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Mar 1, 2013 · By the time Davis recorded a trilogy of live double-LPs in 1974 and 1975, his shows had become famously deep and dark affairs, with the trumpeter turning his back to the audience as his band kicked up a storm of wicked guitar-powered funk.
- Brian Kachejian
- Mike Stern. We close out our List Of 10 Jazz Fusion Guitarists That Rock Fans Should Check Out list with one of our favorite guitarists across all genres.
- John Scofield. Just off the top spot on our List Of 10 Jazz Fusion Guitarists That Rock Out is the very cool John Scofield. Lists like this were made for someone like John Scofield.
- Allan Holdsworth. We could not put together this list without including Allan Holdsworth. In many ways, Allan Holdsworth defines his own category. He was known as a jazz fusion and progressive rock guitarist.
- Bill Connors. Moving along on our List Of 10 Jazz Fusion Guitarists That Rock we present the exceptional Bill Conners. Born in California in 1949, Bill Conners’ career began as a blues and rock and roll guitar player.
Miles Davis was one of the first jazz musicians to incorporate jazz fusion into his material. He also proved to be a good judge of talented sidemen. Several of the players he chose for his early fusion work went on to success in their own bands.
- The Mahavishnu Orchestra. 457 votes. Under the visionary guidance of guitarist John McLaughlin, The Mahavishnu Orchestra forged a new path in the world of jazz fusion by blending elements of rock, Indian classical music, and Western classical influences.
- Miles Davis. 575 votes. No discussion of jazz fusion would be complete without mentioning the trailblazing contributions of Miles Davis. By embracing electric instrumentation and rock-inspired grooves on albums such as Bitches Brew and In a Silent Way, Davis forever changed the landscape of jazz.
- Chick Corea. 398 votes. As both a founding member of Return to Forever and a prolific solo artist, Chick Corea's influence on jazz fusion is immeasurable.
- Herbie Hancock. 434 votes. An undisputed master of the keyboard, Herbie Hancock revolutionized jazz fusion by fearlessly exploring synth-driven sounds and funk grooves.
- 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...
In the early 1970s, jazz fusion artists incorporated funk elements, thereby bridging the divide between three audiences and generating more fans for jazz, rock, and funk. During this period, jazz formed its own separate identity as a creative style.
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Apr 22, 2022 · In 1969, Miles Davis pioneered the sound of jazz fusion, creating a ripple effect as members of his band went on to form their own iconic side groups. Steve Edwards captures the moment that defined the sound, instruments and key figures of jazz fusion.
