Jazz fusion
Jazz fusion (also known as jazz-rock)[1] is a musical
genre that developed in the late 1960s when musicians
combined aspects of jazz harmony and improvisation
with styles such as funk, rock, rhythm and blues, and
Latin jazz. During this time many jazz musicians began
experimenting with electric instruments and amplied
sound for the rst time, as well as electronic eects and
synthesizers. Many of the developments during the late
1960s and early 1970s have since become established el-
ements of jazz fusion musical practice.
Fusion arrangements vary in complexitysome employ
groove-based vamps xed to a single key, or even a sin-
gle chord, with a simple melodic motif (a lick). Others
can feature odd or shifting time signatures with elabo-
rate chord progressions, melodies, and counter-melodies.
Typically, these arrangements, whether simple or com-
plex, will feature extended improvised sections that can
vary in length. As with jazz, fusion often employs
brass and woodwind instruments such as trumpet and
saxophone as melody and soloing instruments but other
instruments often substitute for these. The rhythm sec-
tion typically consists of electric bass (in some cases
fretless), electric guitar, electric piano/synthesizer (in
contrast to the double bass and piano used in earlier jazz)
and drums. As with traditional jazz improvisation, fusion
instrumentalists generally require a high level of technical
prociency.
The term jazz-rock is often used as a synonym for jazz
fusion as well as 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 ap-
proaches through the 1980s, in parallel with the devel-
opment of a radio-friendly style called smooth jazz. Ex-
perimentation 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 codied musical style, fusion can be viewed as a
musical tradition or approach.
1 History
1.1 Precursors
Main article: Afro-Cuban jazz
See also: Latin jazz
1
Afro-Cuban jazz, one the earliest form of Latin jazz, is
a fusion of Afro-Cuban clave-based rhythms with jazz
harmonies and techniques of improvisation. Afro-Cuban
jazz rst emerged in the early 1940s with the Cuban
musicians Mario Bauza and Frank Grillo Machito in
the band Machito and his Afro-Cubans, based in New
York City. In 1947 the collaborations of bebop inno-
vator Dizzy Gillespie with Cuban percussionist Chano
Pozo brought Afro-Cuban rhythms and instruments, most
notably the congas and the bongos into the East Coast
jazz scene. Early combinations of jazz with Cuban mu-
sic, such as Dizzys and Pozos Manteca and Charlie
Parker's and Machitos Mang Mang", were com-
monly referred to as Cubop, short for Cuban bebop.[2]
During its rst decades, the Afro-Cuban jazz movement
was stronger in the United States than in Cuba itself.[3]
1.2 1960s
Allmusic Guide states that until around 1967, the worlds
of jazz and rock were nearly completely separate.[4]
While in the United States modern jazz and electric
R&B may have represented opposite poles of blues-
based Afro-American music, the British pop music of
the beat boom developed out of the skie and R&B
championed by well-known jazzmen such as Chris Bar-
ber. English fusion guitarist John McLaughlin, for ex-
ample, had played what Allmusic describes as a blend
of jazz and American R&B with Georgie Fame and the
Blue Flames[5] as early as 1962 and continued with The
Graham Bond Organisation (with Jack Bruce and Ginger
Baker) whose style Allmusic calls rhythm & blues with
a strong jazzy avor.[6] Bond himself had begun play-
ing straight jazz with Don Rendell, while Manfred Mann,
who recorded a Cannonball Adderley tune on their rst
album, when joined by Bruce turned out the 1966 EP
record Instrumental Asylum, which undoubtedly fused
jazz and rock.[7] One of the earliest releases from Pink
Floyd, London '66'67 incorporated jazz-inuenced im-
provisation to their psychedelic compositions.
Nevertheless, these developments made little impact in
the United States. Jazz vibraphonist Gary Burton was
an innovator in the 1960s. In 1967, Burton worked
with electric guitarist Larry Coryell and recorded Duster,
which is considered one of the rst fusion records.[8]
Texas-born guitarist Coryell was also a pioneer of electric
jazz in the same era.[9] Trumpeter and composer Miles
Davis had a major inuence on the development of jazz
fusion with his 1968 album Miles in the Sky. It is the
2 1 HISTORY

make a distinction between the two terms. The Free Spir-

its have sometimes been cited as the earliest jazz-rock
band.[11] During the late 1960s, at the same time that
jazz musicians were experimenting with rock rhythms
and electric instruments, rock groups such as Cream, the
Grateful Dead and The Doors were beginning to in-
corporate elements of jazz into their music by exper-
imenting with extended free-form improvisation. Other
groups such as Blood, Sweat & Tears directly borrowed
harmonic, melodic, rhythmic and instrumentational ele-
ments from the jazz tradition.[12]

The Grateful Dead (pictured in 1970) grew to incorporate jazzy

improvisations and grooves in the 1970s, inuencing further gen-
erations of jam bands.

The rock groups that drew on jazz ideas (like Soft Ma-
chine, Colosseum, Caravan, Chicago, Spirit and Frank
Miles Davis (performing here in 1971) was among the principal
Zappa) turned the blend of the two styles with electric
innovators of jazz fusion.
instruments.[13] Davis fusion jazz was pure melody and
tonal color,[13] while Frank Zappas music was more
rst of Davis albums to incorporate electric instruments, complex and unpredictable.[14] Zappa released the
with Herbie Hancock and Ron Carter playing electric pi- solo album Hot Rats in 1969[15][16] and had a major
ano and bass guitar, respectively. Davis furthered his ex- jazz inuence mainly consisting of long instrumental
plorations into the use of electric instruments on another pieces.[16][17] Zappa released two LPs in 1972 which were
1968 album, Filles de Kilimanjaro, with pianist Chick also very jazz-oriented, called The Grand Wazoo and
Corea and bassist Dave Holland. Waka/Jawaka. Prolic jazz artists such as George Duke
and Aynsley Dunbar played on these LPs.
Davis 1969 album In a Silent Way is considered his rst
fusion album.[10] Composed of two side-long improvised AllMusic states that the term jazz-rock may refer to the
suites edited heavily by record producer Teo Macero, this loudest, wildest, most electried fusion bands from the
quiet, static album would be equally inuential upon the jazz camp, but most often it describes performers coming
development of ambient music. It featured contributions from the rock side of the equation. The guide states that
from musicians who would all go on to spread the fu- jazz-rock rst emerged during the late '60s as an attempt
sion evangel with their own groups in the 1970s: Wayne to fuse the visceral power of rock with the musical com-
Shorter, Hancock, Corea, pianist Josef Zawinul, John plexity and improvisational reworks of jazz. Since rock
McLaughlin, Holland, and drummer Tony Williams, who often emphasized directness and simplicity over virtuos-
quit Davis to form The Tony Williams Lifetime with ity, jazz-rock generally grew out of the most artistically
McLaughlin and jazz organist Larry Young. Their de- ambitious rock subgenres of the late '60s and early '70s:
but record Emergency! of that year is also cited as one of psychedelia, progressive rock, and the singer-songwriter
the early acclaimed fusion albums. movement.[18]
According to jazz writer Stuart Nicholson, jazz-rock par-
alleled free jazz in how it was on the verge of creating
1.2.1 Jazz-rock
a whole new musical language in the 1960s. He said
the albums Emergency! (1970) by the Tony Williams
See also: Jam band Lifetime and Agharta (1975) by Miles Davis suggested
the potential of evolving into something that might even-
The term jazz-rock (or jazz/rock) is often used as tually dene itself as a wholly independent genre quite
a synonym for the term jazz fusion. However, some apart from the sound and conventions of anything that
1.3 1970s
had gone before. This development was stied by com-
mercialism, Nicholson said, as the genre mutated into
a peculiar species of jazz-inected pop music that even-
tually took up residence on FM radio at the end of the
1970s.[19]
1.3 1970s
Trumpeter Miles Davis performing in Rio de Janeiro in 1984
Davis Bitches Brew sessions, recorded in August 1969
and released the following year, mostly abandoned jazzs
usual swing beat in favor of a rock-style backbeat an-
chored by electric bass grooves. The recording "mixed
free jazz blowing by a large ensemble with electronic key-
boards and guitar, plus a dense mix of percussion.[21]
Davis also drew on the rock inuence by playing his trum-
pet through electronic eects and pedals. While the al-
bum gave Davis a gold record, the use of electric instru-
ments and rock beats created a great deal of consternation
amongst some more conservative jazz critics. During the
1970s, many of these critics in the jazz community per-
ceived jazz music as high art in contrast with the more
commercial and less sophisticated rock music[22] with
which it was being fused. Racial identity was also an es-
sential component of genre conventions, and jazz critics
3
often censured black musicians who deserted the purity
of the jazz experience for the white world of rock mu-
sic. Although Davis was originally denounced by purists,
many credit Davis and records such as "Bitches Brew"
with paving the way for the fusion movement.
Davis also proved to be an able talent-spotter; much of
1970s fusion was performed by bands started by alumni
from Davis ensembles, including The Tony Williams
Lifetime, Weather Report, The Mahavishnu Orchestra,
Return to Forever, and Herbie Hancocks funk-infused
Headhunters band. In addition to Davis and the musi-
cians who worked with him, additional important gures
in early fusion were Larry Coryell and Billy Cobham,
with his album Spectrum. Herbie Hancock rst contin-
ued the path of Miles Davis with his experimental fusion
albums, such as Crossings in 1972, but soon after that he
became an important developer of "jazz-funk" with his
seminal albums Head Hunters in 1973 and Thrust in 1974.
Later in the 1970s and early 1980s Hancock took a more
commercial approach. Hancock was one of the rst jazz
musicians to use synthesizers.
Weather Report began as an experimental group, but eventually
garnered a huge following.
At its inception, Weather Report was an avant-garde ex-
perimental jazz group, following in the steps of In a
Silent Way. The band received considerable attention for
its early albums and live performances, which featured
pieces that might last up to 30 minutes. The band later
introduced a more commercial sound, which can be heard
in Joe Zawinul's hit song "Birdland" (1977). Weather
Reports albums were also inuenced by dierent styles
of Latin, African, and European music, oering an early
world music fusion variation. Jaco Pastorius, an innova-
tive fretless electric bass player, joined the group in 1976
on the album Black Market, was co-producer (with Zaw-
inul) on 1977s Heavy Weather, and is prominently fea-
tured on the 1979 live recording 8:30. Heavy Weather is
the top-selling album of the genre.
In England, the jazz fusion movement was headed by
Nucleus, led by Ian Carr, and whose key players Karl
Jenkins and John Marshall both later joined the semi-
nal jazz rock band Soft Machine, leaders of what be-
came known as the Canterbury scene. Their best-selling
recording, Third (1970), was a double album featuring
one track per side in the style of the aforementioned
recordings of Miles Davis. A prominent English band in
the jazz-rock style of Blood, Sweat & Tears and Chicago
4 1 HISTORY

was If, who released a total of seven records in the 1970s. The bands rst lineup split after two studio albums and
one live album, but McLaughlin formed another group
under the same name which included Jean-Luc Ponty, a
jazz violinist who also made a number of important fu-
sion recordings under his own name as well as with Frank
Zappa, drummer Narada Michael Walden, keyboardist
Gayle Moran, and bassist Ralph Armstrong. McLaughlin
also worked with Latin-rock guitarist Carlos Santana in
the early 1970s.
Initially Santanas San Francisco-based band blended
Latin salsa, rock, blues, and jazz, featuring Santanas
clean guitar lines set against Latin instrumentation such
as timbales and congas. But in their second incarna-
tion, heavy fusion inuences had become central to the
Fusion band Return to Forever in 1976 19721976 sound. These can be heard in Santanas use
of extended improvised solos and in the harmonic voic-
Chick Corea formed his band Return to Forever in 1972. ings of Tom Coster's keyboard playing on some of the
The band started with Latin-inuenced music (includ- groups mid-1970s recordings. In 1973 Santana recorded
ing Brazilians Flora Purim as vocalist and Airto Mor- a nearly two-hour live album of mostly instrumental, jazz-
eira on percussion), but was transformed in 1973 to be- fusion music, Lotus, which was only released in Europe
come a jazz-rock group that took inuences from both and Japan for more than twenty years.
psychedelic and progressive rock. The new drummer was Other inuential musicians during the 1970s include fu-
Lenny White, who had also played with Miles Davis. Re- sion guitarist Larry Coryell with his band The Eleventh
turn to Forevers songs were distinctively melodic due to House and electric guitarist Pat Metheny. The Pat
the Coreas composing style and the bass playing style of Metheny Group, which was founded in 1977, made
Stanley Clarke, who is often regarded with Pastorius as both the jazz and pop charts with their second album,
one of the most inuential electric bassists of the 1970s. American Garage (1980). Although jazz performers crit-
Guitarist Bill Connors joined Coreas band in 1973 but icized the fusion movements use of rock styles and elec-
soon left for his acoustic solo project. He was replaced tric and electronic instruments, even seasoned jazz vet-
by guitarist Al Di Meola, who became an important fu- erans like Buddy Rich, Maynard Ferguson and Dexter
sion guitarist as well. Gordon eventually modied their music to include fu-
sion elements. The late 1970s saw the emergence of the
Steve Morse-led fusion band, the Dixie Dregs. This band
fused the sounds of rock, jazz, country, funk, classical,
bluegrass and Celtic.
The inuence of jazz fusion did not only aect the US and
Europe. The genre was very inuential in Japan in the
late 1970s, eventually leading to the formation of bands
such as Casiopea and T-Square. T-Squares song Truth
would later become the theme for Japans Formula One
racing events.

1.4 1980s
French jazz violinist Jean-Luc Ponty performed on acoustic violin
and on amplied, electronic eect-modied electric violins. 1.4.1 Smooth jazz

John McLaughlin formed a fusion band, the Mahavishnu
Orchestra, with drummer Billy Cobham, violinist Jerry
Goodman, bassist Rick Laird and keyboardist Jan Ham-
mer. The band released their rst album, The Inner
Mounting Flame, in 1971. Hammer pioneered the use
of the Minimoog synthesizer with distortion eects and,
with his mastery of the pitch bend wheel, made it sound
very much like an electric guitar. The sound of the Ma-
havishnu Orchestra was inuenced by both psychedelic
rock and Indian classical sounds.
Main article: Smooth jazz
By the early 1980s, much of the original fusion genre was
subsumed into other branches of jazz and rock, especially
smooth jazz, a radio-friendly subgenre of fusion which is
inuenced stylistically by R&B, funk and pop.[23] Smooth
jazz can be traced to at least the late 1960s, when pro-
ducer Creed Taylor worked with guitarist Wes Mont-
gomery on three popular music-oriented records. Tay-
lor founded CTI Records and many established jazz per-
formers recorded for CTI, including Freddie Hubbard,
1.4 1980s
Spyro Gyra combines jazz with R&B, funk and pop.
Chet Baker, George Benson and Stanley Turrentine. The earlier, deferring to a more commercially viable sound
records recorded under Taylors guidance were typically more widely enabled for commercial radio airplay in the
aimed as much at pop audiences as at jazz fans.
In the mid- to late-1970s, smooth jazz became estab-
lished as a commercially viable genre. It was pio-
neered by such artists as Lee Ritenour, Larry Carlton,
Grover Washington, Jr., Spyro Gyra (with songs such as
"Morning Dance"), George Benson, Chuck Mangione,
Srgio Mendes, David Sanborn, Tom Scott, Dave and
Don Grusin, Bob James and Joe Sample.
David Sanborn had a string of crossover hits in the 1980s. Elektric Band, featuring young musicians such as drum-
The merging of jazz and pop/rock music took a more guitarist Frank Gambale and saxophonist Eric Marien-
commercial direction in the late 1970s and early 1980s, in thal.
5
the form of compositions with a softer sound palette that
could t comfortably in a soft rock radio playlist. The
AllMusic guides article on fusion states that unfortu-
nately, as it became a money-maker and as rock declined
artistically from the mid-'70s on, much of what was la-
beled fusion was actually a combination of jazz with easy-
listening pop music and lightweight R&B.[24]
Artists such as Al Jarreau, Kenny G, Ritenour, James
and Sanborn among others were leading purveyors of
this pop-oriented mixture (also known as west coast
or AOR fusion). This genre is most frequently called
smooth jazz and is not considered true fusion among
the listeners of both mainstream jazz and jazz fusion, who
nd it too rarely contains the improvisational, melodic or
harmoic qualities that originally surfaced in jazz decades
United States.
Michael and Randy Brecker produced funk-inuenced
jazz with soloists.[25] Saxophonist David Sanborn was
considered a soulful and inuential voice.[25] How-
ever, 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 peo-
ple like Kenny G has none of the re and creativity that
marked the best of the fusion scene during its heyday in
the 1970s.[26]
1.4.2 Other styles
Although the meaning of fusion became confused with
the advent of smooth jazz, a number of groups helped
to revive the jazz fusion genre beginning in the mid-to-
late 1980s. In the 1980s, a critic argued that "the
promise of fusion went unfullled to an extent, although
it continued to exist in groups such as Je Lorber,
Yellowjackets, Tribal Tech and Chick Corea's Elektric
Band".[24] Many of the most well-known fusion artists
were members of earlier jazz fusion groups, and some
of the fusion giants of the 1970s kept working in the
genre.
Miles Davis continued his career after having a lengthy
break in the late 1970s. He recorded and performed fu-
sion throughout the 1980s with new young musicians and
continued to ignore criticism from fans of his older main-
stream jazz. While Davis works of the 1980s remain
controversial, his recordings from that period have the re-
spect of many fusion and other listeners. In 1985 Chick
Corea formed a new fusion band called the Chick Corea
mer Dave Weckl and bassist John Patitucci, as well as
6 1 HISTORY

1.4.3 Acid jazz, nu jazz and jazz rap

Acid jazz developed in the UK in the 1980s and 1990s,

inuenced by jazz-funk and electronic music. Acid jazz
often contains various types of electronic composition
(sometimes including sampling or a live DJ cutting and
scratching), but it is just as likely to be played live by mu-
sicians, who often showcase jazz interpretation as part of
their performance. Jazz-funk musicians such as Roy Ay-
ers and Donald Byrd are often credited as the forerunners
of acid jazz.[27]
Nu jazz is inuenced by jazz harmony and melodies,
and there are usually no improvisational aspects. It can
be very experimental in nature and can vary widely in
sound and concept. It ranges from the combination of
live instrumentation with the beats of jazz house (as ex-
emplied by St Germain, Jazzanova and Fila Brazillia)
to more band-based improvised jazz with electronic ele-
ments (for example The Cinematic Orchestra, Kobol and
the Norwegian future jazz style pioneered by Bugge
Wesseltoft, Jaga Jazzist and Nils Petter Molvr).
Jazz rap developed in the late 1980s and early 1990s, and
incorporates jazz inuences into hip hop. In 1988, Gang
Starr released the debut single Words I Manifest, which
sampled Dizzy Gillespie's 1962 Night in Tunisia, and
Stetsasonic released Talkin' All That Jazz, which sam-
pled Lonnie Liston Smith. Gang Starrs debut LP No
More Mr. Nice Guy (1989) and their 1990 track Jazz
Thing sampled Charlie Parker and Ramsey Lewis. The
groups which made up the Native Tongues Posse tended
towards jazzy releases: these include the Jungle Broth-
ers' debut Straight Out the Jungle (1988), and A Tribe John Zorn performing in 2006
Called Quest's Peoples Instinctive Travels and the Paths
of Rhythm (1990) and The Low End Theory (1991). Rap
duo Pete Rock & CL Smooth incorporated jazz inu- mixed soul music with free jazz and punk rock)[29] and
ences on their 1992 debut Mecca and the Soul Brother. the Lounge Lizards[29] (the rst group to call themselves
Rapper Guru's Jazzmatazz series began in 1993, using "punk jazz).
jazz musicians during the studio recordings. John Zorn took note of the emphasis on speed and dis-
Though jazz rap had achieved little mainstream suc- sonance that was becoming prevalent in punk rock, and
cess, Miles Davis nal album Doo-Bop (released posthu- incorporated this into free jazz with the release of the
mously in 1992) was based around hip hop beats and Spy vs Spy album in 1986, a collection of Ornette Cole-
collaborations with producer Easy Mo Bee. Davis ex- man tunes done in the contemporary thrashcore style.[30]
bandmate Herbie Hancock also absorbed hip-hop inu- In the same year, Sonny Sharrock, Peter Brtzmann, Bill
ences in the mid-1990s, releasing the album Dis Is Da Laswell and Ronald Shannon Jackson recorded the rst
Drum in 1994. album under the name Last Exit (free jazz band), a sim-
ilarly aggressive blend of thrash and free jazz.[31] These
developments are the origins of jazzcore, the fusion of
1.4.4 Punk jazz and jazzcore free jazz with hardcore punk.

The relaxation of orthodoxy which was concurrent with

post-punk in London and New York City led to a new
appreciation of jazz. In London, the Pop Group be-
gan to mix free jazz and dub reggae into their brand of
punk rock.[28] In New York, No Wave took direct in-
spiration from both free jazz and punk. Examples of
this style include Lydia Lunch's Queen of Siam,[29] Gray,
the work of James Chance and the Contortions (who
1.4.5 M-Base
Main article: M-Base
M-Base (short for macro-basic array of structured ex-
temporization) centers around a movement started in the
1980s. It was initially a loose collective of young African-
American musicians in New York which included Steve
1.5 1990s2000s 7

tarist, Andy Summers of The Police, released several fu-

sion albums in the early 1990s.
Guitarists John Scoeld and Bill Frisell have both made
fusion recordings over the past two decades while also ex-
ploring other musical styles. Scoelds Pick Hits Live and
Still Warm are fusion examples, while Frisell has main-
tained a unique approach in drawing heavy inuences
from traditional music of the United States. Japanese fu-
sion guitarist Kazumi Watanabe released numerous fu-
sion albums throughout the 1980s and 1990s, highlighted
by his works such as Mobo Splash and Spice of Life.
Brett Garsed and T. J. Helmerich are also watched as
prominent fusion guitar players, having released several
Steve Coleman in Paris, July 2004 albums together since the beginning of the 1990s (Quid
Pro Quo (1992), Exempt (1994), Under the Lash of Grav-
ity (1999), Uncle Moes Space Ranch (2001), Moes Town
Coleman, Greg Osby and Gary Thomas developing a (2007)) and collaborating in many other projects or re-
complex but grooving[32] sound. leasing solo albums (Brett Garsed Big Sky) all them
In the 1990s most M-Base participants turned to more falling in the genre.
conventional music, but Coleman, the most active par- The saxophonist Bob Berg, who originally came to promi-
ticipant, continued developing his music in accordance nence as a member of Miles Daviss bands, recorded a
with the M-Base concept.[33] Colemans audience de- number of fusion albums with fellow Miles band mem-
creased, but his music and concepts inuenced many ber and guitarist Mike Stern. Stern continues to play fu-
musicians,[34] both in terms of music technique[35] and of sion regularly in New York City and worldwide. They
the musics meaning.[36] Hence, M-Base changed from a often teamed with the world-renowned drummer Dennis
movement of a loose collective of young musicians to a Chambers, who has also recorded his own fusion albums.
kind of informal Coleman school,[37] with a much ad- Chambers is also a member of CAB, led by bassist Bunny
vanced but already originally implied concept.[38] Steve Brunel and featuring the guitar and keyboard of Tony
Coleman's music and M-Base concept gained recognition MacAlpine. CAB 2 garnered a Grammy nomination in
as next logical step after Charlie Parker, John Coltrane 2002. MacAlpine has also served as guitarist of the
and Ornette Coleman.[39] metal fusion group Planet X, featuring keyboardist Derek
Sherinian and drummer Virgil Donati. Another former
member of Miles Daviss bands of the 1980s that has re-
1.5 1990s2000s leased a number of fusion recordings is saxophonist Bill
Evans, highlighted by 1992s Petite Blonde.
Joe Zawinul's fusion band, The Zawinul Syndicate, began
Fusion shred guitar player and session musician Greg
adding more elements of world music during the 1990s.
Howe has released solo albums such as Introspection
One of the notable bands that became prominent in the
(1993), Uncertain Terms (1994), Parallax (1995), Five
early 1990s is Tribal Tech, led by guitarist Scott Hender-
(1996), Ascend (1999), Hyperacuity (2000), Extraction
son and bassist Gary Willis. Henderson was a member of
(2003) with electric bassist Victor Wooten and drummer
both Coreas and Zawinuls ensembles in the late 1980s
Dennis Chambers, and Sound Proof (2008). Howe com-
while putting together his own group. Tribal Techs most
bines elements of rock, blues and Latin music with jazz
common lineup also includes keyboardist Scott Kinsey
inuences using a technical, yet melodic guitar style. Ex-
and drummer Kirk Covington; Willis and Kinsey have
Dream Theater drummer Mike Portnoy formed the band
both recorded solo fusion projects. Henderson has also
Liquid Tension Experiment with guitarist John Petrucci,
been featured on fusion projects by drummer Steve Smith
keyboardist Jordan Rudess and bass guitarist Tony Levin.
of Vital Information which also include bassist Victor
Their style blended the complex rhythms of jazz fu-
Wooten of the eclectic Bela Fleck and the Flecktones,
sion and progressive rock along with the heavy sound of
recording under the banner Vital Tech Tones.
progressive metal.
Allan Holdsworth is a guitarist who performs in jazz, fu-
Drummer Jack DeJohnette's Parallel Realities band fea-
sion, and rock styles. Other guitarists such as Eddie Van
turing fellow Miles alumni Dave Holland and Herbie
Halen, Steve Vai and Yngwie Malmsteen have praised his
Hancock, along with Pat Metheny, recorded and toured
fusion playing. He often used a SynthAxe guitar syn-
in 1990, highlighted by a DVD of a live performance
thesizer in his recordings of the late 1980s, which he
at the Mellon Jazz Festival in Philadelphia. Jazz bassist
credits for expanding his composing and playing options.
Christian McBride released two fusion recordings draw-
Holdsworth has continued to release fusion recordings
ing from the jazz-funk idiom in Sci-Fi (2000) and Vertical
and tour worldwide. Another former Soft Machine gui-
8 4 JAZZ FUSION RECORD LABELS
Vision (2003). Other signicant recent fusion releases
have come from keyboardist Mitchel Forman and his
band Metro, former Mahavishnu bassist Jonas Hellborg
with the late guitar virtuoso Shawn Lane, keyboardist
Tom Coster, and Marbin with their unique blend of jazz,
rock, blues, gospel, and Israeli folk music.
2 Inuence on rock music
According to bassist/singer Randy Jackson, jazz fusion is
an exceedingly dicult genre to play; I picked jazz
fusion because I was trying to become the ultimate tech-
nical musician-able to play anything. Jazz fusion to me is
the hardest music to play. You have to be so procient on
your instrument. Playing ve 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.[40]
Jazz-rock fusions technically challenging guitar solos,
bass solos and odd metered, syncopated drumming
started to be incorporated in the technically focused
progressive metal genre in the early 1990s. Progressive
rock, with its anity for long solos, diverse inuences,
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 fu-
sion is the music of Gong, Ozric Tentacles and Emerson,
Lake & Palmer.
The death metal band Atheist produced albums
Unquestionable Presence in 1991 and Elements in 1993
containing heavily syncopated drumming, changing time
signatures, instrumental parts, acoustic interludes, and
Latin rhythms. Meshuggah rst attracted international
attention with the 1995 release Destroy Erase Improve
for its fusion of fast-tempo death metal, thrash metal
and progressive metal with jazz fusion elements. Cynic
recorded a complex, unorthodox form of jazz-fusion-
inuenced experimental death metal with their 1993
album Focus. In 1997, G.I.T. guitarist Jennifer Batten
under the name of Jennifer Battens Tribal Rage: Mo-
mentum released Momentum an instrumental hybrid
of rock, fusion and exotic sounds. Mudvayne is heavily
inuenced by jazz, especially in bassist Ryan Martinie's
playing.[41][42] Puya frequently incorporates inuences
from American and Latin jazz music.[43]
Another, more cerebral, all-instrumental progressive jazz
fusion-metal band Planet X released Universe in 2000
with Tony MacAlpine, Derek Sherinian (ex-Dream The-
ater) and Virgil Donati (who has played with Scott Hen-
derson from Tribal Tech). The band blends fusion-style
guitar solos and syncopated odd-metered drumming with
the heaviness of metal. Tech-prog-fusion metal band
Aghora formed in 1995 and released their rst album,
self-titled Aghora, recorded in 1999 with Sean Mal-
one and Sean Reinert, both former members of Cynic.
Gordian Knot, another Cynic-linked experimental pro-
gressive metal band, released its debut album in 1999
which explored a range of styles from jazz-fusion to
metal. The Mars Volta is extremely inuenced by jazz
fusion, using progressive, unexpected turns in the drum
patterns and instrumental lines. The style of Uzbek prog
band Fromuz is described as prog fusion. In lengthy in-
strumental jams, the band transitions from fusion of rock
and ambient world music to jazz and progressive hard
rock tones.[44]
3 Inuential recordings
Albums from the late 1960s and early 1970s include
Miles Davis' ambient-sounding In a Silent Way (1969)
and his rock-infused Bitches Brew (1970). Davis A Trib-
ute to Jack Johnson (1971) has been cited as the purest
electric jazz record ever made and one of the most re-
markable jazz-rock discs of the era.[45][46] Daviss al-
bum On the Corner (1972), at the time of release one
of his most reviled, has since been viewed as having
set the precedent for a whole subspecies of DJ culture.
[47]
Throughout the 1970s, Weather Report released al-
bums ranging from its 1971 self-titled disc Weather Re-
port (1971) (which continued the style of Miles Davis al-
bum Bitches Brew) to 1979s 8:30. Chick Corea's Latin-
oriented fusion band Return to Forever released inuen-
tial albums such as 1973s Light as a Feather. In that
same year, Herbie Hancock's Head Hunters infused jazz-
rock fusion with a heavy dose of Sly and the Family
Stone-style funk. Virtuoso performer-composers played
an important role in the 1970s. In 1976, fretless bassist
Jaco Pastorius released Jaco Pastorius; electric and dou-
ble bass player Stanley Clarke released School Days; and
keyboardist Chick Corea released his Latin-infused My
Spanish Heart, which received a ve-star review from
Down Beat magazine.
In the 1980s, Chick Corea produced well-regarded al-
bums, including The Chick Corea Elektric Band (1986),
Light Years (1987), and Eye of the Beholder (1988). In
the early 1990s, Tribal Tech produced two albums, Tribal
Tech (1991) and Reality Check (1995). Canadian bassist-
composer Alain Caron released his album Rhythm 'n Jazz
in 1995. Mike Stern released Give and Take in 1997.
4 Jazz fusion record labels
In the last 20 years there have been some important
record labels which have specialized in jazz-fusion as
well as jazz. Some of them include ESC Records,[48]
Tone Center on Shrapnel Records,[49] Favoured Nations,
AbstractLogix,[50] Heads Up International,[51] Mack Av-
enue Records,[52] and Buckyball Music.[53] Due to the
small market for instrumental music such as jazz-fusion,
artists often release music under their own label or un-
der subdivisions of larger record companies. Some exam-

Top 50 jazz fusion record labels
ples include Chick Corea/Ron Moss [54] Stretch Records
[55]
under the Concord Music Group, Dave Grusin and
Larry Rosen (producer) Grusin/Rosens GRP Records
through Verve Music Group, Carl Filipiak's Geomet-
ric Records,[56] Mercks Alex Merck Music GmbH,[57]
Frank Gambale's Wombat Records,[58] Anders Johans-
son/Jens Johansson's Heptagon Records [59] and Richard
Hallebeeks Richie Rich Music [60] to name a few. Other
solo fusion artists release and promote their own mu-
sic under their own names such as Allen Hinds, Frans
Vollink, Bernhard Lackner, Doug Johns and Geraldo
Henrique Bulhes.[61]
According to Stevens Muschaliks analysis of his Burning
Jazz-fusion playlist these are the top 50 jazz-fusion labels
from 19952015.
5 See also
List of jazz fusion artists
6 References
[1] Garry, Jane (2005). Jazz. In Haynes, Gerald D. En-
cyclopedia of African American Society. SAGE Publica-
tions. p. 465.
[2] Fernandez, Raul A. (2006). From Afro-Cuban rhythms to
Latin jazz. University of California Press. p. 62. ISBN
978-0-520-93944-8. Retrieved 17 June 2011.
[3] Acosta, Leonardo (2003: 59). Cubano be, cubano bop:
one hundred years of jazz in Cuba. Washington, D.C:
Smithsonian Books. ISBN 1-58834-147-X
[4] http://www.allmusic.com/explore/style/d299
[5] Georgie Fame Biography, Albums, Streaming Links
AllMusic. allmusic.com.
9
[6] Graham Bond Biography, Albums, Streaming Links
AllMusic. allmusic.com.
[7] Manfred Mann Biography, Albums, Streaming Links
AllMusic. allmusic.com.
[8] S.E. Erlewine, All Music Guide to Jazz (Backbeat Books,
2002). ISBN 0-87930-717-X. Pages 180-181
[9] D. Dicaire, Jazz Musicians, 1945 to the Present (McFar-
land, 2006), ISBN 0-7864-2097-9, p. 213
[10] Southall, Nick. Review: In a Silent Way. Stylus Magazine.
Retrieved on 2010-04-01.
[11] Unterberger 1998, pg. 329
[12] The Jazz/Rock Fusion Page:a site is dedicated to Jazz
Fusion and related genres with a special emphasis on
Jazz/Rock fusion.. liraproductions.com.
[13] N. Tesser, The Playboy Guide to Jazz (Plume, 1998),
ISBN 0-452-27648-9, p. 178
[14] S.E. Erlewine, All Music Guide to Jazz (Backbeat Books,
2002). ISBN 0-87930-717-X. p.178
[15] Huey, Steve, Hot Rats. Review, Allmusic.com. Retrieved
on January 2, 2008.
[16] Miles, 2004, Frank Zappa, p. 194.
[17] Lowe, 2006, The Words and Music of Frank Zappa, p.
74.
[18] http://www.allmusic.com/explore/style/d2776
[19] Harrison, Max; Thacker, Eric; Nicholson, Stuart (2000).
The Essential Jazz Records: Modernism to Postmodernism.
A&C Black. p. 614. ISBN 0-7201-1822-0.
[20] Jurek, Thom (November 1, 2002) Review: Big Fun.
Allmusic. Retrieved on 2011-02-02.
[21] Jazzitude | History of Jazz Part 8: Fusion
[22] Briley, Ron (2013). Review of Birds of Fire: Jazz, Rock,
Funk, and the Creation of Fusion. 46 (3): 465466.
JSTOR 43264136.
[23] What is smooth jazz?". Smoothjazz.de. Retrieved 2007-
06-16.
[24] Available online at: http://www.allmusic.com/explore/
style/d299
[25] R. Lawn, Experiencing Jazz (McGraw-Hill, 2006), ISBN
0-07-245179-3, p. 341
[26] George Graham review
[27] Ginell, Richard S. allmusic on Roy Ayers. Allmu-
sic.com. Retrieved November 7, 2010.
[28] Dave Lang, Perfect Sound Forever, February 1999. Ac-
cess date: November 15, 2008.
[29] Bangs, Lester. Free Jazz / Punk Rock. Musician Mag-
azine, 1979. Access date: July 20, 2008.
10
[30] ""House Of Zorn, Goblin Archives, at. Sonic.net.
Archived from the original on October 19, 2010. Re-
trieved November 7, 2010.
[31] Progressive Ears Album Reviews. Progressiveears.com.
October 19, 2007. Retrieved November 7, 2010.
[32] "... circular and highly complex polymetric patterns
which preserve their danceable character of popular
Funk-rhythms despite their internal complexity and asym-
metries ... (Musicologist and musician Ekkehard Jost,
Sozialgeschichte des Jazz, 2003, p. 377)
[33] Jazz, All About. All About Jazz. allaboutjazz.com.
[34] Pianist Vijay Iyer (who was chosen as Jazz musician of
the year 2010 by the Jazz Journalists Association) said:
Its hard to overstate Steve (Colemans) inuence. Hes
aected more than one generation, as much as anyone
since John Coltrane. ()
[35] His recombinant ideas about rhythm and form and his
eagerness to mentor musicians and build a new vernacu-
lar have had a profound eect on American jazz. (Ben
Ratli, )
[36] Vijay Iyer: Its not just that you can connect the dots by
playing seven or 11 beats. What sits behind his inuence
is this global perspective on music and life. He has a point
of view of what he does and why he does it. ()
[37] Michael J. West (June 2, 2010). Jazz Articles: Steve
Coleman: Vital Information. Jazztimes.com. Retrieved
June 5, 2011.
[38] What Is M-Base?". M-base.com. Retrieved June 5,
2011.
[39] In 2014 drummer Billy Hart said that Coleman has qui-
etly inuenced the whole jazz musical world, and is the
next logical step after Charlie Parker, John Coltrane,
and Ornette Coleman. (Source: Kristin E. Holmes, Ge-
nius grant saxman Steve Coleman redening jazz, Octo-
ber 09, 2014, web portal Philly.com, Philadelphia Media
Network) Already in 2010 pianist Vijay Iyer (who was
chosen as Jazz Musician of the Year 2010 by the Jazz
Journalists Association) said: To me, Steve [Coleman]
is as important as [John] Coltrane. He has contributed
an equal amount to the history of the music. He de-
serves to be placed in the pantheon of pioneering artists.
(Source: Larry Blumenfeld, A Saxophonists Reverberant
Sound, June 11, 2010, The Wall Street Journal) In Septem-
ber 2014, Coleman was awarded a MacArthur Fellowship
(a.k.a. Genius Grant) for redening the vocabulary and
vernaculars of contemporary music. (Source: Kristin E.
Holmes, Genius grant saxman Steve Coleman redening
jazz, October 09, 2014, web portal Philly.com, Philadel-
phia Media Network)
[40] "". books.google.com. Retrieved 24 December 2010.
[41] Ratli, Ben (September 28, 2000). Review of L.D. 50".
Rolling Stone. Retrieved February 24, 2010.
[42] Jon Wiederhorn, Hellyeah: Night Riders, Revolver,
March 2007, p. 60-64 (link to Revolver back issues)
7 FURTHER READING
[43] Mateus, Jorge Arvalo (2004). Boricua Rock. In Her-
nandez, Deborah Pacini. Rockin' las Amricas: the global
politics of rock in Latin/o America. D. Fernndez, Hctor
l'Hoeste; Zolov, Eric. University of Pittsburgh Press. pp.
9498. ISBN 0-8229-5841-4.
[44] Music review of Overlook CD by Fromuz (2008) [Rock-
Reviews]". rockreviews.org.
[45] Jurek, Thom. Review: A Tribute to Jack Johnson.
AllMusic. Retrieved on 2010-01-13.
[46] Fordham, John. Review: A Tribute to Jack Johnson. The
Guardian. Retrieved on 2010-01-13.
[47] Archived copy. Archived from the original on 2007-10-
11. Retrieved 2007-10-11.
[48] ESC Records http://www.esc-records.de/public/index_
en.html
[49] Tone Center http://www.shrapnelrecords.com/content/
shrapnel-label-group
[50] AbstractLogix http://www.abstractlogix.com/
[51] Heads Up International http://www.concordmusicgroup.
com/labels/heads-up/
[52] Mack Avenue Records http://www.mackavenue.com/
[53] Buckyball Music http://buckyballmusic.com/
[54] About Ron Moss. wordpress.com. 17 March 2010.
[55] http://www.concordmusicgroup.com/labels/
Stretch-Records/
[56] Geometric Records http://www.carlfilipiak.com/reviews.
html
[57] Alex Merck Music GmbH https://www.discogs.com/
label/130531-Alex-Merck-Music-GmbH
[58] Wombat Records http://www.frankgambale.com/frank_
gambale_discography.html
[59] Heptagon Records https://www.discogs.com/label/
70703-Heptagon-Records
[60] Richie Rich Music http://www.richardhallebeek.com/
bio/
[61] Top Jazz-Fusion Record Labels http://stevenmuschalik.
com/top_jazzfusion_record_labels.html
7 Further reading
Julie Coryell & Laura Friedman, ed. Jazz Rock Fu-
sion The People, The Music, Hal Leonard. ISBN
0-440-54409-2 pbk.
Jazz Rock: A History, Stuart Nicholson, d. Canon-
gate
Power, Passion and Beauty The Story of the Leg-
endary Mahavishnu Orchestra, Walter Kolosky, ed.
Abstract Logix Books
 11

Jazz Hot Encyclopdie Fusion, Guy Reynard, ed.

de L'instant
Weather Report - Une Histoire du Jazz Electrique,
Christophe Delbrouck, ed. Le Mot et le Reste,
ISBN 978-2-915378-49-8

The Extraordinary and Tragic Life of Jaco Pastorius

(10th Anniversary Edition) backbeatbooks. by Bill
Milkowski
Jes book : A chronology of Je Becks career
19651980: From the Yardbirds to Jazz-Rock. Rock
'n' Roll Research Press, (2000). ISBN 978-0-
9641005-3-4

Birds of Fire: Jazz, Rock, Funk, and the Creation of

Fusion (Reguring American Music). Fellezs, Kevin;
Ronald Radano, Josh Kun, (2011). Duke University
Press Books. ISBN 978-0-8223-5047-7

8 External links
Jazzfusion.tv, the Webs largest open access source
for non-commercially released classic jazz fusion
audio recordings, circa 1970s1980s, curated by
Rich Rivkin, featuring works by most of the artists
referenced in the above article
A History of Jazz-Rock Fusion by Al Garcia, a
writer for Guitar Player Magazine's Spotlight col-
umn who also performs in the group Continuum

BendingCorners, a monthly non-prot podcast site

of jazz and jazz-inspired grooves including fusion,
nu-jazz, and other subgenres
Miles Beyond, website dedicated to the jazz-rock of
Miles Davis

Miles Davis at the Isle of Wight, 1970, excerpt from

Call It Anything

Jazz Concert, electric-jazz concert venues all over

the world

Don Ellis, Tanglewood, MA, playing an electric

trumpet, excerpt from Indian Lady

ProGGnosis: Progressive Rock & Fusion, database

with artist, record title and individual band member
search capabilities. Contains reviews and discogra-
phies, album covers and links. On-line since Feb
2000.
JazzRock-Radio.com, artist promotional radio show
streaming jazz fusion, jazz rock from the 1970s to
new releases from all over the globe
12 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

9 Text and image sources, contributors, and licenses

9.1 Text
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DavidWBrooks, TUF-KAT, Basswulf, Jgm, SEWilco, Floydian, Lypheklub, Bwmodular, Bearcat, Robbot, ToddTurnbull, Fredrik, Tlog-
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blewik, Wiki Wikardo, Louison, SethTisue, Karol Langner, Usrnme h8er, Ularsen, CALR, Wfaulk, Theover, Rich Farmbrough, Ca-
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Cardinal, MONGO, Freeform, SDC, Marudubshinki, Floydgeo, Mandarax, Kvladiko, Jarkka Saariluoma, Deltabeignet, Magister Math-
ematicae, Taestell, BD2412, FreplySpang, Koavf, DeadlyAssassin, Pleiotrop3, Durin, FayssalF, FlaBot, SchuminWeb, Djrobgordon,
SouthernNights, Abasstrombonist, Skierpage, Chobot, Tinoynk, DVdm, AllyD, YurikBot, WaldiR, Ericorbit, Danaimband, Heavens
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