Start here first! Classic jazz-rock masterpieces. Recommended popular tracks.

Twisted TrackNucleus

Twisted Track

Nucleus is a quintessential British jazz-rock band that debuted in 1969, led by Scottish-born Ian Carr—an outstanding jazz trumpeter and writer known for his works on prominent jazz musicians such as Miles Davis.

The group is also famous for including musicians like Karl Jenkins, Chris Spedding, and John Marshall, who later earned acclaim in the rock and progressive rock worlds.

Their sound, highly regarded for its unmistakably British character, blends refined British jazz with rock-driven dynamism, evoking elements of melancholy and lyricism even within taut, tension-filled improvisations.

By the time their debut album Elastic Rock was released in 1970, their core style was already well established, and the ensemble work by these exceptional musicians still feels fresh no matter when you listen.

Twisted Track, one of the album’s standout pieces, is a consummately sophisticated gem: its intertwining horn section weaves a romantic melody, while the guitar’s lyrical tone leaves a strong impression, and the restless bass line paired with jazz-inflected drums creates a distinctive sense of tension.

It’s undeniably jazz, yet it possesses a flavor and atmosphere that set it apart from straight-ahead jazz—subtle, unique, and deeply satisfying.

Feels Good To MeBruford

Feels Good To Me

Despite a short active period from 1977 to 1980, Bruford released three albums and enjoys high acclaim in the worlds of jazz-rock, progressive rock, and fusion.

This was the solo project of drummer Bill Bruford—renowned for his work with progressive rock bands such as Yes, King Crimson, and U.

K.

—which evolved into a full band under the name Bruford in 1978.

The piece discussed here, Feels Good to Me, is the title track from his debut solo album Feels Good to Me, released in 1977.

Exceptional musicians gathered for the project, including bassist Jeff Berlin—famous as Bruford’s powerhouse rhythm-section partner—guitarist Allan Holdsworth and keyboardist Dave Stewart from the Canterbury scene.

While each player’s individuality shines, the result is a relatively accessible fusion/jazz-rock sound.

It doesn’t strongly evoke a Canterbury-rock atmosphere; instead, it leans more toward fusion, featuring many tightly arranged phrases even as it employs odd meters.

If those qualities appeal to you, this is especially recommended.

Wingful Of EyesGong

Wingful Of Eyes (Remastered 2018)

Gong, a band that stood out as a French progressive/psychedelic/space rock outfit.

The founding member was David Allen (Daevid Allen), an Australian guitarist also known for his early involvement with Soft Machine, and during Allen’s tenure the band produced a uniquely psychedelic, cosmic sound.

In 1975, Allen and other key members left; the remaining drummer, Pierre Moerlen, reorganized the group and launched a new Gong that leaned more heavily into jazz-rock and fusion.

Here I’d like to introduce Wingful Of Eyes, a track from their 1976 album Shamal.

It’s a song with a strikingly exotic-tinged melody, where flute and vibraphone weave bucolic yet hypnotic tones; including its meticulous percussion arrangement, there’s virtually none of rock’s typical dynamism.

It’s not a sound for those seeking a powerful band ensemble, but its sonic world creates a distinctive sense of weightless drift you won’t find in other jazz-rock—an addictive quality that, once it hooks you, you won’t be able to escape.

Cause We’ve Ended As LoversJeff Beck

JEFF BECK LIVE Cause We’ve Ended As Lovers

Counted among the world’s three greatest guitarists and still going strong as a fully active performer in the 2020s, Jeff Beck has left behind countless legendary performances.

Over his long career, he moved from his early days as a young rock guitarist with the Yardbirds to leading his own groups and fearlessly exploring a wide range of genres—showcasing a flexible creative approach that spans jazz-fusion sounds to electronica and techno-rock.

This time, we’re focusing on one of his signature works from the 1975 album Blow by Blow: the classic “Cause We’ve Ended as Lovers.” Also known in Japan by its title “Kanashimi no Koibitotachi,” this piece is the instrumental version of a song Stevie Wonder wrote for singer Syreeta Wright, and it’s renowned as one of Beck’s hallmark tracks, unfolding dramatically through a variety of techniques rooted in his unique interpretation.

Considering that George Martin—who also worked on Mahavishnu Orchestra’s album Apocalypse—produced the entire album, it’s fair to say this is an essential masterpiece for anyone seeking to understand jazz-rock.

IllusionIsotope

Isotope – Illusion

Despite an active period of only about five years and a discography of just three original albums, Isotope is a band well known among fans of jazz-rock and progressive rock.

With the exception of guitarist Gary Boyle—who later enjoyed a successful solo career—the lineup was fluid, and Isotope’s sound was in fact reappraised and celebrated decades after the band broke up.

Their crossover ensemble work, which could be called the epitome of 1970s British jazz-rock, is highly sophisticated, and you can’t go wrong with any of their albums.

This time, though, let’s spotlight the title track from their second album, Illusion (1974), featuring Hugh Hopper—famed as the bassist of Soft Machine.

Hopper made significant contributions on the compositional side as well, so if you’re interested in jazz-rock—or if you’re a fan of the Canterbury scene—this is a must-hear.

Led by Boyle’s fluid, rapid-fire guitar lines, the band’s thrilling ensemble playing radiates heat while maintaining an overall cool atmosphere—quintessentially British in character!

John McLaughlinMiles Davis

Miles Davis – John McLaughlin

Known as the “Prince of Modern Jazz,” Miles Davis continuously presented cutting-edge, challenging sounds—from electric jazz to hip-hop—remaining a towering figure in jazz while influencing countless artists in rock, prog, and beyond.

The sounds from his so-called Electric Period had a profound impact on the formation of genres like fusion and jazz-rock.

The double-album masterpiece Bitches Brew, released in 1970, is renowned as a groundbreaking work that astonished many listeners.

Its fusion of jazz, rock, and even funk elements still hasn’t lost its luster in the 2020s.

Bitches Brew features many legendary players whose names are etched in history; from the perspective of jazz-rock, take note that John McLaughlin—who would go on to form the Mahavishnu Orchestra—participates as the guitarist.

The track highlighted in this article, John McLaughlin, as its title suggests, is a cool slice of jazz-rock that puts McLaughlin’s guitar front and center.

At roughly four and a half minutes, it’s a compact gem compared to the album’s larger-scale pieces, and should be enjoyable even for rock fans who feel intimidated by jazz’s emphasis on improvisation.

The InquisitionColosseum II

The Inquisition – COLOSSEUM II

One characteristic that can make progressive rock tricky for beginners is that many bands and units branch off from a single group.

This group calling itself Colosseum II is one such example: it was formed in 1975 by drummer Jon Hiseman, a founding member of Colosseum, the band that made its mark on British progressive rock.

Since all the members apart from Hiseman are different, those unfamiliar with the scene might understandably get confused.

It’s true that most of the acclaim tends to focus on the original Colosseum, but the sound of Colosseum II—featuring the renowned Irish guitarist Gary Moore—certainly holds its own.

One of Colosseum II’s signature tracks is The Inquisition, included on their final 1977 album War Dance.

From the very start, you get searing, impassioned guitar from a young Moore, dynamic keyboards from Don Airey—who was in constant demand with countless bands—John Mole’s surging bass, and Hiseman’s drumming, which anchors it all while asserting its own voice.

Experience for yourself how the dynamism of hard rock, jazz elements, and progressive ensemble playing are fused to stunning effect in this remarkable piece!