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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

4.35 | 942 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1181 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.29 | 651 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 616 ratings
ROMANTIC WARRIOR
Return To Forever
4.27 | 890 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.28 | 528 ratings
SPECTRUM
Cobham, Billy
4.30 | 243 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.25 | 641 ratings
BITCHES BREW
Davis, Miles
4.27 | 269 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.24 | 538 ratings
ABRAXAS
Santana
4.23 | 733 ratings
ELEGANT GYPSY
Di Meola, Al
4.37 | 87 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.23 | 655 ratings
CARAVANSERAI
Santana
4.30 | 138 ratings
STADACONÉ
Sloche
4.26 | 237 ratings
LES PORCHES
Maneige
4.24 | 302 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.27 | 185 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.30 | 122 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 149 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)
4.23 | 284 ratings
CROSSINGS
Hancock, Herbie

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

SLOW TRAFFIC TO THE RIGHT
Maupin, Bennie
DESCENDRE
Rypdal, Terje
CYMANDE
Cymande
BIRTHDAY
Extra Ball

Latest Jazz Rock/Fusion Music Reviews


 Cordon Bleu by SOLUTION album cover Studio Album, 1975
3.98 | 54 ratings

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Cordon Bleu
Solution Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. I might prefer this one slightly to their second album "Divergence" but the debut is my favourite by far. The singing on this and "Divergence" drops my ratings in both cases, just not a fan of his voice at all while the debut just had vocals on one track but at least he could sing in a style I liked. There's two great tracks on here though, both all instrumental and both the longest songs on here hence my 3.5 rating. This was released in 1975 and is a Jazz/Rock affair.

"Chappaqua" is one of those two excellent numbers clocking in at 10 1/2 minutes. My hopes were high after my first listen to this one that's for sure. Relaxing organ then sax before it kicks in around a minute including bass and drums. Such a beautiful sound here. It turns jazzy around 2 1/2 minutes and a little more intense. It relaxes again with that sax after 3 1/2 minutes but the drums are busy this time. Nice keyboard sound as well. A change before 5 1/2 minutes as it becomes more intense again. Great sound. The sax is back around 7 1/2 minutes but not for long. The bass and drums really impress. More sax before 10 minutes in this energetic closing section.

"Third Line Part 1" opens with bass and cymbals in this relaxing piece before keys and sax join in. Mellow is the word. It blends into "Third Line Part 2" where the vocals join in and I don't like them. It's ballad-like here although it will build some with drums and organ but it's still very relaxed. The vocals stop before 2 minutes and the sound becomes a little more intense and the tempo picks up. Vocals are back before 4 minutes.

"A Song For You" makes me a little sick to my stomach every time I hear it. A ballad that sounds like it's done with the Reo Speedwagon singer. Yikes! "Whirlgig" is the other track I really like clocking in at around 9 minutes. A mellow start with cymbals, sax and not much more. It kicks in around 1 1/2 minutes, very jazzy but settles back just as fast. Funky bass and a beat as the sax kicks in and synths after 2 minutes. I like this. It settles back again as the tempo continues to shift until that steady jazzy groove arrives. Another calm after 7 minutes before kicking back in late.

"Last Detail Part 1" opens with sax, bass and drums, keyboards too. This is good. Organ just after a minute. Vocals after 1 1/2 minutes unfortunately. "Last Detail Part 2" has the vocals returning quickly and while I like the instrumental parts I'm not into the rest.

"Black Pearl Part 1" has spacey synths with bass, piano and drums then it kicks into gear quickly to an uptempo sound. Organ too then it calms right down with sax. Nice. It blends into "Black Pearl Part 2" as the sax comes in with some power. Vocals replace the sax quickly. Again I like the instrumental parts best. More powerful sax but again it's brief. I'm not a big fan of the sax to end it.

So much excellent music but not a 4 star album in my opinion.

 Jazz Rock (aka Volkor) by VOLKOR album cover Studio Album, 1976
3.04 | 4 ratings

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Jazz Rock (aka Volkor)
Volkor Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. This is one of those albums I want to give 4 stars to just for the lineup alone but my tastes and conscience won't let me. We get former WEIDORJE members Kirt Rust(drums) & Patrick Gauthier(moog) along with Didier Lockwood(violin) who played with MAGMA along with Gauthier of course. Didier's brother Frances plays piano and Bunny Brunel is on bass. The music here is not Zeuhl in the slightest but is just as the album's title says "Jazz Rock". While I like the violin as more as a different shade you could say to the music it is quite dominant here and that's my issue. Especially when Didier is playing slowly over top of the music. The piano and drums really don't standout that much to me but the bass is quite impressive along with the synths. This was released in 1976 by the way.

"To-Morrow" is the 2 1/2 minute opener and that chunky bass is impressive before the violin and synths trade off over top. "Astral Trip" opens with electric piano, bass, drums and shakers as the violin comes in. A relaxed piece but the tempo does pick up around 1 1/2 minutes. Some nice drum work here then the e-piano leads after 2 1/2 minutes as the violin steps aside. The bass leads a minute later as the electric piano stops. It's pretty much bass and drums here with moog. The electric piano is back after 4 1/2 minutes though as it settles then violin.

"Elbow" has a bass intro as the drums and percussion join in, moog too. Violin after a minute. Gotta love that bass as the violin solos slowly over top after 2 minutes. Electric piano joins in as well half way through. "What's The Matter" is a short relaxing piece but the moog gives it an experimental sound.

"Volkor" is jazzy with bass, drums along with violin and moog. The violin starts to solo slowly over top. I like the synths when they take over as the violin stops around 2 minutes in. Prominent bass then moog kick back in. The violin is back around 4 1/2 minutes soloing slowly over top. Electric piano later. "Yellow Faces" is mainly bass and drums before the violin comes in.

"Green" has throbbing bass lines with drums as the violin comes in over top. Moog to the fore after 2 minutes as the violin steps aside but it's back before 3 minutes. "Naita" opens with electric piano for about a minute before the violin takes over. The e-piano is back in this laid back closer. It does pick up after 3 1/2 minutes but not for long.

Just not enough variety and too much violin I suppose. A good album regardless.

 Opal by EMBRYO album cover Studio Album, 1970
3.79 | 64 ratings

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Opal
Embryo Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Out of all the bands that emerged out of Germany from the big bang of progressive rock developing during the late 1960s, EMBRYO has sustained itself throughout the decades into the modern day mostly due to its being a musical collective that has seen over 400 members come and go throughout the years with Christian Burchard serving as the founder and driving force, however much of this longevity also comes from it having emerged as one of the most creative and versatile bands that has been filed under the umbrella term Krautrock. While that label more often than not connotes some sort of psychedelic mind bending qualities (Amon Duul II, Exmagma, Guru Guru) prevalent in the music, it also covers the heavier blues oriented rock bands with progressive touches (Birth Control, Electric Sandwich), the more electronic oriented artists with rock elements (Kraftwerk, Neu!) as well as the jazz-fusion crowds such as Eiliff, Brainstorm and Out Of Focus.

EMBRYO stood out in that it pretty much tackled all of the above with not only a heavy emphasis on jazz-rock but also managed to slip in healthy doses of 60s infused psychedelia, traces of blues oriented rock, electronic atmospheric ambience and went even further by tackling a wide variety of the world music stock by incorporating many styles of ethnic music. The tale of Munich based EMBRYO actually had its origins as far back as the mid-1950s when multi-instrumentalist Christian Burchard began his eclectic musical origins at the tender age of 10 after meeting his childhood friend percussionist Dieter Serfas. Eventually they formed their first band Contemporary Trio in 1964 and when the two parted ways, Burchard would finally create his dream band EMBRYO in 1969 as he was riding the wave of the progressive rock trends that were emerging at breakneck speed. The initial lineup consisted of Burchard (drums, vocals), Ralph Fischer (bass, vocals), Edgar Hofmann (saxophone, flute, percussion) and John Kelly (guitar, vocals). In addition to these core musicians there are also four guest musicians playing cello as well as backing vocals.

The original band arrangement wouldn't last long and would only play together on this debut album OPAL, which gives album #1 a very unique overall sound in the vast canon of EMBRYO's eclectic output. Even right from the start EMBRYO stood out in the pack of the Krautrock scene with a keen musical vision already polished to near perfection as they delivered tight jazz-rock compositions with African percussive drive and plenty of throwbacks to the most kosmsiche representations of the German psychedelic scene. OPAL deftly straddles the line between the psychedelic aspects of Amon Duul II type of Krautrock with that same heavy bass driven groove as heard on their first two albums "Phallus Dei" and "Yeti," yet incorporates a seriously fierce delivery of not only post-bop driven jazz but also the more avant-garde sax frenzied touches ("Glockenspiel") of what Ornette Coleman created all throughout the 60s. The tracks keep a fairly busy high-powered tempo with nice chord changes and instrumental tightness that was above average for many bands of the era in the Krautrock world.

While most tracks are instrumental there are brief moments of vocals (in English) such as on the opening title track but are usually semi-spoken in dramatic poetic prose rather than bursting into fully-fledged singing but soulful outbursts of singing do occur ("You Don't Know What's Happening" for example.) Needless to say, the vocals are not the strong point and hint to a clear Can connection however the music itself is much more dynamically performed with a strong emphasis on a heavy busy groove with lots of jazzy touches alongside various ethnic influences ranging from the African percussive drive to the rather Middle Eastern touches on the closer "People From Out The Space." While EMBRYO would go on to develop even more sophisticated albums and become one of the most revered and well known of the German bands that outlasted the majority of its contemporaries, this first offering that finds itself more rooted in the 60s heavy psych scene is quite the treat itself as there are no weak tracks but rather one grooviliscious ethnic jazz jam after another. While this seems to be the more neglected origins of EMBRYO's nascency, i find this one to be quite exciting.

 Aja by STEELY DAN album cover Studio Album, 1977
4.17 | 262 ratings

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Aja
Steely Dan Jazz Rock/Fusion

Review by TCat
Prog Reviewer

5 stars By now, most everyone has probably heard this album, either partially or completely. To review this album again is almost like repeating everything everyone else has already said about it. It is a gem, the perfect pinnacle for Steely Dan's career as a group and a homage to two great jazz rock greats, Donald Fagen and Walter Becker. They did have some great material before this album and even after, but nothing matches the perfection of this album. And the amazing thing is, you listen to it and it all seems so effortless. That could have been part of the trouble prior to this album, in that not every album was consistently as good as this one turned out to be, that maybe they were trying too hard.

The jazz is smooth, mostly, and the music is very catchy. The tunes stay in your head, even the instrumental parts. You can search Steely Dan's discography, and yes you will find some great music, but the closest thing you will come to that compares to this album is Donald Fagen's "The Nightfly". This album set the bar for me as far as jazz rock is concerned, and the title track "Aja" set the standard for individual jazz/rock songs. What a perfect song, plenty of smoothness and progressiveness, a perfect blend of both. Trying to describe the title track is impossible, it must be heard and re-heard to appreciate it.

There are other great songs here including "Deacon Blues" with it's amazing sax-led instrumental sections, the somewhat funky "Black Cow" and "Josie", the lilting piano hook of "Home at Last", it's all good. There is quite a line up of jazz musicians contributing to this album also, and even with this many players, everything sounds so cohesive. Even Michael McDonald's supporting and background vocals sound perfect here, and I'm not a McDonald fan at all.

So anyway, for such a masterpiece, this is a short review. But the music here really speaks for itself. You can talk about jazz chord progressions and techniques all you want, and you can analyze the music to death, the best way to experience it is to listen to it, but not just once, several times. Every jazz/rock fusion fan should be familiar with this album.

 Wired by BECK, JEFF album cover Studio Album, 1976
3.86 | 157 ratings

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Wired
Jeff Beck Jazz Rock/Fusion

Review by sgtpepper

4 stars New line-up with Narada Michael Walden and Jan Hammers brings new dimensions to this album. The songs are generally calmer than on its predecessor album. I feel that the guitar is less present on this album than before also because the keyboards are sometimes handled by both Hammer and Middleton. Although the compositions are of high-quality, I find here less instrumental magicianship than on Blow by Blow. Blue wind is the collaboration between Hammer and Beck containing no other musicians. Love is green features the acoustic guitar and is a welcome addition. Overall, this an album worth acquiring and exploring for any proghead that likes the latter calmer 70's fusion.
 Blow By Blow by BECK, JEFF album cover Studio Album, 1975
4.10 | 236 ratings

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Blow By Blow
Jeff Beck Jazz Rock/Fusion

Review by sgtpepper

5 stars This is the only masterpiece from Jeff Beck that qualifies for 5 stars also at the Progarchives. The songs are well composed, there is enough instrumental prowess and intensity, the album does not necessarily drags on for too long. Thankfully, all the songs are without vocals. The music is dominated by the guitar and keyboard duelling just like on most of any other fusion albums of that era, however the rock side prevails and more jazz influence is apparent in keyboards than the guitar. She's a woman is an originally executed cover version of the Beatles song. I like hearing it when I hear this album and don't necessarily like it hear it live again and again. Scatterbrain bears traces of more furious fusion jam with nice fills and tempo changes on the drums. Diamond Dust is a nice mellow and recognizable ballad song. This album is highly recommended to all fans of fusion and Jeff Beck.
 Jeff Beck Group [Aka: Orange Album] by BECK, JEFF album cover Studio Album, 1972
3.07 | 55 ratings

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Jeff Beck Group [Aka: Orange Album]
Jeff Beck Jazz Rock/Fusion

Review by sgtpepper

3 stars I find this album more easy going than the previous album Rough and Ready. It is also more polished and commercially oriented. There should could have been fewer cover songs considering the strength of the band. The band sounds cohesive and more relaxed. The instrumental moments are very precious although there is no denying that the singer tries hard to sound soulful. The later jazz-rock influences and a few Stevie Wonder moves (most apparently the cover version of Got to have a song) are creeping in. I find the catchy Going down going on for too long and vice-versa, the last two tracks could have been longer, as they are instrumentally and compositionally interesting pieces of music. The guitar soloing in the last song is emotional and still technically solid. Still not that much for a proghead but enough for 3 stars.
 Resurrección by ICONOCLASTA album cover Studio Album, 2009
2.52 | 9 ratings

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Resurrección
Iconoclasta Jazz Rock/Fusion

Review by TenYearsAfter

3 stars This legendary Mexican prog formation delivered a serie of strong albums in The Eighties featuring a progressive blend of jazz, jazzrock and symphonic rock, strong points are the outstanding interplay and inventive musical ideas. Ten years after their latest studio-album La Granja Humana (2000) Iconoclasta found new inspiration. The current line-up includes Iconoclasta veterans Ricardo Moreno (acoustic - and electric guitars, keyboards and compositions), Ricardo Ortegon (electric guitar) and drummer Victor Baldovinos, along new members Greta Silva (vocals and bass) and Alma Castillo (vocals).

The 10 compositions on Resurreccion sound melodic and elaborate, but don't expect their Eighties sound. Because Iconoclasta have a kind of reinvented themselves, with a varied mix of styles but not with the focus on jazz and jazzrock, like in their past. There is an important role voor twin-guitar play and duo vocals, almost in every track. I can't mention real highlights but the level on this comeback album is good, with lots of variety.

An exciting opener with fiery electric guitar, a catchy keyboard brass sound and a powerful rhythm-section in Sin Escape.

Dreamy with warm vocals and pleasant work on the acoustic guitar in Hijo.

A Mike Oldfield-like climate with a strong build-up featuring wonderful interplay between sensitive acoustic ? and electric guitar in the instrumental Deidad Solar.

Strong interplay between guitar and synthesizer in the instrumental Huatla ?Homenaje A Maria Sabina.

Great rock guitar (with use of the wah-wah pedal) in the songs La Resurreccion De Maquiavelo and El Perro De Pavlov.

And emotional vocals and guitar in de compelling in the final track La Etica Del Verdugo.

To me this album sounds as a pleasant and varied 'resurrection' of the legendary Mexican band Iconoclasta, but far from their Eighties sound.

My rating: 3,5 star.

 High Dynamic by CATASTROPHE album cover Studio Album, 1982
4.00 | 1 ratings

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High Dynamic
Catastrophe Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

— First review of this album —
4 stars CATASTROPHE were an obscure Jazz/Rock band out of France who released this sole album in 1982. The title "High Dynamic" certainly is a good description of the music here as we get this relentless brand of Fusion from this four piece of drums, guitar, sax and bass. The guitarist and bassist composed these songs and I have to say the bass player is the star here as he steals the show but all are outstanding. It took a while to come to grips with the prominent sax often blasting away and that tempo that didn't seem to change much but I was won over big time.

"Longue Distance" opens with a car starting and getting into gear then honking before it takes off. The bass kicks in before the sax and drums follow suit. The sax is leading the way and it sounds like two different sax sounds trading off for a while. This isn't as energetic as what will come. Check out the drumming before 4 minutes as the guitar jumps in soloing away. The sax is back leading at 41/2 minutes as the guitar steps aside. Catchy stuff. It ends with the sounds of cars going by.

"Noche De Marcha" opens with the sounds of traffic as a man shouts "Taxi!". The sax is blasting with the bass and drums supporting. Check out that bass though just before the guitar arrives. These guys are so impressive. The guitar eventually lets it rip. It seems to be winding down with some adventerous sax. Then the bass and intricate guitar lead late to end it. Great track.

"Pas Si Serieux" is a nice change as we get picked guitar and atmosphere. This is so good! Some heavy outbursts come and go. Nice. Love that bass man. And it will solo as the drums and sax kick in. So good! Incredible in fact. The guitar takes charge as the drums and bass join in, sax too. The bass sounds so weird here before reverting back to it's original sound but not for long. Check out that guitar as they seem to jam.

"Rouge Mer Outre-Vert" has this loud atmosphere and experimental sounds, voices and more. Not sure what's going on. The bass arrives then sax. Some crazy bass gymnastics here as it kicks in an uptempo sound just before 2 minutes. Impressive! It then settles back quickly but the tempo does shift on this one. I like that guitar after 6 1/2 minutes although I'm more impressed with the bass.

"High Dynamic" opens with intricate guitar sounds and more before the drums roll in then bass. Sax before 1 1/2 minutes on this uptempo tune. Just kicking it hard before 3 1/2 minutes. Oh my! The drumming is intricate and the bass relentless as the sax lights it up. Love the guitar 8 minutes in or so as it's higher pitched. How do they keep this pace up. It winds down late. Why none of these guys didn't show up in other bands beyond this is difficult to understand. Back to their daily lives and jobs I suppose, such a shame as they were so incredibly talented. A solid 4 stars.

 Onda Quadra by ZAAL album cover Studio Album, 2010
3.68 | 12 ratings

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Onda Quadra
Zaal Jazz Rock/Fusion

Review by TenYearsAfter

3 stars This album is a project by Agostino Macor, the keyboard player of the acclaimed Italian progrock band La Maschera Di Cera, and also Finisterre, LaZona en Rohmer. It is his second album (after La Lama Sottile from 2004), according to the info from the record company fans of La Maschera Di Cera and Finisterre will be very pleased. Well, to be honest, I don't think so! In contrary, this album sounds not in the vein of abevementioned bands, it's way more varied and experimental.

Remarkably are the huge contrasts in the music.

Short hypnotizing sound collages in Antefatto, Contare, Cherchio and Reveil.

Swinging rhythms with a captivating and vivid interaction between the keyboards, drums and brass in the strong track Quinto Palindromo (a mix of latin and jazz) and Dyane 6 (fluent Fender piano solo).

And experimental parts with a wide range of sounds from the trumpet, percussion and varied keyboards (especially the distinctive Fender Rhodes electric piano, along lots of brass).

To me Onda Quadra sounds as very adventurous and varied, with outstanding musicians. But this blend of jazz, avant- garde, electronic and fusion is far from the symphonic rock by La Maschera Di Cera and Finisterre. However, thumbs up for Agostino Macor with his Zaal project for his daring and creative album!

My rating: 3,5 star.

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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
AL DI MEOLA - MCLAUGHLIN - PACO DE LUCIA Multi-National
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
ARENA Australia
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASCORBIC ACID Russia
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
BADDY BAND Bulgaria
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
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
CHRIS BUCK United States
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
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