Fusion

Jazz music community with review and forums

Rock and RnB came from jazz in the 1940s via the jump blues genre. Needless to say, over the years jazz, rock and RnB have enjoyed a close relationship and have cross-influenced each other from the beginning. In the mid to late 60s, rock and RnB under went major changes with rock becoming much louder and more experimental under the influence of artists such as Jimi Hendrix and Cream, while RnB became more syncopated and abstract with the new funk sound created by James Brown, Bootsy Collins, Sly Stone and Larry Graham. Meanwhile, Latin jazz was undergoing similar experimental changes under the guidance of artists such as Hermato Pascoal and Flora Purim.

At this point in the mid to late 60s, any intersection between jazz, rock, funk and Latin became a radically different form of music that eventually came to be called fusion. Pioneers in the world of fusion include Larry Coryell, Jermy Steig, Gary Burton, Don Ellis, Chico Hamilton, Charles Lloyd, Jack DeJohnette, John McLaughlin, Tony Williams, Soft Machine, Brian Auger, Miles Davis, Joe Zawinul, Wayne Shorter, Chick Corea and Dreams (Billy Cobham and the Brecker Brothers)

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Showing only albums and live's | Based on members ratings & JMA custom algorithm | 24 hours caching

MILES DAVIS In a Silent Way Album Cover In a Silent Way
MILES DAVIS
4.64 | 117 ratings
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MILES DAVIS Live at the Fillmore East (March 7, 1970): It's About That Time Album Cover Live at the Fillmore East (March 7, 1970): It's About That Time
MILES DAVIS
4.80 | 13 ratings
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HERBIE HANCOCK Crossings Album Cover Crossings
HERBIE HANCOCK
4.59 | 63 ratings
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MAHAVISHNU ORCHESTRA The Inner Mounting Flame Album Cover The Inner Mounting Flame
MAHAVISHNU ORCHESTRA
4.57 | 82 ratings
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MILES DAVIS Bitches Brew Album Cover Bitches Brew
MILES DAVIS
4.56 | 106 ratings
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MILES DAVIS Dark Magus: Live at Carnegie Hall Album Cover Dark Magus: Live at Carnegie Hall
MILES DAVIS
4.60 | 32 ratings
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MAHAVISHNU ORCHESTRA Birds of Fire Album Cover Birds of Fire
MAHAVISHNU ORCHESTRA
4.52 | 83 ratings
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EDDIE HENDERSON Realization Album Cover Realization
EDDIE HENDERSON
4.56 | 18 ratings
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MICHAL URBANIAK Fusion III Album Cover Fusion III
MICHAL URBANIAK
4.95 | 4 ratings
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CHRIS POTTER Circuits Album Cover Circuits
CHRIS POTTER
4.92 | 4 ratings
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PAT METHENY Pat Metheny Group : The Way Up Album Cover Pat Metheny Group : The Way Up
PAT METHENY
4.47 | 31 ratings
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MILES DAVIS Get Up With It Album Cover Get Up With It
MILES DAVIS
4.45 | 40 ratings
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fusion Music Reviews

JAN GARBAREK Places

Album · 1978 · Fusion
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Moshkiae
Jan Garbarek Places 1978

I'm not sure that I would call these 4 pieces in this album ... something called jazz. I kinda think that this is more "mood music" than it is something that could be called "jazz", although it is easy to think that it is so, simply because of Jan Garbarek. And, this is a rather difficult album to review, in that we just about have to "see" what the ideas/thoughts might be coming from the music, and in this sense, "jazz" makes sense, since it is not always anything other than just folks meandering together sometimes together, and sometimes apart.

But, in this case here, the difficulty is trying to match the titles to the actual music, and then see if they come together in your imagination ... kinda ... for me! But the listening is neat, quiet and nice all around ... and you never feel like a lot of jazz, where ... more of this or that is not really necessary, but it is added all the same, with another instrument or even the same player adding a different touch.

"Going Places" is the one that you wonder the most, specially as it has a repeating theme, and you wonder what is that happens (visually) in between the themes ... and it is a cool exercise of your mental abilities, though you and I have to remember that jazz is not as strong proving a "movie moment" as classical or rock music can be ... but sometimes it works, specially when it is to demonstrate a mind broken in parts or at least making an effort to come together, but still very apart.

With an organ sound all the way through the album, it almost feels like the rest of any instrumentation is just an addon, but it does not deter from the moods. And more often than not is actually makes tings interesting, although, for example, the ending of "Going Places" is probably the only part that you end up saying ... now that is jazz! But you know what? Compared to the rest of the stuff, it's almost like it doesn't fit ... but you accept it as a part of the music as it returns to the soft and meandering style of this album.

"Passing" has a bit of a somber tone, and feels like a dirge at the start ... and the tough part is when it ends suddenly ... and I think it is meant to be intentional ... as an image of death, if you will ... gone! And here, the solo guitar is absolutely a treat and neat, and the better part is that Jan Garbarek allows him to do his thing and not join in as a lot of jazz folks do ... and when it does it feels fine, except you don't want the guitar to stop, but it does. From that point on the themes repeat and the piece continues, until the saxophone leads them to another area. And it is very tasty and pretty, with the somber organ in the background and never coming to the front to let you know ... this is an organ, probably one of the nicest things in this album altogether, which helps define a lot of moods.

A very nice album, and compared to a lot of Jan's earlier work, it is a lot less "jazz" than it is ... simply ... great and enjoyable music, though I suppose that some folks in the audience are going to fall asleep on it ... gosh, we still have the kid stuff and feel in us! And we allow the music to take us away with it!

Very nice album ... not exactly a "jazz" standard, but a wonderful experiment of some of the things that jazz folks can do that help take jazz a bit further than just the cacophony of instruments all screaming for attention. There is no such detail here at all, and it makes this album special!

KLAUS DOLDINGER/PASSPORT Passport

Album · 1971 · Fusion
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FunkFreak75
Klaus Doldinger's first release using the "Passport" moniker. Unfortunately, he would have to come up with a whole new lineup of musicians in order to produce his next album.

1. "Uranus" (6:35) with the use of weird synthesizer sounds and multiple "chorus" saxophones in the lead, this one sounds futuristic--like something that would influence the next/new generation of German prog rockers (ELOY and ANYONE'S DAUGHTER are what immediately come to mind). Though I like the flutes as a complement to the rest of the sounds in the second motif, it's Udo Lindenberg's drumming that really holds my attention the most--that and the intriguing sound choices coming from Jimmy Jackson and Klaus Doldinger's keyboards. (8.75/10)

2. "Shirokko" (5:44) opening with Klaus's solo saxophone being fed through some delay, echo, and panning effects for a 55-second intro before the drummer and bass player breaks into a groovy 1960s jazzed (or funked)-up surfer music motif. Clavinet-like keyboard provides the R&B guitar-like rhythm play while multiple saxophones provide horn-section-like background fill. Some of Klaus and Olaf Kübler's saxes solo over the top as well as Jimmy Jackson's organ in the third and fourth. Excellent! The really superstar (besides Udo's smooth/relaxed drumming) is Lothar Meid's chill bass play. A top three song for me--probably my favorite. (9.125/10)

3. "Hexensabbat" (4:27) using the heavy organ and "clavinet" sound from The Court of the Crimson King and driving Hammond and saxophone makes this song a very welcome proggy-side of the "new" jazz-rock fusion medium. Klaus's saxophone play leans far more to the sounds we've been hearing for a few months from Britain's VAN DER GRAAF GENERATOR. Another top three song. (9/10)

4. "Nostalgia" (5:13) taking his cues from the great WAYNE SHORTER, Klaus has got to be one of the other first/early users of sound engineering effects on his saxophones. Nice, evenly-paced low key song.(8.75/10)

5. "Lemuria's dance" (4:37) and Klaus's pioneering way of using multiple saxophones to create his DON ELLIS-like wall of strings- and/or horn section-like back texture has also got to be pretty innovative (as well as perhaps nodding back to his big band days). Drummer Udo Lindenberg again impresses: big time! (8.875/10)

6. "Continuation" (9:53) a song that starts out with a spacey bucolic motif that develops very slowly and deliberately within its atmospheric spaciousness before the band winds up in the second half ramping things up to another VAN DER GRAAF GENERATOR level of power: even going so far as to use similar sound palette and odd chord progressions. (17.5/20)

7. "Madhouse jam" (5:47) early MIROSLAV VITOUS/HERBIE HANCOCK/LARRY CORYELL-like funk using a rather simple bass and chord progression to define the rhythm track while adding some rock-like instruments like rhythm guitar and breathy flute; the whole foundation is just too blues-rock simplistic. Even WAR or BRIAN AUGER are more sophisticated and multi-directional than this. (8.5/10)

Total Time: 42:16

B/four stars; an excellent representative of the directions of possibilities in early Jazz-Rock Fusion.

KLAUS DOLDINGER/PASSPORT Second Passport (aka Doldinger)

Album · 1972 · Fusion
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FunkFreak75
Klaus Doldinger's second album using the "Passport" moniker, for which he had to get an entirely fresh set of musicians to try to support his vision, his compositions, including two Americans, keyboard artist John Mealing and drummer Bryan Spring. This marks the beginning of bassist Wolfgang Schmid (later known as Wolfgang Schmid- Grandy)'s six-year, six album commitment to Klaus. 1. "Mandragora" (3:46) very modern synth, clavinet, and electric bass noises open this one before drummer Bryan Spring and bassist Wolfgang Schmid align in an awesome cruisin' groove with clavinet right there with them. Though Klaus' multiple saxes present the main melody, it's his funky synthesizer that takes the first solo. In the third minute it's time for solo tenor sax. The melodies are okay, but it's the rhythm track that is so winning! (9.3333/10)

2. "Nexus" (5:23) here the rhythm section have some fun playing around with a wild game of tag before settling into a surprising R&B groove for Klaus to solo over while John Mealing plays around with his electric piano somewhere in the middle. Bassist Wolfgang Schmid and drummer Bryan Spring are playing like Titans (or monsters), as if they're in The Flintstones primal drum band--a theme that becomes even more pronounced in and throughout the fourth and fifth minutes. Not even Klaus' emotional soprano sax can take my attention away from this primal groove--not until the final 15 seconds when the band wind it down does the hypnotic effect fade. Nice! (9/10)

3. "Fairy tale" (7:32) gently echoing soprano sax notes float off into the mountain foothills while the gentle breeze tinkles the wind chimes and cymbals. Electric piano and bass notes join in slowly, transforming the porch-view into a trek into the foothills. Beautiful melodies issued by Klaus are apparently borrowed from a famous German folk song (which is even credited in the album's liner notes). Pleasant Herbie Hancock-like pastoral electric piano play during John Mealing's solo in the fifth minute. How can people discount this artist's abilities?! There is so much feeling and nuance in his play (not all flash and flare). Klaus returns with his soprano sax in the sixth minute as the rhythm section tightens up a bit--but not too much: just raising the tension levels a notch or two--but then Klaus' hypnotic echoed- melodies convince everyone to back down again to the gentle support roles they initially exhibited. Nice song! (13.75/15)

4. "Get yourself a second passport" (4:03) another funky clavinet-led R&B opening and acceleration is enhanced noticeably by the wah-wah and volume pedal modified rhythm guitar. (Wolfgang?!?!) Nice rhythm play beneath Klaus' soprano sax and "flute" synth solos. Wolfgang is really on fire in the "Can't Get Next to You" third and fourth minutes. Klaus switches to multiple instruments on multiple tracks to issue the main melody. Pretty cool! (8.875/10)

5. "Registration O" (9:24) Opening like a kind of campy burlesque song, the bass and low-end heavy drums are reinforced by a low-end organ bass as Klaus blasts away rather wildly on his tenor sax. I find it interesting how Klaus has mixed the organ's bass pedal line as the most forward, highest volume track in the song. Synth "saw" solo in the fourth minute is followed by a searing organ solo. But the biggest surprise (and highlight) to this heavy, MAGMA-esque tune is bassist Wolfgang Schmid's very good wah-ed electric guitar solo in the fifth and sixth minutes--it's even rousing enough to rile Bryan Spring into some risky drumming. But, with the advent of the seventh minute, everybody congeals again to a uniform goal, allowing the main bass melody to carry everybody to the eighth minute where they devolve the song in order to break into a new up-tempo motif with a cruisin' groove similar to that of the album's opening song. This then plays out in a jam as John and Klaus express their unbound feelings through organ, electric piano, and sax. Weird but powerful and definitely memorable. (17.5/20)

6. "Horizon beyond" (6:46) a fairly straightforward composition that is made so dynamic and entertaining by Wolfgang and Bryan. Plus, the sax play on this one (soprano) is one of the better/more accessible ones (for me). Even John's Hammond organ solo in the fifth and sixth minutes is great (though, admittedly, made better by Bryan Spring's drumming and Wolfgang Schmid's matching bass play). Nice melodies coming from both Klaus and Wolfgang. (14/15)

7. "The cat from Katmandu" (4:38) opens with a bass-and-drums straightaway: and then the multi-track conglomeration of several of Klaus' saxes presenting the melody (which is also quite catchy). And the throbbing organ chords in the background add a ton to the groove--a groove that becomes rather trance-inducing to we on the dance floor! This is also a sound that previews the sound that American saxophonist David Sanborn becomes so well known for. (9.75/10)

Total Time: 41:32

Due to superior production attention and techniques, even in 1972 Passport was exhibiting sound far in advance of that of most record companies in the USA; the production value here sounds like something from 1975 or 1976! (I urge you to compare this album to other 1972 releases in the jazz, rock and prog world: you will be very hard-pressed to find anything to measure up to this one.) The band have Dieter Dierks and Jörge Scheuermann at Dieter's state-of- the art home-based recording studio in Stommeln as well as bandleader (and producer) Klaus Doldinger's almost anal- retentive attention to detail to thank for this. The music, however, is often built around either 1) rather simple ideas and structures or 2) Klaus' fiery saxophone solos. Though there is no denying that Klaus is a very skilled saxophone player, his sound and style does absolutely nothing to help win me over into the crowd of saxophone fans. I'll even go further in saying that it is most often the work of his band mates that engages me despite my aversion to saxophone leads. While many reviewers find it difficult to find skill or accomplishment in the instrumental performances on this album, I find myself so impressed that I wonder if I'm listening to the same album these other reviewers are listening to. Drummer Bryan Spring and certainly bass player Wolfgang Schmid are very dynamic, engaging, even exciting to listen to, while keyboardist John Mealing is definitely no slouch. What are these other reviewers hearing/seeing that I'm missing? The sound recording is so clear and pristine that each musicians' contributions are fully on display; there can be no questioning their skill and talent--and with the knowledge of Klaus Doldinger's rather exacting expectations and standards, I find it hard to find fault in these performances: they're most likely doing exactly what Klaus has asked of them--and I hear a ton of creative inputs coming from each and every musician through each and every song!

A-/five stars; a minor masterpiece of rockin' and funky Jazz-Rock Fusion that feels two to three years ahead of the curve on the historical J-R Fuse trajectory. The sound production alone is well-worth any prog-lover's attention and appreciation: You gotta hear it to believe it!

JUKKA HAURU Episode

Album · 1975 · Fusion
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FunkFreak75
Uber-talented guitarist Jukka Huaru is back with, unfortunately, his only other album as band-leader/featured soloist and composer. The sound and collaborators' inputs are much more cohesive on this album.

1. "Enema Syringe" (5:45) what opens as a full minute of displaying MAHVISHNU ORCHESTRA fire turns RETURN TO FOREVER at 1:20 with the introduction of the MiniMoog. At 1:45 then it sleakly slides over into pure JAN AKKERMAN territory before morphing magically into LARRY CORYELL and then GEORGE DUKE to JOE ZAWINUL-led WEATHER REPORT for the finish. The accompanying bass, drums, and keyboard playing is nothing short of miraculous! Amazing! Even if it is a bit imitative and even plagiaristic, this is pure Jazz-Rock Fusion perfection! (10/10)

2. "When I Met My Wondergirl" (8:52) beautiful and spacious LONNIE LISTON SMITH-like Cosmic Music with some awesome JAN AKKERMAN-like tone and feeling up top, mixed with the piano, sax, and bass (this latter grâce à the addition of Pekka Pohjola). The exposition takes a long time of stop-and-go before finally settling down into a fairly straightforward flowing "ballad" in the fourth minute. Just following the work of the two bass players is pure bliss--such a humbling joy! (19/20)

3. "Waltz Bourgeois" (4:20) interesting near-avant garde music of not-so melodic but more harmonically-conscientious musical constructs. This is closer to true jazz and the future avant waves of Jazz/Jazz-Rock than any of the other songs on the album. (8.875/10)

4. "Episode (Santiago 11. 9. 73)" (12:37) Now we are definitely in advanced WEATHER REPORT territory, complete with some excellent Wayne Shorter-like soprano sax and Heikki Virtanen's Jaco-like bass thrumming. Even the percussion play sounds like Acuña/Alias/Badrena trio and the clavinet and other keys like Joe Zawinal. The only thing that sounds different is Tomi Salminen's drum play, which sounds far more Lenny White. But then Jukka's lead guitar work sounds so much like that of NOVA's Corrado Rustici. Great, rich Fender Rhodes sound from Jukka Linkola--which peaks with the awesome solo in ninth minute. This is then followed by a great LARRY CORYELL-like guitar solo. I love this Latinized song! Just when it sounds like it's drawing to a close in the eleventh minute, the military drums and droning low-end piano chord-pounding keep it going so that Jukka and Teemu can play out for another minute. (23.5/25)

5. "Elegy (for Victor Jara)" (4:11) here we get a cross between Al Di Meola and Jan Akkerman in guitar style and support sound palette performing a lovely little lushly-surrounded Spanish acoustic guitar [iece that eventually goes electric guitar in its second half (not unlike Jan's "Soft" and "Hard Vanilla" songs on Focus' Mother Focus album). (9.3333/10)

6. "Goodbye Pinochet" (3:05) more Latin-infused high-speed Jazz-Rock Fusion of the Chick Corea kind, even to the degree of Jukka Linkola's keyboard play and the excellent play from the rhythm corps, though Jukka's guitar play here sounds more like the Toto Blanke side of Jan Akkerman or even a little of Al Di Meola's plucky-muted stuff. A great, peppy, tightly-coordinated song! (9.5/10)

Total Time 38:50

I can understand reviewers who disparage Jukka's conformity to the styles and sounds of the course that "standardized" (Third Wave) Jazz-Rock Fusion artists had taken, but I cannot help but extoll the amazing compositions and performances exhibited through this extraordinary lineup of musicians on this record. And, yes, Jukka's creativity on his 1972 debut was so high and so individualistic, but I am much happier with the overall orchestration and sound engineering of these compositions than those of Information. This is what "peak" Jazz-Rock Fusion should sound like!

A/five stars; a masterpiece of fully-formed, superlatively-engineered Third Wave Jazz-Rock Fusion. I feel so lucky to have been allowed to know this music!

JUKKA HAURU Information

Album · 1972 · Fusion
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FunkFreak75
The Finnish Jazz-Rock Fusion scene is taking off--and not just in the circles emanating from Wigwam!

1. "Mai-Ling" (6:16) interesting whole-band carry of the main melody while the simple militaristic rhythm section supports beneath. The two guitar tracks and saxophones are the most erudite--even if they are repeating "exotic" folk Eastern European melodies for the first three minutes. The second motif of guitar-led drums and bass only is a much better indicator of the high proficiency each musician possesses. Drummer Tapani Ikonen and bassist Heikki Virtanen impress (as does Jukka)! While the first part of this song sounded hokey and poorly planned and engineered, the second half more than makes up for it. (9/10)

2. "Room 1972" (1:52) sounds like music created to accompany a particular scene from an old silent film. A lot of sensibilities drawn from orchestrated classical music. (4.375/5)

3. "Jamsession the Finnish Yes Federation's Skinheaded Board" (1:33) a very entertaining Cheech and Chong-like skit in which a glossaphiliac expresses himself to his drug-stupored mate in multiple European languagall of which prefaces a spirited outburst of New Orleans jazz-rock. A very memorable song. (5/5)

4. "No More Blues" (6:55) a song that uses music to express humor in a very sophisticated, almost jazzy-avant-garde fusion way. Multiple tracks moving through their improvised melody-making as if separately but it all works harmonically and counterpointedly. At 2:25 the band switches to a different path--one that is more high-speed Hendrix/CREAM-like blues-rock. At the same time I hear a lot of influence from CHICAGO and BLOOD, SWEAT AND TEARS. (13.5/15)

5. "Evil" (6:08) what starts out as a kind of jazzy variation of the opening of Ravel's "Bolero" turns more FOCUS-like with some excellent speed electric guitar play played over some beautifully woven folk melodies (especially from violinist Juhani Poutanen). The virtuosic similarities in melody and style between Jukka and Jan Akkerman are rather striking. Very creative, inventive song with some flashes of true brilliance from Jukka. A top three song. (9.25/10)

6. "Splitting" (3:24) jazz drums, bluesy electric bass, Fender Rhodes electric piano, and wah-wah distorted guitar that sounds like John Tropea in "Also Sprach Zarathustra." Nice display of skills and compositional capabilities--though the bassist always sounds a bit in his own universe. I do, however, like the disparate inputs of the horns and other instruments: it's cacophonic but somehow works as a cohesive weave. (9/10)

7. "Information" (4:35) an awesome weave between sax, violin, bass, and electric guitar that totally predicts the early J-R Fusion style of the great Jean-Luc Ponty. Awesome song. A top three for sure. (9.25/10)

8. "Refilling Valve" (3:40) strumming of the piano wires before the pianist commits to playing the keys--all the while the recording mike is obviously more focused and concerned with the sounds emanating from within the box than from through the piano frame as a whole. Some violin joins in in the second minute but then every body sits down (including the pianist and sound recording engineer) to listen to some lovely piano contemplations. I really respect the act of Jukka's giving pianist Olli Ahvenlahti this opportunity to express himself. Another quite memorable song--one that I really like. (8.875/10)

9. "What?" (4:44) opens with a motif that sounds like a song variation inspired by a motif in KING CRIMSON's "21st Century Schizoid Man." At 1:30 the band switches roads and moves onto the expressway with some standard drums, electric bass, Fender Rhodes, and electric guitar soloing (here Jukka still finding an anchor and inspiration in Robert Fripp's melody lines from "21st Century Schizoid Man"). I love Olli Ahvenlahti's Herbie Hancock-like electric piano accents thrown over the top of the frenetic bass and drum playing. (9/10)

10. "Waltz for the Straight Relatives" (2:25) a little FOCUS-like folk ditty that is repeated over and over with different layers and soloists for its two-and-a-half minutes. (4.375/5)

Total Time 41:32

Great compositions performed beautifully by some very skilled musicians. Too bad the sound treatments and engineering choices aren't a little more creative and advanced. (I'd love to have felt a little more cohesion in the overall sound blending of each song.) Though impressive in its variety of styles and influences, I would have liked to have heard a selection of tunes that gave me a better sense of Jukka's preferences. (I know that's unfair--especially as most hyper-creatives are cursed with wanting to express each and every thought and idea flowing through them, so, I apologize.)

A-/five stars; a minor masterpiece of First Wave Jazz-Rock Fusion from a creative songwriter and his cast of highly-skilled instrumentalists.

fusion movie reviews

WEATHER REPORT Live in Germany 1971

Movie · 2010 · Fusion
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Sean Trane
Well if the world still has to find some live recording from the very first studio all-star line-up (not likely, though), at least we've got now something very close to and we can even see the quintet at work with this just-as-famous version in the form of a German TV show called the Beat Club. With only Airto Moreira gone, replaced by Brazilian countryman Um Romao, the other four being Vitous, Shorter, Mouzon and Zawinul, Weather Report embarked on this TV show adventure not knowing that Alphonse Mouzon would leave the band in a while.

As you'd expect this broadcast consisted mainly of tracks from the debut album, but some are fairly different as WR always made improvisation their force. So you'll recognize 'Umbrellas generic structure, but drafted fairly differently, not just because of Romao's constant change of percussions instruments - he's one of the visual focus of the group, who otherwise remains fairly static and even blows a flute (and later some whistles) for a short while. One of the big difference between the studio album and this broadcast is that Miroslav has taken up the electric bass (his contrabass is still very present but mainly played with a bow), thus allowing even more energy to invade the quintet's shared space. The group's steaming-hot improvised fusion is simply awesome and flows naturally from your speakers like a river of fresh lave spewing out from your volcanic woofers.

Clearly the gravitational centre of the band is Zawinul's Rhodes, but it is clear that it is the group's tightness its main force. Morning Lake is much needed breathing space, starting out slowly with Shorter's sax signalling the dawn for Romao's birdsongs. Just past that Dom pulls an Brazilian berimbau . Drummer Alphonse sings funkilly (rather well, too) a rare sung track in the closing medley, but it's will veer into the Dr Honoris Causa - later on the Body Electric album.

A while later, Mouzon would leave the band and be replaced by drummer Erik Gravatt and this line-up would go on to record Body Electric and the Tokyo concert (released in 77, but part of it in the ISTBE album) and in the process become the definitive line-up of the Vitous- era Weather Report But for now, this German TV broadcast is an inestimable witness of the group's almost original line-up, and is just as essential as their debut album, the Tokyo concert or Body Electric.Too bad it's relatively short, though. Run for this baby...

DIXIE DREGS Live At The Montreaux Jazz Festival

Movie · 2005 · Fusion
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Slartibartfast
This was the Dixie Dregs lineup that I first come to know live and otherwise. The Montreaux Jazz Festival performance was used for side two of the LP Night of the Living Dregs. I had no idea the concert was filmed. This represents the band at their prime. Keyboardist Mark Parrish, would soon be replaced by T Lavitz, who is a better keyboard player, but this as this performance testifies, he was no slouch either. Oddly enough, the back cover of this DVD shows a band picture with the original keyboardist from Freefall, Steve Davidowski (guess there was only room for one Steve in this band). Steve Morse was at his most inspired around this time, even though he has certainly grown in skill over the years.

The set list is a little disappointing as it lacks some of the prime cuts from What If (Night Meets Light, Odyssey, Travel Tunes, What If), but I'm not complaining. Now I have something more than just memories of the many Dregs shows I saw back then. It is more of a forward looking set which includes Attila The Hun, that didn't show up on an album until three years later. Also of note, but of less interest to progressive rock fans, is the bluegrass style ditty, Kathreen, never released on a regular album, but only showed up on their demo album, The Great Spectacular, from 1975. If you have a copy of that album, you have something rare, indeed.

Thrown in for bonus are two live TV appearances, one on American Can'tstand (Bandstand) and one on Don Kirschner's Rock Concert. On the former, you get to see them both try out a vocalist, in an attempt to appeal to a more mainstream audience, and with Mark O'Connor, who only played with them for one album, but a few great live shows before the band disbanded for a few years.

As great as the band studio albums were, the live shows took things to an even higher level. Now you can see what you missed, unless you didn't.

JOHN MCLAUGHLIN Abstract Logix Live! / The New Universe Music Festival 2010

Movie · 2011 · Fusion
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js
Abstract Logix’s New Universe Festival of 2010 was probably one of the more significant fusion concerts in recent history, and it is all captured in excellent form on this concert video. Many of the top names in current fusion are here and what a great varied and colorful approach they all bring to this music that will always be associated with its 70s roots. Ranjit Barot fuses fusion with Indian flavors and orchestral music, Human Element bring back the beautiful noise and chaos that has been absent since the early days of jazz-rock, Wayne Krantz takes on the modern NYC flavor with his harsh jarring free funk, Jimmy Herring plays sentimental, sometimes delicate, progressive rock flavored fusion, and of course the great John McLaughlin rounds it all up with high speed post bop mixed with funk and contemporary fusion. Every single performance is top notch and very convincing in letting us know that there is still plenty of life left in this sometimes maligned genre.

The music on here is great, but the video itself is even better. Its amazing how far concert videos have come over the years. This one is clear as a bell and features lots of accurate close-ups of the musicians as they display their virtuoso skills. They say that fusion is a musician’s music, if that is the case, then this video is a great learning tool for the aspiring player. Much of the footage on here goes right to the source and features the musician’s hands as they work their scales and fret boards. Any aspiring fusionist can pick up a lifetime of high speed licks and extended technique by studying this video and even stop-starting it it frame by frame. Long gone are the days of vague camera angles from way far away and pointless shots of musicians grimacing while they play, this video is all about accuracy and showing you exactly how this music goes down. This is a spirited and enthusiastic concert and highly recommended for fans of modern fusion.

MAHAVISHNU ORCHESTRA Live At Montreux 74/84

Movie · 2007 · Fusion
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Slartibartfast
The 1984 appearance of the MO was a lineup that didn't have any of the previous MO lineup of musicians except for John. Still there was a pretty impressive roster. Jonas Hellborg, on bass, steals the show. I suspect he's been rather influenced by Jaco at this point. Also, we also have Bill Evans, fairly fresh out of his stint saxing with Miles Davis. There's also a fine drummer, Danny Gottlieb, who'd played with Pat Metheny prior. Don't know much about Mitchell Forman. With John experimenting with the Synclavier Guitar so much, the keyboards are almost redundant in this ensemble. I had a hard time sitting through this at first. It definitely has that '80's taint, if you know what I mean. But I've warmed up to it. It's a bit like an attempt to return to the magic of the original lineup that doesn't quite get there. Still, if you judge it in the context of the time, it's not too bad.

I got this for one reason and one reason only, it was the two video bits from the Apocalypse lineup of Mahavishu Orchestra. Actually calling them bits isn't quite accurate. Wings of Karma and Hymn to Him are actually decently long pieces. I was pleasantly surprised to see that they had some actual orchestra musicians with them there at Montreaux. The first inkling I got that there was some live footage from this MO lineup was a poor quality video of Smile of the Beyond on a certain video clip web site many of us know of. It's very disappointing that we only get two clips from the show with video and the rest are audio only. I'm guessing the rest of the original footage has been lost. One can only hope that it will resurface. The performance is a bit more structured than the more compact MO's could be live, but that's to be expected due to the larger number of musician's involved. Still the core band does get to work in some improvisation, McLaughlin in particular.

This release is all in all a pleasant surprise for 2007, but there's more video out there from the older Mahavishu Orchestras, and I hope to see that material surface soon. It gets a four on the round up.

JEFF BECK Performing This Week...Live At Ronnie Scott's

Movie · 2008 · Fusion
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Slartibartfast
Holy crap, there's a new Jeff Beck live DVD out there!.

...I thought as I saw this at the record store. This is why it's important to keep those local independent brick and mortar record stores open: you'll never know what you'll find browsing.

As near as I've been able to find out, Jeff Beck (THE Beck, not that other guy) hadn't been touring in a long time, but rather was sticking to special performances. To make up for it, sort of, he did a week's worth of shows at London's Ronnie Scott's Jazz Club in late November 2007. I've never been there, but it looks a little large as some jazz clubs go but still reasonably intimate. I'm pretty sure you don't need binoculars to observe any performances there.

Jeff has assembled an interesting set of musicians, the oldest being Jeff himself (b. 1944), Vinnie Colaiuta (1956) on drums, Jason Rebello (1969) on keys, and Tal Wilkenfeld (1986) on bass. Vinnie I know best from association with Zappa, Jason's new to me but I found out has worked with Sting, Tal (new to the music scene) hails from Australia and judging from her performance she is someone to really keep your eye on. Guests appearances by Joss Stone, Imogen Heap, and Eric Clapton, heyyy.

The set list, not really the proper term as it must have been culled from all the shows, is an impressive collection of material spanning Jeff's career so far. Original stuff includes Beck's Bolero {is this not actually a cover?}, Led Boots, Scatterbrain, Angel, Blast From The East, Rollin' And Tumblin'. Also some nice covers thrown in for good measure including Eternity's Breath!, Cause We've Ended As Lovers {never really seemed like a cover to me}, People Get Ready, A Day In The Life, You Need Love). You also get some interviews as bonus material and the DVD booklet is a nice read. 21 tracks altogether, mixed in Dolby 5.1 and DTS surround sounds with a 16:9 video format, I might add.

Wish I was there but this is the next best thing. It's one hell of a way to experience one hell of a guitarist. It's a live assortment, but due the quality and quantity I am rounding this one up.

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