Well played, I should re-read my posts out loud before posting, too. I could have dialed it back a smiggin ;) Thanks for the follow-up post. I am smiling, I like where you are going with this topic. You’re clearly the better word-smith.
It’s hard to defend jazz fusion, or at least what the ancient record companies wanted to market as such. I don’t think it’s as hard to defend the artists. I’m guessing that Steve Vai can say some positive things about Al DiMeola… I mean do we really know what they threatened these guys with if they didn’t “give up” something even more over the top than the previous release? If you’re going to talk torture, let’s focus on the facts, shall we?
After thinking about it: it’s at “the edges of fusion” where we find the joy. Artists have to have the chops to go to that irritating place, but the fact that they don’t go there, that’s where there’s magic.
Again, I don’t know anything, really. But to my ears, some of what Lucas points to as bad fusion, is jazz porn that tries to stay away (or succeeds in staying away) from “a groove”. Is that fair to ask?
BTW, the MMW grooves are killa’…