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Favorite Jazz Artists

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641 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 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 84 3.73
2 Avant-Garde Jazz 50 3.99
3 Hard Bop 40 3.86
4 Big Band 34 3.87
5 (Post-70s) Eclectic Fusion 32 3.77
6 Post Bop 32 4.17
7 Soul Jazz 32 3.38
8 World Fusion 30 3.63
9 Jazz Related Rock 28 3.77
10 Jazz Related RnB 24 3.42
11 Funk Jazz 23 3.59
12 Bop 21 4.00
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 Jazz Related Blues 7 3.64
25 Latin Jazz 6 3.92
26 Latin Rock/Soul 6 3.75
27 Vocal Jazz 6 3.67
28 Swing 5 4.00
29 Jazz Related Improv/Composition 4 3.50
30 Acid Jazz 4 3.50
31 21st Century Modern 2 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

ANTHONY E NELSON JR Swift to Hear, Slow to Speak

Album · 2016 · Hard Bop
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If you are looking for that no-nonsense hard bop sound, then you have come to the right place. On “Swift to Hear, Slow to Speak”, Anthony E. Nelson Jr and his crew of five side men deliver ten original jazz tunes played with imagination and a lot of soul. Most would categorize this in the hard bop file, but this is hard bop of the more abstract style along the lines of latter day Art Blakey, or early Herbie Hancock. The Hancock comparison is furthered by pianist Brandon McClure, whose mixture of sophisticated blues and impressionism definitely recalls the young Herbie. Nelson’s main influence would seem to be Coltrane, as his sound is reminiscent, and he is also apt to pepper his solos with Coltrane quotes, along with re-arranged quotes from others as well. Being the top soloists on board, Nelson and McClure handle the lion’s share of the solos, but some tunes allow the others a ride as well.

With three horns on board, Nelson is able to add interest to his opening melodies by arranging in a mini-big band style. Tracks like, “Never too Late”, allow the horns to engage in some contrapuntal intersecting lines, while “Blessed are Those that Mourn”, uses the horns to paint pastel colors ala Herbie’s “Speak like a Child” album. Possibly the biggest plus on here is the fact that all of this music is original, and many of the tunes measure up well against better known standards. Any musician looking for a possible ‘new standard’ on this CD should check out “I’ll be a Fool”, which sports an infectious be-bop like melody that is hard to get out of your head.

A quick glance at the song titles will tell you that Nelson is heavily influenced by his Christian faith and seeks to use his music to worship God. Anthony calls his music “gospel jazz”, and although almost all hard bop has a bit of gospel to it, the only overt gospel number on here is closing ballad, “More than Rubies”. Anyone who does not want their jazz watered down with artificial sweetener, or passing trends, will want to check out “Swift to Hear, Slow to Speak”, not only can these guys play, but they can also compose and arrange with the best of them.


Album · 2016 · Nu Jazz
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Sometimes you don’t know what might show up in your mailbox, for instance this odd looking CD that arrived from Polish group Niechec. The strange album cover doesn’t reveal much, but what a great surprise when you give it a spin and all of this exciting and passionate modern jazz-rock comes firing out of the speakers. Because of their frequent use of repeating minimalist type passages, you could put Niechec in the nu jazz genre, but unlike many other nu jazz groups, there is nothing lite and fluffy about these guys, instead, like a lot of music from Poland, this CD is raw and emotional, and the band doesn’t mind raising some fierce noise when it is called for.

The music on here is so eclectic that it is probably best to view the tracks individually to get an idea of what is going on. Album opener, “Koniec”, is a harsh noisy jazz rock number with plenty of rapid change-ups in that style first initiated by the Mr Bungle/John Zorn school of music. On this track Maciej Zwierzchowski reveals his huge baritone sax sound, often playing heavy noire riffs that recall Mel Collins’ work on early King Crimson albums. Tomasz Wielechowski also turns in a fierce atonal solo on the distorted electric piano. The next three cuts reveal Niechec’s interest in a more relaxed electronica flavored post rock groove that recalls Tortoise or Masfel. Track 5, “Krew”, opens with atonal saxophone squawking that alternates with quieter sections and strange demented circus like music.

“Widzenie” uses a repeating piano part that sounds like classic prog rock to which they add a driving drumnbass beat and another free form sax solo. On “Atak”, the band digs heavy into that same ‘crime jazz soundtrack’ sound that inspired much of early King Crimson. Album closer, “Trzeba to Zrobic”, continues with more heavy saxophone sounds, sometimes recalling Doldinger’s first “Passport” album. This number closes with lots of crazy mayhem as the whole band chimes in with collective spiraling chaos.

Niechec is a band that deserves much wider recognition. There are other bands using the same hip modern sounds that these guys use, but the difference is that Niechec knows how to put a complex composition together, as well as a lengthy arrangement that makes sense. There should be a wider market available for these guys, including fans of modern prog rock, the wilder side of today’s jazz rock scene and anyone looking for interesting, eclectic and unpredictable music.


Album · 2016 · Hard Bop
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There are so many talented jazz pianists these days, its hard to keep up with all of them. Possibly you have not heard of Michika Fukumori yet, if not, then you can add her to your list of rising star pianists that you need to check out. Michika is a native of Japan who studied classical and jazz music in her home country, before moving to New York City in 2000. After arriving in the US, Fukumori immersed herself in the jazz scene and began a long lasting study with pianist Steve Kuhn, who Michika describes as her “teacher, mentor and musical hero.” On Fukumoni’s second CD, “Quality Time”, you can hear the Kuhn influence. Fukumori’s main style could best be described as sophisticated hard bop in which her refined classical training is mixed with a very bluesy harmonic language. In this respect Michika bears some similarities to Oscar Peterson, Horace Silver and Gene Harris, all pianists who approached the blues with a refined touch. On the CD’s third track, “The Story I Want to Tell”, Fukumori reveals an interest in lyrical contemporary jazz along the lines of Brad Mehldau or Keith Jarrett.

Fukumori has a great support group on here with veteran drummer Billy Drummond, who has played with Horace Silver and Sonny Rollins, manning the trap kit, and Aiden O’Donnell on bass. Aiden takes several solos, but he is sometimes hard to hear, a little better definition on the eq would have helped bring out his bass better. There are plenty of good tracks on here, with Michika supplying four originals to supplement eight standards, the best of which could be the always sublime “Solitude” by Duke Ellington. Its also great that Michika is writing originals, and as her writing style grows and becomes more distinct, this will be the feature that will help bring more attention to her recordings in the future.

DUKE ELLINGTON Duke Ellington, Volume 1 - Mrs. Clinkscales To The Cotton Club (1926-1929)

Boxset / Compilation · 2005 · Classic (1920s) Jazz
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The lengthy title to “Duke Ellington: Mrs Clinkscales to the Cotton Club Volume 1 1926-1929” pretty much tells you what you will find on here, or does it? Actually, despite the misleading title, this massive collection of music contains many tracks from 1924 and 1925, when Ellington was part of The Washingtonians. You would think the producers of this CD would be proud of this, as many Ellington collections don’t go back that far. Why they got part of the title wrong remains a mystery, but it doesn’t change the fact that this is a great collection of music that often sells for a reasonable price. If you are wondering about the rest of the title, Mrs Clinkscales is the unlikely name of the piano teacher who set young Duke on his musical journey, and the Cotton Club is where Duke will find fame in the early 30s.

Late 20s jazz is a style you rarely hear from anymore. Other early jazz styles such as Dixieland, swing and New Orleans have so many revivals and re-constitutions that they have never really left us, but the high octane exuberant nature of 20s jazz makes it hard to incorporate into other styles. The late 20s was also a time of experimentation, with arrangers staying on top of the latest developments in concert hall compositions, as well as developing some tricks of their own. Although as his career will develop, Ellington will become a master of cool and sophisticated music, in the late 20s, his compositions matched the high speed tempos and bright major key tonalities of his contemporaries. In fact, as you listen to this collection chronologically, you can hear Ellington begin to introduce his slinky minor key noire sounds when songs like “East St Louis Toodle Oo” and “Black and Tan Fantasy” start to show up. As jazz began to change in the 30s, those relaxed minor key melodies stayed in the Ellington set, while the more ‘20s’ sounding fare got left behind.

Lots of good tracks on here, if you looking for the numbers with imaginative arrangements; CD 1 has “I’m Gonna Hang Around My Sugar” and CD 2 has “Hop Head”, “Washington Wobble” and Jubilee Stomp”. CD3 has “Hot and Bothered”and CD 4 has “Tiger Rag”. If you have any curiosity about late 20s jazz, this is a great place to start. For Ellington fans, this is a chance to hear the Duke in a style that he (or anyone else) never returned to.

STICK MEN Stick Men + : Midori

Boxset / Compilation · 2016 · Jazz Related Rock
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Apparently the new CD by the Stick Men +, “Midori”, will not be sold in stores or through online outlets, instead, its only available through the MoonJune label and the band’s live shows. It only takes one listen to understand why, although the music from the two live concerts on here is mostly good, something went wrong with the recording levels, or the post-production, and the end result is music that is not mixed very well. It’s hard to tell where things got off, but overall, Markus Reuter’s guitar is mixed too low, and Pat Mastelotto’s drums and percussion are mixed too high, add to that a general murkiness with everything else and you end up with a spirited performance struggling to be heard.

The original Stick Men already have many ties to jazz-rock legends King Crimson, what with two band members having served time in KC, and many cover tunes from the KC catalog in their set list, but when you add ex-KC violinist David Cross to the band to become Stick Men +, its practically a KC band under a different name, which of course is not a bad thing. The music on here is quite good and encompasses many ambient and groove driven improvs, plus some original tunes, several KC cover tunes and in a big surprise, a brilliant re-orchestration of sections from Stravinsky’s “Firebird”. This track in particular deserves a much better recording, its hard to believe only four people are handling all of these interweaving parts.

Fans of the Stick Men, as well as various post-KC ‘Projekts’, may be able to overlook the sound issues and enjoy all the great music on here, but first time listeners should probably start with something else. In closing though, it should be pointed out that the biggest plus on here is a just return for David Cross to reap his share of the KC legacy to which he is an under-rated contributor. When KC re-invented their sound on “Larks Tongues in Aspic”, David Cross was a big part of that. Unfortunately his more intricate contributions were soon literally muscled out of the band by John Wetton’s massive bass sound and stadium rock sensibilities. Once Cross was out of the band, the resultant KC album, “Red”, featured a big powerful stadium type sound, but it was low on compositional ideas and was dull and repetitive compared to previous KC efforts. Needless to say, that album was a swan song for a dying band. So in short, its great to see David take his rightful place back on stage playing classic songs he helped create, plus some new things as well.

Latest Forum Topic Posts

  • Posted 9 days ago in Jazz related albums 2016
    This is one of the hottest albums Jeff Beck has released in a long time, the female vocalist is smokin.
  • Posted 9 days ago in "The Return of Ruben Blades" on BluRay
    The Return Of Rubén Bladescoming to Blu-ray and digital formats on July 22Robert Mugge's portrait of actor, writer, attorney, activist, and Grammy Award winning world music artist Ruben Blades.Between 1982 and 1984, music filmmaker Robert Mugge produced two feature length music docs for the UK's brand-new fourth TV network, appropriately named Channel 4 Television. Those two films were BLACK WAX with Gil Scott-Heron, now newly re-released on DVD and Blu-ray by MVD Visual, and GOSPEL ACCORDING TO AL GREEN. After both were completed, Andy Park, Channel 4's Commissioning Editor for Music who had funded both films, announced he would soon be leaving the channel. Mugge quickly realized, if he wanted Park to commission another film from him, he would need to act fast.Therefore, in short order, Mugge proposed a film about the staging of Stephen Sondheim's then forthcoming musicalSunday in the Park with George. But before shooting could begin, the composer grew fearful that cameras could aggravate the stresses of an already challenging collaboration. So, sadly, that proposal was scrubbed.Next up was a possible portrait of P-Funk mastermind George Clinton. But that proposal, too, was abandoned when the artist's own management noted his tendency not to show up when and where expected. Imagining what could happen to their modest budget if they booked crew, equipment, and supplies for a particular time and place only to have their subject fail to show, Mugge and Park soon abandoned that project as well.Finally, in early 1985, Mugge proposed, and Park approved, a portrait of Panamanian-American singer, songwriter, musician, activist, essayist, lawyer, and politician Ruben Blades, who could rightly have been named "The Most Interesting Man in the World" decades before the tongue-in-cheek Dos Equis commercials dubbed actor Jonathan Goldsmith as such. At the time, Blades was the darling of American rock critics thanks to release of the 1984 Elektra album Buscando América, Blades' most successful attempt yet at "crossing over" into mainstream Anglo acceptance, even as his longtime Latin fans stayed with him. His previous albums on salsa label Fania Records, with and without Nuyorican musician and bandleader Willie Colón, had made him a household name among Spanish-speaking salsa fans worldwide. But Blades was looking for far more, both musically and otherwise, and he seemed on the verge of becoming a multi-hyphenated, bilingual superstar.The release of Buscando América, with its intricate Latin dance rhythms, its rocklike intensity, and its poetic, Spanish-language reflections on the often turbulent relationship between the U.S. and Latin America, showed Blades to be a major cultural force. But what made him so much more "interesting" as a film subject was that, simultaneously, he was starring in a highly autobiographical independent film titled CROSSOVER DREAMS which he himself had co-written, was earning a Master of Laws degree (LL.M.) in International Law from Harvard Law School, was publishing political essays in both Spanish and English, was splitting his time between the U.S. and his native Panama in anticipation of future political ambitions, was reading scripts for additional acting roles in the hope of improving the image of Latinos in Hollywood films and TV series, was touring internationally with his superb band, and was planning ever new material he hoped would further dissolve barriers between the English-language and Spanish-language music industries. As a documentary filmmaker seeking to capture the life and career of Rubén Blades on film, Mugge saw his own biggest challenge as simply keeping upwith this seemingly tireless potential subject.Happily, Blades, Mugge, and Park did come to terms, after which Mugge and his crew spent the spring and summer of 1985 shooting the following: a concert by Blades and his band Seis del Solar at New York City club S.O.B.'s (Sounds of Brazil); an interview with Blades at his New York City apartment; a conversation between Blades and author Pete Hamill in a New York City park; Blades' graduation from Harvard Law School (including conversations with his mother and his dean); a Spanish-language recording session in Los Angeles featuring Blades and guest vocalist Linda Ronstadt; a joint interview with Blades and Ronstadt (who was then contemplating recording her own albums of Mexican songs she learned at home as a child); and a trip by Blades to his hometown of Panama City. In Panama, Blades was filmed on the balcony of his new high-rise apartment overseeing his city's changing landscape, in front of the bank where he once worked as an attorney,joining his father for a visit to the neighborhood where he grew up, in a courtyard discussing his intention to run for president of Panama one day, and walking along the Panama Canal discussing the sometimes tense relations between his native and adopted countries.In the three decades since this film was made, Blades has accomplished much of what he set out to do, including (1) becoming a respected actor in Hollywood and independent films and television series; (2) continuing to serve as an effective political essayist and activist; and (3) continuing to record and perform powerful world music with both Spanish and English lyrics, and winning eight Grammy Awards and five Latin Grammy Awards along the way. Among his other awards and honors are a 2005 honorary degree from the Berklee College of Music and a 2011 Harry Chapin Humanitarian Award presented by ASCAP and partner WhyHunger for his international charity work. Just a few of the many films and TV programs in which he has starred or appeared are THE MILAGRO BEANFIELD WAR, MO' BETTER BLUES, THE TWO JAKES, PREDITOR 2, THE JOSEPHINE BAKER STORY, CRAZY FROM THE HEART, THE SUPER, X-FILES, CRADLE WILL ROCK, COLOR OF NIGHT, ONCE UPON A TIME IN MEXICO, and FEAR THE WALKING DEAD. In 1997, Blades also headed the cast of The Capeman, Paul Simon's first Broadway musical. Although his run for the Panamanian presidency in 1994 was unsuccessful, he served as Panama's minister of tourism from 2004 through 2009 and, reportedly, is considering another run for the presidency in 2019. For more career highlights, please explore Blades' Spanish-language website and his English-language Wikipedia page. Blades has been married to singer LubaMason since August 4, 2006.Songs performed in the THE RETURN OF RUBÉN BLADES are "Todos Vuelven," "Buscando América," "Tiburon," "Muévete," "Silencios," and "Pedro Navajo" (with "Mack the Knife"). Here is Blades introducing and then performing "Buscando América" in the film https://vimeo.com/156288935The Blu-ray can be pre-ordered at the MVD Shop or on Amazon.Hi res cover art is HEREPRESS QUOTES"THE RETURN OF RUBÉN BLADES captures Mr. Blades's charisma and his sincere engagement with issues outside music. [It] follows the singer to Harvard, where he gets his master's degree in international
  • Posted 25 days ago in George Crumb DVD "Voice of the Whale"
    George Crumb: Voice Of The Whalecoming to DVD on June 24thRobert Mugge's 1976 portrait of renowned composer George Crumb featuring a performance of his composition "Vox Balaenae"In 1976, "music filmmaker" Robert Mugge created his first music-related film. Titled GEORGE CRUMB: VOICE OF THE WHALE, it was a strikingly original, 54-minute portrait of Pulitzer Prize-winning and Grammy-winning composer George Crumb.To celebrate the film's 40th anniversary, MVD Visual is making available a newly remastered version on DVD and via digital streaming.  Here is a link to the climax of the remastered film:  https://vimeo.com/148276101   Originally funded by a grant from the National Endowment for the Arts, GEORGE CRUMB:  VOICE OF THE WHALE makes innovative use of color and a dialectical structure to reveal Crumb's life (green-tinted-footage), his work (blue-tinted footage), and connections between the two (culminating in full-color footage). Included in the work are a complete performance of Crumb's 1971 composition "Vox Balaenae for Three Masked Players"; samples of the rural, West Virginia gospel music that influenced him; demonstrations by Crumb of exotic instruments and unusual effects that figure in his compositions; and scenes from his home and university teaching environments. At his home in Media, Pennsylvania, Crumb discusses his compositional techniques with fellow composer Richard Wernick, and his musician wife Elizabeth discusses their life together; at the university, Wernick's Penn Contemporary Players (Carole Morgan, Lambert Orkis, and Barbara Haffner) perform "Vox Balaenae."  Words frequently used to describe George Crumb's work are "poetic, atmospheric, mysterious, evocative."  He himself has said, "I feel intuitively that music must have been the first cell from which language, science, and religion originated."  First broadcast over PBS on June 6, 1978, GEORGE CRUMB: VOICE OF THE WHALE has now been newly transferred to HD from original 16mm film and audio masters and lovingly restored by its director for MVD's forthcoming release.  An early critique in Landers Film Reviews called it "A revealing and enlightening film biography of an innovative and original musical talent." Robert Mugge has been dubbed everything from "The king of the American music documentary" (LA Weekly) to "The best music filmmaker on the planet" (Liberation, Paris).  According to Stephen Holden in the New York Times, "Films of the documentarian Robert Mugge [are] cultural reference books...  They are archival records as well as entertainments."  GEORGE CRUMB:  VOICE OF THE WHALE is the latest in a long series of releases, and rereleases, of films made throughout Mugge's career.  Extensive video clips from 33 of his films, interviews, reviews, still photos, and more can be found at http://www.robertmugge.com/index.html Early in the career of composer George Crumb, New York Times critic Harold C. Schonberg wrote, "In recent years, George Crumb has been talked about, and praised, more than any other composer of the avant-garde."  In the decades since, such praise has increased exponentially, and his compositions have been performed and recorded around the world.  Amazon.com alone offers 150 recordings featuring his work. Today, Crumb is represented by Bridge Records Management, which also hosts The Official George Crumb Website:  http://www.georgecrumb.net  The tag line for the site is, "George Crumb's reputation as a composer of hauntingly beautiful scores has made him one of the most frequently performed composers in today's world."  Featured on the site are lists of recordings and compositions, photos, videos, writings, and the following description: "George Crumb (b. 1929) is one of the most frequently performed composers in today's musical world.  Crumb is the winner of Grammy and Pulitzer Prizes, and continues to compose new scores that enrich the lives of all who come in contact with his profoundly humanistic art.  Crumb's music often juxtaposes contrasting musical styles, ranging from music of the western art-music tradition, to hymns and folk music, to non-Western musics.  Many of Crumb's works include programmatic, symbolic, mystical, and theatrical elements, which are often reflected in his beautiful and meticulously notated scores. "A shy, yet warmly eloquent personality, Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service.  Honored by numerous institutions with honorary Doctorates, and the recipient of dozens of awards and prizes, Crumb makes his home in Pennsylvania, in the same house where he and his wife of more than 60 years raised their three children.  George Crumb's music is published by C.F. Peters and an ongoing series of "Complete Crumb" recordings, supervised by the composer, is being issued on Bridge Records."The DVD can be ordered now at the MVD Shop or on Amazon.Hi Res Cover Art: http://mvdb2b.com/i/300dpi/MVD7499D.jpgPress Photos: http://mvdb2b.com/i/press/MVD7499D/PRESS%20PHOTOS


Please login to post a shout
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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