David Axelrod - Song of Innocence [1968]

What started out as a jazz/rock experiment throw-away, decades later reveals itself as a lost classic. Along with Miles' work at the time, this was a very early example of the sound that would later become Jazz Fusion. Producer, arranger, and engineer David Axelrod made his mark with Cannonball Adderley, Lou Rawls, and the Electric Prunes. Song of Innocence made critics turn their heads in its day, regarding it as a visionary curiosity piece; today it's simply a great, timeless work of pop art that continues to inspire over four decades after its initial release.

After forming a band with a couple of yer typical garage-rockers of the time, Axelrod signed with Capitol and this masterpiece was his very first release. An instrumental concerto based on the works of William Blake, 'Song of Innocence' is entirely unique: neither Rock, Jazz, Classical, nor Easy Listening, the album blends elements of all four into a richly layered whole. While this may sound like a potentially pretentious train-wreck waiting to happen, nothing could be further from the truth. This is simply one of the most unique musical efforts of the last several decades. Distorted guitars, funky bass lines and drums that were shockingly loud for 1968, blend with churchy organ and symphony-size orchestras on songs like 'Holy Thursday' and the epic closer 'The Mental Traveler.'

"Imagine if Brian Wilson had suddenly decided to turn SMILE into a prototype for Isaac Hayes's soundtrack to SHAFT, and you're halfway there."

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Terje Rypdal - Whenever I Seem To Be Far Away [1974]

Terje Rypdal is a marvelous, fluid guitar player, who manages to sound natural in every setting in which he appears. On this one we get a few radically different styles throughout. First up it's heavy and fuzzed, technically weaving in and out very sparingly and tastfully. Towards the end of the album though is some full-flight Gilmour-like playing, complete with the backing of the Sudfunk Symphony Orchestra.

Pete Knutsen (Electric keyboards and Mellotron) is amazing on this record, reminding me of Ian McDonald.. as if he had come straight out of 'In The Court'. Odd Ulleberg on the French horn also blows a whole lot of awesome! I'm not really familiar with these backing guys but i'm interested in seeking out some of their other works after hearing this.

It's an interesting mix of free jazz and the jazz fusion flavour of the time. The use of Mellotron gives it a unique European symphonic-proggy kinda sound, progressive jazz? I don't know.. tags are stupid but this is great, check it out.

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Mouse on the Keys - An Anxious Object [2009]

Once every few days i get in supreme blog trawl mode. One of my regular stop offs is TheSirensSound, which more times than not offers up something fresh for my liking. Last year some time i discovered Mouse on the Keys' Sezession EP and was instantly hooked. "An Anxious Object" has been one of the albums i've had my eye on for a while, big expectations. They've stepped it up even another notch here! The drumming throughout is phenomenal, but i knew that coming in. The second half of the album in particular is mind blowing. The funky 'Double Bind' has one of my favourite beats in a long long time. The drumming + bass here is just awesome. The next track 'Soil' cruises along at a nice pace before unleashing an absolutely incredible extended sax solo, the definitive highlight of the album for me.

One of the sleeper albums of the year for sure. It won't quite be top 5 material for me, but it will be up there somewhere. If you dig some of the other jazzy Japanese post-rock bands like Toe, this is for you.

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Dave Liebman - Lookout Farm [1973]

John Abercrombie is quickly becoming one of my favourite guitarists. Thus, i have been interested in hearing some of his other work splattered throughout the ECM catalogue. While on my hunt, i stumbled apon this little gem. Liebman himself, being new to me, blew me away with his beautiful saxa-ma-phone playing. On these three extended tribal themed jams, his playing is sparse, but very melodic. The tribal percussion is absolutely incredible. We got congas, bongos, tablas, tambourines and cowbells belting along into a wild fury! Particularly in the second track where they kick it into one hell of a funky jam, as Abercrombie takes the front and opens right up.

This is a wonderful record, another ECM gem.

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Keith Jarrett & Jack DeJohnette - Ruta And Daitya [1973]

This limited, overlooked, and incredibly rare album was recorded in early 1971 while both were playing with Miles Davis. Keith Jarrett and Jack DeJohnette created this set of seven pieces in a largely improvised context. These were Jarrett's last explorations with electric keyboards but though he was soon to become a staunch pro-acoustic advocate, his work here is inventive and bracing.

While not all electric (Jarrett plays standard piano, as well as bamboo flute), there's a wonderful funkiness to be heard. Elsewhere--such as on the title track--the gospel inclinations that would be a core element in his later pieces can be heard. DeJohnette's broad percussion palette foreshadows his own future work, which drew upon varied world musics. This set is varied and delightful--a hidden chapter in both men's discographies.

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Larry Coryell - Spaces [1970]

Much like the Joe Farrell post the other week and perhaps even more so with this one, all i have to do is mention those involved and it should sell. We're talking Coryell, McLaughlin, Corea, Vitous and Cobham.

In fact, fuck it. Nothing more needs being said.

Absolutely phenomenal, enjoy!

Link: http://sharebee.com/8f82d26e

Larry Coryell & The Eleventh House - Level One [1975]

This is one of my favourite Jazz Fusion recordings, by one of my favourite Jazz Fusion groups. Imagine a cross between Ian Carr's Nucleus and early Mahavishnu and this is what you get. Coryell found his Jan Hammer- esque counterpart in amazing blind keyboardist Mike Mandel and Alphonse Mouzon is as close to a Cobham-style drummer as it is possible to find. Mike Lawrence on trumpet is just as electric and maybe even spacier than Jerry Goodman. His style mirrors that of Miles Davis during that period. Likewise bandleader Coryell really pushed the limits of both his playing and composing with this band configuration and subsequent release.

However, the individual who deserves special merit, and really propels this intensely awesome record in a super-mahavishnu way is unheralded-til-now bassist John Lee. His raucous thundering pushes Larry's sound in a very satisfying way, and Coryell's power here is a direct result of John's pulsing support. This is not Funk in any way, though this record has a certain funkiness to it, and that is mostly Lee's doing.

Every song stands strong with repeated listenings. The album is actually entitled Level One, but if you ask me this is one of the highest levels of fusion attainable. This is a must-have for any fan of furious fusion.

Link: http://sharebee.com/cf979655
Previous Album: Introducing The Eleventh House [1974]

Jean-Luc Ponty - Cosmic Messenger [1979]

As music evolved throughout the 1970s alot of people took on the attitude of the Scientist; experimenting, testing, grafting, surgically recombining to create unique hybrids. Too often these creations were nothing more than ghastly Frankensteins - massive, lumbering assemblages, and all together not quite human. On Cosmic Messenger Jazz, Funk, Rock, and Classical are all expertly and elegantly fused in an amazingly fluid unity. It is a virtouso performance of what's best about music. Rhythm and percussion so tightly bound, laying down thunderous grooves over, around and through which Jean-Luc rockets, gallops, marches, bops, drifts, glides, and floats.

While JLP is clearly in another world when it comes to violinists, the bassist and guitarist heard here are no slouches themselves, and sometimes seemingly steal the show. Amazing album, a must have for your Jazz Fusion collection.

Link: http://sharebee.com/2ef0ad0f

Elephant9 - Dodovoodoo [2008]

This is what i'm talking about! One of my many favourites from 2008 right here. This might be the Norwegian trio's debut disc, but we already know keyboardist Ståle Storløkken from his many years with Supersilent, and drummer Torstein Lofthus will be familiar to many as a member of Shining, those fellow purveyors of Gothic thrash-prog. It's only bassist Nikolai Haengsle who is unfamiliar outside Norway.


Subtlety is employed only occasionally, as the trio hurtles straight into the maelstrom that is the album's title cut. It's Emerson, Lake & Palmer territory, perhaps. The riffing is single-minded, but the structure is jerkily funky, or maybe funkily jerky. Recording live in the studio, Elephant9 careen along with spiny edges, knocking down any obstacles. Some numbers might begin sensitively, but their ultimate destiny lies in a thundering brawl. The only exception is Hymne, which remains in a creepy state.

I imagine their full damage is probably done during a live show, in front of a very worried audience. If you're up for a deranged session of acid prog headbanging, grab a hold of this!

Link: http://sharebee.com/acc52965

Lotus - Lotus [1974]

The style of this little-known Swedish quartet from the mid-70’s is hard to describe as it escapes most comparisons; the closest would be Finnforest, and perhaps Danish fusion band Secret Oyster. This is fusion at its best: energetic instrumental jazz-rock featuring dual guitars, electric piano/Hammond organ, bass and drums, and stunning musicianship all around. After the release of their second album in 1976, the band split up.

Although the tracks on their first album are rather short, each one is chock full of ideas and beautiful catchy melodies based on tight, 70ish-like jazzy grooves, all charmingly and distinctively Swedish

If you’re a fan of early Zappa or like bands such as Kebnekaise, Camel, Finnforest or Trettioariga Kriget, don’t let Lotus pass you by.

Link: http://sharebee.com/e41ed85a

Isotope - Illusion [1975]

This is the second album by the British based jazz fusion quartet Isotope. While the recorded sound is a bit on the murky side, the performances more than compensate for it. Guitarist Gary Boyle really shines here, bringing together elements of Indian music (he was born in India originally), jazz, Hendrix and John McLaughlin with a tart, biting tone yet still having a unique warmth.

Former Soft Machine bassist Hugh Hopper lends his distinct fuzz-bass sound to the proceedings and gives the songs a lot of extra bite and grit as well as being quite melodic in his own unique way. Drummer Nigel Morris seems to have found a precarious balance of technique and soul as he propels the tunes at a brisk pace, really listening to the other musicians as opposed to just showing how fast he could play. Lawrence Scott provides understated keyboard support (mainly on Fender Rhodes) but doesn't seem to feel comfortable going out on the edge as much as the other musicians do.

If you enjoy a well balanced diet of melody, dense harmonies and fiery instrumental work, give this a spin!

Link: http://sharebee.com/063c9a4a

Larry Coryell - Introducing The Eleventh House [1974]

Larry Coryell stands on equal footing with John McLaughlin as one of the premier jazz fusion guitarists and this probably represents his finest achievement. Many people consider his earlier work with McLaughlin, 'Spaces' as writing the textbook for fusion style guitarwork, but to me, this is his greatest overall musical achievement. Comparisons to the original Mahavishnu Orchestra may seem to be inevitable considering the power and attack of the band's performance, but stylistically, the band plays much closer to the fusion/funk style of Herbie Hancock's Headhunters.

Their is not as much of an eastern influence as the Mahavishnu Orchestra and there seems to be a wider variety of tempo and stylistic diversity on this recording. The synthesizer runs and Randy Brecker's trumpet keep pace rather well with Coryell's intensity and the compositional framework is elaborate and melodically sophisticated. But the highlight, of course, is the blitzkrieg of notes being pummelled out of Coryell's guitar mostly trading with synthesizer and trumpet, intermingled with more mid tempo improvisations; but the dynamics and interaction feature not just beautifully intricate work, but ingenious melodic and harmonic scales befitting musicians of the highest technical accomplishment.

This is probably one of the most technically perfect fusion recordings out there; a joyous and awesome performance!

Link: http://sharebee.com/b96be80f

Panzerballett - Panzerballett [2005]

Panzerballett is a heavy jazz-fusion band from Germany who play an exciting brand of instrumental music that is sure to tickle the fancy of prog, metal, and jazz fans alike. Featuring Jan Zehrfeld on guitars, Gregor Bürger on sax, Florian Schmidt on bass, and drummer Max Bucher, this combo lays down some funky grooves littered with wild solo spots and complex, often times metallic arrangements.

Many of the songs steamroll ahead with mean intentions, led by Zehrfeld's intricate guitar riffs and melodies and the squonking sax of Bürger. The constant battle between funk, jazz, and metal is what makes these songs so interesting and so enjoyable.

Check it out, you will most probably agree that these guys are going to be big amongst the prog/fusion scene of today, keep your ears open!

Link: http://sharebee.com/d6347055

Ardo Dombec - Ardo Dombec [1971]

Anyone who picked up the "Heavy Christmas" compilation last week might recognise this fantastic Bluesy/Jazz Prog German group. Unfortunetly enough not much is known about them. Their arrangements are upbeat and bright, yet the lyrics are rather dark and cynical in contrast. They differ from other folk-blues-fusion-hard rock bands of the same era by the presence of the saxophone arrangements which remain pretty structured, sometimes sounding like Out of Focus or even the Dutch fusion band Solution.

The drums and bass are often very fast, rhythmic and complex, flirting with fusion elements. Many flute parts a la Jethro Tull add some interesting variety; the track with the very pleasant visceral harmonica exhibition also shows how versatile the members can be. The music is quite addictive, disciplined and structured.

A welcomed German oddity!

Link: http://sharebee.com/f2ee4169