Miles Davis “In A Silent Way” (1969)
Connoisseurs can still argue about the roots and origins of jazz-rock (fusion). However, the moment when jazz rock became famous is not up for debate. Musical genius Mile Davis was the first to edit complex instrumental tracks from various sessions. And, most importantly, he encouraged his colleagues to explore new way in music. This and Davis’s next album, “Bitches Brew,” are absolute classics of the genre.
Mahavishnu Orchestra “The Inner Mounting Flame” (1971)
Guitarist John McLaughlin, who took part in the recording of the two above-mentioned Miles Davis albums, assembled a group of outstanding instrumentalists - drummer Billy Cobham and violinist Jean-Luc Ponty. The Inner Mounting Flame album taught a lesson in masterful performance to many rock stars from Deep Purple to Metallica and Dream Theater. Listen to what McLaughlin does with his guitar.
Herbie Hancock “Mwandishi” (1971)
The famous keyboardist and composer Herbie Hancock was also greatly influenced by his collaboration with Miles Davis. By the early 70s, the musician left the Blue Note label and began collecting new electronic instruments. Mwandishi was Hancock's own name in Swahili, and he pioneered the integration of synthesizers into the jazz fabric. Those who find the sound of “Mwandishi” too avant-garde and improvisational should turn to Hancock’s funk project “Head Hunters” (1973), which received a wide response from the public.
Return to Forever: Hymn of the Seventh Galaxy (1973)
Another pianist, Chick Corea, after collaborating with Miles in the 70s, changed his focus of interest from avant-garde to jazz-rock. The project's Return To Forever album features Corea on guitar, Bill Conors, Stanley Clarke on bass, and Lenny White on drums. Hymn of the Seventh Galaxy is no longer jazz-rock, but rock-jazz. Virtuoso performers create a real hard rock mix. A hitherto unheard of fusion of electro, jazz, funk and hard rock, i.e. real fusion (fusion - alloy).
The second half of the 60s of the last century was marked by the heyday of rock culture in the West, which was associated with the incredible rise of the hippie movement.
A lot of new things appeared in those years. And not only in music, but in art in general and in the aesthetics of young people’s lives. There were regular rock bands and jazz rock bands playing here. The new groups that emerged during this period can be safely compared to the number of mushrooms growing after rain.
The emergence of Jazz rock
In those years, many new musical trends, groups and names appeared. The Beatles paved the way from Mersbeat to a variety of complex compositions. Following them, such trends as Acid-Rock, Psi-rock, Folk-rock, Classic-Rock, Country rock, Rock Opera, Blues-rock and, of course, Jazz-rock began to appear.
Based on English grammar, the term jazz-rock can be translated as “jazz rock”, since in grammar the first word determines the relationship to the second. Therefore, the first jazz-rock ensembles became a springboard for the onset of rock culture, not jazz.
Jazz-rock has become an essential part of unconventional music. His stars ended up in rock encyclopedias, reference books and dictionaries.
The first jazz rock bands
At that time, critics came to the conclusion that the Chicago group consisted of rock musicians who were trying to play jazz. And the Blood of Tiars group, in their opinion, on the contrary, consisted of jazzmen who joined rock music. It is also important to remember that in the United States, rock was originally considered white music.
For this reason, the image of the jazz-rock genre was described as: “a white rock band that includes a section of brass instruments.” Not only these two groups made themselves known at that time. They performed new harmonies and rhythms, improvised, and played electronic instruments. Note that America was subject to unprecedented pressure from rock bands based in England.
Mike Bloomfield is a young bluesman from Chicago. He created the blues-rock group Electric Flag. There was a brass section. But at the same time it was said that the group would play real American music. Therefore, we can conclude that in the early stages jazz-rock had an ideological background. One of the most striking ensembles at that time was the Chase group, created by trumpeter Bill Chase. He died tragically in 1974.
Jazz rock in the activities of famous rock musicians
The early manifestations of jazz rock include a huge number of groups in which musicians played who had previously had nothing to do with such a movement as jazz. Ginger Baker - drummer of "The Cream" - after the group broke up, created new group- "Air Force Band". Groups began to appear in which young jazzmen worked together with rock musicians.
Famous rock musicians actively took part in recording new types of music. Some famous musicians begin to record in studios with others. For example, Jeff Beck recorded with Jan Hammer and Stanley Clarke. Jack Bruce joined The Tony Williams Lifetime. Some time later, the drummer of the Genesis band became a member of the Brand X group.
He also accompanied Al Di Meola. Tommy Bolin, guitarist from Deep Purple, recorded with the famous jazz drummer Billy Cubham. In addition, he himself attracted jazz-rock performers to record his solo records together. All musicians united to find and invent something new. Everyone who did not get hung up on the same manner of playing, on a monotonous style.
If we consider the early times as a whole, we can unequivocally state that in the environment of jazz in the mid-60s, what is called the “threshold” of jazz rock was formed. This is the Adderley Brothers Quintet, Messengers Jazz, Horace Silver and drummer Art Blakey. The music of this quintet is classified as soul jazz or funky jazz.
Elements of such music are actively used by Quincy Jones, an outstanding arranger. Funky soul music was promoted in every possible way by producer Grid Taylor. He worked with Jimmy Smith, Wes Montgomery and other jazzmen.
They were also innovators in their own right, as they offered a new aesthetic that differed significantly from the funky and hard bop standards. Already in 1965, Larry Coryell was one of the first to reconsider the approach to sound on his own instrument, changed the phrasing, and tried to become closer to the rock guitar.
But the real revolution was brought about by John McLoughin. Therefore, several forces worked simultaneously on the direction of jazz-rock. If we talk about traditional jazz, then, in principle, a whole generation of listeners appeared and grew up here.
On the other hand, jazz has changed a lot during this time. He stopped moving in a commercial direction. The era of dance swing ended in the post-war period. Bebop quickly evolved into hard bop. In the late 60s, he touched avant-garde jazz, leaving the general audience and beginning to develop in depth.
Over time, jazz became a very complex movement; it ceased to be a fashionable art. Because such circumstances forced the music business to change. Even famous jazzmen were left without work. Thus, antagonism arose in the sphere of rock music and the jazz environment.
For most jazzmen who continued their development, the tastes of youth caused a smile. It all seemed too simple and primitive to them. The musicians who played rock treated the jazzmen with respect. But there was also some hostility on their part due to the latter’s dislike of everything new.
If we talk about this in general, then both of these directions were to some extent rivals in terms of jealousy for success. It is because of these reasons that jazz rock did not cause much enthusiasm among the general public. Jazz criticism stated that this direction has no future and artistic value.
Video: Funk-Jazz-Rock-Groove-Music
History knows many examples when the ideas of innovators were not accepted by the public, sometimes even persecuted, but ultimately these pioneers were recognized as geniuses, and their achievements were used by the whole world. This happened in jazz too - musicians went beyond the traditional style and were often not misunderstood. Representatives of new trends, for example, Miles Davis, Tony Williams, or the groups Weather Report and Return to Forever, created their best jazz-rock albums without thinking that they would become world hits. But nevertheless, this is exactly what happened...
Best Jazz Rock Albums
Miles Davis – album Bitches Brew
The American jazz trumpeter's double album was released in early 1970 by Columbia Records. This album reflects experiments with the use of electronic instruments - guitar and synthesizer.
This album is considered the progenitor of the jazz-rock direction. Traditional jazz standards are replaced by viscous, unexpectedly exploding improvisation. The musicians rehearsed immediately before recording, which forced them to become more immersed in the music they were performing. From the instructions they received only the time signature, the basic chords and a small segment of the melody, from which improvisation later grew. By the way, the compositions “Pharaoh’s Dance” and the ballad “Sanctuary” are not authored by Davis.
After the album was released, opinions about it were divided. The very fact that Columbia Records released an album called Bitch Brew was scandalous.
The content did not lag behind the name - a stylistic direction close to jazz fusion or jazz rock, experiments with sound and special effects, electronic instruments - all this made it possible not only to split society into two parts - for and against, but also to bring the album wild popularity. The album quickly became the first gold in Davis' career, and a little later won a Grammy.
Return to Forever – album Romantic Warrior
Return to Forever was an American jazz fusion group from the 1970s. The album "Romantic Warrior", released in 1976, became the sixth and most famous in the history of the group. The music of the album, stylized in the Middle Ages, is varied, starting from the cover. The album opens with “Medieval Overture,” which is entirely acoustic.
“The Sorceress”, on the one hand, seems to be prepared by an overture, on the other, it is the opposite in style and a synthesizer appears among the instrumental composition. The composition “Majestic Dance” relies entirely on rock riffs and distorted “lead” guitar sound, which is supported by fast harpsichord-like passages.
Some critics confirmed that the record was worthy of being included in the best jazz-rock albums in history, while others argued that all the compositions were too classical and pompous, and the album itself was almost the worst in history.
Herbie Hancock – Head Hunters album
Head Hunters is the 12th studio album, which was released in 1973 on the same Columbia Records. The album has been added to the National Register of the Library of Congress.
It is quite difficult to unequivocally classify the album “Headhunters” as jazz-rock. This record is rather a clear indicator of how RNB rhythms, emphasized by African-American drums, can be extremely successfully combined with relaxed funk rhythms.
The album's eclectic sound didn't just continue to pave the way for a completely electronic music, but also significantly influenced other musical genres, becoming another winner in the battle for the title of the best jazz-rock albums of all time.
Weather Report – album Heavy Weather
Once again a Californian album released by Columbia Records in 1977, this time from the band Weather Report.
Once again we are dealing with one of the best albums in the history of jazz, which was released when the jazz-rock phenomenon "began to spin out of control," as critic Richard Ginell commented.
One of the most striking compositions of the album is Birdland. It's absolutely amazing because it's entirely instrumental. Instantly becoming a jazz standard and greatly contributing to the album's popularity, Birdland represents the pinnacle of the group's creativity.
It is curious that, although the composition itself did not receive a Grammy, the song subsequently not only entered the repertoire of many famous performers, but its versions were awarded Grammys three times.
Tony Williams – album Believe It
The jazz-rock album Believe It (1975) by Tony Williams and his band The Tony Williams Lifetime is again recorded by Columbia Records. This is the group's first album. The first one, not the most famous, but extremely interesting at the same time.
It’s worth noting - the first only in Williams’ new stage, the first for the new line-up of the group. Up to this point, by 1974, as many as four albums had already been released from the constantly disintegrating Williams trio.
John Swanson writes that the album Believe it is like “a crazy fusion tasting.” The new British guitarist Allan Holdsworth became almost a sensation, memorable both for his expressive musical language - soft, harmonious and very lyrical, and for his masterful use of the instrument. However, we owe the fusion of jazz and rock, and they also owe it to Williams, with his concept of rhythmic freedom and incredible ingenuity.
The first ensembles that began performing music called “jazz-rock” consisted of young performers who grew up in a rock environment, but were inclined towards jazz aesthetics and improvisational instrumental music. They were practically rock bands with a brass section.
This direction can be attributed to the origins of the entire fusion style
First of all, bands of this genre use vocals. The main theme in each piece is sung as a song rather than played as in later instrumental music. True, after the vocal part, improvisational solos are often played and, of course, skillfully written orchestral passages for the winds. And then, as is typical in pop music, the vocalist ends the piece.This pattern was typical of the most prominent American groups that made their presence known in 1968 - "" and "". The brass section of these groups included only three or four different instruments, as a rule, a trumpet, trombone and saxophone, and the orchestrations for them were done in such a way that, in combination with a guitar, bass guitar and keyboards, they sounded like a real big band. Soon the group “”, created by trumpeter Bill Chase, gained enormous popularity. The peculiarity of its sound was that the brass section consisted of four trumpets playing in a high register. Unfortunately, in 1974, Bill Chase and three of his colleagues died in a plane crash and the group broke up.
Usually, all the laurels of jazz-rock pioneers go to the groups "Chicago" and "Blood, Sweat & Tears", although attempts to combine two such movements were made by other musicians, in parallel, and sometimes even before them. For example, back in 1965, the New York group “The Free Spirits” arose (for some reason this name was borrowed by John McLaughlin when creating his trio in 1993), already then performing what could safely be considered jazz-rock. guitarist Larry Coriell, who later became a fusion music star, began his career.
White bluesman from Chicago Michael Bloomfield created the group “The Electric Flag” in 1967, calling it “The Orchestra of American Music”. It was an ensemble consisting of a blues-rock band with an added horn section, which gave the white blues extra power.
American groups of this type had their own ideology - to create something in the United States that would resist the wave of the “British Invasion” that swept the United States.
In 1969, he began performing and producing instrumental rock music with improvisations; he is an eternal nihilist and shocking experimenter. With his assistance, many fusion musicians achieved a high level of fame. One cannot help but recall the rock band "The Flock", in which the jazz violinist played, who later became famous for his participation in the first composition of the "Mahavishnu Orchestra" of John McLoughlin.
In 1970, the jazz drummer created the group "Dreams", which was at first noticeably similar in the style of orchestration to its predecessors - "Chicago" and "Blood, Sweat & Tears". The difference was that brilliant jazz improvisers took part in "Dreams", such as Michael Brecker and Randy Brecker, who played on the first Blood, Sweat & Tears record, as well as guitarist John Abercrombie, not to mention Billy Cabham himself. All of these musicians became famous Soon they became stars of the fusion style, participating in the most famous ensembles.
And the group “Dreams” can no longer be called white “brass rock”, since it was racially mixed, and, despite the external similarity with “Chicago”, it was more like “rock-jazz”, that is, jazz that resembled rock. (I remind the reader that in English The first of the two words is the definition of the second.) During the same period, that is, immediately after the instant fame came to the pioneers of jazz-rock, some famous American jazzmen began to play in a new way, using rhythms borrowed from rhythm and blues, soul and funk music.
It is impossible not to note the emergence of a number of projects on the verge of the 60s and 70s, aimed not so much at creating a fundamentally new music, how much for the popularization of jazz by performing in a new way works taken from pop culture, from classical music. Jazz trombonist Don Sebesky then made a number of interesting experimental recordings with large orchestras.
Critics, who had not yet understood what was happening, dubbed this music “pop-jazz,” despite the fact that its structure was immeasurably more complex than what fits the term “pop.” A number of outstanding jazz musicians who played “soul-jazz” and “hard bop” in the 60s, in the first half of the 70s under the production of Grid Taylor, made a number of recordings that can safely be classified as forms of jazz-rock. This is, first of all, George Benson, Freddie Hubbard, Stanley Turrentine, Hubert Laws. But this line of early jazz-rock did not receive further development.
Over time, when rock culture was swept away by the disco era, the classics of jazz rock were included in the history of jazz, their names began to be included in jazz encyclopedias, reference books and dictionaries. The replacement of the term “Jazz-rock” with “Fusion” was largely due to the arrival of black musicians in jazz-rock who did not want to be associated with white rock culture, and gave the whole movement the character of “funk” music.
The term “fusion” has not only musical, but also social connotations, indicating that the “fusion” occurred not only at the level of musical cultures, but also between different ethnic groups of listeners and performers.
This was especially clearly demonstrated by Miles Davis, who performed at concerts at the Fillmor West in front of an audience of white hippies with avant-garde funky music, featuring white performers.
In the UK
In England, the picture of the emergence of what we would conventionally call jazz-rock was somewhat different, primarily because there were no racial contradictions, there were no two parallel cultures - white and black. When black bluesmen from the USA - Big Bill Broonzie and Muddy Waters - visited England in 1957, the so-called “British blues” was born. Its pioneers were London jazzmen Chris Barber, Cyril Davis, Alexis Corner and others.Shocked by their close contact with the true blues, these jazzmen began to create their own version of white blues.
A number of groups emerged in London clubs, the most famous of which were “Blues Incorporated”, “Graham Bond Organization” and “Blue Flames”. Future stars of various directions received a good school in this environment - Mick Jagger, Brian Jones (Brian Jones), Dick Heckstal-Smith, John McLoughlin, Jack Bruce and many others.
In Great Britain in the second half of the 60s, many rock bands with different aesthetics arose, using wind instruments and elements of improvisation. Traditionally they are classified as “progressive rock” or “art rock”, but in essence they are typical representatives of early jazz rock. These are the groups “Soft Machine”, “Colosseum”, “If”, “Jethro Tull”, “Emerson, Lake & Palmer”, “Air Force”, “The Third Ear Band” and a number of others.
The British school of early art rock (progressive or jazz rock) of the late 60s is characterized by a noticeable influence of rhythm and blues, on the one hand, and on the other hand, on the contrary, by the special depth and content inherent in centuries-old European culture.
Music of this type, created in that short period in England, is in many ways unique and underestimated by the mass audience.
The initial period of the formation of jazz rock is characterized by a search for something new, both on the part of a small number of jazzmen and on the part of obvious rock performers. Quite unusual combinations of musicians arose then. A prominent representative of hard rock, Deep Purple guitarist Tommy Bolin is looking for contacts with jazzmen, recording on the Spectrum disc with Billy Kobham. Rock guitarist Jeff Beck records with keyboardist Ian Hammer, who became a prominent figure in jazz rock after his participation in the Mahavishnu Orchestra. Rock bassist Jack Bruce, known for his participating in the brief life of the super-group "Cream", plays for some time in "Soft Machine", and then records in the project of American jazz drummer Tony Williams (Tony Williams) "Lifetime". Genesis drummer Phil Collins collaborates with guitarist Al Di Meola and plays in the band Brand X. And there are many such examples.
But already during this period, a noticeable tendency was the gradual transformation of jazz rock into purely instrumental music. The vocalist is replaced by a virtuoso improviser. The brass section becomes optional. The composition of jazz-rock ensembles is formed according to the principle of jazz combos - a rhythm group plus soloists. Acoustic instruments are being replaced by electronic ones. Instead of a double bass, a bass guitar is used, and instead of a piano, keyboards are used (Wutlitzer piano, Rhodes piano, and later synthesizers). The electric guitar with bells and whistles is replacing the jazz acoustic guitar.
In the early period of jazz-rock, the dominant rhythmic concept came from rock culture, that is, based on rhythm and blues, on soul music. The further fate of jazz-rock in the process of its gradual transformation into “fusion” music is associated with the transition to a completely different sense of rhythm, to the concept of “funk” style. Jazz-rock becomes the music of improvisers, as its destiny passes into the hands of prominent jazz figures such as Miles Davis, Chick Corea ( Chick Corea), Joe Zavinul, John McLoughlin, Herbie Hancock, Wayne Shorter.
Alexey Kozlov.
Such a direction in music as jazz-rock or fusion, as it later became known, became known in the 70s of the last century, when groups such as Mahavishnu Orshestra, Weather Report, Return To Forever, Larry Coryell Eleventh House, New Lifetime appeared , as well as Al Di Meola, Jean Luc Ponty, Billy Cobham, Stanley Clarke in the USA; Brand X, Soft Machine, Gong, National Health, Colosseum II, Bill Bruford, Steve Hillage in the UK. There were jazz-rock groups in other European countries: Edition Speciale, Transit Express, Volkor, Coincidience, Spheroe in France; Iceberg, Iman, Guadalquivir, Musica Urbana, Borne, Pegasus in Spain; Perigeo, Barichentro, Nova in Italy, Sloche in Canada.
This was the golden age of jazz rock.
In the 1980s, there was a natural decline. There have never been so many musical masterpieces. Few new groups appeared, but they were there. First of all, it is necessary to say about the Canadian Uzeb, the most interesting new jazz-rock group of the 80s, in which the famous bass guitarist Alain Caron played.
In the 80s, many bands appeared playing jazz-rock in Japan: Ain Soph, Kenso, Prism, Keep, Space Circus, GAOS. In the USSR there were Arsenal, Quadro, Kaseke, Radar, Gunesh. In France, Didier Lockwood Group. In the USA Drama, Ken Watson, Scott Lindemuth, Woodenhead, Karizma.
In 1984, John Mclaughlin recreated the Mahavishnu Orshestra, Chick Corea created new project Electric Band, Joe Zawinul 2 bands: Weather Update and Syndicate, Billy Cobham has formed a new band. They began recording their solo albums
guitarists Allan Holdsworth, John Scofield,
Kazumi Watanabe,
Bill Connors
bassists Jeff Berlin, Bunny Brunel, keyboardist T Lavitz.
In the 90s The main jazz-rock projects were such groups as Tribal Tech and the Mark Varney Project. Frank Gambale has recorded several solo albums.
As well as guitarist Jeff Richman, bass players Adam Nitti and Victor Bailey. Keyboardist Adam Holzman created his own band. Another keyboardist, Mitch Forman, formed the band Metro. Bass guitarist Uzeb Alain Caron created a new group LeBand. Several new bands have appeared in the USA: Gongzilla
guitarist of Bon Lozaga, Stratus, Gamalon, Jam Camp.
In Canada The Code, 5 After 4.
In Germany Matalex, 7For4, Jazz Pistols, Susan Weinert, Leni Stern. In Japan Side Steps, Fragile, Group Therapy, Kehell, Wisywyg, WINS.
In the UK Persy Jones Tunnels, Network, Sphere3.
In 2000 Many bands playing jazz-rock have appeared: in Japan Exhivision, IzgitNine, Trix; several projects from France - Fugu, Jac La Greca, Fusion Project, Quidam; Italy - Virtual Dream, Zaq, Periferia Del Mondo; Spain - Planeta Imaginario, Onza, Gurth. In the Netherlands Richard Hallebeek Project. In the USA Garaj Mahal, Helmet Of Gnats, Bad Dog U, Kick The Cat, Code3, Whoopgnash, Savant Guard, Facing West, Rare Blend, Ecstazy In Number, Redshift.
Drummer Dennis Chambers, who participated in the best bands of modern jazz-rock: Cab, Niacin, Uncle Moe's Space Ranch, "Boston T Party" with T Lavitz and Jeff Berlin, "Extraction" with Greg Howe and Victor Wooten, "Gentle Hearts" with Greg Howe and Tetsui Sakurai.
The Tone Center Records label, created by Mark Varney and Steve Smith in 1998, plays a special role in the revival of jazz rock.
For this label, Steve Smith created several projects: Vital Tech Tones with guitarist Scott Henderson and bassist Victor Wooten; GHS with guitarist Frank Gambale and bassist Stuart Hamm), the disc "Strangers Hand" with the famous violinist Jerry Goodmen, bassist Oteil Burbridge; "Cause and Effect" with guitarist Larry Corryel and keyboardist Tom Coster; "Count Jam Band Reunion" with guitarist Larry Corryel, bassist Kai Eckhardt.
This label also released 2 discs by the Tribal Tech group, 99 and 2000. Two discs of the famous early 90s band Mark Varney Project have been reissued.
The most best groups modern jazz-rock released by Tone Center Records: Cab, Uncle Moe's Space Ranch, "Boston T Party" with T Lavitz and Jeff Berlin, "Extraction" with Greg Howe and Victor Wooten, all of these projects featured drummer Dennis Chambers.
Also released were recordings by such groups as Bass Extremes of bass guitarists Steve Bailey and Victor Wooten; Jing Chi featuring guitarist Robben Ford, bassist Jimmy Haslip and drummer Vinnie Colaiuta, solo discs by bassist Bunny Brunel "La Zoo", guitarists Greg Howe and Scott Henderson, Steve Khan, Bill Connors.
Albums "Cosmic Farm" featuring Wasserman, Erickson, Lavitz, Sipe; "Endangered Species" featuring Herring, Lavitz, Harvard, Gradney.
Since the mid-2000s Abstract Logix Label becomes the leading label in the field of jazz-rock. Thus, Abstract Logix released new albums by such musicians as John Mclaughlin, Lenny White, Jimmy Herring, Anthony Jackson, Gary Husband, Project Z, Sebastiaan Cornelissen, Alex Machacek, Scott Kinsey. In addition, Abstract Logix distributes CDs of jazz-rock groups from all over the world.
