kev rowland

Kev Rowland
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Registered more than 2 years ago · Last visit 16 days ago

Favorite Jazz Artists

All Reviews/Ratings

73 reviews/ratings
MAHOGANY FROG - Senna Jazz Related Rock | review permalink
MORAINE - Manifest Density Jazz Related Rock | review permalink
MORAINE - Metamorphic Rock Jazz Related Rock | review permalink
MARBIN - Last Chapter of Dreaming Fusion | review permalink
DEWA BUDJANA - Dawai in Paradise World Fusion | review permalink
KBB - Four Corner's Sky Jazz Related Rock | review permalink
THE AVENGERS - On a Mission Fusion | review permalink
DIALETO - The Last Tribe Jazz Related Rock | review permalink
I KNOW YOU WELL MISS CLARA - Chapter One Fusion | review permalink
DEWA BUDJANA - Joged Kahyangan Post-Fusion Contemporary | review permalink
DEWA BUDJANA - Surya Namaskar Fusion | review permalink
SUSAN CLYNES - Life Is... Jazz Related Pop/Art Song/Folk | review permalink
OLIVER LAKE - Oliver Lake Featuring FLUX Quartet ‎: Right Up On Third Stream | review permalink
MIRIODOR - Cobra Fakir Jazz Related Rock | review permalink
DUŠAN JEVTOVIĆ - No Answer Fusion | review permalink
MACHINE MASS TRIO / MACHINE MASS - Plays Hendrix Fusion | review permalink
ED PALERMO - The Adventures Of Zodd Zundgren Progressive Big Band | review permalink
MARK WINGFIELD - Lighthouse Fusion | review permalink
SLIVOVITZ - Liver Eclectic Fusion | review permalink
DWIKI DHARMAWAN - Rumah Batu World Fusion | review permalink
XAVI REIJA - The Sound Of The Earth Jazz Related Rock | review permalink
YAGULL - Yuna Jazz Related Improv/Composition | review permalink
LIGRO - Dictionary 2 Fusion | review permalink
ALBARE - The Road Ahead Post-Fusion Contemporary | review permalink
DUŠAN JEVTOVIĆ - Live At Home Fusion | review permalink
MARK WINGFIELD - Tales From The Dreaming City Fusion | review permalink
SÃO PAULO UNDERGROUND - Tres Cabecas Loucuras Eclectic Fusion | review permalink
ALLAN HOLDSWORTH - Hard Hat Area Fusion | review permalink
ALLAN HOLDSWORTH - None Too Soon Fusion | review permalink
MACHINE MASS TRIO / MACHINE MASS - As Real as Thinking Eclectic Fusion | review permalink
DENNIS REA - Views from Chicheng Precipice World Fusion | review permalink
ALLAN HOLDSWORTH - Blues for Tony (with Alan Pasqua, Jimmy Haslip & Chad Wackerman) Fusion | review permalink
MARBIN - Breaking The Cycle Jazz Related Rock | review permalink
SOFT MACHINE LEGACY - Live Adventures Fusion | review permalink
TOHPATI - Tohpati Ethnomission: Save The Planet World Fusion | review permalink
ROB MAZUREK - Skull Sessions Eclectic Fusion | review permalink
SOFT MACHINE LEGACY - Burden Of Proof Fusion | review permalink
COLOSSEUM/COLOSSEUM II - Live Cologne 1994 Jazz Related Rock | review permalink
SIMAK DIALOG - The 6th Story World Fusion | review permalink
ARCHIE SHEPP - Archie Shepp Attica Blues Orchestra Live: I Hear the Sound Progressive Big Band | review permalink
JOHN BROWN - Quiet Time Hard Bop | review permalink
LENNY SENDERSKY - Desert Flower Latin Jazz | review permalink
MACHINE MASS TRIO / MACHINE MASS - Inti Avant-Garde Jazz | review permalink
XAVI REIJA - Resolution Eclectic Fusion | review permalink
TOHPATI - Mata Hati World Fusion | review permalink
MARK WINGFIELD - Wingfield Reuter Stavi Sirkis : The Stone House Fusion | review permalink
ED PALERMO - The Great Un​-​American Songbook: Volumes I & II Jazz Related Rock | review permalink
THE MICROSCOPIC SEPTET - Been Up So Long It Looks Like Down to Me: The Micros Play the Blues Swing | review permalink
SIMAK DIALOG - Trance/ Mission World Fusion | review permalink
SIMAK DIALOG - Patahan World Fusion | review permalink
SIMAK DIALOG - Live at Orion World Fusion | review permalink
DWIKI DHARMAWAN - So Far So Close Fusion | review permalink
DWIKI DHARMAWAN - Pasar Klewer World Fusion | review permalink
GREG LEWIS - Organ Monk, The Breathe Suite 21st Century Modern | review permalink
MIRIODOR - Signal 9 Jazz Related Rock | review permalink
MICHAEL RABINOWITZ - Uncharted Waters Hard Bop | review permalink
DIALETO - Bartók In Rock Jazz Related Rock | review permalink
STEVE SLAGLE - Dedication Hard Bop | review permalink
SLIVOVITZ - All You Can Eat Eclectic Fusion | review permalink
DOMINIQUE VANTOMME - Vegir Fusion | review permalink
MARK WINGFIELD - Proof of Light Fusion | review permalink
YAGULL - Films Jazz Related Improv/Composition | review permalink
YAGULL - Kai Jazz Related Improv/Composition | review permalink
DOUBT - Mercy, Pity, Peace and Love Avant-Garde Jazz | review permalink
PABLO ZIEGLER - Pablo Ziegler Trio : Jazz Tango Latin Jazz
LARRY NEWCOMB - Larry Newcomb Quartet with Bucky Pizzarelli : Living Tribute Swing | review permalink
URBANITY - Urban Soul Jazz Related RnB | review permalink
IGNACIO BERROA - Straight Ahead From Havana Latin Jazz
KAOLL - Odd Jazz Related Rock | review permalink
KAOLL - Sob Os Olhos De Eva Jazz Related Rock | review permalink
ROGER DAVIDSON - Oração Para Amanhã (Prayer For Tomorrow) Latin Jazz | review permalink
ALLAN HOLDSWORTH - Flat Tire: Music for a Non-Existent Movie Third Stream | review permalink
DUŠAN JEVTOVIĆ - Am I Walking Wrong? Jazz Related Rock | review permalink

Jazz Genre Nb. Rated Avg. rating
1 Fusion 19 4.45
2 Jazz Related Rock 15 4.27
3 World Fusion 10 4.20
4 Eclectic Fusion 6 4.17
5 Latin Jazz 4 3.63
6 Hard Bop 3 4.00
7 Jazz Related Improv/Composition 3 4.33
8 Post-Fusion Contemporary 2 4.75
9 Progressive Big Band 2 4.50
10 Swing 2 3.75
11 Third Stream 2 3.75
12 Avant-Garde Jazz 2 3.75
13 21st Century Modern 1 4.00
14 Jazz Related Pop/Art Song/Folk 1 5.00
15 Jazz Related RnB 1 3.50

Latest Albums Reviews


Album · 2018 · Jazz Related Improv/Composition
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I have been fortunate enough to have been living with this album for a couple of months now, and I believe that it is still going to be another couple before it is actually released, but I can’t wait anymore as I have to write about it, as this is simply one of the most beautiful and entrancing albums I have ever come across. This is the third album from Yagull, the first (‘Films’) being Sasha Markovic and some guests, while the second (‘Kai’) was Sasha (guitars, bass, percussion) and his wife Kana Kamitsubo (piano) plus assorted guests. But, although I really enjoyed that album I felt they had missed an opportunity, and said “The interplay between the two musicians in simply beautiful, there is no other word for it, and I would have preferred to have heard an album filled just with their songs, with no other musicians, as there is no need for the purity of their sound to be messed with.”

When Sasha and I made contact, he asked me if I would like to hear the new album, which had just been completed and was incredibly personal to him and Kana. How personal I only found out later, as while ‘Kai’ was named after their son, ‘Yuna’ is named after the child that would have been, as Kana suffered two miscarriages during the period of time it took to record the album, and Yuna was the name they had chosen.

Musically, Sasha and Kana decided this time to concentrate on the interplay between each other, with just a backing singer used on one song: everything else is just the two of them. As previously they have included a cover version of a classic song, but interestingly the one they have chosen this time is a new version of “Sabbath Bloody Sabbath” which also appeared on the debut, but as Kana wasn’t in the band at that time they have re-recorded it. Apart from that, and “Fall Winter” (which is credited just to Kana), every song was a collaboration between them, sometimes with Sasha credited first and sometimes Kana. “Searching For The Moon” was apparently written when they were asked to just play something during a photo shoot, and took less than five minutes, so they consider it a gift

The delicacy and understanding between the acoustic piano and acoustic guitar, from two musicians who know each other intimately, is too hard to describe. To say that it is a thing of beauty, creating a new world just from carefully selected notes which hang in the air, seems both twee and ineffectual, while this is an album of considerable power and might. Sometimes the notes are rippling streams, while sometimes they just sit there, using space and time to bind them together. There is no desire to hurry, no need to fill the space with unnecessary adornment, everything has its place.

This is an incredibly special album, something that feels very personal indeed, and we have been fortunate enough to be given a glimpse behind the curtain. It almost feels that we are interlopers, listeners who are trespassing on some hidden and private moment which we came across by accident, but couldn’t turn away. Whenever I finish listening to this album I always feel honoured to have been let inside, but also saddened that for most of us the real world isn’t how this music makes me feel. This is truly a wonderful piece of work, and I feel enriched by having heard it.

XAVI REIJA The Sound Of The Earth

Album · 2018 · Jazz Related Rock
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Consummate drummer Xavi Reija is back with his fourth solo album, and as with the wonderful ‘Resolution’ from 2014, he has been joined by guitarist Dusan Jevtović. However, this time he has brought in two Stick Men with Tony Levin providing bass, upright bass and stick and Markus Reuter on touch guitar. This means that between them there are four more sounds and potential interactions on show than would be possible with any “normal” quartet. Recorded in just one day, the album is a cacophony of sounds and notes being brought together by four musicians who are consistently bouncing ideas off each other. Reuter and Levin are touring together a great deal, so know each other’s styles intimately, while Reija and Jevtović have a long history together as well, and the two pairs combine to make an album of exciting and invigorating music.

One of the joys of this album is the sheer variety, with all four playing lead (all at the same time), although it is often left to Levin and Reuter to attempt to maintain some sort of stable foundation for the others to play against. The four lengthy songs are parts I-IV of the title cut, composed by all four, as they bounce the ideas off each other and see where the music takes them. The second of these commences with Xavi shuffling on drums, Tony providing some beautifully warm upright bass, Markus creating the soundscape as only he can, before Dusan makes his entrance. It is an incredibly intense album, with so much going on at all times, yet it never overloads the senses as it continues to make music sense throughout. Putting these four into a room together, turning on the tapes and then just letting them play, was truly inspired. When it comes to fusion, bringing together jazz, progressive rock and improvisation, then it is hard to find a stronger group of players. This is an incredible album, totally essential to anyone who enjoys this style of challenging and almost avant garde music.

ROGER DAVIDSON Oração Para Amanhã (Prayer For Tomorrow)

Live album · 2017 · Latin Jazz
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Frenchman Roger Davidson (piano) and his trio of Eduardo Belos (bass) and Adriano Santos (drums), have been joined on this release by Hendrik Meurkens who provides two quite different musical embellishments by providing harmonica and vibraphone. Recorded live at the Zinc Bar in NYC last year, this collection of twelve new songs shows Roger combining his love of both jazz and Brazilian music, in a way that is both fresh and interesting. When someone has been so involved in these cultures for as many years as Roger, it perhaps isn’t surprising that the joining together of the two is seamless and faultless. He has a deft touch on the piano, and given that he has studied both orchestral and choral conducting it is also of no great shock that the arrangements are perfect for the occasion.

This is music that is living and breathing, each musician providing the others with the room they need to provide support to the main theme or to solo and improvise, whatever is right for the moment. It is laid back and reflective, music to get lost inside of, but even though the tempo may be often languid and the notes and chords meandering gently through the sun-kissed meadow, it is always something to be immersed in and never something that is boring. Beautiful and delicate, a joy from start to finish with South American inflections and tones that set this style of jazz apart.


Album · 2018 · World Fusion
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There is no doubt that one of the most consistently exciting record labels over the last 20+ years is Moonjune Records. Part of this is because this one-man organisation is run by someone who truly loves music, and when he isn’t putting musicians together and having them record, or putting out the next release, he is actually on the road with one band or another. How he actually finds the time to do what he does is beyond me, and I always thought I was good at time management. But, against a backdrop of incredible releases, I am now listening to what is possibly the best and most important album he has ever put out.

There has been incredibly high praise, and deservedly so, for Mark Wingfield’s ‘The Stone House’, and this album was recorded in the same studio and has the same title (just in the Indonesian Bahasa language), and also includes both drummer Asaf Sirkis and bassist Yaron Stavi who were/are key members of Mark’s band. To fill out the quintet there are Nguyên Lê (electric guitar, soundscapes) and Charles Benavent (bass guitar). Yes, you read that right, there are two bassists in the band. This core group were then recorded live in the studio, bouncing ideas off each other as they run through a series of Dharmawan originals, plus some traditional numbers he rearranged, plus one group composition. All of those involved are amazing musicians, although I do think it might be interesting to hear Dwiki solo with no-one else involved, as some of his piano runs, fills and flourishes almost defy belief.

If there was no-one else involved, and the recordings coming out of La Casa Murada Studio were all there was, then I would still be stating that this is an essential album for anyone into great music, but after the three days (yes, just three days) of recording were over, more traditional Indonesian musicians and singers were added to the mix. What this has done is taken an incredibly complex yet melodic and joyous album to a whole new level. There were times when my mind was trying to understand if I was listening to traditional music with a Western influence, or the other way around, and what on earth was making that particular sound I could hear, and did it matter? In the end, the only way to really understand the music is to forget about trying to understand it, forget attempting to categorise what is going on, and just fall in love with what is an incredibly complex interaction between cultures that is just incredible.

All praise to Mark Wingfield for mixing and mastering this, to Leonardo for having the vision of bringing together musicians like this, but mostly to Dwiki Dharmawan and all those involved for what is a truly great album. This is simply essential, nothing less. 10/10

KAOLL Sob Os Olhos De Eva

EP · 2017 · Jazz Related Rock
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In 2017 Kaoll came back with their fourth album (although at just 24 minutes long it seems more like an EP), by which time the group had grown to a six-piece, with just Bruno Moscatiello (guitar) and Yuri Garfunkel (flute) surviving from those involved with ‘Odd’. The English translation for the title is ‘Under the Eyes of Eve’, and was produced in conjunction with philosopher Renato Shimmi’s book, with illustrations by Zé Otávio, and really should be treated as a soundtrack. Apparently, it describes the duality between lyricism and oppression in the historical revolutions, from the myth of Eve and the expulsion of the paradise until the present times.

Whereas ‘Odd’ was full of South American rhythms and textures, this album is far more laid back, with slide guitar making its presence felt, as well as far more acoustic guitar than the previous work. When the flute is being used, then it is again the lead melody instrument, but there are plenty of times when Yuri is taking a rest from proceedings, so much so that it is more than three minutes into the album before he can even be heard. There are times when he does use the breathy style favoured by Ian Anderson, but often there is greater focus on fluidity, letting the other instruments provide the emphasis. Although there are plenty of times when this appears to be a more rock based album than the previous one, there are also more ambient textures within this. Overall, this album feels far more like a Western progressive album than the more South American-based jazz fusion album than the previous one.

But, yet again this is a really interesting piece of work, with the only major flaw being the brevity of the album as a whole. I would really have liked it to be twice the length, with the band really stretching out and extending themselves. The classical guitar that starts “Exílio Da Serpente” may be fairly simple, but it is full of beauty, and I would have really enjoyed hearing more. However, as it has been released through the Progshine digital label, it is being made available for just $3, and is an absolute bargain and well worth discovering.

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