Editing Jazz fusion

{{Short description|Music genre combining jazz methods with rock music, funk, and rhythm and blues}}
{{Use American English|date=July 2022}}
{{Use mdy dates|date=September 2022}}
{{Infobox music genre
| name              = Jazz fusion
| other_names       = Jazz rock, jazz-rock fusion, fusion
| image             = 
| caption           = 
| stylistic_origins = {{hlist|[[Jazz]]|[[rock music|rock]]|[[funk]]|[[psychedelic music|psychedelia]]|[[cool jazz]]|[[bebop]]|[[modal jazz]]<ref>Henry Martin, Keith Waters (2008). Essential Jazz: The First 100 Years, p.178-79. {{ISBN|978-0-495-50525-9}}.</ref>}}
| cultural_origins  = Late 1960s, United States
| derivatives       = {{hlist|[[Zeuhl]]<ref>{{cite book|first=Jeff|last=Wagner|title=Mean Deviation: Four Decades of Progressive Heavy Metal|url=https://books.google.com/books?id=8ZwZcZ2X5ToC&pg=PA242|year=2010|publisher=Bazillion Points Books|isbn=978-0-9796163-3-4|page=242}}</ref>|[[smooth jazz]]|[[acid jazz]]|[[quiet storm]]|[[urban contemporary]]|[[nu jazz]]|[[technical death metal]]<ref>{{cite web |title=100 Greatest Technical Death Metal Bands And Technical Thrash Metal Bands|url=https://entertainment.expertscolumn.com/100-greatest-technical-death-metal-bands-and-technical-thrash-metal-bands|access-date=March 19, 2018|date=May 8, 2015}}</ref>}}
| other_topics      = [[List of jazz fusion musicians|List of musicians]]
}}

'''Jazz fusion''' (also known as '''jazz rock''', '''jazz-rock fusion''', or simply '''fusion'''<ref>{{cite book|last=Garry|first=Jane|chapter=Jazz|title=Encyclopedia of African American Society|editor-last=Haynes|editor-first=Gerald D.|year=2005|publisher=[[SAGE Publications]]|page=465}}</ref>) is a [[popular music]] [[Music genre|genre]] that developed in the late 1960s when musicians combined [[jazz]] harmony and [[jazz improvisation|improvisation]] with [[rock music]], [[funk]], and [[rhythm and blues]]. Electric guitars, amplifiers, and keyboards that were popular in rock began to be used by jazz musicians, particularly those who had grown up listening to rock and roll.

Jazz fusion [[arrangements]] vary in complexity. Some employ groove-based vamps fixed to a single key or a single chord with a simple, repeated melody. Others use elaborate [[chord progression]]s, unconventional time signatures, or melodies with [[Hauptstimme|counter-melodies]]. These arrangements, whether simple or complex, typically include improvised sections that can vary in length, much like in other forms of jazz.

As with jazz, jazz fusion can employ brass and woodwind instruments such as trumpet and saxophone, but other instruments often substitute for these. A jazz fusion band is less likely to use [[piano]] and [[double bass]], and more likely to use [[electric guitar]], [[electric piano]], [[synthesizer]]s, and [[bass guitar]].

The term "jazz rock" is sometimes used as a synonym for "jazz fusion" and for music performed by late 1960s- and 1970s-era rock bands that added jazz elements to their music. After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s in parallel with the development of a radio-friendly style called [[smooth jazz]].<ref>{{cite web|url=https://www.allmusic.com/style/smooth-jazz-ma0000002860|work=[[AllMusic]]|title=Jazz » Fusion » Smooth Jazz|access-date=March 12, 2020}}</ref> Experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach.

==History==
{{Update|section|reason=Does not cover other decades besides the 70s and out of touch with recent developments|date=November 2023}}

===Origins===
When [[John Coltrane]] died in 1967, rock was the most popular music in America, and ''[[DownBeat]]'' magazine went so far as to declare in a headline that: "Jazz as We Know It Is Dead".<ref name="Fusions">{{cite book |last1=Nicholson |first1=Stuart |editor1-last=Cooke |editor1-first=Mervyn |editor2-last=Horn |editor2-first=David |title=The Cambridge Companion to Jazz |date=2002 |publisher=Cambridge University Press |isbn=978-0-521-66388-5 |pages=221–222 |chapter=Fusions and Crossovers}}</ref> [[AllMusic]] states that "until around 1967, the worlds of jazz and rock were nearly completely separate".<ref name="Fusion overview">{{cite web |title=Fusion Music Genre Overview |url=https://www.allmusic.com/style/fusion-ma0000002607 |website=AllMusic |access-date=July 23, 2018}}</ref>

[[File:Larry Coryell 1979.jpg|thumb|upright=.8|Guitarist [[Larry Coryell]]]]

Guitarist [[Larry Coryell]], sometimes called the godfather of fusion, referred to a generation of musicians who had grown up on rock and roll when he said, "We loved Miles but we also loved the [[Rolling Stones]]."<ref name="OxMilkowski">{{cite book |last1=Milkowski |first1=Bill |editor1-last=Kirchner |editor1-first=Bill |title=The Oxford Companion to Jazz |url=https://archive.org/details/oxfordcompaniont00kirc |url-access=registration |date=2000 |publisher=Oxford University Press |isbn=978-0-19-518359-7 |pages=[https://archive.org/details/oxfordcompaniont00kirc/page/504 504]– |chapter=Fusion}}</ref> In 1966, he started the band [[the Free Spirits]] with [[Bob Moses (musician)|Bob Moses]] on drums and recorded the band's first album,<ref name="Fusions"/> ''[[Out of Sight and Sound]]'', released in 1967. That same year, ''DownBeat'' began to report on rock music.<ref name="OxMilkowski" /> After the Free Spirits, Coryell was part of a quartet led by vibraphonist [[Gary Burton]], releasing the album ''[[Duster (Gary Burton album)|Duster]]'' with its rock guitar influence.<ref name="Fusions" /> Burton produced the album ''Tomorrow Never Knows'' for Count's Jam Band, which included Coryell, [[Mike Nock]], and [[Steve Marcus]], all of them former students at Berklee College in Boston.<ref name="Fusions" />

The pioneers of fusion emphasized exploration, energy, electricity, intensity, virtuosity, and volume. [[Charles Lloyd (jazz musician)|Charles Lloyd]] played a combination of rock and jazz at the [[Monterey Jazz Festival]] in 1966 with a quartet that included [[Keith Jarrett]] and [[Jack DeJohnette]].<ref name="OxMilkowski" /> Lloyd adopted the trappings of the California [[psychedelic rock]] scene by playing at the rock venue the [[Fillmore West]], wearing colorful clothes, and giving his albums titles like ''Dream Weaver'' and ''Forest Flower'', which were bestselling jazz albums in 1967.<ref name="Fusions" /> Flautist [[Jeremy Steig]] experimented with jazz in his band Jeremy & the Satyrs with vibraphonist [[Mike Mainieri]]. The jazz label [[Verve Records|Verve]] released the first album (''Freak Out'') by rock guitarist [[Frank Zappa]] in 1966.<ref name="OxMilkowski" /> [[Rahsaan Roland Kirk]] performed with Jimi Hendrix at [[Ronnie Scott's Jazz Club]] in London.<ref name="OxMilkowski" />

According to music journalist Zaid Mudhaffer, the term "jazz fusion" was coined in a review of ''[[Song of Innocence]]'' by [[David Axelrod (musician)|David Axelrod]] when it was released in 1968.<ref>{{cite web |last=Mudhaffer |first=Zaid |date=January 20, 2014 |url=http://www.redbullmusicacademy.com/magazine/david-axelrod-guide |title=Heavy Axe: A Guide to David Axelrod |publisher=Red Bull Music Academy |access-date=June 23, 2014 |archive-url=https://web.archive.org/web/20140223223403/http://www.redbullmusicacademy.com/magazine/david-axelrod-guide |archive-date=February 23, 2014 |url-status=live }}</ref> Axelrod said Davis had played the album before conceiving ''Bitches Brew''.<ref>{{cite magazine |last=Bonner |first=Michael |date=August 23, 2018 |url=https://www.uncut.co.uk/reviews/album/david-axelrod-song-innocence |title=David Axelrod – Song Of Innocence |magazine=Uncut |access-date=October 5, 2018}}</ref>

===Miles Davis plugs in===
[[Miles Davis]] wrote in his autobiography that in 1968 he had been listening to [[Jimi Hendrix]], [[James Brown]], and [[Sly and the Family Stone]].<ref name="OxMilkowski" /> As members of Davis' band, [[Chick Corea]] and [[Herbie Hancock]] played electric piano on ''[[Filles de Kilimanjaro]]''. Davis's 1969 album ''[[In a Silent Way]]'' is considered his first fusion album.<ref name="Southall">Southall, Nick. [http://www.stylusmagazine.com/articles/on_second_thought/miles-davis-in-a-silent-way.htm Review: ''In a Silent Way''] {{Webarchive|url=https://web.archive.org/web/20150710222208/http://www.stylusmagazine.com/articles/on_second_thought/miles-davis-in-a-silent-way.htm |date=July 10, 2015 }}. ''[[Stylus Magazine]]''. Retrieved on April 1, 2010.</ref> Composed of two side-long improvised suites edited heavily by Teo Macero, the album was made by pioneers of jazz fusion: Corea, Hancock, [[Tony Williams (drummer)|Tony Williams]], [[Wayne Shorter]], [[Joe Zawinul]] and [[John McLaughlin (musician)|John McLaughlin]]. When Davis recorded ''[[Bitches Brew]]'' in 1969, he mostly abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album "mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion".<ref>[http://www.jazzitude.com/essential_fusion.htm Jazzitude {{pipe}} History of Jazz Part 8: Fusion] {{webarchive|url=https://web.archive.org/web/20150114032732/http://www.jazzitude.com/essential_fusion.htm |date=January 14, 2015 }}</ref> Davis played his trumpet like an electric guitar—plugged in to electronic effects and pedals. By the end of the first year, ''Bitches Brew'' sold 400,000 copies, four times the average for a Miles Davis album.

[[File:Miles Davis 24.jpg|thumb|right|Trumpet player [[Miles Davis]] was a key figure in the development of fusion.]]

Although ''Bitches Brew'' gave him a [[Music recording sales certification|gold record]], the use of electric instruments and rock beats created consternation among some jazz critics, who accused Davis of betraying the essence of jazz.<ref name="considine">{{cite news |last1=Considine |first1=J.D. |title=Miles Davis, plugged in Review: The jazz legend's electric albums sparked controversy. |url=https://www.baltimoresun.com/1997/08/27/miles-davis-plugged-in-review-the-jazz-legends-electric-albums-sparked-controversy/ |access-date=November 10, 2018 |work=Baltimore Sun |date=August 27, 1997}}</ref> Music critic Kevin Fellezs commented that some members of the jazz community regarded rock music as less sophisticated and more commercial than jazz.<ref name="Briley">{{cite journal |jstor=43264136 |title=Review of Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion |first=Ron |last=Briley |journal=The History Teacher |date=May 2013 |volume=46 |issue=3 |pages=465–466}}</ref>  Over the next two years, the aloof Davis recorded more often, worked with many sidemen, appeared on television, and performed at rock venues. Just as quickly, Davis tested the loyalty of rock fans by continuing to experiment with rock, [[funk]], and electronic treatments. His producer, [[Teo Macero]], inserted previously recorded material into the [[Jack Johnson (album)|''Jack Johnson'' soundtrack]], ''[[Live-Evil (Miles Davis album)|Live-Evil]]'', and ''[[On the Corner]]''.<ref name="Gioia history">{{cite book |last1=Gioia |first1=Ted |title=The History of Jazz |date=2011 |publisher=Oxford University Press |location=New York |isbn=978-0-19-539970-7 |pages=[https://archive.org/details/historyofjazz00gioia/page/326 326–] |edition=2 |url=https://archive.org/details/historyofjazz00gioia/page/326 }}</ref> ''Jack Johnson'' (1971) has been cited as "the purest electric jazz record ever made" and "one of the most remarkable jazz rock discs of the era".<ref name="tribute">{{cite web |last1=Jurek |first1=Thom |title=A Tribute to Jack Johnson|url=https://www.allmusic.com/album/a-tribute-to-jack-johnson-mw0000311307 |website=AllMusic |access-date=July 24, 2018}}</ref><ref name="Fordham tribute">{{cite web |last1=Fordham |first1=John |title=Miles Davis, A Tribute to Jack Johnson |url=https://www.theguardian.com/music/2005/apr/01/jazz.shopping |website=The Guardian |access-date=July 24, 2018|date=April 1, 2005}}</ref>

===Davis sidemen branch out===
[[File:JohnMcLaughlin.jpg|thumb|right|[[John McLaughlin (musician)|John McLaughlin]] performs during his [[Mahavishnu Orchestra]] period]]

[[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. 

Davis dropped out of music in 1975 because of problems with drugs and alcohol, but his sidemen took advantage of the creative and financial vistas that had been opened. Herbie Hancock brought elements of funk, disco, and electronic music into commercially successful albums such as ''[[Head Hunters]]'' (1973) and ''[[Feets, Don't Fail Me Now]]'' (1979). Several years after recording ''[[Miles in the Sky]]'' with Davis, guitarist [[George Benson]] became a vocalist with enough pop hits to overshadow his earlier career in jazz.<ref name="Gioia history" />

While Davis was sidelined, Chick Corea gained prominence. In the early 1970s Corea combined jazz, rock, pop, and Brazilian music in [[Return to Forever]], a band that included [[Stanley Clarke]] on bass guitar and [[Al Di Meola]] on electric guitar. Corea divided the rest of his career between acoustic and electric music, non-commercial and commercial, jazz and pop rock, with a band for each: the Akoustic Band and the Elektric Band.<ref name="Gioia history" />

Joe Zawinul and Wayne Shorter started the influential jazz fusion band [[Weather Report]] in December 1970.<ref name="BKGrove">{{cite encyclopedia |encyclopedia=Grove Music Online |first=Barry |last=Kernfeld |title=Weather Report |url=https://doi.org/10.1093/gmo/9781561592630.article.45699 |url-access=subscription |access-date=29 March 2025 |language=en |date=20 January 2001 |publisher=Oxford}}</ref> They had a successful career along with major musicians like [[Alphonse Mouzon]], [[Jaco Pastorius]], [[Airto Moreira]] and [[Miroslav Vitouš]] until 1986.<ref name="BKGrove"/>

Tony Williams was a member of Davis's band since 1963. Williams reflected, "I wanted to create a different atmosphere from the one I had been in...What better way to do it than to go electric?" He left Davis to form [[the Tony Williams Lifetime]] with English guitarist John McLaughlin and organist [[Larry Young (musician)|Larry Young]]. The band combined rock intensity and loudness with jazz spontaneity. The debut album [[Emergency! (album)|''Emergency!'']] was recorded three months before ''Bitches Brew''.<ref name="OxMilkowski" /><ref>{{cite web |url=https://www.allaboutjazz.com/the-tony-williams-lifetime-emergency-tony-williams-by-trevor-maclaren.php |title=Tony Williams: The Tony Williams Lifetime: Emergency! |last=Maclaren |first=Trevor |date=November 16, 2005 |work=AllAboutJazz |access-date=August 1, 2018 }}</ref><ref>{{cite book|last=Nicholson|first=Stuart|editor=Mervyn Cooke, David Horn|title=The Cambridge Companion to Jazz |url=https://books.google.com/books?id=KYl1_KVoSY0C&pg=PA226 |year=2010 |publisher=Cambridge University Press |isbn=978-0-521-66388-5|page=226}}</ref>

Although McLaughlin had worked with Miles Davis, he was influenced more by Jimi Hendrix and had played with English rock musicians [[Eric Clapton]] and [[Mick Jagger]] before creating the Mahavishnu Orchestra around the same time that Corea started Return to Forever. McLaughlin had been a member of Tony Williams's Lifetime. He brought to his music many of the elements that interested other musicians in the 1960s and early 1970s: counterculture, rock and roll, electronic instruments, solo virtuosity, experimentation, the blending of genres, and an interest in the exotic, such as Indian music.<ref name="Gioia history" /> He formed the [[Mahavishnu Orchestra]] with drummer [[Billy Cobham]], violinist [[Jerry Goodman]], bassist [[Rick Laird]], and keyboardist [[Jan Hammer]]. The band released its first album, ''[[The Inner Mounting Flame]]'', in 1971. Hammer pioneered the use of the [[Minimoog]] synthesizer with distortion effects. His use of the pitch bend wheel made a keyboard sound like an electric guitar. The Mahavishnu Orchestra was influenced by both psychedelic rock and [[Indian classical music]]. The band's first lineup broke up after two studio albums and one live album, but McLaughlin formed another group in 1974 under the same name with jazz violinist [[Jean-Luc Ponty]], one of the first electric violinists.

After leaving the Mahavishnu Orchestra in 1975 Jean-Luc Ponty signed with [[Atlantic Records|Atlantic]] and released number of successful jazz fusion solo albums that entered top 5 of the [[Top Jazz Albums|''Billboard'' jazz charts]] in mid '70s — '80s.

During the late 1970s, [[Lee Ritenour]], [[Stuff (band)|Stuff]], George Benson, [[Spyro Gyra]], [[The Crusaders (jazz fusion group)|the Crusaders]], and [[Larry Carlton]]<ref>{{Cite web|url=http://rockportmusic.org/larry-carlton/|title=Larry Carlton|access-date=April 22, 2019|archive-date=April 22, 2019|archive-url=https://web.archive.org/web/20190422093005/https://rockportmusic.org/larry-carlton/|url-status=dead}}</ref> released fusion albums.

==Jazz rock==
{{Infobox music genre
| name              = Jazz rock
| stylistic_origins = * Jazz
* rock
* jazz fusion
| cultural_origins  = 
| instruments       = {{hlist|Electric guitar|piano|[[electric piano]]|drums|saxophone|trumpet|[[electronic keyboard]]|bass guitar|vocals}}
| derivatives       = {{hlist|[[Jam band]]|[[punk jazz]]|[[jazz metal]]|[[progressive rock]]|[[krautrock]]|[[yacht rock]]}}
| other_topics      = 
}}

The term "'''jazz rock'''" (or "jazz/rock") is sometimes used as a synonym for "jazz fusion". [[The Free Spirits]] have sometimes been cited as the earliest jazz rock band.<ref>[[#Unterberger1998|Unterberger 1998]], pg. 329</ref>

Rock bands such as [[Colosseum (band)|Colosseum]], [[Chicago (band)|Chicago]], [[The Ides of March (band)|The Ides of March]], [[Blood Sweat & Tears|Blood, Sweat & Tears]], [[Chase (band)|Chase]], [[Santana (band)|Santana]],<ref>[https://www.allmusic.com/artist/chase-mn0000100840/biography Chase] All music. Retrieved 9 February 2023</ref> [[Soft Machine]], [[Nucleus (band)|Nucleus]], [[Brand X]], [[the Mothers of Invention]] and [[If (band)|IF]] blended jazz and rock with electric instruments.<ref name="tesser">{{cite book |last1=Tesser |first1=Neil |title=The Playboy Guide to Jazz |date=1998 |publisher=Plume |location=New York |isbn=0-452-27648-9 |page=[https://archive.org/details/playboyguidetoja00tess/page/178 178] |url=https://archive.org/details/playboyguidetoja00tess/page/178 }}</ref>  Miles Davis' fusion jazz was "pure melody and tonal color",<ref name="tesser" /> while Frank Zappa's music was more "complex" and "unpredictable".<ref name="AMGJ2">{{cite book |editor1-last=Bogdanov |editor1-first=Vladimir |editor2-last=Erlewine |editor2-first=Stephen Thomas |title=All Music Guide to Jazz |date=2002 |publisher=Backbeat Books |location=San Francisco, CA |isbn=0-87930-717-X |page=178|edition=4}}</ref> Zappa released the solo album ''[[Hot Rats]]'' in 1969.<ref name="Huey">{{cite web |last1=Huey |first1=Steve |title=Hot Rats |url=https://www.allmusic.com/album/hot-rats-mw0000651162 |website=AllMusic |access-date=July 23, 2018}}</ref> The album contained long instrumental pieces with a jazz influence.<ref name="mileshotrats">Miles, 2004, ''Frank Zappa'', p. 194.</ref><ref name="hotrats">{{cite book |last1=Lowe |title=The Words and Music of Frank Zappa |page=74}}</ref> Zappa released two albums, ''[[Waka/Jawaka]]'' and ''[[The Grand Wazoo]]'', in 1972, which were influenced by jazz. [[George Duke]] and [[Aynsley Dunbar]] played on both. 1970s band [[Steely Dan]] has been lauded by music critic [[Neil McCormick]] for their "smooth, smart jazz-rock fusion".<ref>{{cite news|url=https://www.telegraph.co.uk/music/artists/steely-dan-walter-becker-gave-us-jazz-fusion-perfection/ |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/music/artists/steely-dan-walter-becker-gave-us-jazz-fusion-perfection/ |archive-date=2022-01-11 |url-access=subscription |url-status=live|title=With Steely Dan, Walter Becker gave us jazz fusion perfection|last1=McCormick|first1=Neil|newspaper=[[The Daily Telegraph|The Telegraph]]|date=September 3, 2017|access-date=July 16, 2020}}{{cbignore}}</ref>

The jazz artists of the 1960s and 1970s had a large impact on many rock groups of that era such as [[Santana (band)|Santana]] and Frank Zappa. They took jazz phrasing and harmony and incorporated it into modern rock music, significantly changing music history and paving the way for artists that would follow in their footsteps. Carlos Santana in particular has given much credit to Miles Davis and the influence he had on his music. While Miles Davis combined jazz with modal and rock influences, [[Carlos Santana]] combined these along with Latin rhythms and feel, shaping a whole new genre, [[Latin rock]]. Other rock artists such as [[Gary Moore]], [[The Grateful Dead]], [[The Doors]], [[Jimi Hendrix]], [[John Scofield]], and [[The Allman Brothers Band]] have taken influences from blues, jazz, [[blues rock]], jazz rock and incorporated it into their own music.

According to AllMusic, the term jazz rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation...jazz rock first emerged during the late '60s as an attempt to fuse the visceral power of rock with the musical complexity and improvisational fireworks of jazz. Since rock often emphasized directness and simplicity over virtuosity, jazz rock generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s: [[psychedelic music|psychedelia]], [[progressive rock]], and the singer-songwriter movement."<ref name="JR Overview">{{cite web |title=Jazz-Rock Music Genre Overview|url=https://www.allmusic.com/style/jazz-rock-ma0000012014 |website=AllMusic |access-date=July 23, 2018}}</ref>

According to jazz writer Stuart Nicholson, jazz rock paralleled [[free jazz]] by being "on the verge of creating a whole new musical language in the 1960s". He said the albums ''[[Emergency! (album)|Emergency!]]'' (1969) by the [[Tony Williams Lifetime]] and ''[[Agharta (album)|Agharta]]'' (1975) by Miles Davis "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before". This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.<ref>{{cite book |page=614 |last1=Harrison |first1=Max |last2=Thacker |first2=Eric |last3=Nicholson |first3=Stuart |title=The Essential Jazz Records: Modernism to Postmodernism |year=2000 |publisher= A&C Black |isbn=0-7201-1822-0}}</ref>

In the 1970s, American fusion was being combined in the U.K. with progressive rock and psychedelic music. Bands who were part of this movement included Brand X (with [[Phil Collins]] of Genesis), Bruford ([[Bill Bruford]] of Yes), Nucleus (led by [[Ian Carr]]), and Soft Machine. Throughout Europe and the world this movement grew due to bands like [[Magma (band)|Magma]] in France, [[Passport (band)|Passport]] in Germany, [[Time (Yugoslav band)|Time]], [[Leb i Sol]] and [[September (band)|September]] in Yugoslavia, and guitarists [[Jan Akkerman]] (The Netherlands), [[Volker Kriegel]] (Germany), [[Terje Rypdal]] (Norway), [[Jukka Tolonen]] (Finland), [[Ryo Kawasaki]] (Japan), and [[Kazumi Watanabe]] (Japan).<ref name="OxMilkowski" />

==Jazz metal==
{{Infobox music genre
| name              = Jazz metal
| stylistic_origins = {{hlist|[[Heavy metal music|Heavy metal]]|jazz fusion|[[free jazz]]}}
| cultural_origins  =
| instruments       = {{hlist|Electric guitar|piano|[[electric piano]]|drums|saxophone|trumpet|[[electronic keyboard]]|bass guitar|vocals}}
| derivatives       =
| other_topics      = {{hlist|[[Mathcore]]|[[progressive metal]]|[[punk jazz]]|[[punk jazz#Jazzcore|jazzcore]]}}
}}

'''Jazz metal''' is the fusion of jazz fusion and jazz rock with [[Heavy metal music|heavy metal]]. [[Animals as Leaders]]' albums ''[[The Joy of Motion]]'' (2014) and ''[[The Madness of Many]]'' (2016) have been described as progressive metal combined with jazz fusion.<ref>{{Cite web|url=https://chimesnewspaper.com/25252/entertainment/animals-leaders-acquire-lighter-touch|title = Animals as Leaders acquire a lighter touch|date = November 15, 2016}}</ref> [[Panzerballett]] blends jazz with heavy metal.<ref name="panzerballett">{{Cite web |last=Collar |first=Matt |title=Panzerballett Biography |url=https://www.allmusic.com/artist/panzerballett-mn0002092917/biography |access-date=2023-10-02 |website=[[AllMusic]]}}</ref> [[Imperial Triumphant]] combines jazz with [[death metal]] and [[black metal]].<ref>{{Cite web |last=Selzerpublished |first=Jonathan |date=2018-07-12 |title=Enter the weird and frankly worrying world of Imperial Triumphant |url=https://www.loudersound.com/features/enter-the-weird-and-frankly-worrying-world-of-avant-black-metal-troupe-imperial-triumphant |access-date=2025-01-22 |website=louder |language=en}}</ref>
{{clear}}

==Jazz pop==
{{Infobox music genre
| name              = Jazz-pop
| image             = 
| caption           =
| stylistic_origins = {{hlist|[[Vocal jazz]]|[[pop music|pop]]|[[soft rock]]|[[Sophisti-pop]]|[[Rhythm and blues]]|[[adult contemporary]]|[[soul music|soul]]|[[bossa nova]]|[[latin jazz]]|[[easy listening]]|[[lounge music]]}}
| cultural_origins  = 1960s, United States
| derivatives       = [[Smooth jazz]]
| other_topics      = 
}}

'''Jazz pop''' (or '''pop-jazz''', also called '''jazzy pop''') is pop music with jazz instruments, soft production, commercially viable, and radio-friendly.<ref>{{Cite web|url=https://us.napster.com/genre/jazz/pop-jazz|title=Pop-Jazz}}</ref> In jazz pop, the music has less improvisation, but retains the melody and swing of jazz.<ref>{{Cite web|url=https://www.allmusic.com/style/jazz-pop-ma0000011906|title = Jazz-Pop Music Genre Overview|website = [[AllMusic]]}}</ref> Robert Palmer from ''[[The New York Times]]'' cited that jazz pop should be distinguished from [[jazz rock]].<ref>{{Cite news|url=https://www.nytimes.com/1977/02/13/archives/jazz-popa-failed-art-music-makes-good.html|title = Jazz Pop—A 'Failed Art Music' Makes Good|newspaper = The New York Times|date = 13 February 1977|last1 = Palmer|first1 = Robert}}</ref>

Examples of jazz-pop musicians are [[Kenny G]], [[Bob James (musician)|Bob James]], and [[George Benson]]. [[Frank Sinatra]] has been referred to as a vocalist whose style blended jazz influences with [[traditional pop]] and [[Crooner|crooning]].<ref>{{cite news |first1=Adam |last1=Gopnik |title=The Pure Artistry of Frank Sinatra |url=https://www.newyorker.com/culture/cultural-comment/the-pure-artistry-of-frank-sinatra |access-date=28 December 2024 |agency=The New Yorker |date=April 8, 2015}}</ref> A more recent example of a vocalist described as jazz-pop is [[Laufey (singer)|Laufey]].<ref name="nprtradpop">{{Cite web |last=Powers |first=Ann |date=31 January 2024 |title=Laufey is a trad-pop superstar (and that's enough) |url=https://www.npr.org/2024/01/31/1227976838/laufey-grammys-jazz-pop |access-date=6 February 2024 |website=[[National Public Radio]] |archive-date=5 February 2024 |archive-url=https://web.archive.org/web/20240205234258/https://www.npr.org/2024/01/31/1227976838/laufey-grammys-jazz-pop |url-status=live }}</ref><ref name="nytpop">{{Cite web |last=Russonello |first=Giovanni |date=2 November 2023 |title=Laufey's Old-Time Pop Is Smooth. Its Relationship to Jazz Is Spikier. |url=https://www.nytimes.com/2023/11/02/arts/music/laufey.html |access-date=6 February 2024 |website=[[New York Times]] |archive-date=6 February 2024 |archive-url=https://web.archive.org/web/20240206124041/https://www.nytimes.com/2023/11/02/arts/music/laufey.html |url-status=live }}</ref>

== Smooth jazz ==
{{Main|Smooth jazz}}
[[File:Spyro Gyra - jazz band.JPG|thumb|right|250px|[[Spyro Gyra]] combines jazz with R&B, funk and pop.]]

By the early 1980s, much of the original fusion genre was subsumed into other branches of jazz and rock, especially [[smooth jazz]], a radio-friendly subgenre of fusion which is influenced by R&B, funk, and pop music.<ref name="WhatIsSmoothJazz">{{cite web| url=http://www.smooth-jazz.de/what_is_smoothjazz.html| title=What is smooth jazz?| access-date=2007-06-16| publisher=Smoothjazz.de }}</ref> Smooth jazz can be traced to at least the late 1960s, when producer [[Creed Taylor]] worked with guitarist [[Wes Montgomery]] on three popular music-oriented albums. Taylor founded [[CTI Records]] and many established jazz performers recorded for CTI, including [[Freddie Hubbard]], [[Chet Baker]], George Benson, and [[Stanley Turrentine]]. Albums under Taylor's guidance were aimed at both pop and jazz fans.{{citation needed|date=February 2023}}

The merging of jazz and pop/rock music took a more commercial direction in the late 1970s and early 1980s, in the form of compositions with a softer sound palette that could fit comfortably in a [[soft rock]] radio playlist. The AllMusic guide's article on fusion states that "unfortunately, as it became a money-maker and as rock declined artistically from the mid-'70s on, much of what was labeled fusion was actually a combination of jazz with easy-listening pop music and lightweight R&B."<ref name="Fusion overview" />

[[Michael Brecker|Michael]] and [[Randy Brecker]] produced funk-influenced jazz with soloists.<ref name="Lawn">{{cite book |last1=Lawn |first1=Richard J. |title=Experiencing Jazz |date=2007 |publisher=McGraw-Hill |location=New York |isbn=978-0-07-245179-5 |page=341}}</ref> David Sanborn was considered a "soulful" and "influential" voice.<ref name=Lawn /> However, Kenny G was criticized by both fusion and jazz fans, and some musicians, while having become a huge commercial success. Music reviewer George Graham argues that the "so-called 'smooth jazz' sound of people like Kenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the 1970s."<ref>[https://archive.today/20121209204621/http://webcache.googleusercontent.com/search?q=cache:5Z0ukGXTz54J:georgegraham.com/reviews/methgrp.html George Graham review]</ref>

== Other styles ==

===Punk jazz===
{{main|Punk jazz}}
In the 1990s, another kind of fusion took a more hardcore approach. [[Bill Laswell]] produced many albums in this movement, such as ''Ask the Ages'' by avant-garde guitarist Sonny Sharrock and ''[[Arc of the Testimony]]'' with Laswell's band [[Arcana (American band)|Arcana]]. [[Niacin (band)]] was formed by rock bassist Billy Sheehan, drummer Dennis Chambers, and organist John Novello.<ref name="OxMilkowski" />

In London, [[The Pop Group]] began to mix free jazz and reggae into their form of punk rock.<ref name="Lang">{{cite web |last1=Lang |first1=Dave |title=The Pop Group |url=http://www.furious.com/Perfect/popgroup.html |website=www.furious.com |access-date=July 24, 2018 |date=February 1999 |archive-url=https://web.archive.org/web/19990420123739/http://www.furious.com/perfect/popgroup.html |archive-date=April 20, 1999 |url-status=dead }}</ref> In New York City, [[no wave]] was inspired by free jazz and punk. Examples of this style include [[Lydia Lunch]]'s ''Queen of Siam'',<ref name="Bangs">{{cite web |last1=Bangs |first1=Lester |title=Free Jazz Punk Rock |url=http://www.notbored.org/bangs.html |website=www.notbored.org |access-date=July 24, 2018 |date=1979}}</ref> [[James Chance and the Contortions]], who mixed soul music with free jazz and punk rock, and the [[Lounge Lizards]],<ref name="Bangs" /> the first group to call themselves [[punk jazz]].<ref name="Bangs" />

[[John Zorn]] took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock and incorporated them into free jazz with the release of the ''[[Spy vs Spy (album)|Spy vs Spy]]'' album in 1986. The album was a collection of [[Ornette Coleman]] tunes played in the [[thrashcore]] style.<ref>{{cite web |url=http://www.sonic.net/~goblin/8zorn.html |title=House Of Zorn, Goblin Archives, at |work=Sonic.net |access-date=November 7, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20101019024244/http://sonic.net/~goblin/8zorn.html |archive-date=October 19, 2010 }}</ref> In the same year, [[Sonny Sharrock]], [[Peter Brötzmann]], Bill Laswell, and [[Ronald Shannon Jackson]] recorded the first album under the name [[Last Exit (free jazz band)|Last Exit]], a blend of thrash and free jazz.<ref>{{cite web |url=http://www.progressiveears.com/asp/reviews.asp?albumID=4193&bhcp=1 |title=Progressive Ears Album Reviews |work=Progressiveears.com |date=October 19, 2007 |access-date=November 7, 2010 |url-status=dead|archive-url=https://web.archive.org/web/20110607145159/http://www.progressiveears.com/asp/reviews.asp?albumID=4193&bhcp=1 |archive-date=June 7, 2011}}</ref>

===Jazz-funk===
{{Main|Jazz-funk}}
Jazz-funk is characterized by a strong [[beat (music)|back beat]] ([[Groove (music)|groove]]), electrified sounds,<ref>{{cite web |url=http://www.rhapsody.com/jazz/jazzfunk/more.html |title=Top Jazz-Funk Artists, Albums, Tracks and Videos on Rhapsody Online |archive-url=https://web.archive.org/web/20070929083925/http://www.rhapsody.com/jazz/jazzfunk/more.html |archive-date=September 29, 2007 |url-status=dead}}</ref> and an early prevalence of [[analog synthesizers]]. The integration of [[funk]], [[soul music|soul]], and [[rhythm and blues|R&B]] music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong [[Musical improvisation#Jazz improvisation|jazz improvisation]] to soul, funk or [[disco]] with jazz arrangements, jazz [[riff]]s, jazz solos, and sometimes soul vocals.<ref name=allmusic>{{cite web|url=http://www.allmusic.com/genre/jazz-ma0000002674 |title=Jazz {{pipe}} Significant Albums, Artists and Songs |publisher=[[AllMusic]] |date=2013-11-24 |access-date=2015-06-03}}</ref>

Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid-1970s. Jazz-funk retains a stronger feel of groove and R&B versus some of the jazz fusion production, and is more arranged and features more improvisation than [[soul jazz]].

===M-Base===
{{main|M-Base}}
[[File:Steve Coleman 1611.JPG|thumb|right|Steve Coleman in Paris, July 2004]]
M-Base ("macro-basic array of structured extemporization") centers on a movement started in the 1980s. It started as a group of young African-American musicians in New York which included [[Steve Coleman]], [[Greg Osby]], and [[Gary Thomas (musician)|Gary Thomas]] developing a complex but grooving sound.<ref name="Jost">{{cite book |last1=Jost |first1=Ekkehard |title=Sozialgeschichte des Jazz |date=2003 |page=377 |quote=circular and highly complex polymetric patterns which preserve their danceable character of popular funk-rhythms despite their internal complexity and asymmetries}}</ref> In the 1990s most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.<ref name="Blumenfeld">{{cite web |last1=Blumenfeld |first1=Larry |title=A Saxophonist's Reverberant Sound |url=https://www.wsj.com/articles/SB10001424052748703302604575294532527380178 |website=Wall Street Journal |date=June 11, 2010 |quote=Pianist Vijay Iyer, who was chosen as Jazz Musician of the year 2010 by the Jazz Journalists Association, said, 'It's hard to overstate Steve's influence. He's affected more than one generation, as much as anyone since John Coltrane.'}}</ref><ref name="Undead">{{cite news |last1=Ratliff |first1=Ben |title=Undead Jazzfest Roams the West Village |url=https://www.nytimes.com/2010/06/15/arts/music/15undead.html?_r=1 |website=The New York Times |access-date=July 24, 2018 |date=June 14, 2010 |quote=His recombinant ideas about rhythm and form and his eagerness to mentor musicians and build a new vernacular have had a profound effect on American jazz.}}</ref> M-Base changed from a loose collective to an informal "school".<ref>{{cite web|first=Michael J. |last=West |url=http://jazztimes.com/articles/26044-steve-coleman-vital-information |title=Jazz Articles: Steve Coleman: Vital Information |work=Jazztimes.com|date=June 2, 2010|access-date=June 5, 2011}}</ref>

===Afro-Cuban jazz===
{{main|Afro-Cuban jazz}}
Afro-Cuban jazz, one of the earliest forms of [[Latin jazz]], is a fusion of Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban jazz emerged in the early 1940s with the Cuban musicians [[Mario Bauza]] and [[Machito|Frank Grillo "Machito"]] in the band Machito and his Afro-Cubans in New York City. In 1947 the collaborations of bebop innovator Dizzy Gillespie with Cuban percussionist [[Chano Pozo]] brought Afro-Cuban rhythms and instruments, most notably the congas and the bongos, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as Gillespie's and Pozo's "Manteca" and Charlie Parker's and Machito's "Mangó Mangüé", were commonly referred to as "Cubop", short for Cuban bebop.<ref name="Fernandez2006">{{cite book |last=Fernandez |first=Raul A. |title=From Afro-Cuban Rhythms to Latin Jazz |url=https://books.google.com/books?id=6WO7YevK_18C&pg=PA62 |access-date=June 17, 2011 |date=May 23, 2006 |publisher=University of California Press |isbn=978-0-520-93944-8 |pages=62–}}</ref> During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba.<ref name="Acosta">{{cite book |last1=Acosta |first1=Leonardo |title=Cubano be, Cubano bop |date=2003 |publisher=Smithsonian Books |location=Washington; London |isbn=1-58834-147-X |page=59}}</ref>

== Influence on rock music ==
{{See also|Progressive rock|art rock|progressive metal}}
According to bassist [[Randy Jackson]], jazz fusion is a difficult genre to play. "I ... picked jazz fusion because I was trying to become the ultimate technical musician—able to play anything. Jazz fusion to me is the hardest music to play. You have to be so proficient on your instrument. Playing five tempos at the same time, for instance. I wanted to try the toughest music because I knew if I could do that, I could do anything."<ref name="JacksonBaker2004">{{cite book |last1=Jackson |first1=Randy |last2=Baker |first2=K. C. |title=What's Up, Dawg?: How to Become a Superstar in the Music Business |url=https://books.google.com/books?id=K3v6gPypo14C&pg=PT72 |access-date=December 24, 2010 |date=January 12, 2004 |publisher=Hyperion Books |isbn=978-1-4013-0774-5 |pages=72–}}</ref>

[[Progressive rock]], with its affinity for long solos, diverse influences, non-standard time signatures, and complex music had very similar musical values as jazz fusion. Some prominent examples of progressive rock mixed with elements of fusion is the music of [[Gong (band)|Gong]], [[King Crimson]], [[Ozric Tentacles]], and [[Emerson, Lake & Palmer]].

Jazz rock fusion's technically challenging guitar solos, bass solos, and odd-metered, syncopated drumming started to be incorporated in the technically focused [[progressive metal]] genre by the late 1980s. [[Watchtower (band)|Watchtower]]'s 1989 album ''[[Control and Resistance]]'' is one of the earliest progressive/[[thrash metal]] albums to experiment with a jazz fusion-influenced sound.<ref>{{Cite book |last=Sharpe-Young |first=Garry |url=https://www.google.com/books/edition/Metal/KNrV3iQ_qrIC?hl=en&gbpv=1&dq=%22control+and+resistance%22+%22jazz+fusion%22+%22watchtower%22&pg=PA495&printsec=frontcover |title=Metal: The Definitive Guide : Heavy, NWOBH, Progressive, Thrash, Death, Black, Gothic, Doom, Nu |date=2007 |publisher=Jawbone Press |isbn=978-1-906002-01-5 |page=495 |ol=8776949M}}</ref> The [[death metal]] band [[Atheist (band)|Atheist]] produced albums ''[[Unquestionable Presence]]'' in 1991 and ''[[Elements (Atheist album)|Elements]]'' in 1993 containing heavily syncopated drumming, changing time signatures, instrumental parts, acoustic interludes, and Latin rhythms. [[Meshuggah]] first attracted international attention with the 1995 release ''[[Destroy Erase Improve]]'' for its fusion of fast-tempo death metal, thrash metal, and progressive metal with jazz fusion elements. [[Cynic (band)|Cynic]] recorded a complex, unorthodox form of jazz fusion influenced experimental death metal with their 1993 album ''[[Focus (Cynic album)|Focus]]''. In 1997, Guitar Institute of Technology guitarist [[Jennifer Batten]] under the name of [[Jennifer Batten's Tribal Rage: Momentum]] released ''Momentum''—an instrumental hybrid of rock, fusion, and exotic sounds. [[Mudvayne]] is heavily influenced by jazz, especially in bassist [[Ryan Martinie]]'s playing.<ref name="Ratliff">{{cite magazine |url=https://www.rollingstone.com/artists/mudvayne/albums/album/93388/review/5941180/ld_50 |archive-url=https://web.archive.org/web/20071112180652/http://www.rollingstone.com/artists/mudvayne/albums/album/93388/review/5941180/ld_50 |url-status=dead |archive-date=November 12, 2007 |title=Review of ''L.D. 50'' |first=Ben |last=Ratliff |date=September 28, 2000 |magazine=[[Rolling Stone]] |access-date=February 24, 2010 }}</ref><ref name="Rvr">Jon Wiederhorn, "Hellyeah: Night Riders", ''[[Revolver (magazine)|Revolver]]'', March 2007, p. 60-64 ([http://www.revolvermag.com/features/index.html link to ''Revolver'' back issues] {{webarchive|url=https://web.archive.org/web/20070928225752/http://www.revolvermag.com/features/index.html |date=September 28, 2007 }})</ref> [[Puya (band)|Puya]] frequently incorporates influences from American and [[Latin jazz]] music.<ref name="Mateus">{{cite book |last1=Mateus |first1=Jorge Arévalo |editor1-last=Hernandez |editor1-first=Deborah Pacini |editor2-last=L'Hoeste |editor2-first=Héctor Fernández |editor3-last=Zolov |editor3-first=Eric |title=Rockin' Las Americas: The Global Politics of Rock in Latin/o America |url=https://archive.org/details/rockinlasamerica00paci |url-access=registration |date=2004 |publisher=University of Pittsburgh Press |location=Pittsburgh, PA |isbn=0-8229-5841-4 |pages=[https://archive.org/details/rockinlasamerica00paci/page/94 94–98]}}</ref>

Another, more cerebral, all-instrumental progressive jazz fusion-metal band [[Planet X (band)|Planet X]] released ''[[Universe (Planet X album)|Universe]]'' in 2000 with [[Tony MacAlpine]], [[Derek Sherinian]] (ex-[[Dream Theater]]), and [[Virgil Donati]] (who has played with [[Scott Henderson]] from [[Tribal Tech]]). The band blends fusion-style guitar solos and syncopated odd-metered drumming with the heaviness of metal. Tech-prog-fusion metal band [[Aghora (band)|Aghora]] formed in 1995 and released their first album, self-titled ''[[Aghora (album)|Aghora]]'', recorded in 1999 with [[Sean Malone]] and [[Sean Reinert]], both former members of Cynic. [[Gordian Knot (band)|Gordian Knot]], another Cynic-linked experimental progressive metal band, released its debut album in 1999 which explored a range of styles from jazz fusion to metal. [[The Mars Volta]] is extremely influenced by jazz fusion, using progressive, unexpected turns in the drum patterns and instrumental lines. The style of Uzbek prog band [[Fromuz]] is described as "prog fusion". In lengthy instrumental [[Jam session|jams]] the band transitions from fusion of rock and [[ambient music|ambient]] [[world music]] to jazz and progressive hard rock tones.<ref>{{cite web |url=http://www.rockreviews.org/reviewpage.php?ID=624 |title=Music review of Overlook CD by Fromuz (2008) |website=rockreviews.org}}</ref>

== See also ==
{{Portal|Jazz}}
* [[List of jazz fusion musicians]]
* [[:Category:Jazz fusion ensembles|Jazz fusion ensembles]]
* [[Progressive soul]]

== References ==
{{Reflist}}

== Further reading ==
* Coryell, Julie, and Friedman, Laura. ''Jazz-rock Fusion: The People, The Music''. Delacorte Press: New York, 1978. {{ISBN|0-440-54409-2}}
* Delbrouck, Christophe. ''Weather Report: Une histoire du jazz électrique''. Mot et le reste: Marseille, 2007.  {{ISBN|978-2-915378-49-8}}
* Fellezs, Kevin. ''Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion''. Duke University Press: Durham, North Carolina, 2011. {{ISBN|978-0-8223-5047-7}}
* Hjort, Christopher, and Hinman, Doug. ''Jeff's Book: A Chronology of Jeff Beck's Career, 1965–1980, from The Yardbirds to Jazz-rock''. Rock 'n' Roll Research Press: Rumford, R.I., 2000. {{ISBN|978-0-9641005-3-4}}
* Kolosky, Walter. ''Power, Passion and Beauty: The Story of the Legendary Mahavishnu Orchestra: The Greatest Band That Ever Was''. Abstract Logix Books: Cary, North Carolina, 2006. {{ISBN|978-0-9761016-2-8}}
* Milkowski, Bill. ''Jaco: The Extraordinary and Tragic Life of Jaco Pastorius''. Backbeat Books: San Francisco, 2005.  {{ISBN|978-0-87930-859-9}}
* Nicholson, Stuart. ''Jazz-rock: A History''. Schirmer Books: New York, 1998.  {{ISBN|978-0-02-864679-4}}
* Renard, Guy. ''Fusion''. Editions de l'Instant: Paris, 1990. {{ISBN|978-2-86929-153-9}}

== External links ==
{{Wikiquote}}
{{Library resources box|by=no|onlinebooks=no|about=yes|wikititle=jazz fusion}}
* [https://web.archive.org/web/20110811073249/http://jazzfusion.tv/bootlegaudio.html Jazzfusion.tv], non-commercially released jazz fusion audio recordings, {{circa}} 1970s–1980s
* [http://liraproductions.com/jazzrock/htdocs/histhome.htm "A History of Jazz Rock Fusion"] by Al Garcia
* [http://www.bendingcorners.com/ ''BendingCorners''], a monthly non-profit podcast

{{Jazz}}
{{Rock music}}
{{Authority control}}

[[Category:Jazz fusion| ]]
[[Category:Jazz genres]]
[[Category:Fusion music genres]]
[[Category:Rock music genres]]
[[Category:Progressive music|Jazz]]
[[Category:1960s in music]]