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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
historian9

Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.36 | 864 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1104 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.32 | 599 ratings
IN A SILENT WAY
Davis, Miles
4.45 | 71 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.28 | 486 ratings
SPECTRUM
Cobham, Billy
4.31 | 220 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 239 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.26 | 560 ratings
ROMANTIC WARRIOR
Return To Forever
4.25 | 826 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.34 | 124 ratings
STADACONÉ
Sloche
4.25 | 577 ratings
BITCHES BREW
Davis, Miles
4.24 | 693 ratings
ELEGANT GYPSY
Di Meola, Al
4.25 | 477 ratings
ABRAXAS
Santana
4.24 | 608 ratings
CARAVANSERAI
Santana
4.27 | 217 ratings
LES PORCHES
Maneige
4.30 | 133 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)
4.29 | 134 ratings
MILESTONES
Davis, Miles
4.30 | 110 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.23 | 272 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.24 | 205 ratings
PAT METHENY GROUP: THE WAY UP
Metheny , Pat

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

INSIDE OUT
Henderson, Eddie
CRNA DAMA
Smak
SEPTOBER ENERGY
Centipede
SLOW TRAFFIC TO THE RIGHT
Maupin, Bennie

Latest Jazz Rock/Fusion Music Reviews


 My Foolish Heart by TOWNER,RALPH album cover Studio Album, 2017
5.00 | 2 ratings

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My Foolish Heart
Ralph Towner Jazz Rock/Fusion

Review by admireArt
Prog Reviewer

5 stars A guitar only release by master guitar player Ralph Towner.

It is hard not to feel surprised and delighted with "My Foolish Heart", 2017. Its precise and up front beauty resides in many factors starting with its compositions. Eight new original ones, alongside a couple of Towner's OREGON repertoire ("Shard" & "Rewind"), a tribute oriented one to the late Paul Bley ("Blue As In Bley") and a heartfelt cover of Victor Young's "My Foolish Heart".

How refreshing to listen to Jazz rooted guitar compositions which are so creatively crafted, with such an innovative spirit and such an enticing and masterful performance, yet deeply modern in language without the aid of "modern Jazz cliches" nor "Latin" flavors.

Pure and flawless Ralph Towner and as good as he gets!

*****5 PA stars.

 Live at Orion by SIMAKDIALOG album cover Live, 2014
4.03 | 7 ratings

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Live at Orion
simakDialog Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

Recorded live on September 7, 2013, at The Orion, Baltimore, MD, this was to be the final release for simakDialog. Looking back to their previous live album from 2005, Ravid, Tohpati and Endang were still there, with bassist Rudy Zulkarnaen and additional percussionists in Erlan Suwardana and Cucu Kurnia. This release is a double CD, and again none of the songs are less than eleven minutes in length, and the band are determined to stretch their wings. "Throwing Words" is very different in the live environment to when it was released some ten plus years earlier, with Tohpati demanding centre stage and taking firm control. The band had been together for twenty years by this point, and the way that Tohpati and Ravid swap roles and bounce off each other in superb.

Here is a band where everyone is a master of their instrument and knows exactly where each of them needs to be musically, but the coming together of Western and Indonesian styles and sounds allows them to sound both incredibly tight and loose at the same time. Just listen to the combined runs of Tohpati and Ravid at the beginning of "Stepping In" to see what I mean, as while they are hitting each note in perfect unison at great speed, the percussionists are creating a sound storm beneath them. This album is a perfect introduction to a great band, who never really gained the kudos they deserved outside their native country. Discover this, and then go back and listen to their other releases to see why I am such a fan.

 Patahan by SIMAKDIALOG album cover Live, 2005
3.82 | 10 ratings

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Patahan
simakDialog Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

'Patahan' was their first live album, released in 2005, and there had been quite a change in line-up between this and the last studio album, 'Trance/Mission', with just Ravid and Tohpati plus percussionist Endang Ramdan still involved. When one first starts playing this it is hard to realise that this is a 'live' album as the audience is so quiet, and there is no introduction or announcement, but straight into 'One Has To Be', which is a piano tour-de-force. This is all about Ravid, a maestro in total control of his instrument, with the rest of the guys happy to provide the gentle percussive background which is all that is needed. When Tohpati finally takes centre stage, it is restrained, almost as if he is having to pull the notes up from great depth, showing great control and sustain, Hackett combining with McLaughlin.

There are just five songs on the album, but with the shortest at eleven and the longest at nearly twenty there is plenty here to enjoy. It isn't always gentle and reflective, and there are times when the band feels far more menacing, such as on 'Kemarau', where the riffs give way to repeated piano motifs while the percussionists build the scene ready for Tohpati to take it to another level. We've gone from the delight of bands such as Santana into something that could almost be from 'The Exorcist', albeit with a tribal background. Here is a band made up of consummate musicians, working together to produce something that is very special indeed. Fusion in it its truest sense, this is indispensable.

 Trance/Mission by SIMAKDIALOG album cover Studio Album, 2002
4.05 | 3 ratings

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Trance/Mission
simakDialog Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

Formed in 1993, simakDIALOG were an Indonesian fusion band who released their first album as along ago as 1995, with 'Trance/Mission' being their third in 2002. Throughout their career their music centred around the soloing and fluidity of the keyboard player Ravid Arshad and guitarist Tohpati, combined with local Gamelan music to create something that was incredibly accessible to Western ears, yet also stayed very true to their roots. The fluidity and melody of Ravid and Tohpati is incredible, relying far more on intricate runs than the use of chords, with each both being prepared to take the lead, duet with the other, or even take a total break from the music altogether. It isn't unusual to find one of them totally absent for long periods of time, just to give the other more space to move and breathe. Tohpati always makes me think of John McLaughlin, and strangely so does Ravid although he is playing keyboards, which is probably why they work so well together.

Ravid uses an electric organ to great effect on this album, with my favourite number probably 'Throwing Words' where Tohpati lets Ravid get on with it, until he comes back with a slightly distorted guitar which is totally at odds with what has been going on before, really shifting the timbre and style of music. Indro Hardjodikoro has a delicate touch on the bass, providing warmth and filling the gaps between the melody makers and the percussion. There are three guys playing a variety of Indonesian instruments that provide an authenticity and realism to the music, a total fusion not just of jazz and rock, but world music and the west.

 Oh Yeah! by HAMMER, JAN album cover Studio Album, 1976
4.28 | 56 ratings

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Oh Yeah!
Jan Hammer Jazz Rock/Fusion

Review by aglasshouse

5 stars Mahavishnu Orchestra's first (and arguably most prolific) incarnation came to a painful end in 1973, as a sudden rise in popularity and a series of calamitous recording failures suddenly turned the great Mahavishnu into less of what they originally were into more or less the John McLaughlin Group. The band's original lineup, however, was so bursting-at-the-seams with talent and skill that it's members couldn't help but go on to form formidable solo careers -- Billy Cobham would traverse the jazz fusion path himself with Spectrum in 1973, and Jan Hammer, after collaborating with fellow musician Jerry Goodman, debuted his own solo material with The First Seven Days in 1975.

The album was well-received, and showcased the excellent skill Hammer obviously had. He continued on with the jazz- fusion shtick until the 80's, where he found himself composing film and television scores for such programs as Miami Vice. For the time being however Hammer really got in the swing of things and, not but a year later, delivered the facetiously titled Oh, Yeah? in 1976.

It's common for musicians to take an album or two to really get going, and get going Hammer did. Oh, Yeah? is a romp through some of the most thought-provoking and challenging sides of the jazz rock genre, whether it be the thumping bass/timbale combination of 'Bambu Forest', the eclectic and insane callbacks to Mahavishnu on 'Twenty One', or the driving openers and closers, 'Magical Dog' and 'Red and Orange', respectively. Almost every single song has something different to say in their own right, such as the throwing in of drummer Tony Smith's soulful vocals on 'One To One'. Jan Hammer and his band utilize an almost proto-80s synth culture to design Oh, Yeah? to be a sort of generational bridge that sits on neither side of the waters. A culture clash it may be, but it's a good one. Jan Hammer himself is the main pioneer in this regard, and with his effective use of a gamut of different synthesizing and keyboard effects it's easy to see why his more progressive electronic leanings make a greater impact than the likes of new age artists like Jean Michel Jarre did.

Towering and powerful, Oh, Yeah? is a can't-miss album, not only of the jazz fusion genre but of 70's music in general. It is the definition of a passion-project and is justly the penultimate release of Hammer's career.

 Sintesis by SINTESIS album cover Studio Album, 1976
4.92 | 5 ratings

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Sintesis
Sintesis Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars A low-key band that hailed from Argentina, Sintesis delivered a sole self-titled eclectic album of deranged instrumental jazz- fusion in 1976, and what a precious little (quite literally!) obscurity it is! Running a scant twenty-eight minutes, fiery ballistic guitar-driven eruptions are given almost a touch of the wildest RPI/Italian prog discs by way of violin, clarinet, flute and saxophone weaving in and out of the punchy arrangements, and it frequently calls to mind a group such as German band Dzyan, with a welcome murky toughness to its dirty embers.

Opener `Lo Obvio Según Yo ' is book-ended by twisting turning Dzyan-like races, crammed with energetic guitar runs that sprint through everything from grooving bluesy struts and chilled jazzy saunters, ably backed up by thick bass strolls and rumbling drums. There's hints of chamber prog and bands like Curved Air via searing violin on `Sin Nada' over a rattle of drums and spirited trilling flute breeziness with some playful whimsical breaks and grooving jamming that reminds of the lengthy improvised live performances of Focus, and `La Necesidad De Amar...A Veces' is a compact up-tempo jazz/fusion workout powered forwards by twin saxophone attacks after droning clarinet.

Side B's loopy and frantic `Algunas Maneras De Expresarme' quickly tears into wailing and distorted guitar electric soloing and gnarling bass twists driven by manic drumming, and the brief `Todo Lo Necesario Para Lo Necesario' is a drowsy clarinet and sax comedown that lurches to playful life as a reinvigorating jazzy cruise. But best of all is the completely infectious closer `El Final' that allows for plenty of improvised dancing flute, grumbling bass, pumping sax and scorching guitar soloing in between cool reprising themes, and it's a lively jazz-rock stomper to finish on.

A bonus track at the end of the recent CD reissue pads the album out to a whopping 33 minutes, and `Reminiscencias' is a nice strangled and echoing guitar piece. It clearly dates from a later time with its clearer and fuller sound, but it's a cool laid back improvisation that doesn't detract from the main recording in any way.

Keen progressive followers may recognise violinist Sergio Polizzi who would end up contributing to Argentinian band Bubu's classic `Anabelas' two years later in 1978, but there is little information about what many of the rest of the players here got up to after the split of the group soon after. `Sintesis' at least remains a rip-roaring and addictive LP that needs to be heard by a wider progressive/jazz-fusion audience, and finally given a long overdue re-issue from the BlueArt label in 2016, it's better late than never to get to appreciate this dynamic rush of fire and energy from a powerhouse group of musicians.

Five stars.

 Ca Tourne by TIEMKO album cover Studio Album, 2004
3.73 | 6 ratings

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Ca Tourne
Tiemko Jazz Rock/Fusion

Review by Harold Needle

4 stars Once again, Tiemko managed to totally surprise me!

"Ã?a tourne..." is the last Tiemko album, released by the Musea Records after Eric Delaunay's death in a car accident. The CD consists of two parts. Firstly, we get a collection of previously unreleased studio recordings from 1989 to 1996. Secondly, we have a computer program, which is a great addition to the band's most die-hard fans (including me).

Let's talk about the audio content first. The album has only five tracks, which gives us merely 30 minutes of music itself. But what a music this is! From one hand, the music sounds almost nothing like the previous albums, but from the other hand - a watchful ear can hear a lot of familiar sounds and effects. It is extremely weird, experimental and bizarre, even for Tiemko and avant-prog standars. "Hi!" has some great drumming by Mr. Delaunay (truly he was one of the greatest french drummers) and jazzy keyboard chords. "Ã?a tourne...", "Variation" and "Gnome fantaisie" are all impovised tracks, quite simmilar to each other. Every one of them is a great journey, with tons of craziness. The thing I most love about them is usage of various electric drums sounds and dense layers of keyboards. All these things combined give us amazingly strange, yet full of atmosphere improvisations. "H.T.V" is a short bonus track, based on a drum loop, which reminds me of another french group DeBoCo (which Mr. Delaunay was a member of). Cool little track.

Regarding the computer content: the program has its issues. First of all, it doesn't seem to be fully compatible with modern software. I tried to run it on windows 10, and partialy it did work. Sadly, my computer is unable to read the font, so there's nothing I can read really. And even if I could - everything is written in french. However, I was able to check some things. With the program, we get a live video of Tiemko playing "T.87" from their debut album. There is also a discography part, with some audio samples. Some animations and photos are there as well. I've read somewhere that there is a fully-written biography about the band, but I couldn't find it anywhere (because of the lack of compatibility), so I can't guarantee if it's truly there. The resolution is 800x600, so you get the idea that this thing is very obsolete.

In conclusion - overall, I really enjoy this release. Total time is way to short, and should be extended by adding some more material. The music is definitely not for faint-hearted people, but if you enjoy avant-garde - you're going to love it. Because of the obsolescence, the computer content is almost unusable for me, but if you do have an older computer, you should have no problem with it. Like I mentioned before - it's a great thing for the band's die-hard fans, who want to own any extra materials related to the band.

Although the "collectors/fans" sentence may be an accurate description for this album, giving it only two starts would not be accurate at all. After all, the music is very good and refreshing, especially if you like experimental/improvised stuff. If you're new to Tiemko, I'd not recommend starting with this album, but it's definitely a must, if you know all the previous albums already. A very nice addition to your music collection.

 Age Of Pain by KBB album cover Studio Album, 2013
3.71 | 23 ratings

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Age Of Pain
KBB Jazz Rock/Fusion

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Four technical veteran artists play 'cool" music under the green sky. Very tasty pop essence can be found via such a complicated, tough melody lines and rhythm structure. I guess Akihisa TSUBOY could be called as a front flower of KBB, but surely the four musicians and four or more instruments should create this incredible soundgarden under the green sky. Akihisa's violin play is vivid, sometimes heartwarming, sometimes cold as ice, through his precise violin bow and all fingers. Toshimitsu's keyboard sounds like beautiful, fragile crystal or brilliant diamond stones. But yes, the two heroes cannot work fantastically without the strict, powerful rhythm section by Shiro and Dani. All tracks (with various appearances) are rigid and artistic through the four splendid personalities, we might mention here.

A Fantasia - the impression of their melody section is too magnificent for the audience to avoid such a crystallized catchy line. and Shiro's bass heaviness and Dani's drumming footsteps are clear and refined, which shall be appropriate for supporting the beautiful melody one. There are plenty of sound appearances in this album - some are light and delightful, some are heavy and dark, and some are quiet and gentle - all ones can be dealt perfectly by them. Pity I've not attend their concert or gig yet but their superb stage can be imagined easily. Let me say as my humble opinion, they might have created, produced multi-dimensional melody lines based upon complicated rhythm structures obviously tinged with pop, catchy moments and vibes. Elements we can hear in the "so-called-prog' world would be limited, and they shoot another new prog-scape blended with decent phrases here and there.

Anyway this album has been recommended for me by my progressive rock friend Fred LESSING (the frontman of DAYMOON). Thanks to Fred for letting me know such a music gem.

 Sand by HOLDSWORTH, ALLAN album cover Studio Album, 1987
3.26 | 44 ratings

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Sand
Allan Holdsworth Jazz Rock/Fusion

Review by Tapfret
Prog Reviewer

3 stars At the time of this review I was in the midst of a binge of ultra-technical, thick with complexity, RIO/Avat-garde/Metal listening. Needing a little contrast for awhile I decided it would be good to revisit one of my favorite chill-out albums, Allan Holdsworth's Synthaxe spectacular, Sand. This is one of those albums that I have to wonder if my appreciation for it is because it is truly wonderful music, or strictly a matter of nostalgic attachment. For this album was in my collection when it was one of about 40 CD's, and it was a frequent bedtime selection. It is hard not to have an affinity far beyond its tangible qualities to something that has led you off to dream land so many times.

This album is very...synth...heavy. That aspect is what I suspect has lead to its vast lack of appreciation. If there is anything that one expects from an Allan Holdsworth album, even an Allan Holdsworth guest appearance, its guitar. Specifically jazz electric guitar. More specifically Holdsworth's trademark warm toned mid-range heavy organic soloing. There are only two incidents of that on Sand, on the third and fifth songs, Pud Wud and 4.15 Bradford Executive respectively. As much as I share that Holdsworth solo expectation most of the time, it is used just enough on this album. As far as the synth patches that are used with Mr. Holdsworth's Synthaxe, the occasional piano patch, a saw wave here and there, but tends to lean heavily on string pad sounds. It is generally a very peaceful sound. I am someone who does not do well with the Neo-prog sub-genre, or 80's popular music at all. This is largely because of the stabby synth sounds best epitomized by the synths on the theme for "Beverly Hills Cop". That is not the type of synth you hear on Sand.

Additional musicians include the equally subtle precision of Chad Wackerman and Gary Husband splitting duties on drums which they have for much of Holdsworth's solo discography. The adept and groovy Jimmy Johnson on bass. And additional keyboard sounds, because there weren't enough already, by Alan Pasqua. And some guy credited for playing a "Mac Computer". It probably seemed cute at the time.

There are the kind of albums that put you to sleep because they can't hold your interest, and the kind that put you to sleep on purpose. I don't think Allan Holdsworth had it in mind when he wrote the album, but for me it is the latter. Its not that there is a complexity void to the writing, but it really is easy listening. After this re-visitation of Sand I really do understand the detractors. I would say it remains an essential part of my collection, leaning toward the reasoning of nostalgia. Had I just heard it for the first time last week I would likely have an opinion similar to previous reviewers. Good, but not essential. 3 Stars.

 The Trio Project: Spark by UEHARA, HIROMI album cover Studio Album, 2016
4.01 | 74 ratings

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The Trio Project: Spark
Hiromi Uehara Jazz Rock/Fusion

Review by Walkscore

4 stars Hiromi's music and musicianship is always of very high quality, and all her albums are worth picking up. This is Hiromi's latest, and like the previous three albums, features her 'Trio Project' with Anthony Jackson on bass and Simon Phillips on drums (Hiromi plays the piano and occasionally a synth). By now, her Trio Project albums all reveal a kind of formula, with the more difficult and progressive-rock oriented songs more concentrated nearer the beginning, coupled with a few quieter pieces, blues, and shuffles which are usually found in the latter half of the album (and usually one song features a humourous-sounding synth-lead). This album is no different in that respect (although it seems some of these tunes are their most-ever difficult to play - the display of virtuosity is clear). I myself prefer either her progressive-tinged pieces, or her quieter evocative pieces/solos, which I find to be more musical than her blues and shuffles (which is not to say that I don't like the latter styles, just that her forte is the former). This album I find to be a bit less musical overall than her other Trio Project albums (my favourite is 'Move'), as well as her more musical albums before the Trio Project (my favourite is 'Brain', but 'Spiral' is also great). This one seems a bit more formulaic than previous albums, and while there are some great tunes (eg "Dilemma", "Wake Up and Dream" and the title track), none of the songs quite reach the heights of 'Brain', 'Voice' or 'Move', or even her previous album 'Alive'. Saying this, the music is still very high quality, and if you like great drumming, you will be particularly pleased with this album. While I find the piano could be higher up in the mix on a number of the tunes, Phillips drums are right up front, the pieces are quite difficult to play and Phillips drumming is mesmerizing it is so good (just like Hiromi's playing in that respect). Phillips also gets in some great solos on this album, and even though I find the shuffles less musical, on this album you can't help but marvel at Phillip's amazing drumming on the key one ("What will be will be"). Like the other Trio Project albums, Jackson's work is also very solid, although he is not in the spotlight much (with very few solos). On balance, an excellent album although not quite as good as the first two Trio Project albums ('Voice', 'Move'), or her two best albums before the Trio Project ('Brain', 'Spiral'). I give this album 8.2 out of 10 on my 10-point scale, which translates to 4 PA stars.
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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABRAXIS Belgium
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
ANWKOZIK France
APOTHECARY United States
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASSOCIATION P.C. Multi-National
ASSOLO DI BONGO Italy
ASTRAKAN United Kingdom
ASTRO CAN CARAVAN Finland
ATMOSPHERES Multi-National
ATTENTION DEFICIT United States
BRIAN AUGER United Kingdom
AUM Brazil
AURORA United States
AVANT GARDEN United States
AVIOLINEE UTOPIA Italy
AXIS Greece
AYERS ROCK Australia
AZIGZA United States
B F Estonia
BAALBEK Argentina
BACK DOOR United Kingdom
BAKMAK Germany
BANDHADA Chile
BANDVIVIL Japan
BANGTOWER Multi-National
PETER BANKS United Kingdom
BARCELONA TRACTION Spain
PETER BARDENS' MIRAGE United Kingdom
IL BARICENTRO Italy
RANJIT BAROT India
BAUHAUS Italy
JEFF BECK United Kingdom
BEDJABETCH France
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
BIFURCATA Mexico
BLACK LADDER United States
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOSQUE Serbia
BOUD DEUN United States
BOUNTY United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
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