JAZZ ROCK/FUSION
A Progressive Rock Sub-genre
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Jazz Rock/Fusion definition
- 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.
- 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.
- 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 Esbj�rn 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)
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Jazz Rock/Fusion Top Albums
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Jazz Rock/Fusion overlooked and obscure gems albums
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DEATH WISH (OST) Hancock, Herbie |
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Latest Jazz Rock/Fusion Music Reviews
Isotope Jazz Rock/Fusion
Review by
Rivertree
Special Collaborator Honorary Collaborator / Band Submissions
I'm sure you feel the same sometimes? Someone mentions a band or artist and then you immediately associate this with a special song? When it comes to Gary Boyle respectively ISOTOPE it's Deep End - my absolute favourite. And so first of all it's some spacey flavour which attracts attention. I mean the intro before the machines begin to proceed really. Here were have a proper proportion of improvisation, however interweaved with a tricky arrangement. Speaking of a groovy fundament which is interrupted by some wonderful relaxed interludes with subsequent piano and guitar solo excursions. I love this song! Gary Boyle at his best, no doubt! But to make it clear, he's far away from a dominance.
Due to the fact that we have two keyboarder equivalently acting here, Zoe Kronberger and Frank Roberts, I'm not able to say which part they play. Sometimes it sounds close to Jan Hammer. I like the groovy dynamic on Crunch Cake where some other songs are coming more from a popular jazz rock territory like Fonebone or Pip Dream which partially is close to Joe Sample's Crusaders. Sliding Dogs Lion Sandwhich is a nice bonus surprise, especially dedicated to this release ... and fantastic on top of it! Well, an improv track with some avant touch. Probably a leftover from the original recording sessions and simply considered to be too weird?
And now to this remixes ... there is nothing new to state practically ... to be honest, it took some time to make friends. Nothing new concerning the compositions - but for one or two it might be interesting to notice the brilliance as for the updated sound quality and the presence of keyboards and guitar especially. Nowadays, with an interval of more than 30 years (and while also demanding an higher standard probably) I'm still positive about the album's spirit - 'Deep End ... Plus' is essential, a fine recommendable jazz rock/fusion effort.
Ornette Coleman & Prime Time Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer
This will be a short one and I agree with Easy Money that it would have been refreshing if Coleman had let the guitarists have some space to do their thing. This to me is an unusual recording as even the drums are different sounding along with those guitars. This really is out there and not in a good way in my music world. And I was surprised that there' aren't more horns on here although Robert Palmer adds clarinet on the short pieces.
Yes I've wandered too far from home when it comes to Jazz, this is Free Jazz with some insane sax throughout. There should be a warning on the cover of this album. When I agree with Easy Money on the rating at least I know I'm in good company. I know little beyond Jazz Rock and Jazz Fusion I'll admit.
The Stark Reality Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer
So you can imagine trying to tour with this record right? Who is your audience? Parents bringing kids or adults just not showing up. I feel the Bio here doesn't do this band justice. This is Monty Stark's band and he is the singer and talented vibes player. But come on, the Bio here should emphasize that the legend named John Abercrombie is on guitar here. We also get bass and drums with this four piece. Abercrombie has been a staple on the ECM label for decades and his first two solo albums from 1975 are classics "Timeless" and "Gateway" which I spun the other night much to my delight.
The music here is for adults for sure and impresses me to no end, but then the silliness with the vocals seems to fight against the seriousness of the instrumental work. This is a highly improvised, reimagined interpretation of Hoagy's recording. Interesting that Abercrombie adds his own composition "Blue Pillow" which is pretty much him on acoustic guitar and sparse bass and the words "Blue Pillow" are beside his name and picture on the back of the album. Yes the man with the moustache and guitar who I shall call from now on Mr. Abercrombie.
I checked about 8 tracks that I was really impressed with so this is a 4 star album in my world, just very unique and possibly sitting with MOTHER GONG's "Fairy Tales" even though this is quite different from that and in my opinion this is not quite as impressive as what MOTHER GONG created. I mention Stark's vibes work and the guy does get creative with them and often leads along with Mr. Abercrombie as far as soloing over top goes. I really like the setup. There has been some archival material surface many years after this that are from 1969 when they had a fifth member playing sax and flute which obviously changes their sound.
I think my favourite track is the over 8 minutes "Dreams" but that short "Travelling" song with those vibes is so good and closing it out with both "Comrades" and "All You Need To Make Music" at over 12 minutes is finishing strong. Of the earlier tracks I have four in "The Old Prospector", "Cooking", "Shooting Stars" and "Rocket Ship" that leave me very satisfied.
These guys are players, I mean the bass and drums are both killer supporting Mr. Abercrombie and Stark. There are a ton of extended instrumental passages on here, often starting that way then several minutes in the vocals show up briefly and possibly return later. Again such a unique record by a very talented band this one is for the jazzers out there who still have that kid in them.
Don Ellis Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer
Don Ellis is a trumpet player and he's got something like 20 plus musicians helping him out. That cover art had to be controversial in 1967, they blanked it out on RYM. It does look like some art from the classics. Lots of horns yes but lots of percussion too and we also get some sitar surprisingly opening and closing "Turkish Bath" and clavinet 8 minutes in. "Alone" reminds me of some of those theme songs for 60's TV shows. The closer is all over the place so I guess you could say proggy. I like the opener "Indian Lady" for the energy but my favourite has to be "Open Beauty" for the electric piano and flute, this is laid back.
A lot of traditional jazz stuff on here of course, this is 1967 and I just have trouble getting into a lot of it.
Witold Szczurek Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer
I was so disappointed with this when I visited it at the end of doing my "best of" Jazz and related list several years ago, actually saving this for the end because I was so excited to spend some time with it. Man I was disappointed especially when I saw this tagged with Zeuhl and hey it's an album created by a bass player and I love bass but not doing my homework here as I'm not big on acoustic bass or double bass. But I like the bowed bass of course bringing melancholy to the fore. But this album is so mellow, surprisingly so. The Zeuhl tag is for the track "Hey, Hullo" which sounds like a MAGMA outtake but that's not enough to save the day here at least not in my music world.
Maybe my expectations were unrealistic as I've seen some high ratings for this but "Basspace" will always be an album that I look at as one that let me down.
Nova Jazz Rock/Fusion
Review by
BrufordFreak
Collaborator Honorary Collaborator
1. "Tailor Made - Part 1 & Part 2 (5:09) what starts out sounding rather funky turns into driving blues-rock when the singing starts, but in the instrumental intervals between vocal passages it's highly-charged Jazz-Rock Fusion! Saxophonist Elio D'Anna is on fire but so is that rhythm section! What a temperamental song from these headstrong lads! (9.25/10)
2. "Something Inside Keeps You Down - Part 1 & Part 2 (6:11) opens as a kind of meandering, wandering "warm-up" or "practice" session turns into something quite else when Corrado Rustici enters singing in a high almost-falsetto voice. After two minutes, the singing shuts down and the band folds into a heavy rock motif that is anchored by some awesome deep bass playing and amazing drumming from Franco Lo Previte. Heavy and brooding but not bombastic or pedantic, this is very solid instrumental (9.25/10)
3. "Nova - Part 1 & Part 2 (7:10) opening with some funky rhythm guitar, Franco enters with some stunning drum work while everybody else settles into the rock 'n' roll groove. Elio takes the lead with some awesome sax screaming--on multiple instruments--while the guitars work out from beneath who's the lead and who's the rhythm. The brothers duke it out with Danilo shrieking out his more blues-anchored style before giving it up to Luciano Milanese's bass by way of short bursts from Elio and little brother Corrado with his fire-breathing machine gun. Elio gets another solo sixth minute which allows us to focus more on the different playing styles of the Rustici brothers: Danilo being all blues-orented while Corrado is so much more Mahavishnu--which is especially demonstrated when he finally lets loose in the final 30 seconds with some of his fire and brimstone. (13.5/15)
4. "Used to Be Easy - Part 1 & Part 2 (5:12) picked and strummed electricguitar chords over which Corrado starts singing in his higher-pitched vibrato voice that I'm so familiar with from my love of the band's Vimana album. The music beneath is sounds quite firmly founded in blues-rock, though you can tell from both his vocal and guitar that Corrado is very much interested in going a different direction (Elio, too); as a matter of fact, the rhythm section of Franco, Luciano, and Danilo all feel so firmly rooted in the blues-rock forms that this is the first time I'm conscious of the rift that must have led to their departure from the band. (8.66667/10)
5. "Toy - Part 1 & Part 2 (4:21) nice semi-funky rock with some jazzy elements coming from the rhythm guitar, lead sax, and drums (a bit)--the rest is more instrumental jam-band rock. By the time they get to the third and fourth minute the infectious groove has gotten so inside your being that the solos become quite enjoyable. I can't believe how 180 my view of this song became over the course of its four minutes! (9/10)
6. "Stroll On - Part 1 & Part 2 (10:33) hard-drivin', blistering-paced, near-metal blues rock with rather coarse and aggressive vocals from Corrado while the band races forward for the first six-and-a-half minutes, Luciano Milanese sounds very much like he's trying to match the speed and style of Percy Jones. Then they slow down a bit, allowing for a bit of space within which the various instrumentalists are able to clearly, patiently inject their solo--though the highlight of the entire song is Elio and Corrado's paired melody lines during the song's final two minutes; the two are in sync! (17.75/20)
Total Time 38:36
Interesting to contrast the two guitar styles of brothers Danilo and Corrado: the former is far more blues-rock oriented with lots of note bending and favoring a much more "dirty" sound while the latter is clearly a student/emulator of the technical wizardry of Mahavishnu John McLaughlin. At times Corrado's vocals sound so much like David Bowie! As accomplished as the musicians are, the sound engineering mix is not very enjoyable: the bass and drums are mixed farther forward than any of the other tracks! And Luciano Milanese is no Percy Jones (future member/contributor to the band) but he and drummer Franco Lo Previte are quite a force as a rhythm team. Though the music is often far too close to standard blues rock in both sound palette and style, I have come away very impressed with the power and presence of this album. I think the power of the music even helped me to cast aside my initial myopic orientation to only being open to Jazz-Rock Fusion. This is not Jazz-Rock Fusion. Still, it is my opinion, that the band's core trio's next move--to move to London, England, where they will use studio musicians in supporting rolls to record their next albums--is the best move they could have made.
B+/4.5 stars; a near-masterpiece of hard-driving technically-awesome jazz-infused bluesy rock 'n' roll music.
Isotope Jazz Rock/Fusion
Review by
BrufordFreak
Collaborator Honorary Collaborator
1. "Illusion" (3:54) nicely-partitioned jazz-oriented rock music, drummer Nigel Morris and mutli-keyboard-playing Laurence Scott seem more deeply connected in keeping the rhythm track on a tightly-formed course while the disturbingly-distorted bass of Hugh Hopper and wah-wah-ed rhythmic guitar play of Gary Boyle seem to be the more adventurous and experimental explorers on top. I think I'm most impressed with Mr. Scott on this one. (8.875/10)
2. "Rangoon Creeper" (6:01) weird boring funk. Laurence Scott again gets the chance to show off his tow-handed skills. (8.5/10)
3. "Spanish Sun" (7:50) great display of Gary Boyle's technical skill on the John McLaughlin-like guitars (especially the electric). I like the minimal support from the other band members; the song could probably even exist without them but they add something (besides their solos). (13.5/15) 4. "Edorian" (2:01) seems like a reprise of the two opening songs--especially in the sound palette choices. I like the doubling up of the keys and guitars while Hugh Hopper just wanders off on his own--apparently as tripping and his fuzz-tone bass. (4.3333/5)
5. "Frog" (2:31) a MAHAVISHNU'/"Vashkar"-like song with more drugged-out bass but nice lead guitar over the tight rhythm section of Nigel and Laurence. (I guess I'd better get used to the fact that Hugh Hopper will never contribute to the rhythmic structure and linear pacing of any of these songs, that it is, in fact, keyboard player Laurence Scott that will be playing the role usually expected/relegated to the bass player in tandem/association with the drummer.) (8.75/10)
6. "Sliding Dogs / Lion Sandwich" (5:58) I can see the draw to this one: for the fine execution of its mathematical structure--especially as it gets complicated with multiple tracks moving in off-set rondo--but it's not my favorite style of jazz-rock fusion. (Plus, Hugh Hopper's bass sound is already driving me to distraction and dislike.) (9/10)
7. "Golden Section" (5:15) at least on this song Hugh Hopper is able to show off some skills despite his fuzz-tone bass as he mirrors Gary's melody lines over the opening 1:20. After that, there's really nothing very special here: just over extended Fender Rhodes play with some sometimes-interesting bass exploration beneath. Even the song's main theme is nothing to write home about. (8.75/10)
8. "Marin Country Girl "(2:10) delicate interplay between piano and guitar with minimal support from bass and drums. The bass play may even be a second guitar, not Hugh Hopper's bass (which is highly likely due to the fact that it is not electric). Very nice. (4.5/5)
9. "Lily Kong" (2:32) what starts out rather simply, as a fairly straightforward weave, turns more complex until it is rudely faded away from our listening capabilities. Foul! (4.5/5)
10. "Temper Tantrum" (3:46) two tracks dedicated to electric guitar, bass and drums mixed kind of to the rear, with panning/reverberating keys floating in the in-between, Gary establishes quite an awesome little duel/battle with himself--between the two guitars (one that reminds me quite a bit of the amazing future duel between Al Di Meola and Larry Coryell on Lenny White's "Prince of the Sea"). Now this is Jazz-Rock Fusion! Easily the best song on the album! (9.5/10)
Total Time: 51:58
The music here is definitely not connecting with me the way it has for many other music lovers. I am impressed with the sound and with the guitar playing of band leader Gary Boyle, but I do not find the compositions as substantive or dynamic as I like. And I absolutely do not understand the affinity to or allegiance to Hugh Hopper--whose obsession with the abhorrent sound created by the singular bass effect he seems so stubbornly attached to over the album's first seven songs is almost enough to drive me away; a keyboard could (and should) do the work that he is so praised for! Kudos to Laurence Scott for coming in from relative obscurity and holding his own next to these other giants.
B/four stars; an excellent if totally confusing and sometimes off-putting example of experimentation within the fairly- new Jazz-Rock Fusion genre of music.
Volker Kriegel Jazz Rock/Fusion
Review by
BrufordFreak
Collaborator Honorary Collaborator
1. "Slums on Wheels" (13:24) John Marshall is a beast on the drums from the get go on this J-RF rocker. Guitarist and band leader Volker Kriegel uses a DANNY KORTCHMAR "It's Too Late, Baby" style acoustic guitar solo in the Alan Skidmore's soprano sax play in the second movement is so dynamic and exciting! And let's not forget the extraordinary drum playing of Nucleus' own John Marshall! Eberhard Weber's bass play is fairly standard until the seventh minute when the band clears out and he's given solo time--then you know this is the one and only Eberhard Weber--two minutes he's given before the band slowly re- matriculates. The section that follows the bass solo is a bit odd--feeling meandering and out of place, and then Heinz Sauer's saxophone solo feels like it goes nowhere and never gels with the rest of the band, but at 12:15 there's a bit of a restart that helps the band to get back on track for the final minute. A truly remarkable multi-part song (or suite)! (28/30)
2. "The "E" Again" (6:36) tediously repetitious rhythm track over which everybody seems to get a turn to solo (except the bass and drummer). The loose, laid-back feeling coming from all of the song's performers is kind of cool, but then, after six minutes it proves to be overdone. (8.70/10)
3. "Zanzibar" (10:22) penned by Edu Lobo, this is a very catchy, melodic song that feels as if it's led by the big band-like horns. Great jazz funk bass play (in a style that I've never heard before from Eberhard) leads in over John Marshall's solid drumming over which Volker, then, takes the first extended solo on his jazz guitar. It's very GEROGE BENSON and Wes MONTGOMERY-like. From the 3:00 mark two tenor saxophones trade off the next solos. Again, these guys are very engaging and compelling (which is exceedingly rare for me: I am not nor have I ever been a fan of the saxophone). The grooving JAMES BROWN-like high-energy R&B jazz-rock fusion is so infectious! Amazing performances top to bottom! (19/20)
4. "Missing Link" (12:03) some wild and crazy sounds being emitted here from all the band members but I ultimately reject this song for its overly-repeated foundation and 1960s-sounding guitar solo. Great, creative performances on top, but way too simplistic and repetitive--even in the suite's different motifs. (21.75/25)
5. "F�r Hector" (5:45) another hard-drivin' song based on a fairly rudimentary JAME BROWN-like rhythm track (and "Shaft"-like introductory hi-hat play) that somehow inspires stellar performances from all soloists as well as the rhythm-makers. It's like they're pretending to be the JBs only at 45rpm speed instead of 33! Has there ever been a rhythm section as tight as these guys? Eberhard Weber and John Marshall are extraordinary! (9.25/10)
6. "Remis" (4:26) a more Latin-based song that feels as if it came out of the Latin/Caribbean-crazed 1960s: 1960s hippie game show music! But so tightly performed! Very smooth, fluid jazz guitar play over acoustic rhythm section (and electric piano). (9/10)
7. "Tarang" (10:00) a composition credited to Eberhard Weber, it opens up sounding like something from the Far East (not quite Indian, perhaps SouthEast Asian). The sound palette is very cool; not what one would expect on an album that presented those first six very Western songs. It's not until the second half of the third minute that we begin to hear any instruments familiar to the Western ear: double bass, drums, acoustic guitar, and electric piano. The sixth and seventh minutes present a long nearly-alone Eberhard Weber solo with clay hand drums before Fender Rhodes and drums start to reinforce both the pace and the harmonic structure. Interesting and definitely engaging despite a kind of lack of melody and harmony. I like it! (17.75/20)
8. "Lastic Plemon" (5:21) another rampant-flowing R&B-based song in the James Brown tradition that flies along with everyone playing their 1960s parts. Well-orchestrated impeccably-performed song that never really grabs me. (8.875/10)
9. "Janellas Abertas" (4:09) a short little four-part Caetano Veloso composition with double bass and symphonic percussion beneath Volker's extraordinary Spanish-style nylon-string acoustic guitar play. John Taylor also gets some time in the spotlight with his electric piano in the third movement, but everything returns to Volker's lap for the final beautiful section. (8.875/10)
10. "Plonk Whenever" (4:06) another song that sends the musicians off to the races from the very start, arranged in some very complex "old jazz" forms and streams, sounding a lot like pre- or proto-Fusion Herbie, Wayne, Miles, Johnny Mac, and Tony. (8.875/10)
11. "Definitely Suspicious" (5:55) acoustic guitar and gang come up with a rock/pop like construct with a bit of Latin and psych flavor over which Volker's simple rock/psychedelic electric and acoustic guitars take turns soloing for the first three minutes. The styles seem to move fairly cleanly between rock, psych-rock, and blues-rock. Fender Rhodes solo from John Taylor in the fourth minute before we return to Eberhard excels in a Danny Thompson kind of way while this song makes it clear that John Marshall is really meant to be a Jazz-Rock Fusion guitarist (not pop or jazz). Catchy enough melodies that I could see this getting some radio air time (back in the day). (9/10)
12. "Finale" (0:10) Volker's cartoonish finish.
Total Time: 81:77
A much more jazz- and jazz-rock representative. The question is: How much of this album's superlatives are due to the guitarist, composer, and band leader and how much to the amazing all-star lineup he's enlisted in support? I mean, these collaborators keep performing at such a high level throughout the album (despite some weaker song foundations) that it's hard not to credit them, but could it also be the band leader's brilliant instruction and inspiring example motivating these amazing performances? Also, I must mention and commend the great sound the engineers and producers got out of this album. Also, I'm very much appreciative for this opportunity of seeing/hearing bass virtuoso Eberhard Weber in a far different light than anything I'd ever heard from him.
A-/five stars; a minor masterpiece of eclectic jazz, R&B, and Jazz-Rock Fusion pieces from a band of multiple virtuosi.
Ablution Jazz Rock/Fusion
Review by
BrufordFreak
Collaborator Honorary Collaborator
1. "Bluegaloo" (6:25) a B+ funk track in a Herbie Hancock Headhunters style with successive solos from flute, electric guitar, drums and percussion, and electric piano (with flute and horn accents and embellishmnts). Nice jam with nice sound but there's really nothing very innovative from the soloists in terms of the sound or styles. (8.75/10)
2. "Woodchurch Sorceress "(1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)
3. "Kokt Tv�tt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)
4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)
5. "Equator" (5:51) a quick-out-of-the-gate percussive sprint leads into a section of frenzy before the band finally settle into a still-frantically-paced and performed body akin to something John McLaughlin or Larry Coryell might have something to do with. Guitarist Janne Schaffer comes out of the first turn as the first true soloist before the percussion team takes over for a "solo" of their own. Then Pete Robinson, Janne Schaffer, and John Gustavsson start to trade barbs, back and forth, around the triangle, before settling into a side-by-side race of all-out soloing. The "chorus" brings the band back into harmony despite the frenetic energy feeding the soloing instincts of every one in the band. Wow! (9.25/10)
6. "Third Meter Stroll" (6:40) opens with lone bass acting as if he's trying to find his way through a cave system in the dark. Crazy-man Bj�rn J'son Lindh joins in on his bat-fluttering flute while synthmeister Peter Robinson adds his own version of mammalian scurrying and fluttering action. The song goes on like this for the duration of the entire 6:40 as the hiker/spelunkerer continues down the tunnels on a steady if stop-and-go, look-and-listen, bump-and-learn mode. (8.875/10)
7. "The Visitor" (9:54) opening with an awesome deep thrum like the Talking Heads' "The Overload" within and over which guitar, percussionists, and wind instruments add their incidentals. Pretty cool--and, I'm sure, a lot of fun for the percussionists/sound effects artists! I wonder if Brian Eno or any of the Heads heard this song before heading into the Remain in Light sessions. (17.75/20)
Total Time 43:39
Interesting for the wide variety of Jazz-Rock Fusion styles adapted here as well as for the experimentalism used to try to create a variety of cinematic moods.
B+/four stars; an excellent collection of experimental Jazz-Rock Fusion songs and tracks. A very interesting listening experience!
Trifecta Jazz Rock/Fusion
Review by David_ProgCritique
The powerful funky groove of "Beck And Call" opens the hostilities in a Jazz-Rock style that smacks of the 70s. An almost danceable track that sets you up for the rest. Piano, double bass and brushes for the interlude "Dot Are You Wooing?" which sounds straight out of a live recording in a smoky Jazz club. "Stroboscopic Fennel" is, for its part, more surprising, since we are facing a kind of slam, but in an old-fashioned way, in the style of The Last Poets, on which Nick Beggs declaims his surrealist poetry. So British! "Just Feel It Karen" turns on a slightly twisted Latin groove, leaving room for some very inspired drum and bass interventions. Return of poetry and surrealism with "Sibling Rivalry" on which two brothers seem to compare their way of playing the Didgeridoo (!), the title then evolving into an ethno-electronica style (I'll let you judge the relevance of this term). We could discuss for hours about the gastronomic usefulness of the decorative salad, the song "Ornamental Lettuce" does not do anything superfluous, and goes straight to the point for a new frenzied Jazz-funk groove. And here is the longest track on the record (4 minutes and 11 seconds!) "Daddy Long Legs" on which Adam Holzman expresses all his talent for building atmospheres, finding sounds and breaks that surprise.
Return of British surrealism via the dialogue "What Are You Doing?" which ends with the word "Kajagoogoo" referring to the famous pop group of the 80s ("Too Shy", 1983) which included in its ranks a certain Nick Beggs , at the time when he wore his hair with firecracker. Did Trifecta attempt to land a pop hit with the clearly announced "Stupid Pop Song"? Not quite, since it's more of a bossa-nova ballad sung very second-rate, as you might have suspected. Return of the groove guided by inspired keyboards on "Crime Spree" and its 80s thriller atmosphere. The unexpected inspiration of JS Bach is very present on the successful "Bach Stabber", while "Kleptocrat" allows you to appreciate a groove more traditional around the drums-bass-piano core.
New song sung and luxury guest participation from Alex Lifeson (Rush) on the simple and effective "Once Around The Sun With You". "Chinese Fire Drill" won't come as much of a surprise since we're starting to know the recipe. Last interlude-sketch "Ouch! My OCD" leaves you perplexed, fortunately the alarm is sounded by "Wake Up Call" to restart the end of the album with its jazzy, airy, precise and powerful bass riff. And it's the bass that keeps the lead for the following track "Wacky Tobaccy" in the purest style of the group. The atmosphere calms down with the sung track "Canary In A Five And Dime" bringing a welcome slight melancholic touch which continues on the final track "On The Spectrum" and its Mike Oldfield-style atmosphere .
There is really something to do with this 'The New Normal' which, despite its title, evolves far from normality, or rather from current music standards. The talent of the three musicians is once again dazzling, and the disc emanates a pleasure from the trio in playing together their own style, anchored in the jazz of the pioneers spiced up with a good dose of British humor.
Review originally posted on www.progcritique.com.