The music of French composer and pianist Claude Bolling has received little reverence or attention from the scholarly music community. However, by combining jazz and classical idioms in his compositions, Bolling achieved commercial success in the “crossover” genre; particularly with his “Suite for Flute and Jazz Piano Trio” which in 1975 became one of the most successful records that CBS Masterworks has ever released. In that work, Bolling was entering a tradition which composers throughout the twentieth century had already begun to establish. This “fusion” of jazz and classical styles had been implemented by highly regarded classical composers the likes of Aaron Copland, George Gershwin, and Darius Milhaud along with jazz composers and musicians like Charlie Parker and Oscar Peterson, all of whom have received positive recognition and study from the scholarly music community. Despite these musicians and composers using compositional tools similar to Bolling, Bolling’s impressive body of work has remained largely ignored. Part of the issue lies in the fact that Bolling is not considered to be a serious classical musician. In the 1970’s, the classical establishment had lost touch with mainstream audiences and found his commercial success questionable. Despite Bolling repeatedly stating in interviews that he does not view himself as a “crossover” composer, he has involuntarily been narrowly categorized as such over the years. Bolling’s music—as well as the flute’s role in the development of fusion—deserve the same attention from the scholarly music community as the polystylistic-classical and jazz composers who do receive recognition and praise. The artificial construct of a “crossover” label was damaging to the credibility of the music. The term itself is problematic and stemmed from early discriminatory attitudes.By examining three of Bolling’s fusion compositions: the Suite for Flute and Jazz Piano Trio, the Suite No. II for Flute and Jazz Piano Trio, and the Picnic Suite—alongside other standard works of classical and jazz fusion—this document will deconstruct the term “crossover” and demonstrate the validity of Bolling’s music as prime examples of fusion, emphasize the role of the flute in fusion’s development, and highlight the importance of Claude Bolling’s music not only to the scholarly music world, but to flutists as students, performers and teachers alike.