Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion

Informationen zum Autor Kevin Fellezs is Assistant Professor of Music at Columbia University. Klappentext Birds of Fire brings overdue critical attention to fusion, a musical idiom that emerged as young musicians blended elements of jazz, rock, and funk in the late 1960s and 1970s. At the time, fusion was disparaged by jazz writers and ignored by rock critics. In the years since, it has come to be seen as a commercially driven jazz substyle. Fusion never did coalesce into a genre. In Birds of Fire, Kevin Fellezs contends that hybridity was its reason for being. By mixing different musical and cultural traditions, fusion artists sought to disrupt generic boundaries, cultural hierarchies, and critical assumptions. Interpreting the work of four distinctive fusion artists-Tony Williams, John McLaughlin, Joni Mitchell, and Herbie Hancock-Fellezs highlights the ways that they challenged convention in the 1960s and 1970s. He also considers the extent to which a musician can be taken seriously as an artist across divergent musical traditions. Birds of Fire concludes with a look at the current activities of McLaughlin, Mitchell, and Hancock; Williams's final recordings; and the legacy of the fusion music made by these four pioneering artists. Zusammenfassung An analysis of the emergence! reception! and legacy of fusion! experimental music that emerged in the late 1960s and 1970s as musicians combined jazz! rock! and funk in new ways. Inhaltsverzeichnis Acknowledgments xi Introduction 1 1. Bitches Brew / considering genre 15 2. Where Have I Known You Before? / fusion's foundations 33 3. Vital Transformation / fusion's discontents 65 4. Emergency! / Tony Williams 91 5. Meeting of the Spirits / John McLaughlin 123 6. Don Juan's Reckless Daughter / Joni Mitchell 148 7. Chameleon / Herbie Hancock 183 Conclusion 222 Notes 229 Bibliography 265 Index 283

Autorentext
Kevin Fellezs is Assistant Professor of Music at Columbia University.

Klappentext
Birds of Fire brings overdue critical attention to fusion, a musical idiom that emerged as young musicians blended elements of jazz, rock, and funk in the late 1960s and 1970s. At the time, fusion was disparaged by jazz writers and ignored by rock critics. In the years since, it has come to be seen as a commercially driven jazz substyle. Fusion never did coalesce into a genre. In Birds of Fire, Kevin Fellezs contends that hybridity was its reason for being. By mixing different musical and cultural traditions, fusion artists sought to disrupt generic boundaries, cultural hierarchies, and critical assumptions. Interpreting the work of four distinctive fusion artists-Tony Williams, John McLaughlin, Joni Mitchell, and Herbie Hancock-Fellezs highlights the ways that they challenged convention in the 1960s and 1970s. He also considers the extent to which a musician can be taken seriously as an artist across divergent musical traditions. Birds of Fire concludes with a look at the current activities of McLaughlin, Mitchell, and Hancock; Williams's final recordings; and the legacy of the fusion music made by these four pioneering artists.

Zusammenfassung
An analysis of the emergence, reception, and legacy of fusion, experimental music that emerged in the late 1960s and 1970s as musicians combined jazz, rock, and funk in new ways.

Inhalt
Acknowledgments xi
Introduction 1
1. Bitches Brew / considering genre 15
2. Where Have I Known You Before? / fusion's foundations 33
3. Vital Transformation / fusion's discontents 65
4. Emergency! / Tony Williams 91
5. Meeting of the Spirits / John McLaughlin 123
6. Don Juan's Reckless Daughter / Joni Mitchell 148
7. Chameleon / Herbie Hancock 183
Conclusion 222
Notes 229
Bibliography 265
Index 283

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