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The beginning of jazz-rock is commonly dated in the late '60s with the emergence of <a href="spotify:artist:24GaH9tRBgZjlvOhpFuKi2">Blood, Sweat, & Tears</a>, <a href="spotify:artist:6qyfxCyE6JsPkcGVIOPpyl">the Electric Flag</a>, and <a href="spotify:artist:0kbYTNQb4Pb1rPbbaF0pT4">Miles Davis</a>' Bitches Brew, but in fact a few sporadic efforts were made at reconciling the two forms before that. The Free Spirits, a New York group featuring the guitar, songwriting, and singing of <a href="spotify:artist:25s8YpOLWqI2SgTlvapJyQ">Larry Coryell</a>, may have been the first. Augmenting the usual guitar-bass-drums rock lineup with the tenor saxophone of <a href="spotify:artist:71C4KrSHiyWA2i815YZlDy">Jim Pepper</a>, the quintet's backgrounds were decidedly jazz. But their sound was considerably closer to rock, investing the early psychedelic sounds of the day with relatively adventurous, jazz-derived improvisation, horns (or one, anyway), and elastic song structures. They weren't avant-garde by any means; on their LP, their innovations were tailored to fit songs with vocals lasting between two and three-and-a-half minutes. Their moderate use of jazz idioms within pop and rock frameworks was innovative for its day and has always been unfairly overlooked. ~ Richie Unterberger, Rovi
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