u/FloridaMinarchy

Normally vocals are repugnant in the fusion genre, but George Duke is among the rare exceptions !

Well, the reception was great here:

https://www.reddit.com/r/JazzFusion/s/8IOV6YcLeJ

So I’ll be expanding. Thanks for the support!

I wanted to map out a highly specific, regional loop from the mid-to-late 1980s jazz history that is completely overlooked in standard textbook historiography. If you look closely at the timelines of John Scofield and Miles Davis, there is an airtight case to be made that an underground alliance between the Chicago Brand and the Baltimore Brand single-handedly hijacked electric jazz, saved it from academic sterility, and ultimately altered the DNA of modern pop-rock.

This wasn’t a product of the coastal industry hub, but was rather a full-blown regional alternative to NY/LA's polished studio system. Here is the breakdown of the loop:

PART 1: The Two Parallel Foundries (1970s)

In the 1970s, two distinct regional scenes were developing with significant independence from the dominant New York and Los Angeles music industries:

The Chicago Sophistication:

Reflective of Chicago’s own Earth, Wind & Fire’s polished production values, this crew emphasized hyper-slick, structured urban R&B and pristine synth programming. It was anchored by drummer Vince Wilburn Jr. and keyboardist Robert Irving III. The city also produced an unusually strong line of bassists who would later become central to Miles Davis’s electric bands. Key figures included Darryl Jones, Felton Crews (who toured with Minnie Riperton while still in high school), Angus Thomas, and Richard Patterson.

Crews brought a deep, finger-style R&B fatness, while Thomas delivered driving, razor-sharp electric lines together helping define Chicago’s signature urban groove. Patterson was the ultimate evolutionary step as a Chicago native who flawlessly executed that heavy, syncopated mid-west grease, and anchoring Miles's final rhythm section as it collided with early hip-hop and new jack swing.

The Baltimore Grease:

Born out of long club residencies and the rising D.C. Go-Go scene, this faction prioritized raw street power and endurance. Led by Go-Go rhythmic architects like Ricky “Sugarfoot” Wellman (of Chuck Brown & The Soul Searchers), the local network also included drummer Larry Bright, Paul Soroka on the electronic Lyricon wind controller, and young bassists such as Gary Grainger and Vince Loving.

🔥 PART 1 TL;DR:

Chicago built a polished, highly structured synth-R&B foundation with a deep bench of groove-oriented bassists (including Darryl Jones, Felton Crews, and Angus Thomas), while Baltimore developed a raw, high-endurance, aggressively syncopated street groove rooted in Go-Go. Both scenes operated with significant independence from the coastal industry centers.

Part 2:
https://www.reddit.com/r/JazzFusion/s/KC7oHkKLXk

Hey fusioneers!

I wanted to nerd out for a minute about a specific mid-80s musical pivot point that completely changed the trajectory of jazz-fusion drumming. Let's talk about how Dennis Chambers went from a regional funk powerhouse to an international jazz icon, all thanks to one guy:

bassist Gary Grainger!

We can call this The Grainger Fusion Conduit Premise.

1. The Regional Incubator (The Baltimore Foundation)

Before 1986, the world knew Dennis Chambers primarily as the absolute powerhouse driving George Clinton’s Parliament-Funkadelic (1978–1985). He was a legend in the funk community, but largely siloed from the hardcore, improvisation-heavy jazz-fusion world. He did a brief stint with the smooth/contemporary jazz group Special EFX, but he hadn't yet broken into the elite, guitarist-led fusion circles.

Enter Gary Grainger. Both Grainger and Chambers anchored the incredibly tight-knit Baltimore/D.C. musical circuit. Grainger knew exactly what Chambers was capable of.

2. The Scofield Catalyst (The Conduit in Action)

In early 1986, guitarist John Scofield was fresh out of Miles Davis’s band and assembling a new touring lineup. He wanted an aggressive, highly syncopated electric funk-jazz sound. He hired Grainger on bass.
Knowing exactly what Scofield was hunting for, Grainger intentionally dragged Scofield out to a Special EFX gig to watch Chambers play. Scofield was completely blown away by Chambers' ability to drop blazing, mathematically insane fills without ever losing a ruthless funk pocket. He hired him on the spot.

3. The Global Expansion (The Ripple Effect)

In September 1986, this newly formed lineup went into the studio and recorded the seminal album Blue Matter. Driven by the unified Grainger/Chambers rhythm section, the record became an instant classic. It provided the ultimate blueprint for blending uncut P-Funk groove with complex modal jazz improvisation.

Once Grainger pulled Chambers through that initial gateway, the floodgates opened. Because his jazz credentials were now validated by Scofield, Chambers instantly became the most in-demand session master in the genre, immediately snatched up by:

David Sanborn (1987)

Mike Stern & Bob Berg (1989)

The Brecker Brothers (1990s)

John McLaughlin’s The Heart of Things (1990s)

Without Gary Grainger acting as the definitive pipeline, the DNA of 90s electric jazz-rock might look completely different. Genius always needs a bridge, and Grainger was the architect.

TL;DR:
In 1986, bassist Gary Grainger used his Baltimore connections to introduce legendary P-Funk drummer Dennis Chambers to guitarist John Scofield. This birthed the iconic album Blue Matter, instantly launching Chambers from the funk world into the highest echelons of international jazz-fusion.

ADDENDUM:
This post motivated me to expand here:

https://www.reddit.com/r/JazzFusion/s/1ghwtNyH0s

This was pre blue matter. Tough to find live 1986 Scofield

Decent crossing between real deal fusion and the smooth side of things. REALLY cool to hear some rare live Carlos Rios showing how he’s an OG 70’s fusioneer from the Vanelli days

All the 1980 boots have RJ!

He credited the genre with helping him master his instrument, once noting: "I picked jazz fusion because I was trying to become the ultimate technical musician - able to play anything."

Rayford Griffin’s first tour

Also cool to hear Joaquin Lievano on guitar , a rarely discussed while significant fusioneer!

This is a high point in shred-fusion history for me.

1986: A Snapshot of High-Virtuosity Fusion

In the mid-1980s, jazz fusion had moved well beyond its explosive 1970s origins. It had evolved into a more polished, tech-driven style that blended intricate compositions, high-level improvisation, and contemporary production.

While not a full-scale revival, 1986 offered a concentrated burst of activity from established masters and sharp ensembles, supported by record labels, international tours, and festivals.

Chick Corea Elektric Band: Rapid Lineup Evolution

One emblematic example is Chick Corea’s Elektric Band. Their self-titled debut arrived in 1986 on GRP, featuring a powerhouse rhythm section with John Patitucci on bass and Dave Weckl on drums. Guitar duties on the album split between Carlos Rios (a first-choice player busy with other commitments) and Scott Henderson.

For live dates that year, the seat saw quick transitions: Henderson for early touring, then interim work from Jamie Glaser (a veteran of Jean-Luc Ponty’s band known for his adaptability), before Frank Gambale settled in as the primary guitarist.

By the 1987 follow-up Light Years, the core lineup—including Eric Marienthal on sax—had largely stabilized. This kind of fast-paced personnel shift highlighted the depth of skilled players available who could learn demanding material on short notice.

Miles Davis and Robben Ford

Miles Davis continued his electric explorations with a 1986 band that included guitarist Robben Ford, saxophonist Bob Berg, and a strong keyboard and rhythm lineup. Ford, bringing blues and rock-inflected phrasing, joined for a relatively brief period and delivered notable performances on tunes like “Burn” and material from the Tutu era.

Live recordings from that year - such as Montreux and the Amnesty International benefit at Giants Stadium (with Carlos Santana sitting in), capture the band’s funk-heavy grooves and Ford’s expressive solos. It reflected Miles’ ongoing interest in blending styles with modern production values.

Steps Ahead in Concert

Another strong presence was Steps Ahead, featuring Mike Stern on guitar alongside Michael Brecker (sax and EWI), Mike Mainieri on vibes, Darryl Jones on bass, and Steve Smith on drums. Their July 1986 performance in Tokyo stands out as a high-energy showcase of the group’s interactive, technically fluent approach. Bootlegs and official live releases from this period demonstrate tight ensemble playing and strong individual contributions.

Broader Context

That year, major jazz festivals (Montreux, Newport, North Sea, and others) continued programming electric and fusion acts alongside acoustic jazz. A viable club circuit and label support, particularly from GRP and others which allowed these bands to tour internationally with solid production. The talent pool remained exceptionally deep, enabling the kind of “quick study” adaptability seen in the Corea band’s guitarist rotations and similar moves elsewhere.

Fusion was already sharing space with the rise of smoother, radio-oriented contemporary jazz, and the broader industry was shifting. Yet in 1986, the infrastructure and player quality still supported ambitious, high-firepower electric jazz projects at a notable level.

It wasn’t the groundbreaking peak of the early 1970s, but a year where the music’s technical and performative strengths were on clear display across several key groups.

For listeners today, the live recordings from these projects offer a vivid window into that moment.

1992 performance / 1996 release

Yeeeeeow!

That drum beat which perpetually blurs between 12/8 clave based to rock shuffle really makes it

Wowowow!

Criminally overlooked!

Amazing find in the algo!!