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    • Who were some famous fusion musicians in the 70s?

      • During the late '70s, Lee Ritenour, Stuff, George Benson, Spyro Gyra, the Crusaders, and Larry Carlton released fusion albums. Jazz fusion formed in the late 1960s when musicians combined styles such as jazz, funk, rock, and R&B (rhythm and blues).
  1. › wiki › Jazz_fusionJazz fusion - Wikipedia

    Miles Davis was one of the first jazz musicians to incorporate jazz fusion into their material. His guitar player John McLaughlin branched out, forming his own fusion group Mahavishnu Orchestra . Blending Indian classical music, jazz, and psychedelic rock, they created a whole new style just as Davis had.

  2. Mar 23, 2020 · Larry Young – Lawrence of Newark. One of the most compelling albums of the fusion era was, for a time, lost to obscurity in the immediate aftermath of Perception Records’ collapse pretty much following the album’s release. A cruel irony, given that this was the organist’s first non-Blue Note release.

    • Origins
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    Dancing had long been a mainstay of New Orleans nightlife, and Boldens popularity was based on his ability to give dancers what they wanted. During the nineteenth century, string bands, led by violinists, had dominated dance work, offering waltzes, quadrilles, polkas, and schottisches to a polite dancing public. By the turn of the century, an instrumentation borrowing from both brass marching bands and string bands was predominant: usually a front line of cornet, clarinet, and trombone with a rhythm section of guitar, bass, and drums. Dance audiences, especially the younger ones, wanted more excitement. The emergence of ragtime, blues and later, jazz satisfied this demand. Increasingly, musicians began to redefine roles, moving away from sight-reading toward playing by ear. In contrast to society bands such as John Robichauxs (representing the highly-skilled \\"Frenchmen\\" or Creoles of color), bands such as Boldens, Jack Laines Reliance, or the Golden Rule worked out their numbers by practicing until parts were memorized. Each member could offer suggestions for enhancing a piece of music, subject to the approval of the leader. Gradually, New Orleans jazzmen became known for a style of blending improvised partssometimes referred to as \\"collective improvisation\\". It appealed to younger players and dancers alike because it permitted greater freedom of expression, spontaneity, and fun.

    Bill Johnson landed in Chicago, where a growing economy attending American entry into the Great War created a boom, which meant jobs for ambitious musicians. Johnson sent for Joe Oliver who, at age 33, had earned a reputation as one of the Crescent Citys top cornetist. His early work with the Onward Brass Band, the Olympia, the Superior and the Eagle bands led to his association with Kid Ory in 1917. Then a series of problems resulting from police raids on the saloon where he was performing convinced him that he should pursue greener pastures elsewhere. Observers of the early New Orleans jazz scene, particularly Johnny Wiggs and Edmond Souchon, have credited Oliver as the first to depart from the Bolden/Keppard approach to leading a front line, which they described as more ragtime than jazz. Souchon and Wiggs heard Oliver many times at subscription dances at the Tulane University Gymnasium. His use of mutes to achieve vocal effects, his fluid and adventurous sense of rhythm, and his blues phrasing, made Oliver a major influence on all who followed, including Louis Armstrong, his most famous protégé. Olivers presence in Chicago served as both an anchor and a magnet for other New Orleans musicians, and during the 1920's he led some of the most celebrated bands in jazz history.

    The Original Dixieland Jazz Band (ODJB) was more successful. They arrived in Chicago in 1916 and then went to New York at the beginning of 1917. Crucial to the bands popularity was a booking at Reisenwebers, a cabaret in mid-Manhattan, where dancers were soon lining up (after some initial hesitation) to experience a night of \\"jazz\\". The band became an instant hit, which led directly to interest for the nations top record manufacturers, Victor and Columbia, who were eager to exploit the new \\"jazz craze.\\" After a failed audition for Columbia, the ODJB had greater success with a recording of \\"Livery Stable Blues\\" for Victor in February 1917. Within six months of its release, over one million copies had been sold, thus fusing the New Orleans sound with the term \\"jazz\\" in a commercial product which could be widely distributed. While sheet music continued to be an important medium for the spread of new music, phonograph records were far superior, capturing almost every nuance of a performance and conveying aspects of playing style that were essential to jazz but difficult to write down.

    The records made by ODJB were extremely influential in spreading jazz throughout the nation and the world, but they also had an important impact on musicians back home in New Orleans. An advertisement by Maison Blanche (a local department store) affirmed that these records promoted all New Orleans music and were a model for further development: \\"Here is positively the greatest dance record ever issued. Made by New Orleans musicians for New Orleans people, it has all the swing and pep and spirit that is so characteristic of the bands whose names are a by-word at New Orleans dances.\\" Furthermore, despite the impact of segregation, the records appeal transcended the color lines. Louis Armstrong was known to have collected the ODJBs records. Violinist Manuel Manetta recalled being let go by one of the Citys most successful bands because \\"Joe Oliver and Kid Ory wanted to follow the format of the Dixieland Jazz Band and use only five pieces.\\" The success of the Original Dixieland Jazz Band through the medium of phonograph recording completed a revolution in dance and instrumentation begun in the 1890's by Buddy Bolden and fathered some two decades earlier. This standardized the jazz band lineup and demonstrated dramatically how recordings could be used to promote the music.

    Other bands which worked on the riverboats out of New Orleans were the Sam Morgan Jazz Band, Oscar Celestins Original Tuxedo Jazz Orchestra, and Ed Allens Gold Whispering Band. The excursion trade became important for many of the citys black jazz bands. These bands had to file their contracts with the Mobile, Alabama chapter (the closest black local), which was well over a hundred miles away. Having been denied membership into the Musicians Protected Union No. 174, New Orleans white music union, Celestin and others petitioned to establish a local chapter (496) of the American Federation of Musicians in 1926, which ultimately was chartered in Gulfport, Mississippi, because you couldn't have two unions in the same state.

    Another of the top performance sites for local jazz bands was the Pythian Temple Roof Garden, part of the multi-story complex run by the Knights of Pythia. Whereas the Streckfus officials usually hired black bands to play on the boat for white audiences, the clients of the Pythian Temple was black affluent, representing a cross-section of New Orleans black middle and upper classes. By the mid-1920s, jazz bands were in demand at the Pythian Temple and debutante balls in the mansions of the Garden District. Jazz musicians who had been earning $1.50 a night working in dance halls and saloons in the District ten years earlier were now making $25 for a nights work at these upscale locations. Growing social acceptance allowed jazz musicians to transcend associations with crime and poverty, which had sometimes haunted music in its earliest days. Even so, for those who wanted to make it to the top of the entertainment industry, all roads led out of town.

    During the better part of the recording boom of the 1920s, Chicago was the place to be. The years 1922-1923 yielded a number of important recordings by two bands of New Orleans musicians who had come together in Chicago: the New Orleans Rhythm Kings (originally the Friars Society Orchestra) and King Olivers Creole Jazz Band. These two groups continued to use many of the elements associated with early jazz recordings, such as stop-time, breaks, and ensemble riffing. However, they did much more with them, thus taking the concept of collective- improvised jazz to a higher artistic level. This included an expanded repertoire of \\"riffs\\" and new compositions, a more consistent and \\"swinging\\" rhythmic pulse, and \\"solo improvisation\\".

    The goal of every jazz musician is to find their own \\"voice,\\" a sound that is at once unique and identifiable. One of the best examples is Louis Armstrong whose distinctive tone on cornet and personal singing style changed the course of American music. Armstrongs Hot Five was the vehicle for his growth as a jazz musician. In this group, he raised the New Orleans collective concept to unparalleled heights of creativity and then set a new direction with the sheer brilliance of his solo performances. Although the idea for the Hot Five is often attributed to Lil Hardin Armstrong, it was in fact a New Orleans musician and promoter, (Richard M. Jones), who conceived the notion of showcasing Armstrong in a recording band. Beginning in November 1925, the Hot Five produced almost three dozen records for Okeh (which was acquired by Columbia in 1926) and revolutionized the jazz world in the process.

    For many, Jelly Roll Mortons principal contribution to the growth and development of New Orleans jazz lies in his accomplishments as a composer and band leader. Morton has been identified as the first great composer of jazza role that started with the publication of his \\"Jelly Roll Blues\\" in 1915. Especially with his Red Hot Peppers recordings from 1926 to 1930, Jelly combined elements of ragtime, minstrelsy, blues, marches and stomps into a jazz gumbo which anticipated many of the characteristic associated with the larger Swing Bands of the 1930s. He polished the New Orleans style according to his own vision; balancing intricate ensemble parts with improvised solos by carefully chosen side men. Morton was also a brilliant piano soloist, capable of using the full extent of the keyboard to recreate the sound of a band. As a composer, soloist, and ensemble player, Morton moved rhythms beyond the stiffness of ragtime into the looser and more exciting feel of swing. In addition, Jelly Roll Morton was quite likely the first \\"philosopher of jazz\\". He was the first to expound on the principles that governed the music, and his Library of Congress interviews with Alan Lomax in 1938 became for many a last testament for understanding the work of New Orleans jazz pioneers. Yet, by 1938, Morton was already a \\"forgotten man,\\" having been dropped by Victor, his recording company, in 1930. While Armstrong managed to adapt to the changes in the music business during the Depression years Jelly sank into obscurity. He died in 1941, just as his music was being rediscovered with the New Orleans revival. The magnitude of his recorded legacy lives on in compositions such as \\"Black Bottom Stomp,\\" \\"Jungle Blues,\\" \\"The Pearls,\\" \\"Steamboat Stomp,\\" and \\"Georgia Swing\\". His creative imagination was particularly evident in \\"Sidewalk Blues,\\" which combined hilarious \\"hokum,\\" the blues, classical themes, various rhythmic effects and mood changes. \\"Dead Man Blues\\" opens with a quote from \\"Flee As A Bird,\\" a dirge common at New Orleans brass band funerals, providing yet another indication of how Morton took his inspiration from the city of his birth, no matter where his travels led him. While Mortons music reflected elements drawn from the mood and spirit of many places, and musical styles, the influence of the crescent city remained ever present as a source of inspiration.

    Furthermore, many gifted players stayed home in the 1920s, giving rise to the remarkable diversity found in local jazz recordings by Celestins Original Tuxedo Jazz Orchestra, the Halfway House Orchestra, A.J. Pirons New Orleans Orchestra, the New Orleans Owls, Johnny DeDroit, Louis Dumain, the Jones & Collins Astoria Hot Eight, John Hyman and Bayou Stompers, and the Sam Morgan Jazz Band. None of these recordings became \\"hits\\" in the manner of Armstrong and Morton, but they reveal an essential truththat the New Orleans music scene remained a fertile ground for creative musicians of diverse backgrounds, who were united by a common love of the music and a reverence for the culture that produced it.

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  4. Originally called the Grammy Award for Best Jazz Fusion Performance, Vocal or Instrumental, the award was first presented to the jazz band Weather Report at the 22nd Grammy Awards in 1980 for the album 8:30. In 1988, the category name changed to Best Jazz Fusion Performance and was moved to a newly created Fusion field.

    • 1980
    • Quality jazz fusion performances
  5. On Heard That, his Peak Records debut, Lorber keeps the soulful momentum going, collaborafting brilliantly on pop, jazz, R&B and blues-influenced tracks–and even harkening back a bit to his early 80s Fusion heyday–with one of urban jazz’s top hit makers and sonic architects, Rex Rideout.

  6. Denying the jazz moniker to experimental and free jazz, jazz fusion, jazz hip-hop, neo-soul and other modern forms, Marsalis severely limits the music’s lifespan to a mythical golden age that lasted from the 1900s to the 1960s. In Jazz at Lincoln Center, Marsalis’s museumification of the jazz golden age, Marsalis curates jazz of a bygone era.

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