PAS 214 NotesFusion, Modern Eclecticism, Smooth JazzI. Fusion: 1970-1980—The Marriage of Rock, Funk, Jazz, and TechnologyA. Characteristics1. Incorporated elements of Rock, Soul, and Funk2. AKA Jazz-Rock3. Swing feel replaced with rock/funk rhythms4. Simpler harmonies5. Slower harmonic movement6. Use of long vamps7. Repetitive bass lines8. Attention focused on rhythm section9. Use of studio techniques10. Extensive use of electronic instruments11. Use of blues scale over vamps12. Amplification and use of effectsB. Instrumentation1. Electric Bass/Guitar2. Electronic keyboards (Wurlitzer)(Fender Rhodes)(Clavinet)3. Synthesizers (Minimoog)(Arp)4. Saxophones more prominent than brass5. Sampling6. Phase shifter/Echoplex7. Chorus/Reverb/Digital DelayC. Form1. Simple melodies with vamps2. Open Forms3. Sectionalized compositions4. Through-composed compositionsD. Rhythm Section1. Ostinato patterns2. 16th note subdivision3. Heavy use of backbeats4. Slap bass5. Bass as a melodic instrument6. OverdubbingE. Bands1. Weather Report—Zawinul/Shorter/Pastorious2. Return to Forever—Corea3. Mahhavishnu Orchestra—McLaughlin4. Head Hunters—Hancock5. Crusaders—Sample 6. Brecker Brothers—Michael/Randy7. Blackbyrds—Donald Byrd8. L.A. Express—Tom Scott9. Jeff Lorber FusionPAS 214 Notes10. Lifetime—Tony WilliamsF. Performers1. Peter Erskine—Drums2. Billy Cobham—Drums3. Al DiMeola—Guitar4. Stanley Clarke—Bass5. Joe Farrell—Sax/Flute6. Hubert Laws—Flute7. Steve Gadd—Drums8. Larry Coryell—Guitar9. John Scofield—Guitar 10. Pat Metheny—Guitar 11. Flora Purim—VocalsG. Significant Recordings1. Bitches Brew, Tutu—Miles Davis2. Chameleon—Herbie Hancock3. Heavy Weather—Weather Report4. Strap Hanging—Brecker Brothers5. Birds of Fires—Mahavishnu Orchestra6. Light as a Feather—Return to Forever7. CTI—Creed Taylor RecordsII. The 80s and 90s: Modern EclecticismA. Neo-Traditional/Neo-Classical1. Retro Techniques2. Preserved traditional elementsa. Formb. Improvisationc. Rhythm Section Roled. Harmony3. Fusion of many influencesB. Instrumentation1. Frontline—traditional instruments2. Backline—Return to acoustic soundsC. Repertoire1. Standards with new twists2. Originals3. Culturally influenced tunesa. Hip-Hopb. Reggaec. Caribbeand. Central/South America4. Use of vamps and modal sections for solosD. Personnel1. Young Lionsa. Marsalis Bros. (Wynton, Branford, Delfeayo, Jason)b. Joshua Redman—saxPAS 214 Notesc. Joe Lovano—sax d. Donald Harrison—saxe. Kenny Garrett—sax f. Terrance Blanchard—trumpetg. Roy Hargrove—trumpet h. Tom Harrell—trumpeti. Robin Eubanks—trombone j. Christian McBride—bassk. Dave Holland—bassl. Jeff “Tain” Watts—drumsm. Marcus Roberts—pianon. Brad Mehldau—piano2. Unique Voicesa. Steve Turre—trombone/Conch Shellsb. Regina Carter—violin c. Bobby McFerrin—voice3. Repertory Bandsa. Lincoln Center Jazz Orchestra—Marsalisb. Smithsonian Masterworks Jazz Orchestra—Baker4. Contemporary Big Bandsa. Maria Schneiderb. Either/Orchestrac. Toshiko AkiyoshiE. ECM (Edition of Contemporary Music)1. Founded by Manfred Eicher2. Melodic recordings with lush harmonies 3. Experiments with unique instrument combinations4. Open Sound to RecordingsF. ECM Personnel1. Keith Jarrett—piano2. Chick Corea—(Akoustic Band)3. Jan Garbarek—sax4. Dave Holland—bass5. Pat Metheny—guitar6. Eberhard Weber—bassG. M-BASE (Macro-Basic Array of Structural Extemporization)1. Fusion of jazz and dance music (Hip-Hop)2. Concerned with how music is produced (Creative Philosophy)3. Philosophy based on non-western principles (African Diaspora)4. Steve Coleman: saxH. Jam Bands1. Extended improvisation over dance grooves2. Performers: Modeski, Martin, and WoodI. Postmodernism1. Influenced by Stravinsky (classical) and Stallings (cartoons)2. Combines jazz with:PAS 214 Notesa. Klezmer Musicb. Japanese Folk Musicc. Soundtracksd. Nature Sounds3. Alternating Blocks of sound4. John Zorn: saxIII. Smooth Jazz: 1980-present—R ‘n B with ImprovisationA. Characteristics1. Light jazz/soft rock (Fuzak)2. Groove oriented3. Covers of pop and r ‘n b tunes a. Melody orientedb. Improvisation limited4. Simple chord progressions5. Influenced by radio/mediaB. Horn Performers1. David Sanborn - sax2. Grover Washington - sax3. Gerald Albright - sax4. Tom Scott - sax5. Najee - sax6. Ronnie Laws - sax7. Hubert Laws - flute8. Chris Botti- trumpet/flugelhorn9. Tom Browne – trumpetC. Rhythm Performers1. George Benson - guitar2.Earl Klug - guitar3. Marcus Miller - bass4. Bob James - piano5. Dave Grusin - piano6.George Duke – pianoD. Groups1. Spyro Gyra2. FourplayE. Acid JazzPAS 214 Notes1. Created by English DJs and Rap artists2. Combines pop dance music with old jazz recordings (especially funky hard bop) and hip-hop3. Rhythm groove is the key4. Horn lines often erased5. Limited melodic development6. Spawned development of new groups7. Used for marketing purposes8. Simple chord progressionsF. Acid Jazz Techniques1. Sampling2. Redubbing of solos as background3. Looping4. “Mixing”5. Rhythm tracks recreated with synthesizersG. Styles1. Fusions devised by DJs2. Fresh music3. Renames (Marketing ploy)— Cantaloop (Cantaloupe Island)H. Performers1. Count Basic2. Incognito3. Buckshot Le Fonque4. Us3I. Pop Jazz1. Rhythm groove is the key2. Covers of pop and r ‘n b tunes3. Limited improvisation4. Time limits due to media playJ. Performers1. Kenny Gee—soprano2. Chuck Mangione—flugelhorn3. Dave Koz—alto sax4. Boney James—tenor sax5. Wayman