Brings overdue critical attention to fusion, the musical idiom that emerged in the late 1960s and 1970s, as musicians blended elements of jazz, rock, and funk

Birds of Fire brings overdue critical attention to fusion, a musical idiom that emerged as young musicians blended elements of jazz, rock, and funk in the late 1960s and 1970s. At the time, fusion was disparaged by jazz writers and ignored by rock critics. In the years since, it has come to be seen as a commercially driven jazz substyle. Fusion never did coalesce into a genre. In Birds of Fire, Kevin Fellezs contends that hybridity was its reason for being. By mixing different musical and cultural traditions, fusion artists sought to disrupt generic boundaries, cultural hierarchies, and critical assumptions. Interpreting the work of four distinctive fusion artists—Tony Williams, John McLaughlin, Joni Mitchell, and Herbie Hancock—Fellezs highlights the ways that they challenged convention in the 1960s and 1970s. He also considers the extent to which a musician can be taken seriously as an artist across divergent musical traditions. Birds of Fire concludes with a look at the current activities of McLaughlin, Mitchell, and Hancock; Williams’s final recordings; and the legacy of the fusion music made by these four pioneering artists.

"“Birds of Fire (named for the second album by the Mahavishnu Orchestra) is actually a relatively easy read that posits some fascinating theories about how and why fusion developed and why it was embraced by some, castigated by others.”" - New York City Jazz Record

"“Fellezs offers fascinating biographical detail and the kind of serious critical overview that the music has long deserved. His knowledge is impressive, his perspective thought-provoking, reflected in fascinating historical tidbits and observations. . . . One-of-a-kind, critical reading.”" - Downbeat

"“Fellezs succeeds in being both academic and a fan. He succeeds in bringing these four artists in from the margins while recognising their cross-cultural capital lies in their non-belonging to any mainstream discourse.”" - Jazzwise