About JMA (intro)

JAZZMUSICARCHIVES.COM (JMA) intends to be a complete and powerful Jazz music resource. You can find Jazz artists discographies from 11026 bands & artists, 108324 releases, ratings and reviews from members who also participate in our forum.

jazz music reviews (new releases)

SIMON VINCENT Simon Vincent's The Occasional Trio : Live In Berlin

Live album · 2019 · Hard Bop
Cover art 4.00 | 1 rating
Buy this album from JMA partners
Simon Vincent is a modern composer who often works with electronics and other experimental sources. Occasionally he also performs as a jazz pianist with his trio under the moniker, The Occasional Trio’. Despite his ‘long haired’ and academic background, Simon’s jazz playing is often rough and blues centered, which he then colors with the abstractions of his more avant-garde leanings. Possibly it is because he performs mostly in Europe and the UK, that Vincent is not better known in the US, but this is one pianist that stateside jazz fans would really appreciate if they would give him the chance. Simon points to Monk, Brubeck and Mingus as influences. The Monkness shows up in Vincent’s rough dissonant approach, the Brubeck leanings lead to big block chords played in odd rhythms against his backup players, and you can hear Mingus in Simon’s tendency to take the blues into outside improvisations. His latest album, “Live in Berlin”, was recorded live because in Simon’s own words, “In front of an audience you tend to stretch out and take risks on the spur of the moment which makes the music more exciting, and makes it breathe and come to life.”

Simon’s partners on here include bassist Roland Fidezius and drummer Kay Lubke. Fortunately there is very little gratuitous solos for the other two, instead, all three players keep at it non-stop for the duration of the concert in constant interplay and communication. Given Simon’s diverse musical background you can expect a rather eclectic set from this free wheeling trio. The group’s tendency towards hard hitting bluesy bop shows up on “Blues in Fink”, “Well You Shouldn’t” and “Sweedad’s Pastry”. More lyrical and sensitive post bop approaches s appear on “Raindrops in June” and “Every Moment of Every Day” and an ability to freely improvise in modern idioms can be found on, “Portsmouth Blue” and “Prayer unto the People and unto the Land”.

JOHN MCLAUGHLIN John McLaughlin, Shankar Mahadevan, Zakir Hussain : Is That So?

Album · 2020 · World Fusion
Cover art 2.50 | 1 rating
Buy this album from JMA partners
Living legend English guitarist John McLaughlin is a man responsible for probably best ever recorded guitar fusion album. His early interest to Indian music (and culture in general)is well documented on "My Goal's Beyond"(1971) and more significantly on early Shakti albums which were again excellent examples of Indo-fusion.

Don't be fooled by the name though - the newest work, credited to McLaughlin as leader, "Is That So?", is not in the league of both above mentioned masterpieces.To be honest, "Is That So?" in reality is first of all vocal album of prolific Indian singer and films soundtrack composer Shankar Mahadevan. Being a cult figure in India, he's almost unknown in Western world, so crediting his album to McLaughlin as leader is understandable marketing trick for American label AbstractLogix,who released the album just a week ago.

Then,under the cover we have what we have. Shankar Mahadevan sings six lyrical songs,ballads of sort, under minimalist accompaniment of McLaughlin processed guitars and even more minimalist licks of another Indian,former Shakti tabla player Zakir Hussain.

Fortunately, all music doesn't sound as Bollywood soundtrack. It is more rooted to Indian traditional sound, but it is still first of all singer's album. McLaughlin guitars sound processed using computer,is liquid,rhythm-less and hardly differs from what could be produced using inexpensive synths. Tabla's soloing is most livable and most attractive element of all music, but we don't get a lot of it. Harmony-less Indian music without rhythmic component after some time sounds same again and again, at least for Westerner's ear.

Quite a weird release,it will hardly attract McLaughlin guitar work's fans or even Shakti early albums lovers. Maybe Shankar Mahadevan singing followers will find it interesting though.

TONY ADAMO Did Mark Murphy Believe in UFOS?

EP · 2020 · RnB
Cover art 4.00 | 1 rating
Buy this album from JMA partners

The interrogative title of this fine track shares an interesting insight, as well as its supposition. Whether the late singer literally did buy into UFOs—a la Sun Ra who saw "space as the place"—or he didn't is irrelevant. What is key is the fact that Mark Murphy has had a definitive and lasting impact on jazz vocalists today—and very much so on the High Prince of sing-speak, Tony Adamo who salutes Murphy on this infectious single. Further, the savvy integration of Michael Franks' "Don't Be Blue" into the performance adds encouragement and a positive sheen on the proceedings. It's a brilliant production choice.

Adamo, the ultimate hipster's hipster, is dead on his game on this hip-hop grooved masterpiece. Brilliantly performed and laid down over a killer rhythm, Adamo speaks "jazz gospel" and offers verbal high praise to Murphy by way of his own poetics about Murphy's verbiage on Oliver Nelson's "Stolen Moments." (Murphy wrote a well-known version of lyrics for the classic tune.)



Album · 2019 · Post Bop
Cover art 3.50 | 1 rating
Buy this album from JMA partners
Brian Scanlon is one of those musicians who you have probably listened to before, but didn’t realize who you were listening to. A long time session saxophonist, Brian has recorded with stars like Bob Dylan and Randy Newman, appeared on TV soundtracks such as The Simpsons and Family Guy, as well as movies like “La La Land” and “Crazy Rich Asians”. After a 32 year career Brian finally decided to record his first album as leader and packed “Brain Scan” with mostly his original tunes. Brian counts Coltrane and Parker as major influences, and you can also hear a good bit of Sonny Rollins and some Eric Dolphy too. Scanlon plays both tenor and alto and is a bopper at heart, always swinging, but he also works in plenty of RnB and soul on his eclectic debut.

The album opens with two modern abstract post bop tracks with Latin and fusion influences. Brian’s son, Avery, turns in a Holdsworth flavored electric guitar solo on the opener. “Re-entry” follows with some funky soul jazz that sounds like an instrumental version of a classic Steely Dan track, particularly in the guitar scratching of Andrew Synowiec. After a well written melodic ballad the band goes full tilt bebop on “I Hear Something” and a major overhaul of “Harlem Nocturne”. Scanlon turns down the heat for the closing numbers, with “My Right Foot” providing some bluesy grooves.

I’m not sure why Brian waited so long to step out as a leader, this should have happened long ago. He is an excellent writer and his constant melodic invention recalls his favorite sax mentors, but Scanlon also provides his own very smooth delivery and relaxed sound that is unique to him.

JOE MCPHEE / SURVIVAL UNIT McPhee, Rempis, Reid, Lopez, Nilssen-Love : Of Things Beyond Thule Vol 1

Live album · 2020 · Avant-Garde Jazz
Cover art 4.00 | 1 rating
Buy this album from JMA partners
One of the early releases coming in a very beginning of a new year is a collaborative work, recorded by high class free improvisers quintet of seasoned tenor Joe McPhee and cohort of younger creative jazz stars.

Joe McPhee (probably in a pair with Charles Gayle) is one of the busiest veterans of loft jazz around playing with many today's sound names and recorded intensively. His new quintet contains such leaders of modern avant-garde jazz as sax payer Dave Rempis and Norwegian drummer Paal Nilssen-Love, rising star cellist Tomeka Reid (who toured Europe last year as Art Ensemble of Chicago's member) and relatively lesser known New Yorker bassist Brandon Lopez.

Just two compositions, recorded live at Chicagoan The Hungry Brain on December 16 2018. Each lasts less than 20 minutes.Quite surprisingly, there are only a few explosive moments on this album, slow to mid-tempo music predominates. Saxes often sound as bird calls communication with cello vibrations and lot of percussion on the back. Common mood is more philosophical than energizing, and excellent interplay between quintet members builds intellectual and rousing atmosphere. Without leaving a frames of the genre, this album belongs to a more successful examples of live recordings in prolific Joe McPhee discogs.

See more jazz music reviews (new releases)

jazz music reviews (older releases)

YOSUKE YAMASHITA Yosuke Yamashita Trio ‎: Sunayama

Album · 1978 · Avant-Garde Jazz
Cover art 3.50 | 1 rating
Buy this album from JMA partners
During early seventies, pianist Yosuke Yamashita trio were a front-line power of Japanese avant-garde jazz. Cecil Taylor-influenced high-energy percussive straight-in-your-face piano playing style in combination with Akira Sakata's free sax attacks and drummer's (Takeo Moriyama and later, Shota Koyama)rock-heavy artillery built complex,usually knotted aural constructions of surprisingly well-organized beauty. Their albums,released between 1970 and 1975 all are classics of Japanese avant-garde jazz.

On "Sunayama", Yamashita's work from second half of 70s, one can evidence quite unusual for him instrumentation. Credited to his regular trio, the album contains three pieces,recorded actually by septet/octet when Yamashita's trio is improved with brass section (and an electric guitarist on one track).

Being characteristic for his trio busy high energy free jazz under the skin, in many moments album's music sounds as avant-garde jazz big band with rich brass (and addition of soling electric guitar on "Usagi No Dance - Dedicated To Pepi"). It's interesting to mention, that intentionally or not the combo never sounds as one small orchestra - more like two group of musicians, the trio and four-piece brass section improvising each their own way.

On paper it most probably sounds as a chaos, but surprisingly enough all album long Yamashita controls the situation well and final music has its own internal order. Not such explosive as on his earlier works, this album's attraction lays mostly in a rare possibility to hear the great master trying something different. Perfectly recorded (as many Japanese releases coming from seventies), "Sunayama" is an attractive release for Yamashita fans, still probably a bit risky try for newcomers.

Being for years an obscurity, in 2009 the album has been reissued in Japan on CD so there is a bigger chance to find it now.

DIZZY GILLESPIE The Small Groups 1945-1946 Original Recordings

Boxset / Compilation · 1970 · Bop
Cover art 4.00 | 1 rating
Buy this album from JMA partners
If you are looking for that unmistakable sound of early bebop on vinyl and don’t want to spend a bundle, then you might want to keep an eye out for, “Dizzy Gillespie: The Small Groups {1945 - 1946}”, on the Phoenix label. This is an excellent compilation that came out in the 70s and shows up in used stores and the internet for very reasonable prices. The music on here comes from five different recording sessions, every track features Dizzy, while other tracks feature varying bebop greats such as Charlie Parker, Al Haig, Sonny Stitt, Curly Russell and more.

Side one opens with a band that is more in a pre-bop swing style, but when we hit track five, Sonny Stitt and Al Haig have stepped in to push things in a more modern direction. The big revelation all through this side is Chuck Wayne’s jaggedy swinging guitar lines. Alice Roberts guests to sing a bluesy “A Handfulla of Gimmie”, and “Blue ‘N’ Boogie” features a young Dexter Gordon on tenor sax. Side two features Charlie Parker and starts off with a band that is competent, but not quite up to what Bird n Diz are capable of. For the second half of this side, Al Haig takes the piano chair and Curly Russell picks up the bass and now we are in abstract cubist bebop heaven. The recorded sound on “Salt Peanuts” is perfect for this era, unfortunately, the next three tracks fall off a bit in the high end department, but are still enjoyable and musically superb, the best tracks on the record.

CHARLIE HADEN Magico (with Jan Garbarek, Egberto Gismonti)

Album · 1980 · Post-Fusion Contemporary
Cover art 3.86 | 7 ratings
Buy this album from JMA partners
Steve Wyzard

Whenever anyone brings up the much-discussed subject of the "ECM Sound", the first album I think of is Magico by Egberto Gismonti (guitars/piano), Jan Garbarek (saxophones), and Charlie Haden (bass). This is one of those unlikely "all-star" aggregations ECM Records specialized in during the late 1970s (see also: Abercrombie/Holland/DeJohnette and Rypdal/Vitous/DeJohnette). Released in 1980 to minor acclaim, this album today is seen as a forerunner to what we now refer to as "World Fusion".

Most listeners bring pre-conceptions to a recording like this, so let's deal with them right away. The lack of a drummer/percussionist does not make this a "quiet album", especially with Garbarek's piercing (no flute) tones sprinkled liberally throughout. A close listen also reveals this is not a "loosely structured jam session" as much thought was obviously given to the arrangements and double-tracking (especially Gismonti's intricate solo above his playing on "Magico"). While a previous familiarity with the performers will best prepare one for this aural soundscape, this album remains very accessible and was my first introduction to the music of both Gismonti and Haden over 25 years ago.

So what can one expect? Gismonti is the dominant voice both figuratively and literally: like on most of his recordings, "Bailarina" includes some brief ad-libbed vocals. There are a multitude of versions of Haden's "Silence" on the market, but this album's is the finest: 16 repeated chords on the piano above solos by Garbarek, Haden, Garbarek (again), and Gismonti. Garbarek's "Spor" features some of Haden's darkest arco playing, and Gismonti's "Palhaco" with its gospel-tinged piano is the peaceful closer with its other-worldly, haunted atmosphere.

The masterful performances throughout this album make Magico a true highlight in the voluminous catalogs of all three players. Never before has ECM's original motto "The Most Beautiful Sound Next To Silence" been more appropriate. Let it also be known that this same trio recorded a follow-up album (Folk Songs) 5 months later that is nowhere near as good as Magico. And just what is that artful cover supposed to signify: is it trees behind powerlines, or painted industrial siding super-imposed over trees?

GARY PEACOCK Tales of Another

Album · 1977 · Post Bop
Cover art 3.98 | 4 ratings
Buy this album from JMA partners
Steve Wyzard

This is a good Gary Peacock album, but not a great album generally speaking. After the opening track, the excellent "Vignette", all of the others are buried beneath Keith Jarrett's moaning and screeching. And I don't mean for short periods or occasional intervals but for LONG stretches of time. Jarrett's vocalizations appear on most of his albums, but this is his only ECM recording I've heard where it becomes a major distraction. Whenever there is any discussion about this album, EVERYBODY mentions the unintentional histrionics, unless they pre-determine to not mention it out of respect for Jarrett.

It's really too bad that Gary Peacock's performances and compositions are not given their due, because with exception of the experimental "Tone Field", this would be a great jazz piano trio album. Peacock's playing on "Trilogy II" is especially outstanding. Jack DeJohnette plays with his usual brilliance, although from time to time he seems perplexed by the discordant directions the material sometimes takes. The group's headlong rush to the finish of "Trilogy III" is a true highlight on an album that doesn't provide as many as the all-star line-up might promise. This trio would go on to perform mostly standards for 30+ years, so to hear them play newly-composed material is greatly appreciated. Be forewarned about Jarrett's singing, however.

GIL EVANS The Gil Evans Orchestra Play the Music of Jimi Hendrix

Album · 1974 · Progressive Big Band
Cover art 4.14 | 5 ratings
Buy this album from JMA partners
When The “Gil Evans Orchestra Plays the Music of Jimi Hendrix” came out in the early 70s, it was a big deal, and for good reason too. Attempts to merge heavy rock and orchestral music were still a new thing then and many attempts at such a merger were often a clumsy mess. Gil was given much well deserved praise in that he quite successfully took the music of Jimi Hendrix and gave it a big band treatment that somehow managed to capture the best of both the rock and big band jazz worlds. Flash forward several decades to today and this album still holds up, but since it became a blueprint for others to follow, its rockin big band sounds are hardly unusual anymore. Late night entertainment shows such as Saturday Night Live and David Letterman have been featuring big bands playing classic rock and RnB tunes for some time now and several tracks on the ‘Evans Plays Hendrix’ album sound like they would fit in well during a commercial break while Paul Shaffer or G.E. Smith is trying to keep the audience hyped.

Opening track, “Angel”, is probably the one closest to a late night break rave up, especially since it features the sax melody and solo of David Sanborn, the owner of one of the most imitated horn sounds on late night TV. “Cross Town Traffic” and “Foxey Lady” are the other two that also fall more in this direction. “Castles Made of Sand” is the first track to really head in an interesting and alternative direction as Evans introduces counter melodies that hang like dissonant clouds and totally transform the song. “Up from the Skies” is essentially a jazz song to begin with, which might explain why it works so well as Evans once again produces an appealing murkiness that takes the track towards exotic Sun Ra territory. “1983 - A Merman I Should Turn to Be” is also given an interesting facelift as it becomes a spaghetti western movie theme. The least successful track is “Voodoo Chile”, whose melody is played by Howard Johnson who sounds like he is humming through his horn producing a non-appealing kazoo type sound.

This is a Gil Evans album, so the performances and orchestrations are outstanding, its just that this album probably would have aged better if he had gone more in the experimental direction, and less in the rockin direction.

See all jazz music reviews (old + new)


Rating by members, ranked by custom algorithm
Albums with 30 ratings and more
Kind of Blue Cool Jazz
Buy this album from our partners
A Love Supreme Post Bop
Buy this album from our partners
The Black Saint and the Sinner Lady Progressive Big Band
Buy this album from our partners
My Favorite Things Hard Bop
Buy this album from our partners

New Jazz Artists

New Jazz Releases

Steve Beresford & John Butcher : Old Paradise Airs Avant-Garde Jazz
Buy this album from MMA partners
No Beginning No End 2 RnB
Buy this album from MMA partners
Symphony No. 9 21st Century Modern
Buy this album from MMA partners
Beyond Good and Evil : Simulacrum Live Eclectic Fusion
Buy this album from MMA partners
More new releases

New Jazz Online Videos

js· 8 hours ago
Tower of Power - "Step Up" (Official Audio)
js· 19 hours ago
js· 19 hours ago
Love in Translation
js· 1 day ago
More videos

New JMA Jazz Forum Topics

More in the forums

New Site interactions


Latest Jazz News


More in the forums

Social Media

Follow us