The first ensembles that began performing music called “jazz-rock” consisted of young performers who grew up in a rock environment, but were inclined towards jazz aesthetics and improvisational instrumental music. They were practically rock bands with a brass section.

This direction can be attributed to the origins of the entire fusion style

First of all, bands of this genre use vocals. The main theme in each piece is sung as a song rather than played as in later instrumental music. True, after the vocal part, improvisational solos are often played and, of course, skillfully written orchestral passages for the winds. And then, as is typical in pop music, the vocalist ends the piece.

This pattern was typical of the most prominent American groups that made their presence known in 1968 - "" and "". The brass section of these groups included only three or four different instruments, usually a trumpet, trombone and saxophone, and the orchestrations for them were done in such a way that, in combination with guitar, bass guitar and keyboards, they sounded like a real big band. Soon the group “”, created by trumpeter Bill Chase, gained enormous popularity. The peculiarity of its sound was that the brass section consisted of four trumpets playing in a high register. Unfortunately, in 1974, Bill Chase and three of his colleagues died in a plane crash and the group broke up.

Usually, all the laurels of jazz-rock pioneers go to the groups "Chicago" and "Blood, Sweat & Tears", although attempts to combine two such movements were made by other musicians, in parallel, and sometimes even before them. For example, back in 1965, the New York group “The Free Spirits” arose (for some reason this name was borrowed by John McLaughlin when creating his trio in 1993), already then performing what could safely be considered jazz-rock. guitarist Larry Coriell, who later became a fusion music star, began his career.

White bluesman from Chicago Michael Bloomfield created the group “The Electric Flag” in 1967, calling it “The Orchestra of American Music”. It was an ensemble consisting of a blues-rock band with an added horn section, which gave the white blues extra power.

American groups of this type had their own ideology - to create something in the United States that would resist the wave of the “British Invasion” that swept the United States.
In 1969, he began performing and producing instrumental rock music with improvisations; he is an eternal nihilist and shocking experimenter. With his assistance, we reached high level Many fusion musicians are famous. One cannot help but recall the rock band "The Flock", in which the jazz violinist played, who later became famous for his participation in the first composition of the "Mahavishnu Orchestra" of John McLoughlin.

In 1970, the jazz drummer created the group "Dreams", which was at first noticeably similar in the style of orchestration to its predecessors - "Chicago" and "Blood, Sweat & Tears". The difference was that brilliant jazz improvisers took part in "Dreams", such as Michael Brecker and Randy Brecker, who played on the first Blood, Sweat & Tears record, as well as guitarist John Abercrombie, not to mention Billy Cabham himself. All of these musicians became famous Soon they became stars of the fusion style, participating in the most famous ensembles.

And the group “Dreams” can no longer be called white “brass rock”, since it was racially mixed, and, despite the external similarity with “Chicago”, it was more like “rock-jazz”, that is, jazz that resembled rock. (The reader is reminded that in English the first of the two words is the definition of the second.) During the same period, that is, immediately after the instant fame came to the pioneers of jazz-rock, some famous American jazzmen began to play in a new way, using rhythms borrowed from rhythm and blues, soul and funk music.
It is impossible not to note the emergence on the verge of the 60s and 70s of a number of projects aimed not so much at creating a fundamentally new music, how much for the popularization of jazz by performing in a new way works taken from pop culture, from classical music. Jazz trombonist Don Sebesky then made a number of interesting experimental recordings with large orchestras.

Critics, who had not yet understood what was happening, dubbed this music “pop-jazz,” despite the fact that its structure was immeasurably more complex than what fits the term “pop.” A number of outstanding jazz musicians who played “soul-jazz” and “hard bop” in the 60s, in the first half of the 70s under the production of Grid Taylor, made a number of recordings that can safely be classified as forms of jazz-rock. This is, first of all, George Benson, Freddie Hubbard, Stanley Turrentine, Hubert Laws. But this line of early jazz-rock did not receive further development.
Over time, when rock culture was swept away by the disco era, the classics of jazz rock were included in the history of jazz, their names began to be included in jazz encyclopedias, reference books and dictionaries. The replacement of the term “Jazz-rock” with “Fusion” was largely due to the arrival of black musicians in jazz-rock who did not want to be associated with white rock culture, and gave the whole movement the character of “funk” music.

The term “fusion” has not only musical, but also social connotations, indicating that the “fusion” occurred not only at the level musical cultures, but also between different ethnic groups of listeners and performers.
This was especially clearly demonstrated by Miles Davis, who performed at concerts at the Fillmor West in front of an audience of white hippies with avant-garde funky music, featuring white performers.

In Great Britain

In England, the picture of the emergence of what we would conventionally call jazz-rock was somewhat different, primarily because there were no racial contradictions, there were no two parallel cultures - white and black. When black bluesmen from the USA - Big Bill Broonzie and Muddy Waters - visited England in 1957, the so-called “British blues” was born. Its pioneers were London jazzmen Chris Barber, Cyril Davis, Alexis Corner and others.

Shocked by their close contact with the true blues, these jazzmen began to create their own version of white blues.
A number of groups emerged in London clubs, the most famous of which were “Blues Incorporated”, “Graham Bond Organization” and “Blue Flames”. good school future stars of the most different directions, - Mick Jagger, Brian Jones, Dick Heckstal-Smith, John McLoughlin, Jack Bruce and many others.

In Great Britain in the second half of the 60s, many rock bands with different aesthetics arose, using wind instruments and elements of improvisation. Traditionally they are classified as such movements as “progressive rock” or “art rock”, but in essence they are typical representatives early jazz rock. These are the groups “Soft Machine”, “Colosseum”, “If”, “Jethro Tull”, “Emerson, Lake & Palmer”, “Air Force”, “The Third Ear Band” and a number of others.

The British school of early art rock (progressive or jazz rock) of the late 60s is characterized by a noticeable influence of rhythm and blues, on the one hand, and on the other hand, on the contrary, by the special depth and content inherent in centuries-old European culture.
Music of this type, created in that short period in England, is in many ways unique and underestimated by the mass audience.
The initial period of the formation of jazz rock is characterized by a search for something new, both on the part of a small number of jazzmen and on the part of obvious rock performers. Quite unusual combinations of musicians arose then. A prominent representative of hard rock, Deep Purple guitarist Tommy Bolin is looking for contacts with jazzmen, recording on the Spectrum disc with Billy Kobham. Rock guitarist Jeff Beck records with keyboardist Ian Hammer, who became a prominent figure in jazz rock after his participation in the Mahavishnu Orchestra. Rock bassist Jack Bruce, known for his participation in short life super-group "Cream", plays for some time in "Soft Machine", and then records in the project of American jazz drummer Tony Williams (Tony Williams) "Lifetime". Drummer of the group "Genesis" Phil Collins collaborates with guitarist Al Dee Meola (Al Di Meola), plays in the group "Brand X". And there are many such examples.

But already during this period there was a noticeable tendency towards the gradual transformation of jazz-rock into purely instrumental music. The vocalist is replaced by a virtuoso improviser. The brass section becomes optional. The composition of jazz-rock ensembles is formed according to the principle of jazz combos - a rhythm group plus soloists. Acoustic instruments are being replaced by electronic ones. Instead of a double bass, a bass guitar is used, and instead of a piano, keyboards are used (Wutlitzer piano, Rhodes piano, and later synthesizers). The electric guitar with bells and whistles is replacing the jazz acoustic guitar.

In the early period of jazz-rock, the dominant rhythmic concept came from rock culture, that is, based on rhythm and blues, on soul music. The further fate of jazz-rock in the process of its gradual transformation into “fusion” music is associated with the transition to a completely different sense of rhythm, to the concept of the “funk” style. Jazz-rock becomes the music of improvisers as its destiny passes into the hands of prominent jazz figures such as Miles Davis, Chick Corea Chick Corea, Joe Zavinul, John McLoughlin, Herbie Hancock, Wayne Shorter.

Alexey Kozlov.

History knows many examples when the ideas of innovators were not accepted by the public, sometimes even persecuted, but ultimately these pioneers were recognized as geniuses, and their achievements were used by the whole world. This happened in jazz too - musicians went beyond the traditional style and were often not misunderstood. Representatives of new trends, for example, Miles Davis, Tony Williams, or the groups Weather Report and Return to Forever, created their best jazz-rock albums without thinking that they would become world hits. But nevertheless, this is exactly what happened...

The best jazz rock albums

Miles Davis – album Bitches Brew

The American jazz trumpeter's double album was released in early 1970 by Columbia Records. This album reflects experiments with the use of electronic instruments - guitar and synthesizer.

This album is considered the progenitor of the jazz-rock direction. Traditional jazz standards are replaced by viscous, unexpectedly exploding improvisation. The musicians rehearsed immediately before recording, which forced them to become more immersed in the music they were performing. From the instructions they received only the time signature, the basic chords and a small segment of the melody, from which improvisation later grew. By the way, the compositions “Pharaoh’s Dance” and the ballad “Sanctuary” are not authored by Davis.

After the album was released, opinions about it were divided. The very fact that Columbia Records released an album called Bitch Brew was scandalous.

The content did not lag behind the name - a stylistic direction close to jazz fusion or jazz rock, experiments with sound and special effects, electronic instruments - all this made it possible not only to split society into two parts - for and against, but also to bring the album wild popularity. The album quickly became the first gold in Davis' career, and a little later won a Grammy.

Return to Forever – album Romantic Warrior

Return to Forever was an American jazz fusion group from the 1970s. The album "Romantic Warrior", released in 1976, became the sixth and most famous in the history of the group. The music of the album, stylized in the Middle Ages, is varied, starting from the cover. The album opens with “Medieval Overture,” which is entirely acoustic.

“The Sorceress”, on the one hand, seems to be prepared by an overture, on the other, it is the opposite in style and a synthesizer appears among the instrumental composition. The composition “Majestic Dance” relies entirely on rock riffs and distorted “lead” guitar sound, which is supported by fast harpsichord-like passages.

Some critics confirmed that the record was worthy of being included in the best jazz-rock albums in history, while others argued that all the compositions were too classical and pompous, and the album itself was almost the worst in history.

Herbie Hancock – Head Hunters album

Head Hunters is the 12th studio album, which was released in 1973 on the same Columbia Records. The album has been added to the National Register of the Library of Congress.

It is quite difficult to unequivocally classify the album “Headhunters” as jazz-rock. This record is rather a clear indicator of how RNB rhythms, accentuated by African-American percussion instruments, can be extremely successfully combined with relaxed funk rhythms.

The album's eclectic sound not only continued to pave the way for all-electronic music, but also significantly influenced others. musical genres, becoming yet another winner in the battle for the title of best jazz-rock albums of all time.

Weather Report – album Heavy Weather

Once again a Californian album released by Columbia Records in 1977, this time from the band Weather Report.

We are again dealing with one of best albums in Jazz History, which was released as the jazz-rock phenomenon "began to spin out of control", as critic Richard Ginell commented.

One of the most striking compositions of the album is Birdland. It's absolutely amazing because it's entirely instrumental. Instantly becoming a jazz standard and greatly contributing to the album's popularity, Birdland represents the pinnacle of the group's creativity.

It is curious that, although the composition itself did not receive a Grammy, subsequently the song not only entered the repertoire of many famous performers, but its versions were awarded a Grammy three times.

Tony Williams – album Believe It

The jazz-rock album Believe It (1975) by Tony Williams and his band The Tony Williams Lifetime is again recorded by Columbia Records. This is the group's first album. The first one, not the most famous, but extremely interesting at the same time.

It’s worth noting - the first only in Williams’ new stage, the first for the new line-up of the group. Up to this point, by 1974, as many as four albums had already been released from the constantly disintegrating Williams trio.

John Swanson writes that the album Believe it is like “a crazy fusion tasting.” The new British guitarist Allan Holdsworth became almost a sensation, memorable for his expressive musical language– soft, harmonious and very lyrical, as well as masterful use of the instrument. However, we owe the fusion of jazz and rock, and they also owe it to Williams, with his concept of rhythmic freedom and incredible ingenuity.

The second half of the 60s of the last century was marked by the heyday of rock culture in the West, which was associated with the incredible rise of the hippie movement.

A lot of new things appeared in those years. And not only in music, but in art in general and in the aesthetics of young people’s lives. There were regular rock bands and jazz rock bands playing here. The new groups that emerged during this period can be safely compared to the number of mushrooms growing after rain.

The emergence of Jazz rock

In those years, many new musical trends, groups and names appeared. The Beatles paved the way from Mersbeat to a variety of complex compositions. Following them, such trends as Acid-Rock, Psi-rock, Folk-rock, Classic-Rock, Country rock, Rock Opera, Blues-rock and, of course, Jazz-rock began to appear.

Based on grammar in English, the term jazz-rock can be translated as “jazz rock”, since in grammar the first word determines the relationship to the second. Therefore, the first jazz-rock ensembles became a springboard for the onset of rock culture, not jazz.

Jazz-rock has become an essential part of unconventional music. His stars ended up in rock encyclopedias, reference books and dictionaries.

The first jazz rock bands

At that time, critics came to the conclusion that the Chicago group consisted of rock musicians who were trying to play jazz. And the Blood of Tiars group, in their opinion, on the contrary, consisted of jazzmen who joined rock music. It is also important to remember that in the United States, rock was originally considered white music.

For this reason, the image of the jazz-rock genre was described as: “a white rock band that includes a section of brass instruments.” Not only these two groups made themselves known at that time. They performed new harmonies and rhythms, improvised, and played electronic instruments. Note that America was subject to unprecedented pressure from rock bands based in England.

Mike Bloomfield is a young bluesman from Chicago. He created the blues-rock group Electric Flag. There was a brass section. But at the same time it was said that the group would play real American music. Therefore, we can conclude that in the early stages, jazz-rock had an ideological background. One of the most striking ensembles at that time was the Chase group, created by trumpeter Bill Chase. He died tragically in 1974.

Jazz rock in the activities of famous rock musicians

The early manifestations of jazz rock include a huge number of groups in which musicians played who had previously had nothing to do with such a movement as jazz. Ginger Baker - drummer of "The Cream" - after the group broke up, created new group- "Air Force Band". Groups began to appear in which young jazzmen worked together with rock musicians.

Famous rock musicians actively took part in recording new types of music. Some famous musicians begin to record in studios with others. For example, Jeff Beck recorded with Jan Hammer and Stanley Clarke. Jack Bruce joined The Tony Williams Lifetime. Some time later, the drummer of the Genesis band became a member of the Brand X group.

He also accompanied Al Di Meola. Tommy Bolin, guitarist from Deep Purple, recorded with the famous jazz drummer Billy Cubham. In addition, he himself attracted jazz-rock performers to record his solo records together. All musicians united to find and invent something new. Everyone who did not get hung up on the same manner of playing, on a monotonous style.

If we consider the early times as a whole, we can unequivocally state that in the environment of jazz in the mid-60s, what is called the “threshold” of jazz rock was formed. This is the Adderley Brothers Quintet, Messengers Jazz, Horace Silver and drummer Art Blakey. The music of this quintet is classified as soul jazz or funky jazz.

Elements of such music are actively used by Quincy Jones, an outstanding arranger. Funky soul music was promoted in every possible way by producer Grid Taylor. He worked with Jimmy Smith, Wes Montgomery and other jazzmen.

They were also innovators in their own right, as they offered a new aesthetic that differed significantly from the funky and hard bop standards. Already in 1965, Larry Coryell was one of the first to reconsider the approach to sound on his own instrument, changed the phrasing, and tried to become closer to the rock guitar.

But the real revolution was brought about by John McLoughin. Therefore, several forces worked simultaneously on the direction of jazz-rock. If we talk about traditional jazz, then, in principle, a whole generation of listeners appeared and grew up here.

On the other hand, jazz has changed a lot during this time. He stopped moving in a commercial direction. The era of dance swing ended in the post-war period. Bebop quickly evolved into hard bop. In the late 60s, he touched avant-garde jazz, leaving the general audience and beginning to develop in depth.

Over time, jazz became a very complex movement; it ceased to be a fashionable art. Because such circumstances forced the music business to change. Even famous jazzmen were left without work. Thus, antagonism arose in the sphere of rock music and the jazz environment.

For most jazzmen who continued their development, the tastes of youth caused a smile. It all seemed too simple and primitive to them. The musicians who played rock treated the jazzmen with respect. But there was also some hostility on their part due to the latter’s dislike of everything new.

If we talk about this in general, then both of these directions were to some extent rivals in terms of jealousy for success. It was because of these reasons that jazz rock did not cause much enthusiasm among the general public. Jazz criticism stated that this direction has no future and artistic value.

Video: Funk-Jazz-Rock-Groove-Music

Miles Davis “In A Silent Way” (1969)

Connoisseurs can still argue about the roots and origins of jazz-rock (fusion). However, the moment when jazz rock became famous is not up for debate. Musical genius Mile Davis was the first to edit complex instrumental tracks from various sessions. And, most importantly, he encouraged his colleagues to explore a new path in music. This and Davis’s next album, “Bitches Brew,” are absolute classics of the genre.

Mahavishnu Orchestra “The Inner Mounting Flame” (1971)

Guitarist John McLaughlin, who took part in the recording of the two above-mentioned Miles Davis albums, assembled a group of outstanding instrumentalists - drummer Billy Cobham and violinist Jean-Luc Ponty. The Inner Mounting Flame album taught a lesson in masterful performance to many rock stars from Deep Purple to Metallica and Dream Theater. Listen to what McLaughlin does with his guitar.

Herbie Hancock “Mwandishi” (1971)

The famous keyboardist and composer Herbie Hancock was also greatly influenced by his collaboration with Miles Davis. By the early 70s, the musician left the Blue Note label and began collecting new electronic instruments. Mwandishi was Hancock's own name in Swahili, and he pioneered the integration of synthesizers into the jazz fabric. Those who find the sound of “Mwandishi” too avant-garde and improvisational should turn to Hancock’s funk project “Head Hunters” (1973), which received a wide response from the public.

Return to Forever: Hymn of the Seventh Galaxy (1973)

Another pianist, Chick Corea, after collaborating with Miles in the 70s, changed his focus of interest from the avant-garde to jazz-rock. On the project's Return To Forever album, Corea features guitarist Bill Conors, Stanley Clarke on bass and Lenny White on drums. Hymn of the Seventh Galaxy is no longer jazz-rock, but rock-jazz. Virtuoso performers create a real hard rock mix. A hitherto unheard of fusion of electro, jazz, funk and hard rock, i.e. real fusion (fusion - alloy).

Jazz rock(English) jazz rock) - a direction of music whose name speaks for itself. This unique mixture of jazz and rock appeared relatively recently - in the 60s of the twentieth century, when some progressive-minded jazzmen found the scope of their extensive style too narrow. Traditionally, the emergence of jazz rock is geographically attributed to the United States, but in the Old World there were also enough nuggets who, independently of their colleagues from overseas, mastered the new sound.

Already in the early 60s in the UK there were groups such as Georgie Fame and the Blue Flames and the Graham Bond Organization, whose musicians tried to combine jazz and rhythm and blues in their work. Echoes of jazz rock can also be heard in the 1964 album “The Five Faces of Manfred Mann” by Manfred Mann. However, venerable music critics are inclined to consider the first work in jazz rock to be the record of American jazz vibraphonist Gary Burton (Gary Burton) “Duster”, which went on sale in 1967. This disc featured young Texas musician Larry Coryell as guitarist. It is he who stands at the origins of the style that is commonly called jazz-rock.

A year before working with the great Gary Burton, Larry managed to appear in The group Free Spirits, which also tried to mix jazz with rock in its experiments. When it became clear that the two independent genres of music were quite compatible, Miles Davis' "Miles in the Sky" appeared on the charts. From that moment on, jazz-rock began to gain momentum. Groups playing in a new vein arose independently of each other on both sides of the ocean and sounded very diverse. And this diversity was determined by the broad framework of both genres. Comparing, for example, the Americans Blood, Sweat and Tears with the British The Soft Machine is a completely different approach to music, but both groups at certain moments of their creativity can be completely attributed to this direction.

Jazz-rock is characterized by a significant duration of compositions, improvisation, its jazz basis with all the ensuing consequences and the use of rock instruments. During the heyday of this movement in the 70s, groups such as The Mahavishnu Orchestra, Weather Report, Brand X, Chicago, Return to Forever appeared - groups that are still considered classics of the genre. Subsequent years somewhat expanded the boundaries of jazz rock, adding world, funk and elements of pop music, including electronics. Many subgenres have appeared, but their basis is the same unchanged jazz.

Jazz rock is also sometimes referred to by the term "fusion" ( English fusion), the emergence of which is associated with the arrival of black musicians into jazz-rock who did not want to associate themselves with white rock culture. Characteristic feature fusion is a leaning towards funk. But, to a greater extent, the term “fusion” contains not a musical, but a social connotation, marking the implementation of “fusion” not only at the level of musical cultures, but also between different ethnic groups of performers and listeners. A striking example of such social fusion was the performance of the black Miles Davis at concerts at Fillmore West in 1970 in front of an audience of white hippies in a lineup with white and black performers.