A Seemingly Unlikely Fusion: Jazz and Heavy Metal

The music of jazz has come a long way since the very beginning. Its influence on society and politics is unquestionable, and even more so when it comes to its impact on the musical world. If traced back to its origin, one can see that jazz has developed substantially starting from the early country blues and emerging onward to genres such as Dixieland, swing, bebop, cool, hard bop, and free/avant-garde. And like many musical genres, jazz has continued growing within the last few decades, fusing and incorporating musical aspects such as rock ‘n roll, Cuban, soul, Latin, and even “extremes” such as rap and, in particular, the music of heavy metal.

The emergence of the fusion of jazz and metal cannot be exactly pinpointed (much like many other genres recorded in history), but it definitely had an origin. Perhaps it started early on with the development of jazz fusion (lead by Miles Davis in the late sixties/early seventies) and heavy metal (lead by the ever famous Black Sabbath) (Scaggs). But in order to comprehend this particularly odd combo, one must understand, or at least be aware of the basic concepts of both genres individually.

For those who are not too familiar with the genre, heavy metal is an aggressive form of music, mainly standardized with fast guitar riffs and solos, heavy bass grooves, and fast (or slow), hard drumming patterns. Vocals can consist of growling used to express discontent or anger, but is not necessary to be considered metal. What makes this type of music unique is its demand for a listening audience, meaning it is loud and it is very, very distorted. Electric guitars are played in such a way that it exceeds the amp’s capacity, creating a powerful ambiance. The volume is usually turned up to an extremely high level, and vocals are expressed just the same for “the history of metal is commonly understood as the pursuit of greater and greater heaviness” (Berger). In general, it is an unaccepted form of music by the mainstream media, and has been since its early development. However, its “popularity” comes from a small, but loyal group of esoteric fans who often do not listen to metal only to express anger, but rather understand that this genre of music can be as creative and unique of an art form as any other musical genre.

Jazz on the other hand, dubbed “America’s classical music”, is one of the first truly indigenous forms of music to develop in the states. The components and characteristics of jazz that make it distinctive are its instrumentation, musical structure, improvisation, free spirit, syncopation, and its necessity for virtuosic players. Typically, a jazz ensemble consists of a rhythm section (piano, guitar, bass, drums, etc.) and brass or woodwind instruments such as saxophone, trumpet, trombone, clarinet, flute, French horn, and so on. Jazz is especially unique due to it being built on musical structures and conventions, but also allows players to “make something up” or rather, improvise and express themselves when wanted. Rhythm is also a key component because in jazz, the down beat is not always emphasized. Instead, the upbeat is expressed, thus, creating a very syncopated and forwarded sound.

On the surface, it may seem that these two genres are at different ends of a spectrum, and that the fusion of the two would call for disaster. However, there are some stark similarities that arise when both are compared. On stage and off, the metal and jazz artist can “develop curious harmonic worlds, warp the tempos, brush against folkloric conservatory music, play many notes very speedily, and engage sturdy American grooves or a more studied system of fitting odd-numbered beats into even-numbered meters” (Ratliff). Both forms seem to have a neatly divided audience: “maybe two-thirds respectfully fixated on the music’s past, and one-third concerned about building paradigms for the future” (Ratliff).

Although it is not emphasized, Haga mentions that jazz was once just as bastardized as metal is today (due to its development from slavery, noncommercial use, etc.). Because of this, jazz became a vernacular art, a true “music of the people in which the working class players could make their mark” (Haga). Metal is essentially just the same, allowing musicians to express themselves and their rebellious nature. Overall, jazz and metal seem to both be diversifying at fantastic rates. Therefore, this has led many metal bands to incorporate jazz into their music.

Jazz metal did not exactly “kick off as its own individual genre until the late eighties/early nineties, which saw the surfacing of three bands which would lay down the foundations for most future releases of the genre” (“The Origin and Evolution of Jazz Metal”). One group especially important in establishing this movement was a “death/thrash metal band from Florida called Atheist” (Haga). The band first showed hints of jazz influence when they released their debut album “Piece of Time” in 1989. Two years later, they released another landmark jazz metal album in the form of their follow-up effort; “Unquestionable Presence” (“The Origin and Evolution of Jazz Metal”). It was within this album that they were able to fine tune their sound and really experiment more with jazzy chord progressions and odd time signatures.

Around the early 1990s, two other bands caught onto this idea and released jazz metal albums of their own. Cynic, a death metal band from Atheist’s state of Florida surprised their fans after a two year gap from their 1991 demo with their debut album “Focus”. This was a side of Cynic that fans had never had a taste of. They incorporated jazz and psychedelic aspects into their sound which took the genre to places it had never been before. While this was occurring in the states, Dutch death/thrash metal band Pestilence went on to release their fourth album “Spheres” which captured many new elements that old fans may have hated, but was loved by many jazz metal enthusiasts at the moment (“The Origin and Evolution of Jazz Metal”).

Growth of jazz metal is evident when analyzing these early pioneers, but it is also important to evaluate the distinctive individuals that pushed for the progression of this genre. One particular musician, a guitarist named Alex Skolnick, was one of these unique persons. Alex Skolnick was a member of a successful speed metal quintet called Testament which he joined at the young age of 16 and recorded five albums for Atlantic between 1987 and 1992. “Skolnick was known for both his technique and for the subtle colors and harmonic shadings that he lent to the band’s songs, giving Testament’s music a sophistication that eluded many of its peers. As it turns out, the source of Skolnick’s ever widening sonic palette was the result of his increased interest in and subsequent study of jazz” (Graybow). In an interview, Skolnick mentioned,

“When I was 19, I saw Miles Davis on television with one of his electric bands, and it blew my mind. I did not realize that jazz could be played with so much energy and fire. At the same time, I was building a career as a heavy metal guitarist, I began buying jazz albums by Keith Jarrett and Chick Corea, and studying jazz when Testament was not on the road” (Graybow).

Around 1992, Skolnick left Testament but continued his studies. He enrolled in the New School University where he earned his bachelor of fine arts degree in jazz and soon after released his very first acoustic jazz album titled “Goodbye to Romance”. What made this album unique was that all of the songs on the album were covers of songs that came from the rock bands that inspired him in his youth. Such bands included “the Scorpions, Osbourne, Kiss, the Who, and Aerosmith all in a traditional acoustic jazz setting” (Graybow). Even until today, Skolnick hopes to inspire and open doors for potential jazz fans to discover this new form of music.

“I feel like there is a whole generation of music fans who don’t have a lot of new music to listen to,” he says, adding that “a lot of them are opening up to types of music they never listened to before, such as jazz, and these songs are forms that they can related to. They didn’t grow up listening to “Stella by Starlight”, they grew up listening to [Kiss’] “Detroit Rock City” [the project opening track]. These are great songs, with melodies that have withstood the test of time” (Graybow).

In today’s present, more and more bands have further experimented and stretched their sound to incorporate jazz into their music; “some leant more towards fusion, some to metal and some created a perfect blend of the two” (“The Origin and Evolution of Jazz Metal”). A number of bands worth mentioning are jazzy industrial metallists Meshuggah, electronic progressive jazz metal trio Animals as Leaders, and super groups T.R.A.M. and Trioscapes.

Perhaps the most influential of the list is Meshuggah. Ever since 1995, Meshuggah has been “pummeling audiences with highly rhythmic, industrialized thrash… the band has experimented with layered polyrhythms… sometimes making every member, including vocalist Jens Kidman, a part of the rhythm section” (“The Origin and Evolution of Jazz Metal”). Meshuggah had a major impact on the metal world for they had revolutionized a new style of playing called djent. The word ultimately is an onomatopoeia used to describe the sound of a distorted, palm-muted guitar. This style of playing took off and later on influenced the three remaining bands on the list.

Animals as Leaders, first off, are comprised of three virtuosos: Tosin Abasi, Javier Reyes (both on 8-string electric guitar), and Matt Garstka on drums. Although there is no bassist or vocalist, the band is successful in “fusing elements from electronic music, jazz, metal, and progressive rock” into their overall sound (“The Origin and Evolution of Jazz Metal”). Abasi and Reyes’ skills range far from just being able to play metal; they are also a part of super group T.R.A.M. along with Mars Volta’s Adrian Terrazas, and Eric Moore of Suicidal Tendencies. Although they do not label themselves as a jazz metal group, their first release “Lingua Franca” was ultimately a jazz record. On this record, “Abasi and Reyes both have their flashy moments, but the guitars mostly provide foundation for the stellar saxophone, flute, and bass clarinet works of Terrazas” (“The Top 25 Albums of 2012 –Honorable Mention: Mestis, T.R.A.M. and Trioscapes”).

And finally, last on the list is a three member experimental group called Trioscapes. Dan Briggs (bass guitarist from metal band Between the Buried and Me), Walter Fancourt (tenor saxophone and flutist), and Matt Lynch (drummer) are what make up this phenomenal band. Their first and only album “Separate Realities” is a traditional jazz-like album which feature tracks that emulate Miles Davis and Charles Mingus’ albums from the late sixties/early seventies. “The only difference is that instead of the traditional upright bass, you have Briggs tearing it up on what sounds like a 6-string electric bass” (“The Top 25 Albums of 2012 –Honorable Mention: Mestis, T.R.A.M. and Trioscapes”). If given a good listen to, one can really sense the influence of free jazz/jazz fusion in their pieces.

Although these musicians are reforming and creating new and different music each and every day, it is important to question how popular and impactful their discoveries have been. Studies show that “musical taste is highly divided and contentious, with large numbers of people intensely disliking certain genres of music. It shows the existence of two distinctive musical taste communities, one linking taste for rock, electronic, urban, world, and heavy metal music, and the other linking classical music and jazz” (Savage). Because of this, the fusion of jazz and metal may seem peculiar. The genre may not be commercially effective, but its development has been praised by many.

Perhaps it is not only a music for the fans to enjoy, but these artists are pushing forward to better their skills, their art, and to better each other. Even small local bands such as the Good Guys from New Orleans feel this when asked about their persistence in being a metal-meets-lounge act in a jazz originated city: “It’s such a struggle to get serious, in your face rock when so much of the culture is laid-back. We’ve been fortunate to have venues allow us to do that sort of thing… ultimately we are just trying to push for whatever new sound we can make” (Callais).

All in all, although the fusion of jazz and metal may be an unlikely combination, the genre is surviving and thriving. This was made possible by the early few that were brave enough to endorse jazz into their metal sound, and the many bands and individuals today that still push for this new sense of creativity. And even though superficially one would never imagine integrating the two, jazz and metal have more commonalities than people would assume. Overall, this incredulous genre can be analyzed, written, and even debated about; however the best way to truly capture the essence of jazz metal is to go out, and give this genre a good listening to.