World Fusion 指第三世界音乐的融合，也指融合了爵士乐的世界音乐,尤指融合了异教徒音乐，非西方音乐，以及新音乐三方面的元素。 异教徒音乐混合了爵士乐的即兴方式（拉丁爵士）；通常，其中独奏的部分更多的使用即兴爵士乐 ，而伴奏和合成部分则和异教徒音乐一样。第二种元素也是以融合了特定的非西方音乐的爵士乐为主。比如Dizzy Gillespies 在“突尼斯之夜”中的表演；70年代Keith Jarretees录制的四重奏，其中合声和中东乐器的使用；50年代到90年代Sun Ras也融合了非洲音乐的节奏；Yusef Lateefs录制的一些唱片也兼容了传统伊斯兰乐器和配乐方式。第三种元素则是受到新音乐的影响，显著的变化来自于爵士的即兴革新创作：乐器，合声，合成实践，以及已有的异教徒传统韵律。尽管这样的融合具有独创性，但仍能反映出非爵士，异教徒的传统。比如Don Cherrys，Codona and Nu；John McLaughlins从70年代到90年代的一些音乐很大程度地吸取了印度的传统音乐；而Don Ellis 70年代也借鉴了不少印度和保加利亚的音乐； Andy Narrell 在90年代则把特立尼达岛的音乐与乐器和即兴爵士，funk style 融合起来。World Fusion 并不是和现代爵士一起首次出现，其发展趋势并没有游离在美国爵士之外。举例来说，波力尼西亚音乐在20世纪初融入了西方流行音乐 ，吸引了早起的爵士音乐家。加勒比海舞蹈的节奏在整个20世界成为了美国流行文化的一个重要组成部分，而爵士音乐家们越来越多的汲取流行音乐元素势必使这种融合继续下去。Django Reinhardt 30年代的音乐，融合了吉普赛音乐，法国即兴爵士以及印象派室内乐。
World Fusion refers to a fusion of Third World music, but the term also refers to world music with jazz, specifically with one of three subgenres (ethnic, non-Western, and new music). The ethnic music subgenre has incorporated jazz improvisations (for example, Latin jazz); frequently, only the solos are improvised jazz. The accompaniments and compositions are essentially the same as the ethnic music.
The second subgenre features jazz that has incorporated limited aspects of a particular non-Western music. Examples include performances of Dizzy Gillespie's "A Night in Tunisia"; music on some of the 1970s' quartet recordings by Keith Jarrett's quartet and quintet on Impulse, in which Middle Eastern instruments and harmonic methods are modified and used; some of Sun Ra's music from the 1950s into the 1990s, in which African rhythms are incorporated; and some of Yusef Lateef's recordings that feature traditional Islamic instruments and methods.
The last subgenre of world fusion with jazz influences consists of new musical styles that result from distinctly original ways of combining jazz improvisation with innovative ideas -- and the instruments, harmonies, compositional practices, and rhythms of an existing ethnic tradition. The product is original, but its flavor still reflects some aspects of a non-jazz, ethnic tradition. Examples include Don Cherry's bands Codona and Nu; some of John McLaughlin's music from the 1970s and the 1990s that drew heavily on the traditions of India; some of Don Ellis' music of the 1970s that drew on the music of India and Bulgaria; and work by Andy Narrell in the 1990s that melds the music and instruments of Trinidad with jazz improvisations and funk styles.
World fusion jazz did not first occur with modern jazz, and its trends are not exclusive to American jazz. For instance, Polynesian music was fusing with Western pop styles at the beginning of the 20th century, and its feeling attracted some of the earliest jazz musicians. Caribbean dance rhythms have been a significant part of American pop culture throughout the 20th century, and since jazz musicians frequently improvised when performing in pop music contexts, blends have been occurring almost continuously. Django Reinhardt was melding the traditions of Gypsy music with French impressionist concert music and jazz improvisation during the 1930s in France. Also see Latin jazz and jazz-rock fusion. -- Mark C. Gridley
The subgenre world fusion is often mistakenly assumed to refer exclusively to a blending of Western jazz fusion elements with world music. Although such a hybrid expression falls easily into the world fusion category, the suffix "fusion" in the term world fusion should not be assumed to mean only jazz fusion. Western jazz combined with strong elements of world music is more accurately termed world fusion jazz, ethnic jazz or non-Western jazz. World fusion and global fusion are nearly synonymous with the genre term worldbeat, and though these are considered subgenres of popular music, they may also imply universal expressions of the more general term, world music. Throughout the 1970s and 80s, fusion in the jazz music genre implied a blending of jazz and rock music, which is where the misleading assumption is rooted.
The world fusion genre at JMA is not just a collection of world beat artists, but is instead a collection of artists who bring world beat influences to the ever expanding world of jazz fusion. Since fusion artists from the US, Western Europe and Latin America are usually covered in our other fusion genres, the world fusion genre typically carries fusion artists with African, Asian, Middle Eastern and East European influences.
Once again though, the world fusion artists at JMA also display the improvisational aspects and virtuoso soloing associated with jazz and fusion.
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