shannon Jacksonrecorded the first album under the nameLast Exit,a blend of thrash and free jazz.[41]

Jazz-funk

[edit]
Main article:Jazz-funk

Jazz-funk is characterized by a strongback beat(groove), electrified sounds,[42]and an early prevalence ofanalog synthesizers.The integration offunk,soul,andR&Bmusic and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strongjazz improvisationto soul, funk ordiscowith jazz arrangements, jazzriffs,jazz solos, and sometimes soul vocals.[43]

Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid-1970s. Jazz-funk retains a stronger feel of groove and R&B versus some of the jazz fusion production, and is more arranged and features more improvisation thansoul jazz.

M-Base

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Main article:M-Base
Steve Coleman in Paris, July 2004

M-Base ( "macro-basic array of structured extemporization" ) centers on a movement started in the 1980s. It started as a group of young African-American musicians in New York which includedSteve Coleman,Greg Osby,andGary Thomasdeveloping a complex but grooving sound.[44]In the 1990s most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.[45][46]M-Base changed from a loose collective to an informal "school".[47]

Afro-Cuban jazz

[edit]
Main article:Afro-Cuban jazz

Afro-Cuban jazz, one of the earliest forms ofLatin jazz,is a fusion of Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban jazz emerged in the early 1940s with the Cuban musiciansMario BauzaandFrank Grillo "Machito"in the band Machito and his Afro-Cubans in New York City. In 1947 the collaborations of bebop innovator Dizzy Gillespie with Cuban percussionistChano Pozobrought Afro-Cuban rhythms and instruments, most notably the congas and the bongos, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as Gillespie's and Pozo's "Manteca" and Charlie Parker's and Machito's "Mangó Mangüé", were commonly referred to as "Cubop", short for Cuban bebop.[48]During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba.[49]

Influence on rock music

[edit]
See also:Progressive rock,art rock,andprogressive metal

According to bassistRandy Jackson,jazz fusion is a difficult genre to play. "I... picked jazz fusion because I was trying to become the ultimate technical musician—able to play anything. Jazz fusion to me is the hardest music to play. You have to be so proficient on your instrument. Playing five tempos at the same time, for instance. I wanted to try the toughest music because I knew if I could do that, I could do anything."[50]

Progressive rock,with its affinity for long solos, diverse influences, non-standard time signatures, and complex music had very similar musical values as jazz fusion. Some prominent examples of progressive rock mixed with elements of fusion is the music ofGong,King Crimson,Ozric Tentacles,andEmerson, Lake & Palmer.

Jazz rock fusion's technically challenging guitar solos, bass solos, and odd-metered, syncopated drumming started to be incorporated in the technically focusedprogressive metalgenre in the early 1990s. Thedeath metalbandAtheistproduced albumsUnquestionable Presencein 1991 andElementsin 1993 containing heavily syncopated drumming, changing time signatures, instrumental parts, acoustic interludes, and Latin rhythms.Meshuggahfirst attracted international attention with the 1995 releaseDestroy Erase Improvefor its fusion of fast-tempo death metal,thrash metal,and progressive metal with jazz fusion elements.Cynicrecorded a complex, unorthodox form of jazz fusion influenced experimental death metal with their 1993 albumFocus.In 1997, Guitar Institute of Technology guitaristJennifer Battenunder the name ofJennifer Batten's Tribal Rage: MomentumreleasedMomentum—an instrumental hybrid of rock, fusion, and exotic sounds.Mudvayneis heavily influenced by jazz, especially in bassistRyan Martinie's playing.[51][52]Puyafrequently incorporates influences from American andLatin jazzmusic.[53]

Another, more cerebral, all-instrumental progressive jazz fusion-metal bandPlanet XreleasedUniversein 2000 withTony MacAlpine,Derek Sherinian(ex-Dream Theater), andVirgil Donati(who has played withScott HendersonfromTribal Tech). The band blends fusion-style guitar solos and syncopated odd-metered drumming with the heaviness of metal. Tech-prog-fusion metal bandAghoraformed in 1995 and released their first album, self-titledAghora,recorded in 1999 withSean MaloneandSean Reinert,both former members of Cynic.Gordian Knot,another Cynic-linked experimental progressive metal band, released its debut album in 1999 which explored a range of styles from jazz fusion to metal.The Mars Voltais extremely influenced by jazz fusion, using progressive, unexpected turns in the drum patterns and instrumental lines. The style of Uzbek prog bandFromuzis described as "prog fusion". In lengthy instrumentaljamsthe band transitions from fusion of rock andambientworld musicto jazz and progressive hard rock tones.[54]

See also

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References

[edit]
  1. ^Henry Martin, Keith Waters (2008). Essential Jazz: The First 100 Years, p.178-79.ISBN978-0-495-50525-9.
  2. ^"100 Greatest Technical Death Metal Bands And Technical Thrash Metal Bands".May 8, 2015.RetrievedMarch 19,2018.
  3. ^Garry, Jane (2005). "Jazz". In Haynes, Gerald D. (ed.).Encyclopedia of African American Society.SAGE Publications.p. 465.
  4. ^"Jazz » Fusion » Smooth Jazz".AllMusic.RetrievedMarch 12,2020.
  5. ^abcdeNicholson, Stuart (2002). "Fusions and Crossovers". In Cooke, Mervyn; Horn, David (eds.).The Cambridge Companion to Jazz.Cambridge University Press. pp. 221–222.ISBN978-0-521-66388-5.
  6. ^ab"Fusion Music Genre Overview".AllMusic.RetrievedJuly 23,2018.
  7. ^abcdefghiMilkowski, Bill (2000). "Fusion". In Kirchner, Bill (ed.).The Oxford Companion to Jazz.Oxford University Press. pp.504–.ISBN978-0-19-518359-7.
  8. ^Jazzitude | History of Jazz Part 8: FusionArchivedJanuary 14, 2015, at theWayback Machine
  9. ^abcdGioia, Ted (2011).The History of Jazz(2 ed.). New York: Oxford University Press. pp.326–.ISBN978-0-19-539970-7.
  10. ^Considine, J.D. (August 27, 1997)."Miles Davis, plugged in Review: The jazz legend's electric albums sparked controversy".Baltimore Sun.RetrievedNovember 10,2018.
  11. ^Briley, Ron (May 2013). "Review of Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion".The History Teacher.46(3): 465–466.JSTOR43264136.
  12. ^Southall, Nick.Review:In a Silent WayArchivedJuly 10, 2015, at theWayback Machine.Stylus Magazine.Retrieved on April 1, 2010.
  13. ^Jurek, Thom."A Tribute to Jack Johnson".AllMusic.RetrievedJuly 24,2018.
  14. ^Fordham, John (April 1, 2005)."Miles Davis, A Tribute to Jack Johnson".The Guardian.RetrievedJuly 24,2018.
  15. ^Mudhaffer, Zaid (January 20, 2014)."Heavy Axe: A Guide to David Axelrod".Red Bull Music Academy.Archivedfrom the original on February 23, 2014.RetrievedJune 23,2014.
  16. ^Bonner, Michael (August 23, 2018)."David Axelrod – Song Of Innocence".Uncut.RetrievedOctober 5,2018.
  17. ^Maclaren, Trevor (November 16, 2005)."Tony Williams: The Tony Williams Lifetime: Emergency!".AllAboutJazz.RetrievedAugust 1,2018.
  18. ^Nicholson, Stuart (2010). Mervyn Cooke, David Horn (ed.).The Cambridge Companion to Jazz.Cambridge University Press. p. 226.ISBN978-0-521-66388-5.
  19. ^"Larry Carlton".
  20. ^Unterberger 1998,pg. 329
  21. ^ChaseAll music. Retrieved 9 February 2023
  22. ^abTesser, Neil (1998).The Playboy Guide to Jazz.New York: Plume. p.178.ISBN0-452-27648-9.
  23. ^Bogdanov, Vladimir; Erlewine, Stephen Thomas, eds. (2002).All Music Guide to Jazz(4 ed.). San Francisco, CA: Backbeat Books. p. 178.ISBN0-87930-717-X.
  24. ^Huey, Steve."Hot Rats".AllMusic.RetrievedJuly 23,2018.
  25. ^Miles, 2004,Frank Zappa,p. 194.
  26. ^Lowe.The Words and Music of Frank Zappa.p. 74.
  27. ^McCormick, Neil (September 3, 2017)."With Steely Dan, Walter Becker gave us jazz fusion perfection".The Telegraph.Archivedfrom the original on January 11, 2022.RetrievedJuly 16,2020.
  28. ^"Jazz-Rock Music Genre Overview".AllMusic.RetrievedJuly 23,2018.
  29. ^Harrison, Max; Thacker, Eric; Nicholson, Stuart (2000).The Essential Jazz Records: Modernism to Postmodernism.A&C Black. p. 614.ISBN0-7201-1822-0.
  30. ^"Animals as Leaders acquire a lighter touch".November 15, 2016.
  31. ^Collar, Matt."Panzerballett Biography".AllMusic.RetrievedOctober 2,2023.
  32. ^"Pop-Jazz".
  33. ^"Jazz-Pop Music Genre Overview".AllMusic.
  34. ^Palmer, Robert (February 13, 1977)."Jazz Pop—A 'Failed Art Music' Makes Good".The New York Times.
  35. ^"What is smooth jazz?".Smoothjazz.de.RetrievedJune 16,2007.
  36. ^abLawn, Richard J. (2007).Experiencing Jazz.New York: McGraw-Hill. p. 341.ISBN978-0-07-245179-5.
  37. ^George Graham review
  38. ^Lang, Dave (February 1999)."The Pop Group".furious.Archived fromthe originalon April 20, 1999.RetrievedJuly 24,2018.
  39. ^abcBangs, Lester (1979)."Free Jazz Punk Rock".notbored.org.RetrievedJuly 24,2018.
  40. ^"House Of Zorn, Goblin Archives, at".Sonic.net.Archived fromthe originalon October 19, 2010.RetrievedNovember 7,2010.
  41. ^"Progressive Ears Album Reviews".Progressiveears.October 19, 2007. Archived fromthe originalon June 7, 2011.RetrievedNovember 7,2010.
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  43. ^"Jazz | Significant Albums, Artists and Songs".AllMusic.November 24, 2013.RetrievedJune 3,2015.
  44. ^Jost, Ekkehard (2003).Sozialgeschichte des Jazz.p. 377.circular and highly complex polymetric patterns which preserve their danceable character of popular funk-rhythms despite their internal complexity and asymmetries
  45. ^Blumenfeld, Larry (June 11, 2010)."A Saxophonist's Reverberant Sound".Wall Street Journal.Pianist Vijay Iyer, who was chosen as Jazz Musician of the year 2010 by the Jazz Journalists Association, said, 'It's hard to overstate Steve's influence. He's affected more than one generation, as much as anyone since John Coltrane.'
  46. ^Ratliff, Ben (June 14, 2010)."Undead Jazzfest Roams the West Village".The New York Times.RetrievedJuly 24,2018.His recombinant ideas about rhythm and form and his eagerness to mentor musicians and build a new vernacular have had a profound effect on American jazz.
  47. ^Michael J. West (June 2, 2010)."Jazz Articles: Steve Coleman: Vital Information".Jazztimes.RetrievedJune 5,2011.
  48. ^Fernandez, Raul A. (May 23, 2006).From Afro-Cuban Rhythms to Latin Jazz.University of California Press. pp. 62–.ISBN978-0-520-93944-8.RetrievedJune 17,2011.
  49. ^Acosta, Leonardo (2003).Cubano be, Cubano bop.Washington; London: Smithsonian Books. p. 59.ISBN1-58834-147-X.
  50. ^Jackson, Randy; Baker, K. C. (January 12, 2004).What's Up, Dawg?: How to Become a Superstar in the Music Business.Hyperion Books. pp. 72–.ISBN978-1-4013-0774-5.RetrievedDecember 24,2010.
  51. ^Ratliff, Ben (September 28, 2000)."Review ofL.D. 50".Rolling Stone.Archived fromthe originalon November 12, 2007.RetrievedFebruary 24,2010.
  52. ^Jon Wiederhorn, "Hellyeah: Night Riders",Revolver,March 2007, p. 60-64 (link toRevolverback issuesArchivedSeptember 28, 2007, at theWayback Machine)
  53. ^Mateus, Jorge Arévalo (2004). Hernandez, Deborah Pacini; L'Hoeste, Héctor Fernández; Zolov, Eric (eds.).Rockin' Las Americas: The Global Politics of Rock in Latin/o America.Pittsburgh, PA: University of Pittsburgh Press. pp.94–98.ISBN0-8229-5841-4.
  54. ^"Music review of Overlook CD by Fromuz (2008)".rockreviews.org.

Further reading

[edit]
  • Coryell, Julie, and Friedman, Laura.Jazz-rock Fusion: The People, The Music.Delacorte Press: New York, 1978.ISBN0-440-54409-2
  • Delbrouck, Christophe.Weather Report: Une histoire du jazz électrique.Mot et le reste: Marseille, 2007.ISBN978-2-915378-49-8
  • Fellezs, Kevin.Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion.Duke University Press: Durham, North Carolina, 2011.ISBN978-0-8223-5047-7
  • Hjort, Christopher, and Hinman, Doug.Jeff's Book: A Chronology of Jeff Beck's Career, 1965–1980, from The Yardbirds to Jazz-rock.Rock 'n' Roll Research Press: Rumford, R.I., 2000.ISBN978-0-9641005-3-4
  • Kolosky, Walter.Power, Passion and Beauty: The Story of the Legendary Mahavishnu Orchestra: The Greatest Band That Ever Was.Abstract Logix Books: Cary, North Carolina, 2006.ISBN978-0-9761016-2-8
  • Milkowski, Bill.Jaco: The Extraordinary and Tragic Life of Jaco Pastorius.Backbeat Books: San Francisco, 2005.ISBN978-0-87930-859-9
  • Nicholson, Stuart.Jazz-rock: A History.Schirmer Books: New York, 1998.ISBN978-0-02-864679-4
  • Renard, Guy.Fusion.Editions de l'Instant: Paris, 1990.ISBN978-2-86929-153-9
[edit]
Library resourcesabout
Jazz fusion
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