Dear jazzreview music community - Just this August my debut, 'Cycles Of Fusion' was released. The music style blends elements of jazz, rock, blues, and funk into groove-based compositions featuring retro/vintage keyboards & atmospheric soundscapes over loop/sample-based rhythm section arrangements. I have made the track "Eternal Boundaries" available here for free download. Hope you'll enjoy it.
Indeed, Abstract Logix has developed into a prominent record label, including iconic guitarist John McLaughlin among its roster. The record label has also evolved into prime distributor of jazz-rock, jazz-fusion and progressive-rock audio and visual product. And following up the 2011 2-CD release of these live performances recorded in 2010 at the New Universe Music Festival, Raleigh, North Carolina., this 2-DVD extravaganza backed by the record label tenders a stunning series of performances by many of the more prolific electric jazz artists who have reshaped, and extended this musical genre into the modern age. This DVD also showcases Abstract Logix' roster of stars, culminating into a chops incorporated type panorama and highlighting the artists' compositional and improvisational expertise along the way.
Firmly rooted in the sort of challenging post-bop, pre-free modern jazz epitomized by the pre-electric Miles Davis Quintet of the mid-1960s, and – perhaps – the early 70s ECM sound, the music of Nordic Connect is nonetheless quite un-stodgy and rich in interesting 21st Century influences and flavors. The compositions largely, written by pianist Maggi Olin (though Ingrid Jensen, Christine Jensen and Jon Wikan each chip in some), at times, recall some of the mid-to-late 60s and early 70s Blue Note recordings by Wayne Shorter and Herbie Hancock, as they branched out from Miles' musical orbit. As in Miles' and Shorter's music, a key feature of “Spirals” is the blurring of lines between the front line and the rhythm section. There's also a playfully relaxed, experimental spirit here that you won't hear on a lot of today's modern jazz recordings. A cooperative project involving musicians who are either from Scandinavia, or have Scandinavian ancestry, Nordic Connect also adds ethnic flavors from entirely different settings to create sophisticated, intriguing music that is completely contemporary.
Bassist / composer Chris Dahlgren is one of those guys who has done a lot of different things in his musical career. He holds an MA in composition from Wesleyan University where he worked with an impressive array of avant-garde conceptualists and artists including Alvin Lucier, Anthony Braxton, LaMonte Young, and Christian Wolff. He was also the house bassist at the Blue Wisp Jazz Club in Cincinnati, OH, a bastion of straight-ahead and big band jazz. He's also recorded and toured with Joe Lovano, Art Lande, Fred Hirsch, Charles Tolliver, Herb Ellis, and Red Rodney to name a few. After returning to New York in the 1990s, he spent the better part of the first decade of the 21st Century working with Anthony Braxton. On “Mystic Maze,” his first recording with his group 'Lexicon,' Dahlgren draws on all of these experiences - and more - to craft a detailed, incisive musical treatise on the shortcomings of music criticism and the nature of public confrontations that may ensue when an audience doesn't get what it expects from an artist.
A life long musical journey began when Dave picked up his first guitar at age five. The journey continued in earnest when he began his professional music studies at Berklee College Of Music where he received double Bachelor of Arts degrees in Jazz Composition and Music Production & Engineering. As a master guitarist and composer his original compositions embody a unique blend of rhythms, harmonies and musical textures. His music transcends traditional Latin music by combining jazz elements with acoustic and electric instruments, while introducing new Latin Fusion grooves.
Hello jazzreview music community! I am keyboard and electric guitar player Chris Rossi out of the Boston, Mass. area on the Net Dot Music label - an Internet based independent record label specializing in instrumental fusion: all-instrumental music that blends several styles and genres.
My music style blends elements of jazz, rock, blues, R&B, and funk into groove-based compositions featuring retro/vintage keyboards & atmospheric soundscapes over loop/sample-based rhythm section arrangements. If you enjoy jazz rock, jazz fusion, ambient jazz, some progressive rock or other related instrumental music fusion, you will probably connect with my music.
Reflections on the meaning and significance of Yom Kippur, the Day of Atonement, typically do not inspire a rockin' good time. That's precisely what's going on with Blasphemy and Other Serious Crimes, the sophomore CD from guitarist Yoshie Fruchter's great New York-based band Pitom. Fruchter and Pitom play a sort of advanced poly-stylistic instrumental rock that contains elements of jazz, traditional Hebraic music, metal, old-school prog rock, thrash, sludge and about a half-dozen other distinct musical sub-sub-genres that seem to be popping up at an alarming rate these days. So, while Fruchter's music is definitely a sort of fusion, it's definitely not "fusion-as-we-know it." Compared to the band's stellar debut CD (also on Tzadik), Blasphemy... is more measured, more focused, and yet the band seems to be heading in several new and interesting directions. Best of all, they've developed a signature sound that doesn't box them into narrow stylistic parameters. In fact, Pitom may well be the most innovative and exciting band working in the Yiddish fusion idiom aside from Greg Wall and Frank London's group, Hasidic New Wave.
Musical iconoclasts Wadada Leo Smith and Henry Kaiser were way ahead of the popular consciousness when it came to paying tribute to Miles Davis' pioneering electric bands of the early-to-mid 1970s. Kaiser's involvement in this project is no surprise. He's an avowed long-term fan of Davis' mid-1970s recordings and cites Pete Cosey's work on these recordings as a seminal influence on his own playing. At first, I found Wadada Leo Smith's involvement a complete surprise, if not a little perplexing. Affiliated with the AACM since the early 70s, Smith has worked extensively with avant-garde musicians such as Anthony Braxton, Muhal Richard Abrams and Anthony Davis to name just a few. His work as a leader, while incredibly diverse, showed few, if any, tendencies towards electric jazz-rock fusion. Yet, from the first note he plays, Wadada's profound understanding of Davis' groundbreaking 70s oeuvre is palpable. As a trumpeter, he is able to evoke the spirit of Miles without ever imitating him. As a composer, he has the artistic integrity and musical guts to honor the past while extending some of Miles' most important concepts into a 21st Century musical setting.