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    Progarchives, the progressive rock ultimate discography

    JAZZ ROCK/FUSION

    A Progressive Rock Sub-genre


    From Progarchives.com, the ultimate progressive rock music website

    Jazz Rock/Fusion definition


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

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

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

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

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

    Current Team Members as at 19/4/2020
    George (historian9)
    Scot (Evolver)
    Phil (Man With Hat)
    Mike (siLLy puPPy)
    Maciej (HarryAngel746)

    Jazz Rock/Fusion Top Albums


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

    4.35 | 1064 ratings
    KIND OF BLUE
    Davis, Miles
    4.33 | 1301 ratings
    BIRDS OF FIRE
    Mahavishnu Orchestra
    4.28 | 738 ratings
    IN A SILENT WAY
    Davis, Miles
    4.27 | 981 ratings
    THE INNER MOUNTING FLAME
    Mahavishnu Orchestra
    4.28 | 701 ratings
    ROMANTIC WARRIOR
    Return To Forever
    4.30 | 291 ratings
    WE'LL TALK ABOUT IT LATER
    Nucleus
    4.27 | 596 ratings
    SPECTRUM
    Cobham, Billy
    4.28 | 310 ratings
    CROSSINGS
    Hancock, Herbie
    4.25 | 732 ratings
    BITCHES BREW
    Davis, Miles
    4.29 | 218 ratings
    TILT - IMMAGINI PER UN ORECCHIO
    Arti E Mestieri
    4.27 | 292 ratings
    HIROMI'S SONICBLOOM: TIME CONTROL
    Uehara, Hiromi
    4.24 | 714 ratings
    CARAVANSERAI
    Santana
    4.24 | 803 ratings
    ELEGANT GYPSY
    DiMeola, Al
    4.32 | 136 ratings
    SVěT HLEDAčů
    Blue Effect (Modr?Efekt)
    4.26 | 259 ratings
    LES PORCHES
    Maneige
    4.23 | 602 ratings
    ABRAXAS
    Santana
    4.63 | 32 ratings
    REALIZATION
    Henderson, Eddie
    4.29 | 149 ratings
    SVITANIE
    Blue Effect (Modr?Efekt)
    4.24 | 346 ratings
    ENIGMATIC OCEAN
    Ponty, Jean-Luc
    4.28 | 161 ratings
    A BENEFIT OF RADIM HLAD蚄 [AKA: MODR?EFEKT & RADIM HLAD蚄]
    Blue Effect (Modr?Efekt)

    Jazz Rock/Fusion overlooked and obscure gems albums new


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

    A STORY OF MYSTERIOUS FOREST
    Ain Soph
    SUDDEN DUSK
    However
    ETNA
    Etna
    DEATH WISH (OST)
    Hancock, Herbie

    Latest Jazz Rock/Fusion Music Reviews


     Disco Dooro by FEAT. ESSEREL?album cover Studio Album, 2019
    4.04 | 7 ratings

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    Disco Dooro
    Feat. Esserel?/a> Jazz Rock/Fusion

    Review by andrea
    Prog Reviewer

    4 stars "Disco Dooro" is the second album by Bolognese band Feat. Esserel? It was released in 2019 on the independent label Joe Frassino Records and distributed in collaboration with Lizard Records. The line up is the same of the debut album and features Francesco Ciampolini (keyboards, fretless bass), Renato Minguzzi (guitars) and Lorenzo Muggia (drums) but during the recording sessions this time they were helped by some guests such as Lorenzo Musca (sax), Dario Nipoti (trumpet) and Michele Tamburini (sax) who contributed to enrich the sound. The final result is a fresh mix of vintage sounds, progressive rock, jazz, fusion, funk and classical music confirming all the good qualities of their previous work. According to the liner notes, on this album you can find sources of inspiration ranging from Koji Kondo (a Japanese music composer, pianist, and sound director who works for the video game company Nintendo, best known for his involvement in numerous contributions in the Mario and The Legend of Zelda series of video games) to a Bulgarian anonymous, from Dizzy Gillespie and Frank Zappa to Gioacchino Rossini but there's many more and all the musician involved showcase great musicianship. As for the cover and booklet, the band asked the visual artist Vanni Venturini to draw some pictures of bizarre, colourful and extravagant characters to represent their music and he did a really beautiful job...

    The short opener 'Lauto grill' is just a funny intro a cappella in the vein of the hidden track that ends "Tuorl", the band's debut album, a kind of subliminal and reassuring message of continuity. The first real piece, 'Kajitemeco', starts by frenzied keyboard rustic(an) rides and rhythm pyrotechnics but at some point it veers into another musical direction taking synthetic, hallucinated paths and a slower pace. The following track, 'Servi della klepa', is an excellent mix of classical influences and jazz rock with a perfect interaction between piano and guitar. Then it's the turn of 'Sahara...' and '...svegliati ' primavehera' that are linked together: the titles seem to hint that here we are in front of the parody of a famous song by Italian cantautore Antonello Venditti ("Sara") but luckily it's just a false clue and the music flows away like an apple riding a leaf, sailing toward the waters of the Black Sea for the pleasure of Area's fans.

    To describe 'La nascita di Lodovico Svarchi' (a very short track that sounds like the fragment of a cartoon score) and 'Lodovico Svarchi' I think that there is no better way than to look at the central picture in the booklet that portrays a strange zombie in a surreal world. The music starts softly with a dreamy atmosphere and a soaring sax solo, then the rhythm rises while raw electric guitar riffs sweep the dreams away. Who's Lodovico Svarchi? Maybe he's just a commuter crushed down by the daily grind, slowly waking up and going to work leaving his dreams behind...

    Next comes 'Popoloto', an interesting blend of jazz rock and Mediterranean influences, while the following 'La fine di Lodovico Svarchi...' is just a kind of conceptual joke: the shortest song (1,17 seconds) with longest title (888 characters) in the world! Then the nervous virtuosic rides of '(') aio' and the joyful 'Intro (by Intronyo)' end an album that it's really worth listening to.

     Splendido Hotel by DIMEOLA, AL album cover Studio Album, 1980
    2.99 | 94 ratings

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    Splendido Hotel
    Al DiMeola Jazz Rock/Fusion

    Review by Mark-P

    3 stars Back to 90's, this album was for me an introduction to the music of Al di Meola. After hearing more of his albums, I know this one is not his masterpiece, but still it is very memorable to me. Al uses a lot of acoustics guitar in this album, and most of the songs have a good theme. Those are among best parts of this album.

    At least there are two tracks that in my opinion should be listed among Al di Meola's best songs. The first is 'Alien Chase on Arabian Desert'. This nearly 9-minute composition with Latin rock flavor, some progressive elements and mood changes. Al uses both acoustics and electric guitars.

    The second is Al duet with Chick Corea in 'Two for Tango'. I really love the chemistry between them. This song has a nice theme, which is played in several different keys and paces. Al uses a lot of fast-picked muted notes and overdubbed counterpoint with lovely piano arrangement by Chick Corea.

    There are other memorable tracks like 'Silent Story in Her Eyes', 'Isfahan', 'Splendido Sundace' and lovely 'Bianca's Midnight Lullaby'.

    Good album with at least two brilliant songs (.. and three stars).

     The Man Who Changed Guitar Forever! by HOLDSWORTH, ALLAN album cover Boxset/Compilation, 2017
    5.00 | 1 ratings

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    The Man Who Changed Guitar Forever!
    Allan Holdsworth Jazz Rock/Fusion

    Review by Zoltanxvamos

    — First review of this album —
    5 stars For everything Allan Holdsworth did for prog, jazz fusion, and guitar in general, this collection of beautiful remasters is an essential piece in anyone's Holdsworth collection. All the remasters of all the albums in this boxset are amazing, nice and clean sounding, not muddy, and very well restored to fit today's standard. Unfortunately, I cannot review the albums in the boxset here, I will be reviewing each and every album here on ProgArchives. For what this was meant to be (a boxset full of remasters of studio and live cds), this is amazing. This is just as good as the Genesis 2007 remaster boxsets. Except that this boxset has all of Holdsworth's glory, exceptional guitar playing, unbelievable emotion, and a hard hitting listen from each piece found in here. Allan was an inspiration to guitar and prog, and this is the best gift we got from him. Thanks Allan, you inspired me to make beautiful music like you did.
     Lambertland by TASAVALLAN PRESIDENTTI album cover Studio Album, 1972
    4.25 | 99 ratings

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    Lambertland
    Tasavallan Presidentti Jazz Rock/Fusion

    Review by friso
    Prog Reviewer

    5 stars Tasavallan Presidentti from Finland impressed me with their charming prog-infused song-based bluesrock second record (1971). A year later the band would release 'Lambertland' with a different singer and quite frankly; a totally different type of band. This is pure eclectic prog. Take some early Zappa ('King Kong' was mentioned earlier), add some Soft Machine, Fairport Convention, some Jan Akkerman style guitar (of Focus) and most importantly some Sammy Davis Junior (yes that jazz singer who sang 'Mr. Bojangles'). The combination of folk & jazz-rock with the beautiful artwork and title 'Lamberland' creates a unique journey through the imagination. Light-hearted, charming and full of positive creative energy. The quirkiness of the melodies and the way the rhythms are gently pumping are quite unique. The band uses interesting harmonies and finds original folky melodies. Pekka P鰕ry plays both saxes and flutes and is great in always finding a suitable place in the music. Jukka Tolonen, a guitarist of some fame in Finland, mostly excels at finding nice quirky jazz riffs. The vocals of Eero Raittinen have fueled some debate and on the opining song he does in fact sings way out of tune. Since I do like the tone of his voice and his different way of singing (more like vocal jazz) I can actually appreciate his performances quite a lot. The album has a few very strong moments and no weak spots and I really like the totality of it. The Svart label has released a stunning vinyl reprint. 'Lambertland' may have its shortcomings, but it does deliver that truly original one-of-a-kind early seventies progressive rock experience like all too few album do. It's the kind of album you'd like to see in the PA top 100.
     European Impressions by CORYELL, LARRY album cover Studio Album, 1978
    3.63 | 5 ratings

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    European Impressions
    Larry Coryell Jazz Rock/Fusion

    Review by Mark-P

    4 stars Larry Coryell is one of my guitar heroes, and I like him best on steel string acoustic guitar. The European Impression album is to me one of his best acoustic works.

    This album consists of 7 tracks. The first three tracks were recorded from 1978 Montreux Jazz Festival, and the rest were recorded on studio. The Montreux Jazz Festival tracks are all fantastic.

    First track 'Toronto Under the Sign of Capricorn' is my favourite track. This composition shows Coryell's inspiring guitar techniques: the fast picking, beautiful use of harmonics, and fierce blues strumming. The mood changes several times, make this nearly-9-minute composition enjoyable from the beginning to end. The sound is very natural, when listen carefully, we can capture the sound of plectrum stroking the steel string ' and it sound great for me.

    'For Philip and Django' is another great track, with chords composition that reminds me to Villa-Lobos works (e.g. Choro No.1), but in jazzy way.

    'Rodrigo Reflections' is kind of Coryell's homage to Joaquin Rodrigo, and yes ' there are few bits of Concierto de Aranjuez, a mix of jazz and flamenco flavor and hilariously take a part of traditional song Yankee Doodle. The version is different (or maybe expanded) from its release on 1976 'The Eleventh House: Aspects'. I like this version better, a lot of fun and passions.

    The rest of tracks were recorded at NYC later in the same year. All are as well great tracks. 'April Seventh' is a nice (mainly in major scale) slower composition. 'The Silver Medley: Song for My Father / Sister Sadie' is a bluesy tune, with some rock'n'roll progression and licks. 'Copenhagen Impressions' has a lot of arpeggios, harmonic notes and unique bending. 'Variations On A Theme' is a short last piece, it's unique feature is the use of palm-muted notes.

    Wonderful record! One of reference in steel-string acoustics fusion performance. It is kind of pure Coryell at his peak, summarising many of his great guitar playing technique.

     Waves by RYPDAL, TERJE album cover Studio Album, 1978
    3.73 | 33 ratings

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    Waves
    Terje Rypdal Jazz Rock/Fusion

    Review by friso
    Prog Reviewer

    4 stars Terje Rypdal from Norway grew out of the sixties pop movement and became an established name in jazz / fusion at the turn of the decade. Eventually Rypdal would become a frontman of the ECM style jazz during the seventies, of which this record 'Waves' is a good example. With his ARP synth Rypdal lays down carpets of dark spacey chord progressions whilst letting the bass and drum creating most of rhythms. His lead guitar tone reminds me a bit of the electric guitar of Steve Hackett, but of course his choice of notes is more dissonant and experimental. His playing is expressive with heavy vibrato's on important notes. He never shreds like most of the fusion guitarist do. A good display of willful and thoughtful musicianship. The leads by Palle Mikkelborg on trumpet and flugelhorn are equally important and add to the spacey dark atmosphere. The overall impact of the record is between that of a great soundtrack (think of 'Bladerunner') and an exciting prog-fusion record (perhaps a bit like Brand X). I like it much better than his 1971 'Terje Rypdal' soundscape drenched album, which I though was rather uneventful. The recording quality of 'Waves' is simply outstanding. To the point where it is almost impossible to believe it was recorded in 1978. A broad high-fi recording sound would be an important feature of the jazz records released on the ECM Records label. I really like this record and I hope some other vinyl reprints of his early career will appear soon.
     Dewa Budjana & Tohpati: Janapati by TOHPATI ETHNOMISSION album cover Studio Album, 2019
    5.00 | 1 ratings

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    Dewa Budjana & Tohpati: Janapati
    Tohpati Ethnomission Jazz Rock/Fusion

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    — First review of this album —
    5 stars I have been reviewing albums from Leonardo Pavkovic's wonderful Moonjune label for well over twenty years now, and it never ceases to amaze me just how he manages to keep surprising me after all this time. Here we have two of Indonesia's most well-known guitarists, Dewa Budjana and Tohpati Ario Hutomo (simakDIALOG, Tohpati Ethnomission), coming together in a new group (BudJANA and TohPATI), along with drummer Demas Narawangsa (Tohpati Ethnomission) and bassist Adhitya Pratama (simakDIALOG), Okay, so far so good you might say, four musicians who have all worked together in the past in the jazz fusion progressive rock Indonesian style. The twist this time is not in these four musicians, but the other two elements of the group, who are also namechecked on the front of the album, namely the Czech Symphony Orchestra and the Budapest Scoring Orchestra! They are not here just to provide support either, here we have a blending of styles as different cultures and musical styles combine so that it is impossible to see where one ends and the other begins.

    Over the years there have been many attempts to combine rock bands with orchestras with varying degrees of success, while jazz is of course renowned for the big band sound (which rarely includes strings, and of course some styles of progressive rock lend themselves to the sound as they have often been attempting to sound like orchestras so it is an easy step. This time we have something which is an unmitigated success, but still does not come across as I expected given the names of those involved. Both musicians have made their names expanding traditional musical styles from their home country into Western music and creating something very different indeed. Here that style has been mostly been allowed to go dormant and instead they are creating music which is more correctly classified as modern classical music as opposed to anything else. The two guitarists bounce ideas off each other, often on classical acoustic guitars as opposed to electric, but developing ideas with the orchestra so in many ways it is more structured and restrained than what I expect from the two of them. However, there is real beauty here throughout, with the delicate duo 'Samudera Pasai' being simply delightful as the two just sit quietly and bounce ideas between themselves.

    Others, such as 'D Romance' uses a bombastic orchestra to its full, still playing on acoustic guitars, but then they smile and bounce along with 'Duology' which sees the quartet in full rock mode. It is fun, rock fusion with plenty of bounce. The song is also repeated at the end, but this time it is just back to the acoustic guitars and nothing else, and it is hard to pick between the two for a favourite. Budjana and Tohpati have long been two of my favourite Indonesian musicians, and between them they have released something like fifty albums so there is no excuse for not discovering them. However, if you want something more Western to the ear, instantly accessible yet still intriguing and exciting, then look no further.

     Chronosthesia by TIME SHIFT ACCIDENT album cover Studio Album, 2019
    3.91 | 4 ratings

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    Chronosthesia
    Time Shift Accident Jazz Rock/Fusion

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    4 stars This 2019 album is the debut release from German outfit Time Shift Accident, comprising David Mola (guitars), G黱ter W. Schmuck (keyboards), Michael Schetter (bass) and Paul Ettl (drums). I was somewhat surprised to discover it is the rhythm section with Mola only joining in 2017 and Schmuck at the beginning of 2019, whereas the others have been there since 2014. What is interesting is this band are a true fusion outfit, in that while three of them are from a jazz background, Mola is much more of a rocker and can also be found in the prog metal act Effloresce. Consequently, his approach is quite different to the others, but instead of clashing, here the two musical cultures work well together.

    A Hammond organ, jazz drums and bass, with a rock guitar over the top, what isn't there to love? But Schmuck has also brought in other elements as he also works in Latin styles, and song such as "Boonar Eclipse" are all over the place with Cuban, metal, progressive and jazz elements somehow all coming together and creating a fine mix. Some of Mola's rock sensibilities have rubbed off on Schmuck, who does provide rock keyboard lead lines at times, while Mola also closely follows jazz and Latin on songs such as "Ignalia Forest". There are times when it sounds almost like Vai, others Holdsworth, others Metheny, but not really. This is a fascinating mix and blend which is enjoyable throughout, and any fan of JRF or crossover styles should check this out.

     Uni Sono by UNI SONO album cover Studio Album, 1975
    3.88 | 5 ratings

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    Uni Sono
    Uni Sono Jazz Rock/Fusion

    Review by Matti
    Prog Reviewer

    4 stars As I'm afraid this will most likely remain being the only review, I'll do my best to expand the band information as well. Finnish jazz/fusion group UNISONO was founded in 1973, and this is their sole album. The album's line-up is different from the original sextet that made a tour in Poland in '73. The tour was so succesful that it lasted longer than the planned two weeks. At this point guitarist Hasse Walli and trumpetist Mike Koskinen returned to Finland and Unisono continued the tour as a quartet. Sometime later the original bassist Make Lievonen left the group because of his civil service time; Heikki Virtanen (from Tasavallan Presidentti) joined Unisono for their Jazz Jamboree gig in Prague.

    The album was recorded in Stockholm's Marcus Music studio in May 1975. Founding members Seppo "Paroni" Paakkunainen (sax, flute), keyboardist Olli Ahvenlahti and drummer Reino Laine were joined by guitarist Nono S鰀erberg and bassist Pekka Pohjola. A stellar line-up in which each musician already had a respectable CV in Finnish jazz and/or rock scene.

    Three of the five tracks are composed by Paakkunainen who also produced the album with Ahvenlahti. The opener 'TVL' written by drummer Laine is a relatively lively piece with a jam-like atmosphere in which sax, electric piano, bass and drums (guitar stays slightly more in the background) have their spotlight moments. On 'Chorea Urbana' saxophone is taking the lead until Pohjola plays a cool bass solo, followed by a meditative slow movement for bass and keys.

    Olli Ahvenlahti composition 'Boulevard Blues' is romantically charming, hurriless and laid-back, his Chick Corea -influenced electric piano in the centre. 'Jedi & Rekku' is undoubtedly named after two dogs barking at the beginning. This is the longest track (11:26) and it meanders with natural ease. Like the album as a whole, it contains first class musicianship without a feeling of self-indulgent showing-off. The Finnish title of the closing track means 'Evening Star'. This roughly 10-minute piece has a nearly hypnotic feel as saxophone, electric guitar and electric piano do their converstation against bass & drum patterns.

    This is a pretty enjoyable and harmonic fusion album focusing on the airy lightness and peaceful tempos. Do not expect a fiery approach of Mahavishnu Orchestra! Actually I would have liked to hear a bit more of flute and guitar as solo instruments. But anyway, warmly recommended for those who enjoy rather peaceful fusion. The CD edition might still be available.

     Piima by PHLOX album cover Studio Album, 2004
    2.39 | 5 ratings

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    Piima
    Phlox Jazz Rock/Fusion

    Review by Soul2Create

    3 stars This band should definitively have more recognition on this site.

    This is pure and mellow jazz-fusion with a very present Canterbury flavour (hear those keyboards!). I even find this album to be comparable to Soft Machine's Fifth and/or Six and some Phil Miller solo works, not my favourite music but very nice to hear for sure. In fact, there are several moments of improvisation and free jazz arrangements scattered along the album, like the sax on the first track, the drum improvisation on the second one or the Phil Miller-like guitar on the first minutes of the third track, that I'm sure fans of the bands I mentioned will find enjoyable.

    My only issue with this kind of music is the absence of memorable lines, that is why I only give it three stars.

    Data cached

    Jazz Rock/Fusion bands/artists list

    Bands/Artists Country
    37癈 Serbia
    3RD WORLD ELECTRIC Multi-National
    4 FRONT United States
    7 FOR 4 Germany
    ANDREAS AARFLOT Sweden
    AARON LEBOS REALITY United States
    EIVIND AARSET Norway
    JOHN ABERCROMBIE United States
    ABLUTION Sweden
    ABRAXIS Belgium
    ABUS DANGEREUX France
    ACCORDO DEI CONTRARI Italy
    ACQUA LIBERA Italy
    ADDISON PROJECT Canada
    AERA Germany
    AFROSKULL United States
    AGHARTA Canada
    AGORA Italy
    AIN SOPH Japan
    AKA MOON Belgium
    JAN AKKERMAN Netherlands
    ALAIN ECKERT QUARTET Belgium
    ALAS Argentina
    ALKEMY France
    ALKOTRIO Russia
    ALTRUISMOS Argentina
    AMARILLO CIAN Y MAGENTA Costa Rica
    AMIGDALA Italy
    ANAMORPHOSE France
    ANANGA RANGA Portugal
    ANIMUS TRIO Argentina
    APOSTOLIS ANTHIMOS Poland
    ANTIH蒖OE Argentina
    ANWKOZIK France
    APOTHECARY United States
    APPENDIX Sweden
    AQUARELLE Canada
    ARATTA REBIRTH Armenia
    ARCANA United States
    ARCHIMEDES BADKAR Sweden
    ARCO IRIS Argentina
    NEIL ARDLEY United Kingdom
    ARENA Australia
    ARIEL United States
    BRUCE ARNOLD United States
    ARSENAL Russia
    ARTI E MESTIERI Italy
    TIHOMIR POP ASANOVIC Yugoslavia
    ASCORBIC ACID Russia
    ASSOCIATION P.C. Multi-National
    ASSOLO DI BONGO Italy
    ASTRAKAN United Kingdom
    ASTRO CAN CARAVAN Finland
    ATMOSPHERES Multi-National
    ATTENTION DEFICIT United States
    BRIAN AUGER United Kingdom
    AUM Brazil
    AURORA United States
    AVANT GARDEN United States
    AVIOLINEE UTOPIA Italy
    AXIS Greece
    AYERS ROCK Australia
    AZIGZA United States
    B F Estonia
    BAALBEK Argentina
    BACK DOOR United Kingdom
    BADDY BAND Bulgaria
    BAKMAK Germany
    BANDHADA Chile
    BANDVIVIL Japan
    BANGTOWER Multi-National
    PETER BANKS United Kingdom
    BARCELONA TRACTION Spain
    PETER BARDENS' MIRAGE United Kingdom
    IL BARICENTRO Italy
    RANJIT BAROT India
    BAUHAUS Italy
    JEFF BECK United Kingdom
    BEDJABETCH France
    BELLA BAND Italy
    BEN United Kingdom
    BERITS HALSBAND Sweden
    ALESSANDRO BERTONI Italy
    BIFURCATA Mexico
    BLACK LADDER United States
    TOTO BLANKE Germany
    ALAIN BLESING France
    CARLA BLEY United States
    BLIXT Multi-National
    BLOOD SWEAT & TEARS United States
    BLUE DRIFT United Kingdom
    BLUE EFFECT (MODR?EFEKT) Czech Republic
    BLUE SUN Denmark
    BOHEMIA Czech Republic
    CELINE BONACINA France
    BONFIRE Netherlands
    BOSQUE Serbia
    BOTH HANDS FREE United Kingdom
    BOUD DEUN United States
    BOUNTY United States
    GARY BOYLE United Kingdom
    BOZON United States
    BOZZIO LEVIN STEVENS United States
    BRAINCHILD United Kingdom
    BRAINSTORM Germany
    BRAND X United Kingdom
    THE BRECKER BROTHERS United States
    EVAN BREWER United States
    NILI BROSH United States
    BROTHER APE Sweden
    BROWN VS BROWN Netherlands
    JACK BRUCE United Kingdom
    BRUFORD LEVIN UPPER EXTREMITIES United States
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