Jacob Fred Jazz Odyssey - History and Classifications

History and Classifications

Originating in Tulsa, Oklahoma as an octet with a horn section in 1994, JFJO became a trio in the summer of 2000, initially performing as the Jacob Fred Trio in January 2000. Drummer Matthew Edwards left the group in early 2001; his replacement was Richard Haas, the brother of Brian, who performed with the group until October 2001. Jason Smart joined in late October 2001, becoming a member of the band until 2007. After Smart's departure, in June 2007, it was announced that Josh Raymer would be replacing Smart on drums. They have toured extensively, opening for the likes of Al Di Meola, Mike Gordon of Phish, and Sound Tribe Sector 9, and have shared the stage with Bill Frisell, Les Claypool, Scott Amendola, Charlie Hunter, Stanton Moore, John Scofield, Galactic, moe., Bonerama, Marco Benevento, Joe Russo (musician), Kirk Joseph, The Dirty Dozen Brass Band, Rebirth Brass Band, Mike Dillon (musician), Skerik, Johnny Vidacovich, Karl Denson, Mike Clark, George Garzon, Brad Barr, Marc Friedman, Joseph "Zigaboo" Modileste, Andrew Barr, Annie Ellicott, Mark Southerland, Jason Fraticelli, Elliot Levin, Cochemea Gastelum, John Ellis, Bluetech, Eskmo, Welder, Vibesquad, Robin Eubanks, Marshall Allen, George Garzone, Steve Kimock, and the Everyone Orchestra, among others.

JFJO's music is not easily categorized; although it is mostly in the jazz idiom, it draws from the avant-garde, funk and rock music. JFJO has often been, somewhat incorrectly, labeled a jam band. Critic Alex Henderson describes the band's music as a "mildly avant-garde blend of jazz, rock and funk draws on a wide variety of influences... Often quirky, eccentric and abstract, JFJO favors an inside/outside approach but is usually more inside than outside.", while critic Scott Yanow describes the group as "fascinating". Their live shows include compositions by John Coltrane, Duke Ellington, Charles Mingus, and Thelonious Monk among others, and include long experimental improvisations that, at times, could be considered atonal. Furthermore, the band's early years as an octet featured a strong hip-hop influence.