Jazz Fusion Albums from the 1980's

[Dave (in MA)]

[Monet]

Combo FH stands for Combo Franty Hromady. However, there was never someone named Franta Hromanda in the formation. The head of the band Combo FH was the Czechoslavkian keyboardist Daniel Fikejz, who was also the only musician to be found in all incarnations of the group, which existed until 1986 and released two albums. Composition student Fikejz was a Zappa & The Mothers fan. With a few fellow students he began to work in similar musical fields in 1974 and the band soon developed its own mix of jazz and rock, each with a good shot of classical chamber music, Czech folklore and Dadaist humour. So "Vèci" mostly offers a good-humoured jazz-rock, a slight Zappa flair and a hint of 'chamber prog', which hops out of the speakers with versatile instrumentation and powerfully performed. In 14 rather short tracks, the Czechs prance through a very colourful album, carried by the extensive, but rather cautiously used keyboard arsenal Fikejzs. Sometimes jazzy, sometimes chamber proggy, sometimes also folky-dance-like, the band rocks ahead, driven by the pithy-playful bass work of Václav Pátek and the versatile percussion Tomás Suchomel. There are also all sorts of other sounds, mostly saxophone and bassoon, and one or the other solo excursion by Fikejz, who also plays a marimba. There is no singing. The music doesn't get too weird or violent, it seems rather relaxed and cheerful, but still comes out of the speakers wonderfully nested and crosswise. "Vèci" (Panton, 1981) is an extremely varied album with very original jazz-rock from the former Czechoslovakia, which should appeal to lovers of eccentric, Zappa-like jazz-rock and slightly humorous chamber prog.

[Monet]

Ain Soph was founded in 1977, but these Japanese only released their first studio album in 1980; the second one was released six years after the debut, on Japanese label Nexus.
This band offers an easy-going, flaky jazz-rock that is stylistically based on the bands of the Canterbury scene from the 1970s, and they even titled their sophomore album "Hat and Field", but does not copy them; Ain Soph rather uses its own and newer tonal means. A loosely fluffy, lively jazz-rock, dominated by atmospheric synths and emotional guitar, is offered here. The whole thing is very well done, performed with virtuosity and produced cleanly and powerfully. The music of these four Japanese is very playful and colourful, sometimes quite tricky when they gracefully pay homage to their role-models from England. Ain Soph comes closest to the namesake of the album at these somewhat angular places, otherwise the whole thing sound rather as a soft, melodic and airy jazz-rock. Anyone who appreciates 'Canterbury' sound can access this album without hesitation. Definitely, Ain Soph were one of the most capable jazz-rock bands in the Land of the Rising Sun in the middle of the 80s.

[Monet]

Area's "Tic & Tac", released in 1980 on Italian label Ascolto, is an exciting and versatile album, not just for jazz-fusion fans. "La Torre Dell'Alchimista", for example, starts with a very Moraz-like melody, but then leads a bit away from the beautiful sound and makes room for almost classic Jazz. The second track is similar, but it's a bit more modern here. Other things are reminiscent of Keith Emerson's best boogie time ("Lectric Rag") or the weirdest moments on Dave Greenslade's "The Pentateuch of the Cosmogony", even echoes of classic Fifties music can be heard, but in between it is also a little quieter and more lyrical, and it the focus is more on a harmonic than a rhythmic arc of tension (the dreamy "La luna nel Pozzo"). Although Tic & Tac the album features proggy synths here and there, everything ultimately stays within the framework of the jazz-fusion genre. The instrumentation is very variable, sometimes there is only piano, drums and bass (what a bassist!), sometimes you can hear the full five-piece jazz orchestra that Area was back then. Nevertheless, the atmosphere always remains nicely Italian, with the possible exception of the jazz improvisations.

[Monet]

Alas' second album doesn't seem to have too many friends. The record company let the tapes recorded in 1977 gather dust in their closets until 1983, and almost all commentators seem to prefer the Argentine band Alas' debut to the successor. So I seem to be in the minority. Because I think "Pinta Tu Aldea" (1983, EMI-ODEON SAIC) is really good and even more successful record than the already remarkable "Alas". The debut album is a fine continuation of the ELP keyboard trio tradition, which has been supplemented by jazz-rock influences and gentle moments of Argentine music, especially tango. Exactly these two currents are also added to "Pinta Tu Aldea", but this is much stronger and more natural. Only "A Quienes Si No" develops after the mysterious beginning with floating string synthesis sounds and gentle flute and short reverberated trumpet passage into a typical keyboard-dominated prog-rock song of the ELP school: anthemic passages and fast-paced solo parts alternate , orchestrated with bass, drums, jubilant Hammond riffs, a squeaky synthesizer and a piano solo somewhere between jazz-rock and Classical music. During this time, bassist Pedro Aznar can present himself for the first time as a virtuoso, imaginative representative of his field, which is impressively confirmed by a bubbling fretless bass solo in the later "La Caza Des Mosquito".
But the title track already moves away from the ELP keyboard trio prog-rock sound, even if enthusiastic synth passages, complex rhythms and playful melodies as well as the electrified basis of the pieces never completely deny the prog origins of the band. The track "Pinta Tu Aldea" succeeds in what the great master of Tango Nuevo himself only partially achieved, although he tried it in the mid-seventies: the combination of Piazzolla's Tango Nuevo and jazz-rock. As with Piazzolla, an aggressively and passionately played bandoneon takes over the lead of the music, and the angular, erratic melody line could also come directly from one of Piazzolla's more moving tango numbers. But there are also synth and e-piano sounds as well as driving e-bass and drums. In the more jazz-rocky moments you feel reminded of Chick Corea à la "My Spanish Heart" or the early Return to Forever because of the clear Latin influences.
"La Caza Des Mosquito" captivates after an impressionistic neo-classical beginning with an insistent, burlesque piano riff, which is replaced again and again by virtuoso solo passages from all band members or stops, but just like the mosquito, who was not hit by the clap every time it suddenly appears again and is surrounded by hectic guitar and flute lines. In "Silencio De Aguas Profundas" the bandoneon reappears, this time as a bearer of melancholy and sadness, which is also supported by the pearly e-piano and the gentle synth pounding and beating. The longest track on the album is also the quietest, but by no means boring. Perhaps Alas' "Pinta Tu Aldea" is a bit self-indulgent and a bit exotic, but I find the mixture of three styles that come close to me (prog-rock, jazz-rock, tango nuevo) not only original, but also extremely successful. Strongly recommended!

[Zeuhlmate]

Michał Urbaniak did a few albums in the 80'ties.

Haven't heard any of them, but his output in the 70'ties was quite spectacular, so maybe...

[Dana5140]

Darryl Dobson, 1986: Thor, from The Mind Electric. Lovely and heavy when it gets going, about 3 minutes in or so:

[Zeuhlmate]

Area's "Tic & Tac", released in 1980 on Italian label Ascolto, is an exciting and versatile album, not just for jazz-fusion fans. "La Torre Dell'Alchimista", for example, starts with a very Moraz-like melody, but then leads a bit away from the beautiful sound and makes room for almost classic Jazz. The second track is similar, but it's a bit more modern here. Other things are reminiscent of Keith Emerson's best boogie time ("Lectric Rag") or the weirdest moments on Dave Greenslade's "The Pentateuch of the Cosmogony", even echoes of classic Fifties music can be heard, but in between it is also a little quieter and more lyrical, and it the focus is more on a harmonic than a rhythmic arc of tension (the dreamy "La luna nel Pozzo"). Although Tic & Tac the album features proggy synths here and there, everything ultimately stays within the framework of the jazz-fusion genre. The instrumentation is very variable, sometimes there is only piano, drums and bass (what a bassist!), sometimes you can hear the full five-piece jazz orchestra that Area was back then. Nevertheless, the atmosphere always remains nicely Italian, with the possible exception of the jazz improvisations.

Good one - there was life also after Demetrio!

[Bake 2]

Forgot about that Dobson record...what a smoker!
Here's a Patrice Meyer clip:
https://www.youtube.com/watch?v=_F8N...l=fidalerebbec

[Dana5140]

How could I forget Didier Lockwood's Surya (1980): With this superb piece of fusion:

[dropforge]

Surya is killer and direly needs a domestic reissue.

[mozo-pg]

How could I forget Didier Lockwood's Surya (1980): With this superb piece of fusion:

Agreed.

[Monet]

This plane certainly doesn't fly that 'low', for which David Cross and Keith Tippett, among others, are responsible. Together with drummer Dan Maurer and multi-instrumentalist Jim Juhn, both from Cleveland, Ohio, they form the core of the band and ensure a mixture of modern jazz and progressive rock.
Tippett's piano cascades, to which the other three main actors tend to be in the background with their instruments, provide the slightly jazzy prelude to "Sybilization". "Fourth Dimension" is mainly carried by Cross and his unmistakable violin playing. On "Baptism by Fire" the EMU II is reminiscent of Larry Fast, until then guest musician Ron Linton lets Crimsonian dissonances come over the piece. "Poolside", on the other hand, sounds like a slightly jazzed-up version of Genesis' "The Waiting Room", especially when Juhn plays this slightly cranky-screeching guitar.
On "Abstract Blue" it goes back in a somewhat harder, more chaotic (please do not understand negatively) direction. Cross is allowed to unpack the violin bow again and Tippett pounds on the keys as if his life depended on the strength of the attack. On "Moronathon", Maurer proves that his drumming and percussion playing could well match King Crimson. Would be an alternative to Bruford for the double trio, who will probably - unfortunately - not return to the band.
"Amnesia" has the keyboard sound typical for the time the CD was released, which also introduces Gabriel's "Sledgehammer". In this jazzy context, however, it seems original again.
For 'classic' prog-heads, maybe "Reflection" sounds a little too free, in which Tippett and Cross play in the foreground. "What did you do" then tends again more towards Brand X in the "Product" phase; there could just as well be Goodsall / Jones / Collins as composers instead of Maurer / Juhn / Tippett / Cross.
It ends with "Radically Conservative", which sounds a bit like a mixture of King Crimson's "Industry" and Brand X at the time of "Moroccan Roll".
Overall, "Low Flying Aircraft" (1987, Red Hot Records) is a colourful album for fans of instrumental music in the field of tension between jazz and progressive rock, which even 34 years after its release still looks fresh and up-to-date.

[Crystal Plumage]

Yesterday I was listening to my Itchy Fingers CDs. Itchy Fingers is (was?) a saxophone quartet from Great Britain.
But on their first two albums they're not alone and it's very fusion-y in places.
Drums by JEREMY STACY!

[Zalmoxe]

Not really from the 80s (came out in 1977) but I always thought Skywhale's sole album deserves a lot more attention:

[JKL2000]

Just listened for the first time to the Estonian band Kaseke's 1981 LP and 1983 EP on a compilation CD. Excellent, excellent stuff!

[Zeuhlmate]

[Monet]

Slovenian jazz-rock band Predmestje (translate "Suburb") was formed in Ljubljana, Slovenia (former Yugoslavia) in 1975. They had released the debut album in 1977 which promptly established them as a jazz-rock attraction in the former Yugoslavia. "Hazard" (1980, RTB Records) is their third album. On this record, Predmestje brings in the elements of jazz-funk. Solo sections are refined and well thought out, particularly regarding the lead guitar, e-piano and synthesizer. The album features singing in Slovenian, but only in one song ("Mislec sveta"), while scat vocals are used more often, which nicely fits Predmestje' style. The title track contains a pleasant and calm sax.
The tracks are not long but all are very good and catchy, and offer a quite enjoyable listening experience. In my humble opinion, "Hazard" is one of the best jazz-rock albums of the early 80s and hence it's a warmly recommended record to all jazz-rock fans.



"Mislec sveta" (from "Hazard", 1980)






"Aleja" (from "Hazard", 1980)





"Hazard" (from "Hazard", 1980)

[Jimmy Giant]

Gamalon
The Fents (Adam Holtzman)

Also James Newton Howard and Friends.
The "friends" were Toto. They were sponsored by Yamaha to produce a jazz-rock album featuring DX7s when they came out. Phenominal album.

[Monet]

Originally intended to be R.M.Točak's second solo album, "Zašto ne volim sneg" (translate "Why I Don't Like Snow") released in 1981 on RTB Records, became darkest Smak's album. Recorded shortly before Smak had officially split up, the album's dark & heavy jazz-rock stuff was quite different from what was actually known as the sound of Smak as a seventies band. The original Smak singer Boris Arandjelović left, so his falsetto without vibrato is gone, but the album has two guest vocalists; one of them is Dado Topić of legendary Yugo-progressive band Time, and his star shines on this album due to his truly great performance on the title-track. In my humble opinion, this is a masterpiece of ex-Yugoslav progressive music as there's not a weak moment on the album with its perfect arrangement and instrumentation. Especially instrumentals are stunning. "Talisman" and "Maht pustinja" (translate "Desert of Maht") are among the best - and darkest - instrumentals ever made in the European jazz-rock, to which the comeback of original Smak line-up keyboardist Laza Ristovski certainly contributed. As "Zašto ne volim sneg" initially intended to be his solo-album (which featuring Smak members so the record company insisted that the album be released as Smak), R.M.Točak does more soloing on the tracks than he did on the 70's Smak's records. Consequently, the interplays between Ristovski's keys and Točak's guitar are amazing. Smak's rhythm section is great as always.
This album is still obscure, but certainly this is a gem regarding the ex-Yugoslavian Progressive music and is warmly recommended to both progressive rock and jazz-rock fans.



"Talisman" (from "Zašto ne volim sneg", 1981)






"Maht pustinja" (from "Zašto ne volim sneg", 1981)






"Balet" (from "Zašto ne volim sneg", 1981)

[Monet]

Gamalon was an American jazz-rock band from Buffalo, New York, formed by guitarist Bruce Brucato, rhythm guitarist George Puleo, drummer Ted Reinhardt and bassist Tom Reinhardt. At their self-titled debut album (1987, Amherst Records), Gamalon offers a high-energy guitar-oriented jazz-rock, which has been created with an evident technical competence & excitement. The interplay between the rhythm and lead guitar delivered some great moments, the bass-lines show obvious funk influences, while the drumming is quite impressive; keyboardist Tom Schuman plays his parts on two tracks.
Although Gamalon the album was built on "glossy eighties" production, it's anyway an excellent release and belongs among the best jazz-rock albums from the late 80s, which rather was the time when this genre was suffering from a number of too smooth releases. Strongly recommended.



"Billy's Saloon" (from "Gamalon", 1987)






"Cabin #14" (from "Gamalon", 1987)







"Souvenirs" (from "Gamalon", 1987)

[pb2015]

^^ Ted Reinhardt had been in Spyro Gyra for the album Morning Dance (guest Tom Schuman is one of the linchpins of that band) but from what I've heard of this album Gamalon was a more rock/guitar-centered group.

[Dana5140]

Gamalon was definitely a fusion band. Bruce Brucato died a couple of years ago. This is also the band Nori Bucci joined, and this slower song is an example of their fusion. She has a gorgeous guitar tone.



[PS. Nori now seems to be playing with the band Seventh Sign: https://www.seventhsignwny.com/media]

[Progbear]

Just listened for the first time to the Estonian band Kaseke's 1981 LP and 1983 EP on a compilation CD. Excellent, excellent stuff!

I mentioned them on the first page. I love this band. They apparently began as a controversial Estonian punk band called Propeller who angered the Soviet authorities. You can kind of hear that punky energy in some of Kaseke’s stuff (especially some of the LP material). Oh, and slight correction: the LP is from 83 and the EP is from 81.

[Polska]

Hard to find but worth looking for:

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