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- Technological breakthroughs in music inspired the fusion’s inception as a response to the changing Jazz music scene in the late ‘60s. During the ’70s, a jazz subgenre known as jazz fusion began to gain popularity.
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Jun 14, 2021 · Written by MasterClass. Last updated: Jun 14, 2021 • 4 min read. When traditional jazz music mixed with popular styles like rock and funk, it birthed a new style called jazz fusion.
- Modal Masterpiece
- Quartal Voicings and The “So What” Chord
- The Most Feared Song in Jazz
- The Second Great Quintet
- Post Bop: Ambiguity and Structured Chaos
- Altered Chord Progressions
- Time, No Changes
- The Road to Fusion
- Electricity and Guitars
- Changing Lineups
In 1959, Miles recorded Kind of Blue, arguably his greatest masterpiece and jazz’s best-selling album to date. Following up on the modal experimentation of 1958’s Milestones, the music on the album was based entirely on modes, as opposed to traditional tonal centers. Although precedents existed, modal jazz took shape as a theory by composer/pianist...
An intrinsic component of modal jazz is quartal harmony. Traditionally, chords are built on intervals of thirds (tertiary harmony). Today’s jazz musicians regard this as simplistic and old-fashioned; building chords with stacked fourths results in a much more sophisticated, modern sound. Bill Evans used a two-handed first-inversion quartal voicing ...
It wasn’t only Miles Davis pushing the envelope in 1959. Jazz was exploding and stretching out into radical, new dimensions on landmark albums by Ornette Coleman, Charles Mingus, Dave Brubeck, and John Coltrane. Coltrane put the world on notice with Giant Steps, which he started recording two weeks after he had finished working on Kind of Blue. The...
After several years punctuated by fluctuating band lineups, in late 1964 all the pieces fell into place. Miles Davis’s Second Great Quintet was about to change the world. Miles’ most stable lineup in years, the group comprised the crème de la crème of talented, young jazz musicians: pianist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Car...
Between 1965 and 1968, Miles’ new quintet released six studio albums. These records would introduce and exemplify a jazz subgenre that would come to be known as “post bop.” Seamlessly blending hard bop, modal jazz, and free jazz without necessarily beingany one of these styles, post bop was mainstream jazz’s answer to the free jazz movement, which ...
Traditional jazz tunes are typically structured on a “head-solo-head” framework — the head consisting of the melody with an underlying chord progression; the solo, improvisation over the same chord progression. By the 1960s, the formula had become a bit stale for jazz musicians thirsty to incorporate progressive ideas into their music, so they star...
“Time, no changes” borrowed the free jazz construct where the piano lays out during (or during parts of) the solo, leaving the trumpet or sax free to “stroll” (improvise over the drums and a walking bass line). This sparse framework gives the soloist extreme freedom, as the only harmonic content being generated are momentary dyads created in passin...
If free jazz was complete freedom, then post bop was controlledfreedom. Integrating metric, rhythmic, and harmonic ambiguity into a hard bop instrumental context, post bop was the critical, penultimate step on the road to fusion. Effectively positioning itself halfway between traditional jazz and free jazz, post bop broke many musical rules but ret...
In 1965 (the year the Beatles recorded Rubber Soul), the Second Great Quintet released their first album, E.S.P. It would be followed by Miles Smiles (1967), Sorcerer (1967), Nefertiti (1968), Miles in the Sky (1968), and Filles de Kilimanjaro (1969). Nefertiti would be the group’s last all-acoustic album, as electric piano and electric bass began ...
Recorded on two dates in June and one in September of 1968, Filles de Kilimanjaro would take the quintet inexorably forward on Miles’ insatiable quest for musical experimentation, even as it marked the first break in the solid lineup that had held firm for four years. The June sessions featured Shorter on sax, Hancock on Fender Rhodes electric pian...
Jazz fusion (also known as fusion, jazz rock, and jazz-rock fusion) is a popular music genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with rock music, funk, and rhythm and blues.
- Late 1960s, United States
1970s—1990s. Afro-American Symphony: 1. Longing (Moderato Assai ) by John Jeter & Fort Smith Symphony. Afro-American Symphony: 1. Longing (Moderato Assai ) by John Jeter & Fort Smith Symphony. Listen on Apple Music. Soul Jazz. Funk. Secular Instrumental. Jazz Fusion. Smooth Jazz. Jazz Hip-Hop Fusion. Contemporary Gospel. Back to timeline.
Apr 22, 2022 · Jazz fusion is a genre that developed in the late 1960s when jazz harmony and improvisation was combined with funk, rock and R&B, featuring the electric guitars, amps and keyboards that were in popular music. As in other eras of jazz - Miles Davis pioneered.
Jazz fusion is a musical genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with funk, rock and roll, and R & B. The electric guitars, amplifiers, and keyboards that were popular in rock and roll and R & B started to be used by jazz musicians, particularly those who had grown up listening to rock and roll.
Feb 2, 2009 · Fans and detractors of fusion cite Davis as the one who led the way to a new direction in jazz in the late 1960s and early '70s. Davis' 1969 album, In a Silent Way, prominently featured...