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Jazz fusion

Jazz fusion, also known simply as fusion, is a genre of music that developed in the late 1960s, blending the improvisational and harmonic complexities of jazz with the rhythmic drive, electric instrumentation, and energetic power of rock.^[1] This hybrid form often incorporates influences from funk, rhythm and blues (R&B), and occasionally world music traditions, resulting in a sound marked by amplified guitars, synthesizers, strong bass lines, and intricate polyrhythms.^[1] Emerging as jazz musicians sought to expand beyond traditional acoustic formats amid the cultural shifts of the era, jazz fusion represented both an artistic evolution and a commercial response to rock's rising popularity.^[2] The genre's origins trace back to the mid-1960s, when jazz artists began experimenting with electric instruments and rock-inspired grooves, with early milestones including Miles Davis's 1968 album Miles in the Sky and Gary Burton's 1968 Paris performance that fused rock rhythms with jazz improvisation.^[3]^[2] By the early 1970s, jazz fusion had coalesced into a distinct style, propelled by Davis's groundbreaking electric period on albums like Bitches Brew (1970), which introduced layered, psychedelic textures and influenced a generation of musicians.^[2] Key developments included the formation of influential ensembles such as Weather Report (founded 1970 by Wayne Shorter and Joe Zawinul), the Mahavishnu Orchestra (led by John McLaughlin in 1971), and Return to Forever (initiated by Chick Corea in 1972), which pushed the boundaries of technical virtuosity and genre blending.^[1]^[2] Central characteristics of jazz fusion include its emphasis on extended improvisation over complex chord progressions, the integration of jazz's modal and harmonic sophistication with rock's backbeat and volume, and the frequent use of electronics to create expansive, atmospheric soundscapes.^[1] Artists like Herbie Hancock further diversified the style by incorporating funk elements in works such as Head Hunters (1973), which became one of the best-selling jazz albums ever due to its accessible grooves and synthesizers.^[2]^[4] While celebrated for revitalizing jazz's relevance among younger audiences, fusion faced criticism from traditionalists for diluting acoustic purity and prioritizing commercial appeal, leading to a perceived artistic decline by the mid-1970s.^[1] Despite controversies, jazz fusion's legacy endures through its subgenres, including smooth jazz and acid jazz, and its impact on contemporary artists who continue to explore cross-genre experimentation.^[1] Pioneers like vibraphonist Gary Burton, who innovated four-mallet techniques in fusion contexts, and guitarist Larry Coryell, an early advocate of jazz-rock integration, helped solidify the genre's place in music history.^[3]^[5] Today, fusion remains a vibrant force, with new releases from artists like Hiromi and Casiopea in 2025 influencing global music scenes and demonstrating jazz's adaptability in an ever-evolving landscape.^[2]^[6]

Definition and Characteristics

Core Musical Elements

Jazz fusion distinguishes itself through the integration of jazz's improvisational freedom, sophisticated harmonic language, and rhythmic complexity with rock's amplified intensity, steady backbeats, and emphasis on groove. At its core, the genre employs extended chords—such as ninths, elevenths, and thirteenths—that expand beyond traditional jazz's dominant seventh structures, creating richer, more ambiguous tonal colors suitable for prolonged improvisations.^[7] Modal scales, including Dorian, Lydian, and Mixolydian, replace rapid chord progressions with static harmonic frameworks, allowing for modal interchange and chromatic approaches that heighten tension while accommodating rock's simpler, riff-based foundations.^[8] This harmonic blend enables performers to draw from jazz's theoretical depth while aligning with rock audiences' preference for accessible, layered textures.^[9] Rhythmically, jazz fusion shifts from the swinging ternary feel of traditional jazz to a groove-oriented pulse influenced by rock and funk, featuring prominent backbeats on beats two and four that drive forward momentum. Polyrhythms, such as three-against-two or three-against-four patterns, and odd time signatures like 5/4 or 7/8 introduce metric complexity, layering African-derived cross-rhythms over rock's steady eighth-note propulsion to create interlocking grooves.^[7] This rhythmic fusion prioritizes a locked-in, danceable foundation—often with repetitive ostinatos—over swing's elastic phrasing, fostering a sense of collective energy that sustains extended solos.^[8] In improvisation, jazz fusion merges acoustic jazz's melodic linearity and motivic development with electric rock's aggressive phrasing and high-volume sustain, resulting in solos that alternate between intricate scalar runs and riff-based intensity. For instance, guitarists might incorporate rock-style pentatonic bends and overdriven tones within jazz-derived modal lines, while bass lines fuse funk's syncopated, walking patterns with jazz's harmonic responsiveness to anchor the ensemble.^[9] Collective improvisation sections often emerge from these elements, where rhythm sections employ polyrhythmic interplay to support horn or keyboard explorations, emphasizing textural density and dynamic contrasts over soloistic isolation.

Instrumentation and Performance Techniques

Jazz fusion marked a significant departure from traditional acoustic jazz instrumentation by embracing electric and amplified instruments borrowed from rock and funk traditions, enabling greater volume, sustain, and tonal versatility. Central to this shift were solid-body electric guitars, such as the Fender Stratocaster, which provided the bright, cutting tone essential for cutting through dense ensembles.^[10] Electric basses replaced or supplemented the double bass, offering precise intonation and the ability to drive rhythmic grooves at high volumes. Amplified keyboards, including the Fender Rhodes electric piano, delivered warm, bell-like sustains reminiscent of acoustic piano but with enhanced projection, while synthesizers like the ARP Odyssey and Moog Modular introduced expansive sonic palettes, from pulsating bass lines to ethereal textures. Drum kits evolved to incorporate rock-style cymbals and larger toms, supporting the genre's emphasis on straight-eighth rhythms and backbeats.^[11]^[12]^[13] While electric instruments dominated, jazz fusion retained acoustic elements for textural contrast, often employing the double bass alongside electric bass to create hybrid low-end foundations that blended the upright's woody resonance with the electric's punchy attack. Wind instruments like saxophone and trumpet adapted through extended techniques, including overblowing to produce distorted, rock-inflected timbres and multiphonics for harmonic complexity, allowing improvisers to evoke the raw energy of electric guitar solos. These adaptations preserved jazz's expressive nuance while accommodating the genre's fusion with amplified rock dynamics.^[14]^[15]^[16] Performance in jazz fusion emphasized high-volume amplification to fill arena-sized venues, with guitar and keyboard rigs often exceeding 100 watts to compete with drum kits and maintain clarity in live settings. Guitarists frequently employed effects pedals, such as wah-wah for vocal-like sweeps and fuzz for gritty distortion, to add rock-derived edge to jazz phrasing. In studio recordings, multitracking techniques enabled layered improvisations, where individual takes of solos or rhythms could be overdubbed to build intricate polyrhythmic densities without live coordination challenges. A notable development in the 1970s was the popularization of the fretless bass in jazz fusion, exemplified by players like Jaco Pastorius, which allowed glissandi and microtonal inflections akin to the double bass, enhancing rock-style sustain with jazz expressiveness, alongside early electronic wind instruments like the EVI, which merged breath-controlled nuance with synthesizer versatility.^[11]^[17]^[18]^[19]^[20]

Historical Development

Origins in the 1960s

The origins of jazz fusion can be traced to mid-20th-century experiments that blended jazz with other musical traditions, laying groundwork for later electric and rock integrations. In the 1950s, composer Gunther Schuller coined the term "Third Stream" during a 1957 lecture at Brandeis University to describe a fusion of jazz and classical music, emerging from collaborative efforts like the 1956 Jazz and Classical Music Society and workshops at the Lenox School of Jazz.^[21] This approach sought to merge improvisational jazz techniques with classical structures, influencing subsequent genre boundaries through joint concerts and recordings by mixed ensembles.^[21] Concurrently, free jazz pushed avant-garde boundaries; Ornette Coleman's 1959 album The Shape of Jazz to Come challenged traditional harmonic and structural norms with collective improvisation, harmolodics, and untempered tuning, eschewing piano and emphasizing polytonal freedom rooted in African traditions.^[22] These innovations, including tracks like "Lonely Woman" with its dual time signatures, rejected bebop's chord-based constraints, paving the way for freer forms in fusion.^[22] In the 1960s, rock-jazz crossovers gained momentum as musicians drew mutual influences amid rising rock popularity. American band The Doors incorporated jazz elements into their psychedelic rock, with keyboardist Ray Manzarek inspired by modal jazz from John Coltrane and Joe Zawinul, envisioning the group as a rock counterpart to the Modern Jazz Quartet, while drummer John Densmore emulated Elvin Jones's rhythms for an acid jazz texture.^[23] Across the Atlantic, British acts like Soft Machine debuted in 1967 (released 1968) within the Canterbury scene, blending free jazz improvisation, psychedelic rock, and pop whimsy in tracks such as "Hope for Happiness" and extended jams like "We Did It Again," captured live-like during sessions with producer Chas Chandler.^[24] This album's experimental energy, featuring Robert Wyatt on drums and vocals alongside Mike Ratledge's keyboards, marked an early British fusion of jazz spontaneity with rock's electric drive.^[24] Festivals and recordings further bridged divides, with Miles Davis's In a Silent Way (1969) serving as a precursor to fuller fusion experiments by introducing electric pianos played by Chick Corea, Herbie Hancock, and Joe Zawinul, alongside John McLaughlin's electric guitar in side-long jams like "Shhh/Peaceful."^[25] The Newport Jazz Festival's 1969 edition explicitly incorporated rock acts, featuring groups like Jeff Beck, Blood, Sweat & Tears, Ten Years After, Jethro Tull, Sly & the Family Stone, and Led Zeppelin alongside jazz luminaries such as Miles Davis, drawing younger crowds but sparking logistical chaos from overflow attendance.^[26] This event highlighted jazz's outreach to rock audiences. Amid the 1960s counterculture, psychedelic rock's rise influenced jazz musicians seeking broader appeal after bebop's niche status waned, as the improvisational spirit of jazz resonated with Beat Generation ideals, inspiring integrations of spoken elements and freer forms in works like John Coltrane's A Love Supreme (1965).^[27]^[28] Jazz artists, facing declining mainstream interest post-bebop, turned to rock's electric energy and psychedelic experimentation during the Summer of Love era to engage wider, youth-driven audiences.^[29]^[28]

Miles Davis's Electric Innovations

Miles Davis's transition to electric instrumentation in the late 1960s marked a pivotal evolution from his acoustic cool jazz roots, incorporating rock elements that helped birth jazz fusion as a distinct genre. Building on the era's experimental groundwork with modal jazz and free improvisation, Davis sought fresh sounds amid cultural shifts and personal reinvention, including his immersion in the vibrant New York scene influenced by rock and funk artists like Sly and the Family Stone. This period saw him embrace electric guitars, keyboards, and amplified rhythms, departing from traditional jazz structures to create layered, groove-oriented compositions.^[30]^[31] The album In a Silent Way, recorded in February 1969 and released later that year, stands as Davis's first major foray into electric jazz fusion. Featuring electric piano by Chick Corea and Herbie Hancock, electric guitar by John McLaughlin, and bass by Dave Holland, the recording blended jazz improvisation with rock's textural density under producer Teo Macero's guidance. These collaborations with rock-oriented musicians like McLaughlin, who brought a Mahavishnu-inspired edge, and Holland's versatile bass lines, expanded Davis's ensemble beyond conventional jazz lineups. Macero's innovative post-production editing further shaped the album's ethereal, ambient quality, using tape splicing to craft seamless transitions and hypnotic grooves.^[25]^[32] Following swiftly, Bitches Brew, recorded in August 1969 and released in 1970, amplified these innovations into a landmark double album that defined fusion's commercial and artistic potential. Again produced by Teo Macero, it employed extensive studio editing to layer multiple takes into dense, polyrhythmic soundscapes, with electric instruments dominating—McLaughlin's guitar weaving through percussion-heavy grooves involving drummers Lenny White and Jack DeJohnette. Davis's trumpet often emerged as a sparse, directive voice amid the chaos, emphasizing collective improvisation over solos. The album's fusion of jazz harmony with rock's amplification and funk's bass propulsion created immersive, psychedelic tracks like "Pharaoh's Dance" and "Spanish Key."^[32]^[33] Davis's electric innovations extended to live performance, exemplified by his appearance at the 1970 Isle of Wight Festival, where he performed before a massive rock audience of around 600,000. This set, featuring the Bitches Brew band including Corea, Shorter, McLaughlin, and White, bridged jazz and rock worlds, with extended improvisations on electric setups that captivated the festival crowd and highlighted fusion's crossover appeal. The performance underscored Davis's bold shift, adapting his acoustic-era poise to amplified, high-energy contexts amid his personal evolution toward bolder, more experimental expressions.^[34] The impact of these works was profound: Bitches Brew sold over 500,000 copies in its first year, achieving gold certification and proving fusion's market viability beyond niche jazz audiences. It influenced Davis's sidemen, such as Chick Corea and Wayne Shorter, who drew from its electric aesthetics in their subsequent projects, while establishing Davis as the genre's architect. These recordings not only commercialized fusion but also inspired a wave of genre-blending experimentation in jazz.^[33]^[35]^[36]

Expansion and Peak in the 1970s

The 1970s marked a period of rapid expansion for jazz fusion, as former sidemen from Miles Davis's electric ensembles formed influential supergroups that propelled the genre into mainstream prominence. Weather Report, co-founded in 1971 by keyboardist Joe Zawinul and saxophonist Wayne Shorter—both Davis alumni—debuted with an experimental self-titled album blending atmospheric improvisation and rhythmic complexity.^[37] Similarly, guitarist John McLaughlin, another Davis collaborator, assembled the Mahavishnu Orchestra in 1971, introducing high-energy virtuosity and Eastern influences to fusion's sound palette.^[38] Chick Corea followed suit in 1972 with Return to Forever, initially featuring acoustic elements that evolved into electric fusion, emphasizing intricate compositions and Latin rhythms.^[39] These ensembles exemplified the genre's shift toward collective leadership and genre-blending ambition, drawing on Davis's foundational electric explorations like Bitches Brew (1970) to create accessible yet sophisticated music. Major record labels played a pivotal role in fusion's commercialization during the decade, providing platforms for these supergroups to reach wider audiences. Columbia Records, a powerhouse in jazz releases, signed acts like the Mahavishnu Orchestra, whose debut The Inner Mounting Flame (1971) showcased the label's investment in fusion's rock-infused energy.^[40] ECM, founded in 1969 by Manfred Eicher, emerged as a boutique imprint fostering introspective fusion with crystalline production; it released Chick Corea's Return to Forever (1972), highlighting the label's affinity for European and global textures in jazz.^[41] These imprints not only amplified fusion's visibility but also facilitated crossover appeal, with Columbia's marketing strategies bridging jazz and rock markets. Festivals and cultural trends further accelerated fusion's growth, as the genre absorbed influences from funk and world music while expanding through international tours. The Montreux Jazz Festival, evolving since its 1967 inception, increasingly featured fusion acts in the 1970s, such as Donald Byrd's ensemble in 1973, which integrated soulful grooves with improvisational flair.^[42] Funk pioneer James Brown's syncopated rhythms and emphatic grooves, developed in tracks like "Say It Loud – I'm Black and I'm Proud" (1968), profoundly shaped fusion's rhythmic foundation, evident in bands emphasizing groove over strict swing.^[43] World music elements, including Brazilian percussion and Indian modalities, enriched the style—Mahavishnu Orchestra's tours across Europe and Asia in the mid-1970s exemplified this global outreach, fostering cross-cultural exchanges.^[38] Commercial breakthroughs underscored fusion's peak popularity, with Herbie Hancock's Head Hunters (1973) achieving over one million sales and becoming the first jazz album to reach platinum status, driven by its infectious funk-jazz hybrids like "Chameleon."^[44] This success reflected broader industry trends, as fusion albums dominated jazz charts and attracted rock audiences. However, the genre faced backlash from traditionalists; critic Leonard Feather lambasted jazz-rock fusion in the early 1970s as a dilution of jazz's improvisational essence, arguing it prioritized electric spectacle over acoustic purity.^[45] Davis's sidemen extended their innovations independently, forming groups that diversified fusion's landscape without overshadowing their mentor's legacy—Zawinul and Shorter's Weather Report, McLaughlin's Mahavishnu Orchestra, and Corea's Return to Forever all branched out to explore funk, rock, and global sounds, solidifying the decade's creative proliferation.^[46]

Evolution from the 1980s to the Present

In the 1980s, jazz fusion underwent significant commercialization and stylistic diversification, with the emergence of smooth jazz as a radio-friendly format that broadened the genre's appeal to mainstream audiences.^[47] This shift was exemplified by saxophonist Kenny G's breakthrough album Duotones (1986), which sold over five million copies worldwide and featured melodic, accessible tracks like "Songbird," helping to establish smooth jazz stations such as Chicago's WNUA and Los Angeles' KTWV as dominant formats in the late 1980s and early 1990s.^[48] Concurrently, trumpeter Miles Davis returned to recording after a five-year hiatus with Tutu (1986), a jazz fusion album produced by Marcus Miller that incorporated elements of synth-pop, funk, and R&B, reflecting the era's blend of electric jazz innovations from the 1970s peak with contemporary pop production techniques.^[49] Women artists like pianist and multi-instrumentalist Patrice Rushen played a pivotal role in bridging jazz fusion with soul and funk during this period, releasing influential albums such as Posh (1980) that fused jazz improvisation with R&B grooves and achieving chart success with tracks like "Never Gonna Give You Up," thereby highlighting underrepresented female contributions to the genre's evolution in the 1970s and 1980s.^[50] Internationally, African influences from Fela Kuti's Afrobeat—characterized by its fusion of jazz, funk, and West African rhythms—continued to impact post-1980s scenes, as seen in the work of his sons Femi and Seun Kuti, who in the 1980s and 1990s integrated contemporary jazz elements into Afrobeat, inspiring broader African fusion ensembles that emphasized political and rhythmic complexity.^[51] In Japan, bands like Casiopea sustained the genre's vitality through high-energy instrumental fusion, with their post-1980s output influencing video game soundtracks and subsequent Japanese acts, cementing a legacy of technical virtuosity and melodic funk that extended into global jazz circuits.^[52] The 1990s saw a revival of acid jazz, a substyle drawing from 1970s fusion roots but infused with hip-hop and dance elements, prominently featuring British band Jamiroquai, whose 1993 debut Emergency on Planet Earth blended funk, jazz, and acid house to achieve mainstream success and revitalize the genre's club-oriented appeal.^[53] This period also witnessed the rise of nu jazz, exemplified by French producer St Germain's Tourist (2000), which fused electronica, house, and jazz samples to create a downtempo sound that originated the nu jazz movement and achieved widespread acclaim for its innovative blend of acoustic jazz phrasing with digital production.^[54] In the 2010s and into the 2020s, jazz fusion experienced modern revivals within indie and global scenes, often integrating hip-hop and world music. Saxophonist Kamasi Washington's expansive works, such as The Epic (2015), reimagined fusion through cosmic jazz structures blended with hip-hop rhythms, drawing from a generation of musicians influenced by both traditions and earning critical praise for reinvigorating the genre's improvisational spirit.^[55] Similarly, the American ensemble Snarky Puppy, formed in 2004, gained prominence with Grammy wins for Best Contemporary Instrumental Album in 2017 (for Culcha Vulcha), 2021 (for Live at the Royal Albert Hall), and 2023 (for Empire Central), among others, combining jazz fusion with rock, funk, and international grooves to foster collaborative, genre-blurring performances.^[56] In 2024 and 2025, artists like Hiromi with her Sonicwonder project (Out There, April 2025) and Casiopea (True Blue, August 2025) continued this trend, blending fusion with modern production and global influences.^[57] These developments underscore jazz fusion's ongoing adaptation, maintaining its core emphasis on virtuosity while expanding through diverse cultural dialogues up to 2025.

Subgenres and Styles

Jazz-Rock Fusion

Jazz-rock fusion, a prominent subgenre within jazz fusion, emphasizes the integration of rock's aggressive energy and structural elements with jazz's improvisational depth and harmonic sophistication. Central to its sound are electric guitar riffs that drive the music with intensity, often employing power chords for rhythmic punch, while rock-influenced drumming provides steady, straight-eighth patterns that contrast with jazz's traditional swing.^[58] Extended jazz solos, frequently modal in nature, allow for virtuosic exploration over these foundations, blending the raw power of rock amplification with jazz's complex scales and phrasing.^[11] This hybrid approach creates a dynamic tension, where rock's directness amplifies jazz's intricacy, often featuring electric bass lines that lock into funky grooves alongside synthesizers and effects for a fuller, more electrified texture.^[59] Exemplary works highlight these traits through innovative compositions. The Mahavishnu Orchestra's 1973 album Birds of Fire exemplifies intricate jazz-rock arrangements, with John McLaughlin's blistering guitar work weaving modal themes and rapid-fire solos over Billy Cobham's propulsive drumming, establishing a benchmark for the genre's technical prowess. Similarly, Return to Forever infused Latin-rock elements into their sound, particularly in albums like Hymn of the Seventh Galaxy (1973), where Chick Corea's keyboards and Al Di Meola's guitar fused rhythmic Latin percussion with rock's drive and jazz improvisation, creating vibrant, cross-cultural textures. The subgenre evolved significantly from its 1970s foundations in progressive rock crossovers to more experimental forms. In the 1970s, artists like Frank Zappa bridged prog-rock and jazz-rock through albums such as Waka/Jawaka (1972) and The Grand Wazoo (1972), incorporating big-band arrangements, modal blues, and virtuoso solos from players like George Duke, which expanded fusion's compositional scope.^[60] This progression maintained the genre's core while adapting to evolving rock aesthetics. A distinctive feature of jazz-rock fusion is the "fusion jam" in live performances, where ensembles extend rock song forms by introducing jazz "heads"—thematic motifs—followed by collective and individual solos that build intensity before resolving. These extended improvisations, often lasting 10-20 minutes, showcase interplay among instruments, transforming structured rock anthems into fluid, exploratory dialogues that captivate audiences with their spontaneity and energy.^[58]

Jazz-Funk

Jazz-funk emerged as a subgenre emphasizing the rhythmic drive of funk alongside jazz's harmonic sophistication, featuring prominent slap bass lines that anchor syncopated grooves, energetic horn sections delivering riff-based punctuations over tight funk beats, and complex jazz chord progressions that add improvisational depth. Unlike broader fusion styles, compositions in jazz-funk often prioritize shorter, hook-driven structures designed for accessibility and danceability, blending the improvisatory freedom of jazz solos with funk's repetitive, groove-oriented motifs.^[61]^[62] Pioneering examples from the 1970s highlight this fusion, particularly Herbie Hancock's Head Hunters era (1973–1975), where tracks like "Chameleon" showcased electrified keyboards, slapping bass, and horn accents layered over infectious funk rhythms, marking a commercial breakthrough for the style.^[63] The accompanying band, The Headhunters, further exemplified these elements through their live performances, delivering extended, groove-centric improvisations that emphasized collective rhythmic interplay and bass-driven propulsion.^[64] Similarly, trumpeter Eddie Henderson's 1970s albums, such as Sunburst (1975) and Heritage (1976), integrated jazz-funk's core traits with soulful horn leads and funky bass underpinnings, reflecting the era's expansion during the 1970s.^[65] In the 1980s, jazz-funk evolved through electro-funk extensions, incorporating synthesizers and electronic elements to heighten the genre's dance appeal, as seen in Hancock's Future Shock (1983), which fused analog synth textures with funk-jazz grooves. This development also influenced hip-hop, where jazz-funk tracks from labels like Blue Note provided rich sources for sampling, with bass lines and horn riffs repurposed in beats by artists like A Tribe Called Quest and J Dilla.^[66]^[67] Central to Black American music scenes, jazz-funk bridged jazz traditions with emerging disco sounds, exemplified by The Crusaders' 1970s hits like "Street Life" (1979), which combined funky bass, horn ensembles, and jazz harmonies with disco-inflected rhythms to appeal to broader audiences.^[68]^[69]

Smooth Jazz

Smooth jazz emerged as a subgenre of jazz fusion that prioritizes accessibility and melodic appeal, blending elements of jazz improvisation with R&B grooves, pop structures, and easy-listening sensibilities to create a relaxed, radio-friendly sound.^[70]^[47] Characteristic traits include prominent melodic leads on soprano saxophone, often delivered in a breathy, lyrical style; R&B-influenced ballads with smooth, flowing melodies; the use of programmed or electronic drums for a polished, consistent rhythm section; and simplified harmonies that largely avoid dissonance or complex harmonic progressions in favor of consonant, uplifting progressions.^[48]^[71] This approach softens the experimental edges of earlier fusion, emphasizing groove-based repetition and emotional warmth over technical virtuosity or avant-garde exploration.^[72] Key examples highlight smooth jazz's crossover success and stylistic hallmarks. George Benson's 1976 album Breezin' exemplifies early pop-jazz integration, featuring soulful guitar lines over buoyant rhythms and achieving platinum status as the first jazz album to top the Billboard Pop, Jazz, and R&B charts simultaneously.^[73] Similarly, Kenny G's 1992 release Breathless showcased breathy soprano sax solos in tracks like the title song, selling over 12 million copies in the U.S. and becoming the best-selling instrumental album of all time.^[74] The subgenre's rise in the 1980s was propelled by dedicated radio formats, such as Los Angeles station KTWV "The Wave," which launched in 1987 and popularized smooth jazz through a mix of instrumental tracks and light vocals, influencing national airplay and commercial viability.^[75] Despite its popularity, smooth jazz has faced criticism for diluting jazz's improvisational and harmonic depth, with limited room for spontaneous solos in favor of pre-arranged, production-heavy arrangements. Trumpeter Wynton Marsalis has notably dismissed it as lacking the swing, blues, and structural integrity essential to authentic jazz, arguing it prioritizes commercial polish over artistic substance.^[76] Commercially, however, it achieved dominance, with artists like Kenny G amassing over 75 million album sales worldwide and the format generating substantial radio revenue, though estimates for the genre's total sales reach into the hundreds of millions rather than billions.^[77] This tension underscores smooth jazz's role as a bridge to mainstream audiences while alienating traditionalists. In the 2000s, smooth jazz evolved through pop fusions and supergroup collaborations, incorporating more contemporary production techniques while maintaining its core melodic focus. The quartet Fourplay, formed in 1991 by keyboardist Bob James, guitarist Lee Ritenour, bassist Nathan East, and drummer Harvey Mason, exemplified this shift with albums like Elixir (1995) and later works such as Yes, Please! (2018), blending R&B grooves with subtle electronic elements and achieving gold and platinum certifications across multiple releases.^[78] This period saw the subgenre adapt to digital streaming and fusion with hip-hop influences, sustaining its appeal amid broader jazz evolutions.^[79]

Jazz Metal

Jazz metal represents an intense subgenre within jazz fusion, characterized by the integration of jazz's harmonic complexity, improvisation, and odd time signatures with heavy metal's aggressive distortion, rapid tempos, and technical extremity. This fusion amplifies the electric innovations of 1970s jazz-rock while incorporating metal's double-kick drumming and shredding guitar solos, often drawing from progressive metal's structural ambition to create polyrhythmic grooves and extended improvisations.^[80]^[81] The roots of jazz metal trace back to the 1970s jazz fusion era, where guitarists like Al Di Meola pioneered speed-picking techniques that emphasized rapid alternate picking and intricate scalar runs, influencing later metal-infused styles through their blend of rock energy and jazz precision. By the 1980s and 1990s, the subgenre rose prominently in progressive metal scenes, evolving from fusion bands that incorporated heavier rock elements into more aggressive territories. Notable early examples include Tribal Tech, led by guitarist Scott Henderson, whose 1980s-1990s work fused syncopated jazz rhythms with rock-metal guitar tones and complex compositions.^[82]^[81]^[80] A landmark album in jazz metal is Cynic's Focus (1993), which seamlessly blended death metal's ferocity—featuring growled vocals and blistering riffs—with jazz fusion's melodic fluidity, funk basslines, and odd-meter interludes, creating a philosophical soundscape that incorporated ambient and world music elements. In the modern era, instrumental progressive metal acts like Animals as Leaders, formed in 2007 and debuting with their self-titled album in 2009, exemplify the subgenre's evolution through palette-expanding eight-string guitars that enable extended jazz scales alongside pummeling percussive grooves and fusion-inspired harmonies. A distinctive feature of jazz metal is the adoption of seven- and eight-string guitars, which allow performers to navigate extended jazz scales and lower tunings simultaneously, facilitating the genre's signature blend of harmonic sophistication and metal aggression.^[83]^[84]

Punk Jazz and Acid Jazz

Punk jazz arose in the late 1970s amid New York City's vibrant downtown no wave scene, fusing punk rock's raw aggression and DIY ethos with free jazz's noisy improvisation and surreal intensity.^[85] This abrasive subgenre emphasized frantic, distorted instrumentation, including atonal guitars, chaotic saxophone bursts, and propulsive funky rhythms, often delivered with confrontational stage antics that mirrored punk's anti-establishment attitude.^[86] Performances typically unfolded in gritty underground venues like Max’s Kansas City and the Mudd Club, where the music's high-energy chaos bridged disparate influences from Ornette Coleman's free jazz to the MC5's proto-punk blasts.^[85] Key pioneers included James Chance and the Contortions, whose 1979 debut album Buy showcased Chance's wild, shrieking saxophone over tense, angular grooves, embodying the genre's scorched-earth fusion of noise and rhythm.^[85] Similarly, the Lounge Lizards, formed by John Lurie in 1978, injected ironic "fake jazz" sophistication—drawing on 1920s New Orleans styles—with punk's defiant edge, as heard in their self-titled 1981 release.^[86] Other contributors, such as Defunkt led by Joseph Bowie, amplified the sound with brass-heavy assaults, solidifying punk jazz as a short-lived but influential reaction against both mainstream rock and polished fusion.^[86] Acid jazz, by contrast, emerged in the mid-1980s London club circuit as a groove-driven response to the rare groove movement, which DJs spun obscure 1960s soul, funk, and jazz-funk records to energize dance floors.^[87] Centered in the UK's acid house scene, it integrated jazz fusion's harmonic complexity and improvisation with hip-hop sampling, house rhythms, and electronic beats, often reviving 1970s fusion tracks—like those from Herbie Hancock or the Headhunters—through looped breaks and live instrumentation.^[87] DJs Gilles Peterson and Eddie Piller were instrumental, launching Acid Jazz Records in 1987 to release eclectic singles that blended club-friendly grooves with jazz phrasing, fostering a revival of fusion's danceable side amid the era's rave culture.^[88] The genre peaked in the early 1990s with bands like Incognito, whose 1991 album Tribes, Vibes and Scribes merged acid house pulses with jazz ensemble arrangements and soulful vocals, creating accessible yet sophisticated tracks for global club audiences.^[87] The Brand New Heavies exemplified this fusion on their 1990 debut album, delivering funky basslines, horn sections, and hip-hop-inflected rhymes that sampled fusion-era grooves to propel upbeat anthems like "Dream Come True."^[87] By prioritizing live jamming over rigid programming, acid jazz revitalized jazz's club relevance, attracting younger listeners through its infectious, cross-genre energy.^[88] Into the 2000s, acid jazz transitioned via crossovers with electronica, spawning nu jazz hybrids that incorporated glitchy beats and ambient textures while retaining fusion's improvisational core.^[88] Acts like Jamiroquai and Groove Collective sustained the momentum, blending sampled fusion loops with IDM influences and broken beat rhythms, as seen in Jamiroquai's 2001 album A Funk Odyssey, which echoed 1970s jazz-funk amid electronic production.^[88] This evolution influenced broader scenes in Europe and Japan, where the genre's DJ roots fed into trip-hop and neo-soul, though it declined in mainstream visibility as electronic dance music dominated clubs.^[88] Punk jazz, while fading after the 1980s no wave peak, echoed in sporadic experimental revivals, occasionally intersecting with electronica through downtown-inspired noise acts at venues like the Knitting Factory.^[85]

Other Variants

The M-Base collective emerged in the mid-1980s as an avant-garde jazz fusion movement centered in New York, founded around 1984 by alto saxophonist Steve Coleman along with collaborators like saxophonist Greg Osby, trumpeter Graham Haynes, and vocalist Cassandra Wilson.^[89] This loose alliance of African American musicians emphasized rhythmic complexity drawn from African Diaspora traditions, integrating polyrhythms and cyclical patterns to create a holistic, experiential approach to improvisation that challenged conventional jazz structures.^[90] The name M-Base stands for "Macro-Basic Array of Spontaneous Extemporization," reflecting its focus on spontaneous composition as a macro-level expression of life's interconnected rhythms and cultural roots.^[91] Key figures such as pianist Geri Allen and bassist Reggie Workman contributed to its evolution, producing works that fused avant-garde jazz with global percussive influences, as heard in Coleman's early recordings like Motherland Pulse (1985).^[89] Afro-Cuban jazz fusion represents a hybrid style that merges the polyrhythmic intensity of Cuban folk traditions with electric jazz instrumentation, gaining prominence in the 1970s through conga drummer Mongo Santamaría's innovative sets.^[92] Santamaría's album Sofrito (1976) exemplifies this blend, featuring electric pianos, stabbing horns, and Afro-Cuban percussion in a funky, soul-infused framework that bridged Latin rituals with American jazz standards.^[93] In contemporary contexts, pianist Arturo O'Farrill has advanced the form through his Grammy-winning Afro Latin Jazz Orchestra, which commissions original works integrating big band arrangements with Afro-Cuban rhythms, as showcased on Song for Chico (2008) and The Offense of the Drum (2014).^[94] Other niche variants include Zeuhl, a French progressive jazz fusion subgenre coined by the band Magma in the early 1970s, which fuses symphonic rock structures with jazz improvisation and neoclassical orchestration to evoke cosmic and ritualistic themes.^[95] Magma's seminal album Mekanïk Destruktïẁ Kommandöh (1973) solidified Zeuhl's signature sound through complex, mantra-like compositions featuring brass-heavy ensembles and invented Kobaïan language lyrics.^[96] Similarly, nu jazz arose in the 2000s as an electronic-infused evolution of fusion, led by Norwegian pianist Bugge Wesseltoft's New Conception of Jazz project, which layered acoustic jazz improvisation over trance, breakbeat, and acid house rhythms starting in the late 1990s.^[97] International expressions of fusion extend to Japanese jazz-rock hybrids like T-Square, formed in 1976 in Tokyo by guitarist Masahiro Andoh and bassist Yuhji Nakamura, whose debut T-Square (1978) combined funk grooves, electric guitar solos, and melodic jazz heads.^[98] In Europe, free fusion variants such as the Esbjörn Svensson Trio (E.S.T.), established in 1993 but maturing by 1997, integrated piano trio jazz with rock, pop, and ambient elements in unstructured, energetic explorations, as evident in live performances from that era.^[99]

Key Artists and Ensembles

Pioneering Individuals

Miles Davis (1926–1991) was a transformative trumpeter and bandleader whose electric period in the late 1960s and early 1970s laid the groundwork for jazz fusion by integrating rock, funk, and electric instrumentation into jazz improvisation. His innovative leadership involved assembling elite ensembles, providing skeletal compositions, and fostering spontaneous interplay, which allowed for polyrhythmic complexity and extended improvisations. The 1970 double album Bitches Brew, recorded during three marathon sessions in August 1969 with multiple drummers, bassists, and keyboardists including Herbie Hancock and Wayne Shorter, exemplified this approach and became a commercial breakthrough, selling over a million copies and peaking at No. 35 on the Billboard charts.^[100] Davis's shift to electric piano, bass, and guitar—first evident in Miles in the Sky (1968) and refined in In a Silent Way (1969)—pioneered the genre's sonic expansion, influencing generations of musicians.^[101] John McLaughlin (born 1942), an English guitarist and composer, emerged as a fusion pioneer through his incorporation of Indian classical music into high-energy jazz-rock frameworks. After collaborating with Miles Davis on In a Silent Way (1969) and gaining prominence with Tony Williams' Lifetime, McLaughlin formed the Mahavishnu Orchestra in 1971, blending intricate rhythms, symphonic orchestration, and virtuosic improvisation. Albums like The Inner Mounting Flame (1971) and Birds of Fire (1973) showcased his Indian influences through modal structures and drone-like elements, as heard in tracks such as "Meeting of the Spirits," establishing a template for fusion's global cross-pollination. His acoustic ensemble Shakti further deepened these East-West fusions, solidifying his role in expanding jazz's harmonic and rhythmic boundaries.^[38] Chick Corea (1941–2021), a prolific pianist and keyboardist, advanced jazz fusion through his Return to Forever band, which fused Latin, rock, and classical elements into accessible yet sophisticated jazz-rock. Beginning with an acoustic lineup featuring Stanley Clarke, Joe Farrell, Airto Moreira, and Flora Purim, the group released the self-titled debut (1972) and Light as a Feather (1972), highlighted by the bossa-infused "Spain," which incorporated flamenco guitar and orchestral swells. Evolving to an electric jazz-rock configuration with guitarists Bill Connors and Al Di Meola plus drummer Lenny White, Return to Forever produced landmark albums including Hymn of the Seventh Galaxy (1973), No Mystery (1975, Grammy winner), and the gold-certified Romantic Warrior (1976), where Corea's keyboards bridged classical counterpoint with fusion's drive.^[102] His compositional style emphasized melodic clarity and ensemble precision, influencing fusion's evolution toward progressive complexity.^[103] Herbie Hancock (born 1940), a keyboard virtuoso, propelled jazz fusion forward by pioneering synthesizer integration and funk rhythms, most notably on his 1973 album Head Hunters. Released on Columbia Records, the album featured Hancock on ARP Odyssey, Minimoog, and ARP Soloist, creating pulsating bass lines and textures in tracks like the 15-minute opener "Chameleon" and a reimagined "Watermelon Man," blending jazz improvisation with soul and African pygmy influences. Supported by bassist Paul Jackson, drummer Harvey Mason, woodwind player Bennie Maupin, and percussionist Bill Summers, Head Hunters became the best-selling jazz album of its era, certified platinum and impacting funk, soul, and hip-hop. Hancock's fusion work extended to film, where he won the Academy Award for Best Original Score for 'Round Midnight (1986), incorporating jazz elements into cinematic soundscapes.^[63]^[104] Wayne Shorter (1933–2023), a tenor and soprano saxophonist and composer, brought profound melodic and harmonic depth to jazz fusion as co-founder of Weather Report in 1970. Partnering with Joe Zawinul, Shorter contributed lyrical originals like "Tears" from the debut album (1971) and "Five Short Stories" from Tale Spinnin' (1975), emphasizing narrative sophistication amid the band's improvisational explorations of funk, rock, and world rhythms. His use of the Lyricon electronic wind instrument on Black Market (1976) added textural innovation, while his leadership in ensemble dynamics—evident in the classic lineup with Jaco Pastorius and Peter Erskine—prioritized collective expression over virtuosic display. Shorter's compositional approach, rooted in modal and impressionistic structures, elevated fusion's artistic ambition, as seen in acclaimed works like Heavy Weather (1977).^[105]

Influential Bands and Groups

Weather Report, active from 1970 to 1986, exemplified jazz fusion's emphasis on collaborative innovation through its core founders, Austrian keyboardist Joe Zawinul and saxophonist Wayne Shorter, both alumni of Miles Davis's bands. The ensemble blended jazz improvisation with rock rhythms, electronic elements, and global influences such as Brazilian and African motifs, creating a fluid, atmospheric sound that prioritized group interplay over individual solos. Their landmark album Heavy Weather (1977) captured this ethos with tracks like "Birdland," which became a fusion standard, and the record achieved significant commercial success by selling over 500,000 copies worldwide.^[105] The Mahavishnu Orchestra, formed in 1971 and active until 1976 under the leadership of English guitarist John McLaughlin, pushed jazz fusion toward virtuosic, progressive rock-infused territories through intense ensemble dynamics and complex compositions. Drawing from Indian classical music and Eastern spirituality—reflected in the band's name inspired by Vishnu—the group featured rapid-fire interplay among McLaughlin's electric guitar, violinist Jerry Goodman, and keyboardist Jan Hammer, fostering a collective energy that blurred jazz and rock boundaries. Their debut album, The Inner Mounting Flame (1971), established this high-octane style with extended improvisations and polyrhythmic structures, marking a pivotal recording in fusion's evolution toward technical prowess and spiritual depth.^[106] Return to Forever, operational from 1972 to 1977 and fronted by pianist Chick Corea, highlighted Latin jazz fusion's rhythmic vitality and melodic accessibility through tight-knit band chemistry among Corea, bassist Stanley Clarke, drummer Lenny White, and guitarist Bill Connors or Al Di Meola. The group's sound integrated Afro-Cuban percussion, electric bass grooves, and soaring acoustic-electric guitar lines, emphasizing harmonious group performances that evoked both accessibility and virtuosity. Their album Hymn of the Seventh Galaxy (1973) represented a peak in this approach, with tracks like the title song showcasing intricate Latin-tinged fusion arrangements and collective improvisational flair.^[103] In the 1980s, Steps Ahead emerged as a key ensemble revitalizing jazz fusion with a New York-centric, post-bop edge, founded by vibraphonist Mike Mainieri and featuring rotating members like saxophonist Michael Brecker and drummer Steve Smith to maintain fresh collaborative sparks. The band's recordings, such as Modern Times (1984), incorporated synthesizers and urban grooves while preserving acoustic jazz roots, underscoring group adaptability in fusion's maturing phase. More recently, Snarky Puppy has driven a 2000s revival of instrumental fusion through its large, rotating collective of over 20 musicians, founded in 2004 by bassist Michael League, blending jazz complexity with funk, world music, and hip-hop elements in live, democratic performances. Their Grammy-winning albums, including Culcha Vulcha (2017) for Best Contemporary Instrumental Album, highlight this communal creativity, earning the group five such awards as of 2025.^[107]

Cultural Impact and Legacy

Influence on Other Music Genres

Jazz fusion's integration of complex harmonies, improvisation, and rhythmic innovation profoundly shaped progressive rock during the 1970s, as bands adopted fusion techniques to expand rock's structural boundaries. For instance, groups like King Crimson incorporated jazz-derived polyrhythms and modal improvisation into their compositions, blending them with rock's energy to create intricate soundscapes that challenged conventional song forms. This stylistic crossover, evident in albums like In the Court of the Crimson King (1969), highlighted fusion's role in elevating progressive rock's sophistication while maintaining accessibility.^[108]^[109] In pop music, Steely Dan exemplified jazz fusion's permeation into mainstream sensibilities through their meticulous arrangements and harmonic depth, influencing subsequent pop-rock hybrids. Their work, such as Aja (1977), fused jazz chord progressions and session musicians from the fusion scene with pop melodies, demonstrating how fusion could refine pop's commercial appeal without sacrificing complexity. This approach bridged jazz and pop, inspiring artists to incorporate sophisticated improvisation and tonal colors into radio-friendly tracks.^[110]^[111] Hip-hop in the 1990s drew heavily from jazz fusion through sampling, with artists like A Tribe Called Quest repurposing fusion grooves to underpin their lyrical flows. Notably, Kool G Rap's "Money on My Brain" (1995) sampled the bassline from Herbie Hancock's "Chameleon" from the fusion album Head Hunters (1973), layering the original's funky groove over boom-bap beats to create a seamless jazz-rap hybrid. This practice not only revitalized fusion recordings but also established sampling as a core technique for blending jazz improvisation with hip-hop's rhythmic drive.^[112] Beyond these, jazz fusion influenced progressive metal in the 1990s, as bands like Dream Theater integrated fusion's technical virtuosity and odd-meter rhythms into metal frameworks. Drummer Mike Portnoy and bassist John Myung, drawing from fusion drummers like Dennis Chambers, infused tracks on albums such as Images and Words (1992) with jazz-inflected solos and harmonic tension, expanding metal's expressive palette. In electronic music, fusion's textural experiments echoed in French house, where acts like Daft Punk paid indirect tribute through filtered samples and groove-oriented production reminiscent of 1970s fusion's synth-driven soundscapes.^[113] Fusion's visual and technological dimensions gained prominence in the MTV era, particularly through Herbie Hancock's "Rockit" (1983), a electro-fusion track whose groundbreaking video—featuring robotic dancers and turntablism—won five MTV Video Music Awards in 1984, including Best Concept Video. This exposure helped fusion cross into pop culture, influencing music video aesthetics and hybrid genres like electro. Similarly, in the 1980s, Japanese jazz fusion bands such as T-Square informed video game soundtracks, blending chiptune limitations with fusion's syncopated rhythms and brass sections; composers like Masahiro Andoh adapted these elements for titles like Gran Turismo (1997), rooting chiptune-jazz in fusion's improvisational flair.^[114]^[115]^[116]^[52]

Broader Cultural Significance and Modern Revival

Jazz fusion emerged in the late 1960s and 1970s as a vibrant expression of multiculturalism, incorporating elements from Indian classical music and Latin rhythms into its improvisational core. Pioneers like John McLaughlin, through his work with the Mahavishnu Orchestra, integrated Indian ragas and talas, drawing on collaborations with sitarist Ravi Shankar to create modal structures that blended Eastern scales with Western harmony and electric instrumentation.^[117] Similarly, Latin influences manifested in the fusion of Afro-Cuban percussion and jazz harmony, as seen in Mongo Santamaria's recordings and Eddie Palmieri's explorations of salsa-jazz hybrids during the era.^[118] These integrations not only expanded jazz's sonic palette but also symbolized the countercultural push for global cultural dialogue amid civil rights and anti-colonial movements.^[119] The genre's adoption of electric instruments, such as guitars, basses, and keyboards, played a key role in democratizing jazz by broadening its appeal beyond traditional acoustic ensembles and making it more approachable for diverse audiences. This shift, exemplified by Miles Davis's Bitches Brew (1970), amplified jazz's reach through rock-influenced amplification and production techniques, aligning it with popular music forms and facilitating its entry into mainstream venues.^[101] During the Vietnam War era, fusion's energetic, rebellious sound resonated with youth counterculture, providing anthemic outlets for anti-war sentiment similar to how free jazz artists like John Coltrane channeled political dissent.^[120] Fusion's electric vitality thus mirrored broader democratic ideals of inclusivity and individual expression in American society.^[121] In terms of gender dynamics, the 2000s marked a notable rise for women in jazz fusion, challenging the male-dominated field with innovative contributions. Pianist Hiromi Uehara, emerging in the early 2000s, gained prominence through her virtuosic, genre-blending albums like Another Mind (2003), which fused post-bop, progressive rock, and classical elements, earning her international acclaim and highlighting Asian women's increasing visibility in the scene.^[122] Her success, alongside figures likeEsperanza Spalding, underscored evolving opportunities for female musicians in fusion's improvisational spaces. The 2010s onward witnessed a modern revival of jazz fusion through indie ensembles experimenting with hip-hop and electronic elements, revitalizing the genre for contemporary listeners. Canadian group BADBADNOTGOOD exemplified this trend with their 2016 album IV, which merged fusion's improvisational grooves with hip-hop beats and soul-jazz textures, attracting a new generation via collaborations with artists like Kendrick Lamar.^[123] Streaming platforms have further amplified this resurgence by increasing access to archival fusion recordings; for instance, Resonance Records expanded its historical catalog—including works by Wes Montgomery and Bill Evans—to services like Spotify and Apple Music in 2019, boosting streams of rare electric jazz tracks.^[124] Festivals such as the Montreal International Jazz Festival have sustained this momentum with dedicated stages and lineups featuring fusion acts, like Hiromi's Sonicbloom and Marcus Miller in recent editions, drawing global crowds to outdoor and indoor venues.^[125] Emerging environmental themes in modern fusion include eco-jazz projects like the Tallberg Foundation's Jazz for the Planet (2021), where international musicians compose original works inspired by climate urgency, blending fusion improvisation with sustainable narratives to raise awareness.^[126] Additionally, platforms like YouTube have democratized global fusion education by hosting free tutorials, live performances, and diplomacy initiatives, such as the U.S. State Department's 2024 Global Music Ambassadors program, which promotes jazz access in underserved regions.^[127]

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Pioneering Jazz Funk Musicians & Albums - Jazzfuel
Jun 20, 2024 · Jazz funk take its own cues from the strong back beat and groove with a mixture of improvisation, soul, and R'n'B.
[59]
The Style of Funk: The Infectious and Pungent Cousin of Jazz
May 18, 2018 · The irresistibly frenetic style of music which arose through jazz and rhythm and blues in the late '60s, and grabbed pop culture by the jugular for another 20 ...<|control11|><|separator|>
[60]
Head Hunters - Herbie Hancock
The largest selling jazz album in history, Head Hunters now enjoys platinum status. ... Herbie played this instrument on his album Head Hunters in 1973. Minimoog ...Missing: sales | Show results with:sales
[61]
THE HEADHUNTERS
Formed in 1973, The Headhunters are one of the foundations of jazz and funk music, known for their iconic best-selling recordings released in the mid-1970s.Tour · Press · Music · Contact
[62]
https://jazzpianoschool.com/the-style-of-funk-the-infectious-and-pungent-cousin-of-jazz/
[63]
Electro-Funk Music Guide: 5 Famous Electro-Funk Artists - 2025
Sep 15, 2021 · In the 1980s, DJs with a background in hip-hop, funk, and disco began producing a new kind of dance music based around the Roland TR-808 drum machine.
[64]
Best Blue Note Samples: 20 Tracks That Built Hip-Hop
Given that, in the 70s, Blue Note turned from hard bop to jazz-funk, it's no surprise that the label's 70s discography has been sampled by myriad hip-hop acts.
[65]
'Southern Comfort': The Crusaders' Jazz-Funk Opus - uDiscover Music
Released in October 1974, 'Southern Comfort' topped the Jazz Album charts and is the perfect intro to what makes The Crusaders great.Missing: influence credible sources
[66]
History of Funk - Timeline of African American Music
Funk is an instrumental and vocal genre of dance music popularized in the 1970s that embraces many styles from the jazz, blues, rhythm and blues, soul jazz ...Missing: Crusaders credible sources
[67]
What Is Smooth Jazz? | Jazz Observer
Smooth jazz is a fusion of jazz and easy-listening music, causing it to embrace jazz instruments and musicality while also being widely accessible.Missing: soprano ballads
[68]
Smooth Jazz vs. Other Genres - Serenade Magazine
Sep 28, 2024 · Smooth jazz is a genre that combines elements of jazz, R&B, and pop music, creating a melodic and relaxing sound.Missing: soprano ballads
[69]
R.I.P. Smooth Jazz, 1985-2008? - PopMatters
Apr 16, 2008 · Smooth Jazz is probably best understood as a kind of easy-listening contemporary R&B without vocals. Technically, you can say this: it rarely ...
[70]
Breezin' - George Benson | Album - AllMusic
Rating 8.4/10 (335) Release Date 1976 Duration 38:54 Genre Jazz Styles Contemporary Jazz, Crossover Jazz, Jazz-Pop, Smooth Jazz, Guitar Jazz, Jazz Instrument
[71]
KENNY G album sales - BestSellingAlbums.org
KENNY G albums ranked by sales ; 1. BREATHLESS (1992) · Sales: 13,204,140 ; 2. MIRACLES: THE HOLIDAY ALBUM (1994) · Sales: 8,467,240 ; 3. DUOTONES (1986) · Sales: ...
[72]
SMOOTH JAZZ RADIO - #HotJazzMagazine
Jun 12, 2020 · It was a popular radio format that included songs by artists such as George Benson, Pat Metheny, Kenny G, Luther Vandross, Sade, Robin Thicke, ...
[73]
Why is Wynton Marsalis disliked by some jazz musicians? - Quora
Dec 29, 2020 · Wynton has outspoken/negative views about fusion, free jazz, and other music (including rap), which rub some people, including jazz musicians, ...Why are Wynton and Branford Marsalis controversial figures ... - QuoraWho is the better jazz trumpeter, Wynton Marsalis or Miles Davis?More results from www.quora.com
[74]
Best Selling Kenny G Album: Breathless with Record Sales - Accio
Aug 17, 2025 · Kenny G's Breathless (1992) is the best-selling instrumental album of all time, with 12 million copies sold in the U.S. and over 15 million ...
[75]
Fourplay Musician - All About Jazz
For over 25 years the legend of Fourplay has grown. Exploring the limitless possibilities of jazz has allowed the quartet to evolve musically.
[76]
After more than a decade as the reigning smooth jazz supergroup ...
Aug 22, 2002 · With Larry Carlton taking over the guitar chair in 1998, Fourplay''s sound gained an appealing edge, but hasn''t strayed far from the tried-and- ...
[77]
Night and Day: Jazz Meets Heavy Metal - JazzTimes
Jul 18, 2011 · But the metal underground thrived artistically, as it always has, producing more worthwhile jazz-metal: Fusion heads especially should check out ...
[78]
Black Magic: Jazz and Metal's Unholy Union
May 1, 2013 · But the two genres share a rich overlapping history. In the ensuing decades, the jazz/metal crossover branched off in countless surprising ...
[79]
Al Di Meola in His Own Words | Berklee
During the 1970s and 1980s he consistently topped music magazine polls and was chief among the guitar titans who rode the wave in the heyday of jazz fusion.
[80]
The Genius Of… Focus by Cynic - Guitar.com
Jun 7, 2023 · It's a genre-straddling masterpiece that considers everything from ambient music to jazz and Buddhism. Even thirty years after its release, it's ...
[81]
ABOUT - Animals as Leaders
Armed with palette-expanding eight-string guitars, rich synths, and pummeling percussive grooves, the trio is beloved by metalheads, aspiring virtuosos, jazz ...
[82]
Frantic, Distorted, Defiant: When Punk Jazz Upended ... - JazzTimes
May 22, 2019 · In the 1970s, New York gave birth to a strange musical hybrid: punk jazz. Forty years later, Jim Farber gives it another listen.Missing: key | Show results with:key
[83]
The Connections Of 'Punk-Jazz' - The New York Times
Jan 20, 1980 · This movement represents a coming together of several disparate kinds of musicians: punk rockers, such as James Chance and the Contortions or ...Missing: key downtown scene
[84]
DJs and musicians of the '80s and '90s mixed it up with acid jazz
Apr 26, 2022 · Acid jazz, originated in clubs in London during the 1980s with the rare groove movement that drew on rare albums featuring Black American soul ...Missing: sampling | Show results with:sampling
[85]
The Progressive Underground's Primer to Acid Jazz - WDET 101.9 FM
Aug 28, 2020 · With the rise of electronic club music in the mid-1990s to early 2000s, the acid jazz genre experienced a decline, but it did inspire and ...<|control11|><|separator|>
[86]
The M-Base Collective - Steve Coleman
The M-Base Collective began around 1984. Here is a list of people who have been involved in this movement by participating in the music and or influenced the ...Missing: 1985 jazz
[87]
Steve Coleman: Stories along the Path - Point of Departure
As the principle founder of the M-Base movement, Coleman's aesthetic purview encapsulates a multitude of traditions with deep roots in the African Diaspora. His ...
[88]
Steve Coleman - Blue Note Records
The band came up with the M-Base concept in 1985 (“macro-basic array of spontaneous extemporization”) and signed with the European JMT label. Others in the M- ...Missing: collective | Show results with:collective
[89]
Mongo Santamaria Musician - All About Jazz
### Summary of Mongo Santamaria's 1970s Electric Sets and Afro-Cuban Jazz Fusion
[90]
Mongo Santamaria Sofrito - DownBeat Reviews
It's a swimmingly fusion mix of electric pianos and stabbing horns, simultaneously busy and shimmering. And it fittingly takes us out with a long congo solo ...
[91]
Artist Profile: Afro Latin Jazz Orchestra
The GRAMMY-award winning Afro Latin Jazz Orchestra (ALJO), led by pianist, composer, and director Arturo O'Farrill, brings together the drama of big band jazz.
[92]
The Wonders of Zeuhl, France's Progressive Rock Subgenre
Nov 11, 2023 · Zeuhl is a subgenre of progressive rock that emerged in the late 1960s to early 1970s in France. Coined by the French band Magma in 1969.
[93]
MAGMA discography and reviews - Prog Archives
The third studio-album of MAGMA, M.D.K., is often seen as the genre defining Zeuhl album, whereas the first two MAGMA albums have stronger jazzrock/fusion ...
[94]
Bugge Wesseltoft & Prins Thomas Concoct Norwegian Alchemy - NPR
Jul 12, 2018 · Wesseltoft and Thomas bring their extensive backgrounds in jazz and electronic music together to build a bridge between two adjacent ...
[95]
T-SQUARE Discography - Download Albums in Hi-Res - Qobuz
Originally known as The Square, this jazz fusion group was formed in Tokyo, Japan in 1976. T-Square is best-known for the song "Truth" (1987).<|separator|>
[96]
ESBJÖRN SVENSSON TRIO (E.S.T.) discography (top albums) and ...
EST (the Esbjörn Svensson Trio) has often been thought of as the European Bad Plus, although its sound is actually different and their approach is subtler.
[97]
Miles Davis and the Invention of Fusion - InSync - Sweetwater
Feb 7, 2020 · In 1970, jazz trumpet legend Miles Davis rocked the music world with Bitches Brew. The double-album concept had become common in rock music, but Miles made it ...Missing: AllMusic | Show results with:AllMusic
[98]
Return to Forever: 1972-78 | Chick Corea
Chick formed his first edition of Return to Forever with Stanley Clarke on acoustic bass, Joe Farrell on soprano sax and flute, Airto Moreira on drums and ...
[99]
The 59th Academy Awards | 1987 - Oscars.org
Mar 30, 1987 · Rob Bottin, Peter Robb-King. Music (Original Score). Winner. 'Round Midnight. Herbie Hancock. Nominees. Aliens. James Horner. Nominees. Hoosiers.
[100]
Weather Report Band - Essential Jazz Fusion Listening! - Jazzfuel
Mar 13, 2023 · Co-founded by keyboardist Joe Zawinul and saxophonist player Wayne Shorter, the Weather Report band was pioneering in its scintillating fusion ...
[101]
Weather Report: the life and times of the group on record | Jazzwise
Oct 14, 2021 · Managed by Robert Devere, the superband Weather Report was introduced at a debut party on May 26, 1971 at the CBS Studios in the heart of ...
[102]
Weather Report - The Jazz Shelf
Weather Report lasted the longest, from 1971 through the mid-80s. Founders Joe Zawinul (keyboards), Wayne Shorter (saxophones), and Miroslav Vitous (bass)
[103]
MAHAVISHNU ORCHESTRA discography and reviews
After collaborating with Miles Davis, and having already released three albums, in 1971 McLaughlin formed the Mahavishnu Orchestra, an electric fusion group.
[104]
Jazz at 100 Hour 84: John McLaughlin & The Mahavishnu Orchestra ...
The first Mahavishnu album [Inner Mounting Flame] was one of the essential fusion records. It's more varied than one remembers, with the soft lyricism of 'A ...
[105]
John Mclaughlin: 10 Essential Albums From A Jazz Fusion Icon
Mar 11, 2023 · Birds of Fire is one of just two albums released by the original band. McLaughlin brought the Mahavishnu Orchestra back in 1984 with a new ...
[106]
RETURN TO FOREVER discography and reviews - Prog Archives
Free delivery over $125RETURN TO FOREVER was jazz keyboard player Chick COREA's jazz-rock fusion band of the 1970s. Like WEATHER REPORT and the MAHAVISHNU ORCHESTRA, it was a group ...Biography · Buy music · Videos (Youtube)Missing: infusions | Show results with:infusions
[107]
Hymn of the Seventh Galaxy - Chick Corea
Return to Forever. The second incarnation of Chick Corea's influential fusion group released only a single record, the magnificent Hymn of the Seventh Galaxy.
[108]
Steps Ahead - Steve Smith
Steps Ahead (originally known as Steps) is a jazz fusion group and the brainchild of vibraphonist Mike Mainieri. According to the liner notes of the group's ...
[109]
Steps Ahead Musician - All About Jazz
Steps Ahead is an American jazz fusion group. The group arose out of spontaneous sessions at Seventh Avenue South, a jazz club in New York City.
[110]
Snarky Puppy | Artists - GroundUP Music
The band now holds five GRAMMY Awards: Best Contemporary Instrumental Album for Sylva (2016), Culcha Vulcha (2017), Live at the Royal Albert Hall (2021), and ...
[111]
Snarky Puppy | Artist - GRAMMY.com
All GRAMMY Awards and Nominations for Snarky Puppy. 65th Annual GRAMMY Awards. Wins. Best Contemporary Instrumental Album. Empire Central. More from the 65th ...
[112]
The Progressive Rock Style The Music - Oxford Academic
Indian music ended up having relatively little impact on the mature progressive rock style, while jazz made a greater impact on the various fusion styles of the ...Instrumentation and Tone Color · Classical Forms · Virtuosity
[113]
[PDF] Williams, J. (2020). Polystylism and Stylistic Adaptation in 1970s
The threat of destabilisation in the established genre system may be one reason as to why critics, and later academics, were so vocally against jazz fusion. The ...<|separator|>
[114]
Steely Dan: A Bridge to Jazz - ABC News
Sep 3, 2017 · With the passing of Steely Dan's co-founder Walter Becker, we reflect on how the iconic duo stole the hearts of rock and jazz fans both.
[115]
A Jazz Appreciation of Steely Dan
Sep 20, 2017 · Steely Dan proved that pop music could be harmonically complex through their incorporation of the jazz aesthetic in every aspect of their ...
[116]
Herbie Hancock - Samples, Covers and Remixes - WhoSampled
was sampled in. How's It Goin' Down by DMX feat. Faith Evans (1998); Maria Maria by Santana feat. The Product G&B (1999); Hip Hop Is Dead by Nas feat.Songs that Sampled Herbie... · Watermelon Man · Chameleon · J Dilla's 'Zen Guitar'
[117]
Dream Theater Family Tree - The Metal
Nov 18, 2021 · Petrucci name them and guitarist Steve Howe as an influence. He learned how you can use orchestration differently than the standard rock band.
[118]
Feature: The Making of 'Rockit' - Herbie Hancock
Apr 20, 2015 · In addition to the Grammy, the song's cutting-edge video also copped five Spacemen at the very first MTV Awards in 1984, topping Michael Jackson ...Missing: impact | Show results with:impact
[119]
Herbie Hancock, 'Rockit' - Rolling Stone Australia
Aug 14, 2023 · Hancock's handful of MTV Video Music Awards (five in total) the following year scored an uncontested win for hip-hop. —M.M.L.. View Complete ...
[120]
[PDF] A Rationale for the Inclusion of Video Game Music in Collegiate ...
Since the mid- 1980s, jazz has significantly influenced both the compositional and performance aspects of this new music genre.
[121]
East Meets West: Indian Classical Music and Jazz
Oct 1, 2015 · As with most cross-cultural mingling, the intersection of Western and Eastern music has freed artists inspired by the wealth of global ...Missing: multiculturalism | Show results with:multiculturalism
[122]
Jazz and Latin Music - New York Jazz Workshop
In the 1960s and 1970s, the relationship between jazz and Latin music continued to evolve, with musicians like Mongo Santa Maria, Cachao, and Eddie Palmieri ...Missing: multiculturalism Indian<|separator|>
[123]
Full article: Introduction: western popular music and Indian modernity
Oct 14, 2024 · The essays in this special issue seek to flesh out the intricate connections between music and stages of Indian modernity.
[124]
Jazz and the anti-war movement | Counterfire
Aug 4, 2020 · Jazz, especially Coltrane's, became a political anti-war force, with other artists like Roach and Lincoln also linking music to political ...
[125]
Jazz as a Metaphor for Democracy
May 24, 2025 · Jazz and democracy share a deep, philosophical connection—a belief in freedom, individuality, and the power of collaboration.<|separator|>
[126]
The Education of Hiromi - JazzTimes
May 5, 2024 · There are two Hiromis. The one who sits down to talk to JazzTimes is soft-spoken and reserved, self-deprecatingly describing herself as “the little Japanese ...
[127]
BadBadNotGood: making jazz hip (hop) again | Music - The Guardian
Jul 5, 2016 · BadBadNotGood aren't your typical jazz dudes. ... In 2016, though, their weirdness is winning. BBNG are the jazz group the rap world runs with.
[128]
Resonance Records to Stream Its Trove of Historical Jazz Albums
May 30, 2019 · Now in its 10th year, a label that has relied on CD and vinyl sales is putting its catalog on Apple Music, Spotify and other services.<|separator|>
[129]
Festival international de Jazz de Montréal | June 25 to July 4, 2026
Eighteen new performances join the lineup, featuring Melody Gardot, Pink Martini, Marcus Miller, Flore Laurentienne, Dominique Fils-Aimé, and many more.
[130]
Jazz for the planet - watch now - The Tällberg Foundation |
Extraordinary musicians come together to create new music and inspire positive climate action.
[131]
YouTube and U.S. State Department Launch Global Music ...
Jun 27, 2024 · This Monday, YouTube and the US State Department announced a collaboration called the Global Music Diplomacy initiative at a livestreamed ceremony.