Several terms, such as jazz rock, rock jazz, jazz funk and jazz rock fusion have been suggested for the various styles that ultimately became known by the generic term fusion. As was the case with the terms cool jazz, bebop and hard bop, it is likely that journalists initially established their widespread acceptance... Because this seems to be the most prevalent literary practice, I have used it throughout this text. Before proceeding however, a brief clarification of these terms and their actual meanings is in order.
The terms jazz rock and rock jazz have been used loosely as synonyms to describe music containing elements from jazz and rock. Following the linguistic logic in which the first word of a compound defines an overall category determined by the second word, jazz rock would be comparable to terms like heavy rock, punk rock and others that subcategorize rock music. Following this analogy, the term rock jazz would be parallel to terms like soul jazz, free jazz and Indo jazz that define subcategories of jazz. The term jazz funk only applies to a fraction of the styles within jazz rock, mainly those typified by certain works by Miles Davis and John McLaughlin, that took their rhythmic frameworks from funk music.
The term fusion was generally used in the early days of jazz rock as a broad category. It has later been used widely, particularly in the USA, to describe commercially oriented music containing elements of rock and jazz, sometimes also called pop jazz. The term fusion also refers to other musical combinations than those of jazz and rock. Jazz and rock were themselves originally fusions of elements from several musical traditions. The common denominator for the applicability of the term fusion is the simultaneous presence of elements from the traditions of both rock and jazz that clearly dominate an overall sonic picture occasionally embellished with elements from other musical traditions. In conclusion, jazz rock fusion is a fusion of fusions. What fusion music fused was the atmospheric tendencies of modal jazz with the rhythm patterns of rock.
The Clientele - These Days Nothing But Sunshine
The terms jazz rock and rock jazz have been used loosely as synonyms to describe music containing elements from jazz and rock. Following the linguistic logic in which the first word of a compound defines an overall category determined by the second word, jazz rock would be comparable to terms like heavy rock, punk rock and others that subcategorize rock music. Following this analogy, the term rock jazz would be parallel to terms like soul jazz, free jazz and Indo jazz that define subcategories of jazz. The term jazz funk only applies to a fraction of the styles within jazz rock, mainly those typified by certain works by Miles Davis and John McLaughlin, that took their rhythmic frameworks from funk music.
The term fusion was generally used in the early days of jazz rock as a broad category. It has later been used widely, particularly in the USA, to describe commercially oriented music containing elements of rock and jazz, sometimes also called pop jazz. The term fusion also refers to other musical combinations than those of jazz and rock. Jazz and rock were themselves originally fusions of elements from several musical traditions. The common denominator for the applicability of the term fusion is the simultaneous presence of elements from the traditions of both rock and jazz that clearly dominate an overall sonic picture occasionally embellished with elements from other musical traditions. In conclusion, jazz rock fusion is a fusion of fusions. What fusion music fused was the atmospheric tendencies of modal jazz with the rhythm patterns of rock.
The Clientele - These Days Nothing But Sunshine
- Written by: Alasdair MacLean and Pat Sansone
- Genre: Pop Rock, Indie Rock
- Release Date: May 8, 2007
"Alasdair MacLean on vocals and guitar, Mark Keen on drums, James Hornsey on bass and Mel Draisey on Keys and Violin. Mel Draisey joined the band in 2006 just in time for band's second tour."
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