Crossover Jazz

With the gradual decline of rock (from an artistic standpoint) starting in the early 1970's, fusion (a mixture of jazz improvisations with rock rhythms) began to become more predictable since there was less input and inspiration from the rock world. At the same time, now that it was proven that electric jazz could sell records, producers and some musicians searched for other combinations of styles in order to have big sellers. They were quite successful in making their brand of jazz more accessible to the average consumer. Many different combinations have been tried during the past two decades and promoters and publicists enjoy using the phrase "Contemporary Jazz" to describe these "fusions" of jazz with elements of pop music, r&b and World music. However the word "Crossover" (which describes the intent of the performances as well as the usual results) is more accurate. Crossover and Fusion have been quite valuable in increasing the jazz audience (many of whom end up exploring other styles). In some cases the music is quite worthwhile while in other instances the jazz content is a relatively small part of the ingredients. When the style is actually pop music with only an insignificant amount of improvisation (meaning that it is largely outside of jazz), the term "Instrumental Pop" applies best of all. Examples of Crossover range from Al Jarreau and George Benson vocal records to Kenny G., Spyro Gyra and the Rippingtons. All contain the influence of jazz but tend to fall as much (if not more) into the pop field. ~ Scott Yanow

Jean-Luc Ponty It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. Classically trained, with an unquenchable ability to swing when he wants to, and consumed by a passion for tight structures and repeating ostinatos, Ponty has been able to handle styles as diverse as swing, bop, free and modal jazz, jazz-rock, world music and even country, mixing them up at will. Starting in 1977, he also pioneered the use of a five-string electric violin with a low C string.
Grim's Pick: A Taste for Passion. Visit the Jean-Luc Ponty Official Home Page

Bob James 's recordings have practically defined pop/jazz and crossover during the past two decades. Very influenced by pop and movie music, James has often featured R&Bish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. Listeners who prefer challenging jazz to background dance music will be consistently disappointed by Bob James's post-1965 albums.
Grim's Pick: Touchdown. Visit Bob James - The Official Home Page

David Sanborn has been the most influential saxophonist on pop, R&B and crossover players of the past 20 years. Most of his recordings have been in the dance music/R&B vein although Sanborn is a capable jazz player. His greatest contributions to music have been his passionate sound (with its crying and squealing high notes) and his emotional interpretations of melodies which generally uplift any record he is on. Unlike his countless number of imitators, Sanborn is immediately recognizable within two notes.
Grim's Pick: Straight to the Heart.

Tom Scott has been consistent, a talented multireedist with little or no interest in playing creative jazz. Able to play most reeds with little difficulty, Scott performed with the Don Ellis and Oliver Nelson bands and his L.A. Express became one of the most successful pop-jazz groups of the 1970s. Associations with Joni Mitchell, Carole King and George Harrison were just a few of his successful assignments in the pop world.
Grim's Pick: Born Again.

Chuck Mangione Throughout the 1970s, Chuck Mangione was a celebrity. His purposely lightweight music was melodic pop that was upbeat, optimistic and sometimes uplifting. Mangione's records were big sellers yet few of his fans from the era knew that his original goal was to be a bebopper. Mangione's recordings in the 1970s generally used large orchestras and vocalists (including Esther Satterfield), putting the emphasis on lightweight melodies such as "Hill Where the Lord Hides," "Land of Make Believe," "Chase the Clouds Away" and the huge 1977 hit (featuring guitarist Grant Geissman) "Feels So Good."
Grim's Pick: An Evening of Magic/Live at the Hollywood Bowl.

Stanley Clarke A brilliant player on both acoustic and electric basses, Stanley Clarke has spent much of his career outside of jazz although he has the ability to play jazz with the very best. Clarke really hit the big time when he started teaming up with Chick Corea in Return to Forever. When the group became a rock-oriented fusion quartet, Clarke mostly emphasized electric bass and became an influential force.
Grim's Pick: School Days. Visit Stanley Clarke's Official Label Site

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	Jean-Luc Ponty It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. Classically trained, with an unquenchable ability to swing when he wants to, and consumed by a passion for tight structures and repeating ostinatos, Ponty has been able to handle styles as diverse as swing, bop, free and modal jazz, jazz-rock, world music and even country, mixing them up at will. Starting in 1977, he also pioneered the use of a five-string electric violin with a low C string. Grim's Pick: A Taste for Passion. Visit the Jean-Luc Ponty Official Home Page
	Bob James 's recordings have practically defined pop/jazz and crossover during the past two decades. Very influenced by pop and movie music, James has often featured R&Bish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. Listeners who prefer challenging jazz to background dance music will be consistently disappointed by Bob James's post-1965 albums. Grim's Pick: Touchdown. Visit Bob James - The Official Home Page
	David Sanborn has been the most influential saxophonist on pop, R&B and crossover players of the past 20 years. Most of his recordings have been in the dance music/R&B vein although Sanborn is a capable jazz player. His greatest contributions to music have been his passionate sound (with its crying and squealing high notes) and his emotional interpretations of melodies which generally uplift any record he is on. Unlike his countless number of imitators, Sanborn is immediately recognizable within two notes. Grim's Pick: Straight to the Heart.
	Tom Scott has been consistent, a talented multireedist with little or no interest in playing creative jazz. Able to play most reeds with little difficulty, Scott performed with the Don Ellis and Oliver Nelson bands and his L.A. Express became one of the most successful pop-jazz groups of the 1970s. Associations with Joni Mitchell, Carole King and George Harrison were just a few of his successful assignments in the pop world. Grim's Pick: Born Again.
	Chuck Mangione Throughout the 1970s, Chuck Mangione was a celebrity. His purposely lightweight music was melodic pop that was upbeat, optimistic and sometimes uplifting. Mangione's records were big sellers yet few of his fans from the era knew that his original goal was to be a bebopper. Mangione's recordings in the 1970s generally used large orchestras and vocalists (including Esther Satterfield), putting the emphasis on lightweight melodies such as "Hill Where the Lord Hides," "Land of Make Believe," "Chase the Clouds Away" and the huge 1977 hit (featuring guitarist Grant Geissman) "Feels So Good." Grim's Pick: An Evening of Magic/Live at the Hollywood Bowl.
	Stanley Clarke A brilliant player on both acoustic and electric basses, Stanley Clarke has spent much of his career outside of jazz although he has the ability to play jazz with the very best. Clarke really hit the big time when he started teaming up with Chick Corea in Return to Forever. When the group became a rock-oriented fusion quartet, Clarke mostly emphasized electric bass and became an influential force. Grim's Pick: School Days. Visit Stanley Clarke's Official Label Site