It is also instantly available for you to stream or download for free from various public online sources. Most feature rich and the only player having music discovery feature integrated.While you listen to music or scan through the content,this player brings out related online suggestions.
Designed with a philosophy that nothing should come between " U and Music "ġ.A Music discovery platform to find music based on Album & ArtistĢ.An Intuitive Search mechanism and instant access to online musicģ.Simple elegant design based on Ice Cream Sandwich UXĦ.Seamlessly update cover art,artist images & biographyħ.Powerful equalizer with 12 presets and virtual surround sound support over headphonesĨ.Internet Radio powered by Shoutcast featuring over 50000 stations across the globeĩ.Rate your favorite songs and fusion player will create dynamic playlist for youġ0.Weekly Online Top charts with support for Bollywoodġ1.Song visualization with multiple effects I am afraid that in the case of jazz-rock, something like this happened.Fusion music player is free and void of any advertisements. Of course, therein lies the danger: When you mix two strong elements together, there is the obvious necessity of having to sacrifice some of the principles of each in order to meld the two together. I would prefer to call this period, the jazz-rock age, since the music borrowed certain precepts from each area. Note: Even the word “fusion” is a misnomer, since all music is a fusion of at least a few if not more influences. The classic fusion period of the ‘70s will stand as a monument to musicians who were trying to break out of the box and extend jazz to other places. Fusion exists now as a style with a few musicians exemplifying the best of the idiom, who will play that way till the day they die. Putting rhythm and blues roots together with pentatonics and blues licks was irresistible, especially if encased in high class productions and so on.Įnd of story. Soft or easy listening, “CD101” type music came along to suck up the trappings of fusion but with the energy and creative drive watered down and “slickified” of course. So the combination of trying to fit the music into a package that was attractive to the consumer along with a lowering of musical standards conspired to in fairly short order put an end to at least the main creative aspects of fusion. First of all, the large record companies saw the chance to sell this more palatable music (as compared to late Coltrane or free jazz which were concurrently happening) and the industry, with the tacit or in some cases enthusiastic agreement of the musicians basically “poisoned the well.” Also, since the style itself was less intellectually demanding compared to be-bop or Coltrane’s style of playing, numbers of musicians who did not have the necessary discipline to play jazz or possibly the talent, could more easily learn the trappings of the fusion style.
Unfortunately, several things happened around the same time that thwarted the movement. And of course, Miles and his “students” (Mahavishnu, Herbie Hancock, Chick Corea and Wayne Shorter with Joe Zawinul ) forged new ways of thinking about music which was truly exciting. My first real steady gig was with “Ten Wheel Drive” which featured five horns, a great singer (Genya Ravan) and sophisticated arrangements that reflected Broadway and jazz as well as rock. And of course, the advent of electric instruments and synthesizers, etc., just sweetened the pot.
We just enjoyed playing rock based rhythms and rode that energy wave, interspersed with improvised lines which were actually quite chromatic in some cases pushing the boundaries of harmony. At the beginning we didn’t think about commerciality or sales and the like. When fusion became a style to be reckoned with by my generation(early 1970s), it appeared to be a way that we could leave our mark and take the music to a new place. I didn’t particularly want to play that music but I enjoyed it nonetheless. So by the time I became a so-called jazz player and served my “apprenticeship” with drummer Elvin Jones and Miles Davis, rock, funk or whatever it was called, was a part of my life. Lee Topsy Rebel Rouser Tequila) made up my first musical interests, followed in my teenage years by the inredible experience of seeing the John Coltrane Quartet live many times in New York City, where I was brought up. Elvis, Jerry Lee Lewis, Little Richard, the doo-wop groups and of course any instrumentals that leaked through to the hit parade (Walkin’ With Mr. In fact, that was the music that brought me to the tenor sax in the first place. I was weaned on early 1950’s rock ‘n’ roll.