Slava Gliožeris
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681 reviews/ratings
JAZZ Q PRAHA /JAZZ Q - Symbiosis Jazz Related Rock | review permalink
LYUBOMIR DENEV - Lyubomir Denev Jazz Trio And Petko Tomanov Fusion | review permalink
SOFT MACHINE - Third Jazz Related Rock | review permalink
SOFT MACHINE - The Peel Sessions Fusion | review permalink
KRZYSZTOF KOMEDA - Astigmatic Post Bop | review permalink
SOFT HEAP / SOFT HEAD - Rogue Element (as Soft Head) Fusion | review permalink
ROBERT WYATT - Rock Bottom Jazz Related Pop/Art Song/Folk | review permalink
KAZUTOKI UMEZU - Eclecticism Eclectic Fusion | review permalink
JAN GARBAREK - Afric Pepperbird Avant-Garde Jazz | review permalink
DAVID TORN - Polytown Nu Jazz | review permalink
MASADA - 50⁴ (Electric Masada) Eclectic Fusion | review permalink
ANTHONY BRAXTON - Dortmund (Quartet) 1976 Avant-Garde Jazz | review permalink
MATANA ROBERTS - Coin Coin Chapter One: Gens De Couleur Libres Avant-Garde Jazz | review permalink
FIRE! - Fire! Orchestra : Exit! Avant-Garde Jazz | review permalink
MAL WALDRON - Reminicent Suite (with Terumasa Hino) Post Bop | review permalink
JOE MCPHEE - Nation Time (Live at Vassar College) Fusion | review permalink
WILDFLOWERS - Wildflowers 1: The New York Loft Jazz Sessions Avant-Garde Jazz | review permalink
MAL WALDRON - What It Is Avant-Garde Jazz | review permalink
SEI MIGUEL - Salvation Modes Avant-Garde Jazz | review permalink
ROSCOE MITCHELL - Conversations I (with Craig Taborn & Kikanju Baku) Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 241 3.69
2 Fusion 82 3.50
3 Post Bop 76 3.59
4 Eclectic Fusion 41 3.72
5 Jazz Related Rock 32 3.30
6 Nu Jazz 28 3.59
7 Hard Bop 27 3.46
8 World Fusion 25 3.04
9 Jazz Related Improv/Composition 23 3.59
10 21st Century Modern 21 4.00
11 Third Stream 15 3.50
12 Post-Fusion Contemporary 14 3.14
13 Progressive Big Band 13 3.77
14 Jazz Related Pop/Art Song/Folk 9 2.94
15 Vocal Jazz 8 3.06
16 Jazz Related DJs/Electronica 5 3.40
17 Jazz Related Soundtracks 4 3.25
18 Funk Jazz 3 3.50
19 Jazz Related RnB 3 2.33
20 Latin Jazz 2 3.50
21 Acid Jazz 2 3.75
22 Big Band 2 2.75
23 Exotica 2 3.00
24 Jazz Related Blues 1 2.00
25 Jump Blues 1 3.50
26 Soul Jazz 1 3.50

Latest Albums Reviews

SONS OF KEMET Your Queen Is A Reptile

Album · 2018 · World Fusion
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They say there's no jazz for young people? Wrong, just look at the burgeoning London jazz scene! British-Caribbean reedsman Shabaka Hutchings rules there with his space jazz project, Comet Is Coming, plus Afrobeat Ancestors and the spiritual jazz of Sons Of Kemet.

New "Sons'..." album (already third) is just released and it burns. If Shabaka's "Comet..." is hardly jazz in traditional sense with lot of danceable electronics, "Sons..." music is rooted in jazz tradition for sure. Its an unorthodox band containing sax player, tuba player and two drummers playing music which comes right from the Paris clubs of the late 60s (Art Ensemble of Chicago's early European years) and London's Notting Hill of the late 70s (read - 2-Tone ska). Add modern rap on some songs (in a nod to the Afrocentric poets of the late 60s) - there it is.

Even more - "Your Queen Is a Reptile" is a politically sharp criticism on the British Monarchy, growing nationalism and anti-immigration moods. By its atmosphere this music is closer to BLM and anti-fa punk than more conservative jazz. Shabaka builds his own Monarchy by coronation of more or less known black women (incl. activist Angela Davis, Harriet Tubman, Ashanti queen mother Yaa Asantewaa and yes - his own great-grand mother Ada Eastman among others). Possibly surprising, the album's music is not particularly angry at all, more relaxed and even danceable in moments.

Right from the very first seconds of the opener, "My Queen is Ada Eastman", the listener is caught by the drummers' African rhythms and sax/tuba tight collaboration (ok, vocalist Joshua Idehen's rap is a matter of taste, but many will dig it). Then you get Caribbean tunes, dub and more African rhythms - all spiced with quite free jazz sax and tuba solos. Different from decades of modern jazz evolution, where complexity is usually a mandatory attribute of the genre, "Sons..." keep their music in the pocket.

The single (and one of the strongest album's songs) "My Queen Is Harriet Tubman", has been released prior to the album's release and received strong media exposure, start on this one in case of doubt. It's interesting that the album itself is released on legendary in past "true" jazz label "Impulse!", home for John Coltrane and Pharoah Sanders among many other jazz greats of their generation.

Here is a jazz for our modern days, returning back to the streets, and away from concert halls, arrogant city intellectual clubs and marginals fests, becoming people's music as it was in the late 60s (and as it was with the punk/ska explosion in London in the late 70s).

TON-KLAMI Paramggod

Album · 1995 · Avant-Garde Jazz
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Three years after their debut at the German Moers Festival (recorded and released in Japan in 1993), the Ton-Klami trio returned to the studio to record their first (and only) studio album. The same line-up (Japanese avant-garde legend pianist Masahiko Satoh, leading Korean reedist Kang Tae Hwan and lesser known Japanese percussionist Midori Takada) are improved here on three songs with New York downtown unorthodox reedist Ned Rothenberg (on alto sax and bass clarinet).

Ton Klami generally play the same music they presented on their debut album, just here on "Paramggod" it sounds more mature with better interplay - and a much improved recorded sound. In the early stages of Japanese jazz, one of the more important (philosophical) problems was whether Japan could have its own unique take on jazz, or would they just be copying Western artists. Besides percussionist Masahiko Togashi, pianist Masahiko Satoh was one of the first Japanese artists who was trying to find a specific Japanese way of playing jazz. In the mid 70s, a lot of those experiments were quite formal, but here on this album, one can hear that Japanese (or being more correct - Far Eastern) jazz exists with no doubt. Thanks to the very original Tae Hwan and his sax improvisations (very "out", cool and dzen, at the same time being very close to Western free jazz traditions), this trio's music sounds as unique as you can only imagine, a true Asian take on free jazz. Satoh himself plays in his usual manner, combining European (German) technocratic/teutonic piano sounds with some Japanese meditative atmosphere.

Guest reedist Ned Rothenberg's participation on three compositions gives some additional attractiveness, fortunately his improvs are ascetic and fit well with the main trio's building atmospheres.

One of better Satoh albums from the 90s, it's just a pity the Ton-Klami trio didn't recorded more music after this release.


Live album · 1993 · Avant-Garde Jazz
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After some more or less successful fusion releases and a series of neoclassical piano albums released during the late 70s and 80s, Japanese early avant-garde jazz legend Masahiko Satoh returned back to his roots in the early 90s, forming Ton-Klami trio with Korean reeds player Kang Tae Hwan and lesser known Japanese percussionist Midori Takada.

The trio's debut album is their live recordings from the Moers Festival in Germany 1991, released that same year by Nippon Crown in Japan. Without a doubt, besides Satoh, the other interesting musician on this recording is Tae Hwan (playing exclusively alto sax here). Korea isn't a jazz friendly country even now, in the early 90s there were very few musicians playing jazz there at all. Reedist Kang Tae Hwan is probably the best known of them all, at least outside of the country. His sax sound is very different from any Western sax player, dry and very "out", strongly influenced by East-Asian musical traditions and Buddhist culture. At the same time, he is a real free jazz musician without overt sounds from other music.

Masahiko Satoh is known for his cold, technical piano playing. Here on this album he is even more formal, combining "teutonic" free improvisation with academic musicianship. Percussionist Midori Takada is obviously in the supporting role to the two leaders, who don't always interplay successfully. It's even more strange that here in this live recording, in fact all concert long, Satoh and Tae Kwan exchange with each other on solos almost without having a common ground for their music.

A few years later this trio will release their next album, a studio one this time, with guest New York reedist Ned Rothenberg, who demonstrates a much better communication and really better realized potential. Still, on "In Moers", they demonstrate some raw ideas more than real musicianship.

For Tae Kwan though, this collaboration was an important step towards his quite successful international solo career.

ELTON DEAN The Cheque Is in the Mail

Album · 1977 · Avant-Garde Jazz
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The year is 1977 and synthesizer still isn't a every band's (boring) toy as a decade or two after. There are two kind of jazz albums incl. synthesizer coming from seventies - rare very creative,almost unique works combining new sounds possibilities with improvisation in a true jazz tradition key and others - where musicians are openly fascinated by their expensive toys and enjoy their possibilities more than care about the music they produce.

"The Cheque Is In The Mail" unfortunately belongs to the second category. Two of leading British scene's reeds players saxist Elton Dean and trumpeter Kenny Wheeler are part of the trio with American drummer/percussionist and keyboardist Joe Gallivan. Dean has already released few suite successful albums as leader (demonstrating very own combination of avant-garde jazz and tuneful, even sentimental rock-songs influenced composition). His solo career is radically different from the music known from his previous band - Soft Machine. Gallivan was a Soft Machine member too (he replaced Robert Wyatt in a band), but as Dean is obviously attracted by free jazz here.

Unfortunately, nothing works properly on trio's album. Credited to Dean as leader, "The Cheque..." is in fact an evidence of how much Gallivan enjoys his synthesizer. Playing extremely free (or better to say - demonstrating the possibilities of his expensive toy in a form of free improvs) on whole album, Gallivan doesn't care much that both reeds players can't find the way how to play and most of time just add some minimalist solos here and there without even expecting of having a chance for true musical collaboration.

Nothing happens till the very end - ten-songs album stays in reality a bag of bulky unrelated sounds. Probably at the time of release it has some special attractiveness containing those spacey early analogue synths' sounds, but from distance of time it doesn't sound attractive anymore. Obvious collectors item, hardly more.

DINOSAUR Together, As one

Album · 2016 · Nu Jazz
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Fresh wind from England - young London-based trumpeter Laura Jurd's new project Dinosaur just released their debut album, and the album sounds great!

On new album,four young guys play fun and full of positive energy jazz fusion, that kind Miles presented to the world in his music,coming from late 60s-early 70s, but with removed psychedelic component,so characteristic for "Bitches Brew" time. Instead Laura demonstrates attention to composition and as a result them all sound almost as pop (or rock) songs.

For sure it is not a level of innovation or experimentation what attracts in "Together, As One" - just there are already a few generations of listeners for whom "In A Silent Way" says close to nothing. Laura and Co. reinvent original jazz fusion (Miles Davis type) for Z-Generation using Miles legacy very carefully but at the same time making it sounding attractive for today's young listeners.

Mostly on every song Laura's trumpet flies over Hammond / Rhodes passages with tasteful and inventive support from rhythm section. Compositions are quite catchy and it is not strange first album reviews and massive live gigs program both already received very positive media around UK and in partially in continental Europe.

With no doubt one among most significant jazz releases coming from Britain in 2016.

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  • Posted 2 months ago in Van Morrison Joins Forces with Joey DeFrancesco
    Van Morrison Joins Forces with Jazz Organ Virtuoso Joey DeFrancesco on You're Driving Me Crazy, a New Studio Album from Legacy Recordings Available Friday, April 27Morrison's 39th Studio Collection Showcases Electrifying Musical Collaborations, Fresh Interpretations of Blues/Jazz Standards and Deep Cuts from Van's SongbookNEW YORK, March 7, 2018 /PRNewswire/ -- Legacy Recordings, a division of Sony Music Entertainment, will release Van Morrison's new 39th studio album, You're Driving Me Crazy, a musical collaboration with Hammond organ virtuoso and trumpet master Joey DeFrancesco, on Friday, April 27.The successor to Versatile, Van's chart-topping jazz album from 2017, You're Driving Me Crazy will be available in 1CD/2LP physical configurations. A limited edition 7" single--featuring Van Morrison's "Close Enough For Jazz" b/w Morrison's stunning rendition of Guitar Slim's "The Things I Used To Do"--will be available for Record Store Day 2018 (celebrated at independent record stores nationwide on Saturday, April 21).A new milestone in Van Morrison's ever-expanding catalog of essential recordings, You're Driving Me Crazy finds the iconic Irish singer-songwriter-performer exploring a variety of jazz and blues standards and classics ("Miss Otis Regrets," "The Things I Used to Do," "Everyday I Have the Blues") alongside fresh interpretations of songs from Van's own catalog ("Have I Told You Lately," "The Way Young Lovers Do," "Magic Time").You're Driving Me Crazy finds Morrison collaborating in the studio with DeFrancesco and his band--including Dan Wilson (guitar), Michael Ode (drums) and Troy Roberts (tenor saxophone). DeFrancesco, who signed his first deal with Columbia Records at the age of 16, has performed with Miles Davis, John McLaughlin, Grover Washington, Jr. and many more while leading his own band, and is responsible for bringing the classic Hammond organ sound back to the world of jazz in the late 1980s.The release of You're Driving Me Crazy caps more than a year of non-stop activity for Van Morrison, who released his 37th and 38th studio albums (Roll with the Punches and Versatile) in quick succession in the fall and winter of 2017. Roll With The Punches became his 13th album to reach the Top 10 of the U.K. charts, while Versatile topped Billboard's jazz chart. The world of jazz has provided a vital ongoing influence on the music of Van Morrison, whose acclaimed 1968 studio masterpiece, Astral Weeks, showcased jazz musicians Connie Kay, Jay Berliner, and Richard Davis.  Inspired by the spontaneity, soul and sound of jazz, Morrison has performed on stage and/or in the studio with a variety of jazz and blues musicians including John Lee Hooker, Ray Charles, Mose Allison, Bobby Bland, Solomon Burke, Jeff Beck, Georgie Fame, Robbie Robertson, Freddie Hubbard, Chick Corea, Herbie Hancock, Maceo Parker, Candy Dulfer and others.Joey DeFrancesco is a prolific American jazz organist, trumpeter, and vocalist and Grammy-nominee who signed his first record deal (with Columbia Records) at the age of 16 and has gone on to release more than 30 albums. He has performed on stage and in the studio with a wide variety of artists including Miles Davis, Jimmy Smith, Ray Charles, Bette Midler, David Sanborn, Arturo Sandoval, Larry Coryell, Frank Wess, John McLaughlin, Danny Gatton, Elvin Jones, and many more. DeFrancesco is a nine-time winner of the Down Beat Critics Poll (organ) and has won the Down Beat Readers Poll every year since 2005. He has won a number of JazzTimes Awards and is an inaugural member of the Hammond Hall of Fame.YOU'RE DRIVING ME CRAZY 1. Miss Otis Regrets (Cole Porter)2. Hold It Right There (Terry, Grey, Vinson)3. All Saints Day (Van Morrison)4. The Way Young Lovers Do (Van Morrison)5. The Things I Used To Do (Eddie Jones)6. Travellin' Light (John Mercer, James Mundy, James Young)7. Close Enough For Jazz (Van Morrison)8. Goldfish Bowl (Van Morrison)9. Evening Shadows (Van Morrison / Acker Bilk)10. Magic Time (Van Morrison)11. You're Driving Me Crazy (Walter Donaldson)12. Everyday I Have The Blues (Peter Chatman)13. Have I Told You Lately (Van Morrison)14. Sticks and Stones (Titus Turner)15. Celtic Swing (Van Morrison)SOURCE Legacy RecordingsRelated Linkshttp://www.legacyrecordings.comfrom


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