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667 reviews/ratings
LOUIS ARMSTRONG - The Louis Armstrong Story, Volume I: Louis Armstrong And His Hot Five Classic (1920s) Jazz | review permalink
MILES DAVIS - Agharta Classic Fusion | review permalink
EARTH WIND & FIRE - Gratitude Jazz Related RnB | review permalink
HERBIE HANCOCK - Speak Like a Child Post Bop | review permalink
FRANK ZAPPA - One Size Fits All (as Frank Zappa And The Mothers Of Invention) Jazz Related Rock | review permalink
HERBIE HANCOCK - Crossings Classic Fusion | review permalink
PARLIAMENT - Mothership Connection Funk | review permalink
COUNT BASIE - Count Basie and his Orchestra Big Band | review permalink
HERBIE HANCOCK - Thrust Funk Jazz | review permalink
SUN RA - Angels and Demons at Play Progressive Big Band | review permalink
SUN RA - Atlantis Avant-Garde Jazz | review permalink
SANTANA - Santana Latin Rock/Soul | review permalink
FUNKADELIC - America Eats Its Young Funk | review permalink
MILES DAVIS - Live At The Fillmore East Classic Fusion | review permalink
HERBIE HANCOCK - V.S.O.P. Post Bop | review permalink
MILES DAVIS - Get Up With It Classic Fusion | review permalink
JIMI HENDRIX - Electric Ladyland (Jimi Hendrix Experience) Jazz Related Rock
MILES DAVIS - Miles Davis Quintet : Miles Smiles Post Bop | review permalink
MILES DAVIS - Nefertiti Post Bop | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Classic Fusion 86 3.72
2 Avant-Garde Jazz 53 3.96
3 Hard Bop 44 3.83
4 Post Bop 35 4.20
5 Soul Jazz 34 3.37
6 Big Band 34 3.87
7 World Fusion 34 3.66
8 (Post-70s) Eclectic Fusion 32 3.77
9 Jazz Related Rock 28 3.77
10 Jazz Related RnB 25 3.44
11 Funk Jazz 24 3.60
12 Bop 22 3.98
13 Nu Jazz 21 3.38
14 Funk 20 3.92
15 Pop Jazz/Crossover 19 2.68
16 Progressive Big Band 18 4.08
17 Exotica 17 3.41
18 DJ/Electronica Jazz 16 3.28
19 Third Stream 15 3.87
20 Jazz Soundtracks 11 3.55
21 Cool Jazz 11 3.95
22 Dub Fusion 9 4.00
23 Post-Fusion Contemporary 9 3.50
24 Vocal Jazz 7 3.71
25 Latin Jazz 7 3.93
26 Jazz Related Blues 7 3.64
27 Latin Rock/Soul 6 3.75
28 Swing 6 4.00
29 Jazz Related Improv/Composition 5 3.40
30 Acid Jazz 4 3.50
31 21st Century Modern 3 4.50
32 Classic (1920s) Jazz 2 4.50
33 Dixieland 1 3.50
34 Afro-Cuban Jazz 1 4.50
35 Bossa Nova 1 3.50

Latest Albums Reviews

MARY HALVORSON Mary Halvorson Octet : Away With You

Album · 2016 · 21st Century Modern
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On her latest CD, “Away With You”, Mary Halvorson expands beyond her usual small group format and utilizes a full octet, and the end result is one of the best albums of her still growing career. Mary is already well known as an interesting improviser and composer, but with this new mini-big band, Halverson shows she is also a superb arranger and manipulator of large ensembles. Many of the pieces on here morph and change in organic ways that are difficult to write out, instead, much like previous masters such as Ellington and Mingus, Halvorson has learned the fine art of leading an ensemble through abstract communication while the improvising process is taking place. The end result is an ensemble that can move together as one mind.

With so many musicians to work with, Mary achieves a myriad of tone colors on “Away With You”, and often breaks the groups down into small duos and trios. The icing on the tone color cake is pedal steel guitarist Susan Alcorn, who often meshes with Halvorson’s guitar in ways that make it hard to tell which one is which. Fortunately the steel guitar is not used for ironic kitsch, instead, Alcorn is a serious avant-garde improviser on the pedal steel, and pulls some wonderful effects out of the snaky instrument. The group improvising on here is very much in a jazz vein, but the head tunes often draw on modern concert hall music, as well as marches and processions. Once again there is a possible parallel to Mingus here, but in all fairness, Mary’s music really does not sound much like Mingus, even though they have some similar approaches.

Like much of today’s jazz, “Away With You” can be a bit dry and abstract, but the band also produces some serious heat with blistering saxophone solos on “Spirit Splitter” and “The Absolute Almost”, which are also two of the best tracks on the album. Another interesting cut is the murky atmosphere of “Fog Bank”, which features Alcorn’s slowly meandering steel guitar. If you are looking for whats new in the world of jazz, “Away With You” is a great place to start.


Album · 1974 · Funk Jazz
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One of the most talented saxophone players to not work in the world of jazz, Maceo Parker, instead found his fame as the best horn player in the world of funk and RnB for several decades. Working with top stars in the business, such as James Brown and George Clinton, Maceo became a well known name on many famous hits as both Brown and Clinton were liable to shout out his name in the middle of a jam so that Maceo would step forth and deliver a fiery solo. In the early 70s, Maceo took a break from Brown’s band and recorded some RnB/jazz crossover albums on his own. Although Brown did not contribute to Maceo’s first couple records, on 1973’s “US”, Brown’s voice and direction are a big part of the funky proceedings.

The first two cuts on “US” are re-mixes of two well known James Brown hits. The first one is “Soul Power”, re-mixed to feature much more soloing from Maceo, and a track called “Party”, which sounds like its based on an extended jam of “Hot Pants”, once again re-mixed with added saxophone solos. These two cuts are the best on the album and hold up well against anything James Brown and his crew recorded while they were smoking hot in the early 70s. Side one finishes out with a couple of laid back disco-jazz numbers orchestrated by Fred Wesley. Although these two tracks aren’t as hot as the openers, their early 70s kitsch arrangements with the wah wah guitar, synthesizer, female backing vocals, incidental strings and double-time conga drums makes for some excellent early 70s time capsule atmosphere.

Side two continues with more of Fred Wesley’s orchestrations, but this time things are much hotter as the band flies through an up-tempo version of Chicago’s “I Can Play for (Just You and Me)”, and a re-recording of a James Brown funk classic, “Doing it to Death”. The album closes with a lengthy ballad called “The Soul of a Black Man”, on which James lays down a rap about Maceo’s integrity and the African-American experience in the USA. This cut is recorded live in front of a small audience and features a long Maceo solo backed by some one (possibly James Brown), improvising string arrangements on a Mellotron.

The final score card for “US” reads; three very funky jams, plus three suave proto smooth jazz numbers and one power ballad makes for an excellent record for fans of that early 70s funk/jazz/RnB vibe.


Album · 2017 · Vocal Jazz
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Beata Pater’s first five albums could be called ‘typical’ vocal jazz albums, as they featured the usual mix of standards and originals. That’s not to say her vocal approach has not been inspired, instead, she has received high marks for her flexible and fluid style, but no previous album she has made could prepare her followers for her latest, “Fire Dance”. On this new one, Pater employed Alex Danson to write eleven new originals, which Pater then arranged for multiple wordless vocal overdubs supported by a saxophone trio and a four piece electric rhythm section. The end result is a sort of modern big band made up mostly of Pater’s voice multi-tracked up to sixteen times on some cuts. The multi-tracked vocals sometimes have a classic vocal jazz ensemble sound that may remind some of The Swingle Singers or Manhattan Transfer, while the overdubbed wordless sounds may remind some of Bobby McFerrin, but for much of “Fire Dance“, Pater has crafted a sound that is unique to this album.

Musically this album pulls from a variety of styles including modern RnB, post bop and fusion from the Middle East, North Africa, and Eastern Europe. The end result is sometimes similar to Weather Report in the late 70s, or any of Joe Zawinul’s bands since WR. Imagine the Swingle Singers covering classic Weather Report material and you might have a clue as to what is going on here. Along with Pater’s lead vocals, the saxophonists occasionally take short solos, and even exchange in free three way interplay on a couple cuts.

The make or break on here is Pater’s approach to wordless vocals. No doubt this was a very risky record to make, many have a right to fear what an album based around wordless vocals might sound like, but “Fire Dance” is a success due to a very careful use of vocal sounds that never become annoying or embarrassing. Pater is also careful to never overuse the so-called ‘scatting’ technique, a decision that saves this album from potential indulgence. Instead, all of the multi-tracked vocals on here are carefully arranged, much like a complex big band chart. Top tracks include two beautifully abstract numbers that appear in the middle of the CD, title track “Fire Dance” and “The Princess”. Both feature soaring vocals that recall a pre-Renaissance European style, as well as a classic Middle Eastern sound.

WILDFLOWERS Wildflowers 2: The New York Loft Jazz Sessions

Live album · 1977 · Avant-Garde Jazz
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In the late 70s, it was becoming increasingly difficult for jazz musicians in the avant-garde to get a recording out. Most major labels had lost interest because avant-garde jazz didn’t generate enough income to bother with, unfortunately a lot of great music went unrecorded. In 1977 a small subsidiary of LA based disco label Casablanca, called Douglas, stepped up to the bat and released a set of compilations called “Wildflowers”, that documented New York City’s fabled ‘loft scene’ of the late 70s. This excellent series of compilations still gives us a vivid picture of what that vibrant and creative loft scene was all about. “Wildflowers 2” is of course the second album in that series, and features great performances by stellar musicians such as Anthony Braxton, and a very young Leo Smith, before he added Wadada to his name.

The generally accepted cliché about loft jazz was that everyone was playing ‘free jazz’, but “Wildflowers 2” presents a good example of how varied and unpredictable the loft scene really was. Side one opens with a grooving modal jam by Sonelius Smith that may remind some of Pharoh Sanders’ ‘spiritual jazz’. This track is followed by an extravagant post bop ballad featuring Ken McIntyre on flute and Richard Harper on piano. This song’s dramatic flourishes may remind some of Jaki Byard’s work with Eric Dolphy. This side is great, but the real fireworks come on side two.

Side two opens with the always brilliant Anthony Braxton and his ensemble romping their way through “73-S Kelvin”, a bizarre and often times humorous Braxton original that appears on a previous album with Braxton and Chick Corea’s group, “Circle”. At the end of the composition, Braxton launches into a furious sax solo that shows why he was, and probably still is, the master of extended techniques on the saxophone. The following track features Marion Brown solo on the saxophone as he combines tonal passages with some extended techniques of his own. The album closes with Leo Smith’s ensemble that features a young and very fiery Oliver Lake on saxophone. The opening melody is humorously deconstructive and deliberately obtuse, somewhat like a child that hates their music lessons. Its very refreshing to hear all of this because much of today’s avant-garde seems to be lacking in any sense of irony or humor. After the opening arrangement, Lake and Smith both take turns with solos that are careful in construction, as the ensemble is also very spare and careful in their contributions as well. This is a good example of that well-known AACM approach to free improv that values silence as much as noise.

Looking at the names of the various sidemen on here, many are unrecognizable and unknown, but one surprising name really jumps out, and that’s Stanley Crouch on the drums in Leo Smith’s group. Crouch has become well known over the years as a writer, critic and journalist who is often critical of the avant-garde in jazz. After hearing his flamboyant and devilishly clever contributions to the Leo Smith piece, it becomes obvious that his criticisms are certainly not based on ignorance or any timid feelings about this music.

Like most live recorded avant-garde jazz from this time period, the sound quality on here is a little rough, but back then it seemed like this sort of lack of polish was to be appreciated and admired. An almost kitsch staple of early avant-garde jazz was an acoustic piano that was worn out and out of tune and recorded with a room mic, so there was plenty of vague room reverb. The end result is an instrument that doesn't sound like a European concert hall component anymore, but more like something from Africa with its buzzing off center harmonies. You get a lot of that on here, maybe thats whats missing with today's scene, the pianos are too well cared for, ha.


Album · 2016 · World Fusion
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Indonesian guitar virtuoso Tohpati has several group names he works with, and many of those groups lean towards a Western jazz fusion sound, but its in his group known as Tohpati Ethnomission that Tohpati gets deeper into his Indonesian roots, and mixes those roots with the Western sounds of jazz fusion and hard rock. You might think that Gamelan, jazz, pastoral folk melodies and heavy metal guitar would make for an unlikely mix, but on “Mata Hati”, Tohpati and his Ethnomission crew pull it off and come up with some music that sounds like nobody else. Although fellow Indonesian fusion musicians such as Dewa Budjana and Dwiki Dharmawan have been working with large ensembles and multiple guest musicians, Tohpati keeps things simple on here with his core group of Indro Hardjodikoro on bass, Diki Suwarjiki on suling bamboo flute, Endang Ramdan on kendang percussion and Demas Narawangsa on drums. The Czech Symphony Orchestra guests on the opening track, but that is all.

The orchestrated “Jangar” opens the album sounding a lot like a dramatic South Asian movie soundtrack, despite the Indonesian melodies, the sound of this number may remind some of the well-known Indian ‘Bollywood’ soundtracks. Follow up “Tanah Emas” introduces Tohpati’s unlikely mix of ‘Gamelan’ type rhythmic figures and heavy guitar, but as mentioned earlier, this stuff really rocks in its own odd way. Other memorable tracks include the beautifully melodic “Mata Hati” and closing track “Amarah”, which features slashing metal guitars topped by a slow moving bamboo flute melody. Possibly the best track on the album though is “Reog”, which features a super funky hard rock guitar riff that Prince would have been proud to call his own.

There is lots of great fusion coming out of Indonesia these days, but with his use of insistent classical Indonesian rhythms, Tohpati has separated himself from the crowd on “Mata Hati”. Another Tohpati fusion group, Simak Dialog, deals with some similar material in their music, but Dialog’s more hippiefied rustic sound is quite different from Tohpati Ethnomission’s heavier sound. Did I forget to mention that Tohpati tears up the fretboards on this album on heavy distorted guitar, as well as more bluesy-jazzy Herndrix sounds and acoustic guitar as well.

Latest Forum Topic Posts

  • Posted 3 days ago in What are You Listening II
    Microscopic Septet play classic swing blues with a modern touch.https://cuneiformrecords.bandcamp.com/album/been-up-so-long-it-looks-like-down-to-me-the-micros-play-the-blues
  • Posted 7 days ago in What are You Listening II
    Electronica jazz with Yussef Kamaalhttps://yussefkamaal.bandcamp.com/
  • Posted 8 days ago in "Clyde Stubblefield dies at 73"
    Possibly the most influential drummer from the 70s till today.His original drum beats have been looped and re-mixed, as well as imitated by thousands.


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Warthur wrote:
more than 2 years ago
Hey dude,

You've banned me from the forums but I can still access the review submission system and site interactions.

If that is intentional then fair enough but if not I thought it'd only be honest to give you a heads up.

Warthur wrote:
more than 2 years ago
js - please clear some space in your PM inbox, I'm trying to send you something.


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