Beginning in the late 1960s and becoming
prevalent during the 1970s a musical melding
of jazz, funk, and rock idioms took place
and for many years found radio airplay under
the moniker of Jazz Fusion, or simply Fusion.
The more mainstream jazz community did not
always react positively to the rise of fusion.
In part this was due to personal tastes
of hard core boppers, but also in part due
to the reality that a lot of what was passed
off as fusion, simply wasn't very good or
even remotely descendant from the jazz tradition.
Nevertheless, there were some performers
who managed to make a convincing run at
fusing jazz with other more popular idioms
of the time, and in this hour we will explore
some of these endeavors.
Miles Davis is often credited for starting
fusion with his Bitches Brew album in 1969,
although there is a contingent that would
argue Eddie Harris and his electric saxophone
beat Miles to it. By the early 1980s Miles
was very different from past eras, but then
again, Miles was always reinventing himself.
U'N'I was from one of his more successful
albums of the early eighties.
Our second set begins with Steely Dan,
one of the most commercially and artistically
successful fusion bands. Next is Cannonball
Adderley when Joe Zawinul was still his
pianist, and we hear the direction that
both were headed and especially with Joe,
the underpinnings of what was to come with
Weather Reports is evident. We close out
the set with an early recording from the
Chicago Transit Authority, later known simply
as Chicago, with the full, or FM-radio only,
version of one of their biggest hits.
In the late 1970s, the Quiet Storm, a
precursor to Smooth Jazz, was being heard
on an increasing number of urban radio outlets
in the USA. Rodney Franklin would be associated
with this sound, but as you can hear in
The Groove, there is still some serious
improvisation and complex chord voicings
evident; these are features that would largely
by vanquished by the Smooth Jazz that followed.
Ramsey Lewis spent the 1970s making a lot
of records, but few seemed to have any serious
jazz content; Sun Goddess is probably the
best track recorded during that time. Blood
Sweat and Tears achieved commercial success
with their highly edited Top-40 recordings,
but the full version of one of their biggest
hits reveals a swinging trumpet solo that
never made it to AM-radio.
The Jazz Crusaders were a prolific hard
bop group during the 1960s that were unknown
to the few outside the jazz circles. Dropping
Jazz from their name in the early 1970s
they become one of the preeminent fusion
groups ever since. By the mid 1980s the
band still played much of their fusion catalog,
but at times would revert to their hard
bop heritage, as we hear from this live
recording of Chain Reaction. Our last track
is from the jazz-funk vein. Always There
achieved commercial success and was often
used as an intro of signature piece for
other radio and television programs during
the 1970s. It's instantly recognizable.
Jazz Fusion died down in popularity during
the 1980s with many of its proponents moving
back to their roots of more straight ahead
jazz; however, Smooth Jazz would emerge
and take its place as a radio format in
the 1990s and early 21st century. As a confessed
jazz purist, I admit that much of fusion
was trivial to my tastes. Nevertheless,
there were those who explored the idiom
with a degree of artist creativity and sincerity
and their works are a valid part of the
large tree of music we refer to as jazz.
As the Duke said, "there are only two
kinds of music, good, and bad". And
I for one, rarely have the time to play
bad music.
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