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Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

526 reviews/ratings
MILES DAVIS - Bitches Brew Classic Fusion
JAZZ Q PRAHA /JAZZ Q - Symbiosis Jazz Related Rock | review permalink
LYUBOMIR DENEV - Lyubomir Denev Jazz Trio And Petko Tomanov Classic Fusion | review permalink
SOFT MACHINE - Third Jazz Related Rock | review permalink
SOFT MACHINE - The Peel Sessions Classic Fusion | review permalink
KRZYSZTOF KOMEDA - Astigmatic Post Bop | review permalink
SOFT HEAP / SOFT HEAD - Rogue Element (as Soft Head) Classic Fusion | review permalink
ROBERT WYATT - Rock Bottom Pop Jazz/Crossover | review permalink
KAZUTOKI UMEZU - Eclecticism (Post-70s) Eclectic Fusion | review permalink
DAVID TORN - Polytown Nu Jazz | review permalink
MASADA - 50⁴ (Electric Masada) (Post-70s) 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) Classic 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 171 3.70
2 Classic Fusion 73 3.46
3 Post Bop 42 3.52
4 (Post-70s) Eclectic Fusion 39 3.63
5 Jazz Related Rock 32 3.28
6 Nu Jazz 26 3.56
7 World Fusion 25 3.10
8 Jazz Related Improv/Composition 20 3.55
9 Hard Bop 16 3.50
10 Third Stream 13 3.46
11 Post-Fusion Contemporary 11 3.09
12 Progressive Big Band 11 3.73
13 21st Century Modern 10 3.95
14 Vocal Jazz 9 3.11
15 Pop Jazz/Crossover 6 2.83
16 Jazz Soundtracks 4 3.25
17 DJ/Electronica Jazz 4 3.38
18 Acid Jazz 2 3.75
19 Big Band 2 2.75
20 Jazz Related RnB 2 1.75
21 Funk Jazz 2 3.25
22 Latin Jazz 2 2.75
23 Jump Blues 1 3.50
24 Exotica 1 3.00
25 Jazz Related Blues 1 2.00
26 Soul Jazz 1 3.50

Latest Albums Reviews

NATE WOOLEY Argonautica

Album · 2016 · Avant-Garde Jazz
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Oregon-born, Brooklyn-based trumpeter Nate Wooley is one (together with cornetist Kirk Knuffke) on the forefront of today's New York adventurous jazz scene. Prolifically documented, Wooley is known by series of very experimental recordings,where he plays using different parts of his disassembled horn,adds vocalization,noise,drones,amplification,etc. At the same time, he released some really accessible music, as "(Dance To) The Early Music",where he plays compositions of Wynton Marsalis.

Nate's new release "Argonautica" is of that category which modern jazz market really needed. For younger generation's numerous jazz fans, who's main listening is different forms of jazz fusion, and who is bored by predictability and limitations of that genre,"Argonautica" builds a bridge to more adventurous but still accessible areas of modern jazz.

The album contains one long composition, but there is no reason to afraid of continued noodling or free form abstract constructions. On "Argonautica" Wooley starts where early Miles Davis'(or very first Weather Report albums') creative fusion has been finished and carefully moves towards freer improvisation and more modern sound never loosing fusion ground under his legs.

Wooley's band is actually a double-trio here: two trumpeters, two pianists and two drummers.One trio is led by Wooley himself and the other - by veteran cornetist Ron Miles. Other band's members are Tyshawn Sorey trio's pianist Cory Smythe with Bureau Of Atomic Tourism's keyboardist Jozef Dumoulin on Rhodes plus drummers Devin Grey and Rudy Royston.

Differently from Miles early fusion, reeds don't fly over the band's sound, instead one can hear lot of fragmented snippets,short solos and variable sounds/noises, sometimes spiced with Dumoulin electronics. Drums and piano generate busy environment and Rhodes goes even funky.

"Argonautica", one almost forty-three minute long composition, is actually a kaleidoscope of all the time changing movements inside of the selected formula's frame. Balancing precisely between fusion and free, it represents fresh and never-boring accessible side of modern avant-garde jazz (or creative adventurous fusion - depending on listener's starting point).

MASAHIKO TOGASHI Masahiko Togashi + Masabumi Kikuchi : Concerto

Album · 1991 · Avant-Garde Jazz
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Two Japanese jazz greats pianist Masabumi Kikuchi and percussionist Masahiko Togashi recorded “Concerto” in 1991 – quite prolific period for both (especially for Kikuchi who founded one of his most successful project Tethered Moon with Gary Peacock and Paul Motian right at that time). Released soon after, this duo album hasn't been noticed and became an obscurity. Many Kikuchi fans even don't know such release exists.

In 2016 it has been re-issued in Japan so it is much more accessible now. Being mostly known as an object of discussions between collectors (as rule no-one of them ever heard its content) – is this album really all that good?

Almost two-hour long collection of improvisations is obviously dominated by Kikuchi's piano work. It is probably most lyrical work of everything what Kikuchi has been ever recorded. Bigger part of this double-CD set is filled with down tempo piano pseudo-classical balladry, similar to Russian romantic classics coming from 19 century. Togashi's percussion doesn't produce the beat or rhythm of any kind and is used mostly for ascetic licks over sentimental piano recital.

Inexperienced listener can be fooled by tuneful accessibility of Kikuchi's piano and easily imagine he's listening to slightly modernized chamber romanticism piano pieces. Only after some time one can cath up that music generally starts nowhere and goes to eternity. Familiar with Kikuchi's later recordings knows that he introduced very own avant-garde improvisational techniques, playing accessible liquid tunes' snippets in never-ending cyclic way. In fact, such kind of music can be started at any place of CD and can be finished same way – the resulted piece will be almost as representative as any other taken from the double set.

On some pieces (like “Passing Breeze”) Togashi's percussion takes more initiative and adds more blood to previously almost meditative piano-dominated music. “Unbalance” (longest album's composition lasting 16+ minute) particularly destroys chamber lullabies for characteristic Togashi's percussive air temples and quite refined piano-percussion duels.

Still in all whole album obviously missing dynamics and too often occurs dangerously close to monotonous sound-wallpaper. Few atonal and more percussive pieces demonstrate better balance between tuneful melancholic atmosphere and dramatic tension, but there are not enough of them to save the album from "lullaby" effect.

So - it's great that one more "secret album" of Japanese avant-garde jazz became accessible for public, but it could be mostly recommended for listeners,familiar with Togashi and Kikuchi (avant-garde period) music. Newbies can be seriously disappointed.

TCHANGODEI Tchangodei And Steve Lacy ‎: The Wasp (Duo Live)

Live album · 1984 · Jazz Related Improv/Composition
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Pianist Tchangodei is a mysterious figure on French jazz scene. Born in former French colony of Dahomey (now-Benin) in late 50s,he emigrated to France.Self-taught piano player for decades, he is almost totally ignored by domestic jazz community, but regularly played with France-based expatriates like Archie Shepp,Steve Lacy,Mal Waldron or Japanese trumpeter Itaru Oki.

His playing techniques is intuitive minimalism based on some repetitive drones (closest example could be a renown Waldron "drones") and fast short separate passages. Probably such ignorance of any roots (doesn't matter is it jazz techniques or so influential in Europe classic background) led to Tchangodei almost underground status in France - there are a very few local artists who ever played with him together (Louis Sclavis and Henry Texier are two names and I can hardly recall any more).

Tchangodei lived (and probably still lives) in Lyon where he ran small bar (where he played every night himself) and releasing his recorded music predominantly on his own Volcanic label. All obscurities,his albums contains piano solo music and Tchangodei collaborative musicianship with Louis Sclavis,Archie Shepp,Steve Lacy and Mal Waldron,among others.

"The Wasp" is one of such recordings - live recorded Tchangodei Steve Lacy (on soprano) duo playing behind small but enthusiastic auditory, most probably at Tchangodei's bar in Lyon. There are no credits, but most probably at least part of compositions are Lacy's. Generally music sounds as not much correlated gig of saxist and pianist. Lacy (less explosive and dynamic than usual) plays his trademark vibrato-less soprano solos without paying much attention on what happens around. Tchangodei piano is busy but produces mostly series of very short passages. Sometimes sax and piano sounds mystically click together, more often all music remind quite chaotic soloing of two musicians where each of them doesn't care much about what happens around. Still Lacy doesn't dominate here and altogether it works not so terrible as it looks on paper.At least even experienced listener can hardly remember if he ever heard such a strange duo.

Unfortunately many earlier Tchangodei recordings have been never reissued on CDs (and original vinyl versions are obscure) so it's not an easy job to find them to listen. Starting from mid 90's his new music is released on CDs,so as rule is more accessible. Not of star level, Tchangodei is an interesting example of "non-systemic" improvising pianist with his own musical face.

ÉMILE PARISIEN Émile Parisien Quintet feat. Joachim Kühn : Sfumato

Album · 2016 · 21st Century Modern
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Sax player Emile Parisien is probably brightest young French rising jazz musician. His international success begun two years ago with release of international debut album on respectable German ACT label. I saw his quartet playing live right after on European tour and to be honest wasn't too much impressed. Young French musicians had great communication (not surprisingly for active band,playing together for almost ten years),their music was well balanced containing tuneful elements and improvs,and being accessible,they didn't sound boring. Emile himself even did some show on stage, but at the end of the day I couldn't recall even small memorable moment of all gig.

Last week Parisien played in my hometown again - this time with another French rising star accordionist Vincent Peirani (who just released his album of duets with German star-pianist Michael Wollny). Parisien new album, just released on same ACT label, contains Peirani participation as guest as well. "Sfumato"(that's new album's title) already received rare five-star review in "The Guardian", so - is it really all that great?

First of all, Parisien after ten years of activities disbanded his original quartet and formed totally new band - a quintet with German piano veteran Joachim Kuhn (who lives in Paris for years). Fifth member (besides of Parisien quartet's classic sax-piano-drums-bass formula) is French electric guitarist Manu Codija, known by work with Henry Texier and Erik Truffaz among others.

Than, there are two guest stars participating on four of eleven compositions - French scene veteran Michel Portal on bass clarinet and already mentioned above accordionist Vincent Peirani.So - on his second ACT album Parisien plays with larger and technically much more potent band.

Musical changes are significant as well. From quite accessible but unmemorable and often loose compositions of former quartet,Parisien moved towards complex and more pre-composed material (new band plays his old trilogy "Le clown tueur de la fête foraine", two Joachim Kuhn songs and one Parisien-Kuhn collaborative composition as well). From French urban music influenced improvisational pieces with soloing sax on the front Parisien music made a visible step toward complex European modern jazz. Peirani accordion still adds that trade-mark French chanson -like feeling, but it works more like spices in sophisticated brew, than main accent. Kuhn's piano and Codija's rock-like guitar are excellent ingredients,making Parisien music more replete,complex and partially refined.

Still not a masterpiece but serious step forward, "Sfumato" is one great example of best modern European jazz.

RED TRIO Empire (with John Butcher)

Album · 2011 · Avant-Garde Jazz
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Portuguese adventurous jazz scene during last decade demonstrated possibly biggest number of young and or new/newly discovered interesting musicians of all Europe. I can mention reedists Sei Miguel and Rodrigo Amado, or young generation sax player Susana Santos Silva among some others. But speaking about collectives,not individual artists, with no doubt first what comes to mind are Red Trio.

Debuted in 2010 with their self-titled album, the trio of double bassist Hernani Faustino,drummer/percussionist Gabriel Ferrandini and pianist Rodrigo Pinheiro are excellent example of true collective musicianship. There are no leader in a band, and not because of formal statement - their music is a result of equal participation when each member is right in place and it is impossible to imagine final music without his part.

Based more on Bill Dixon legacy,when the textures are not less important than structures and sounds, than on widely popular but obviously over-exploited way of noisy exalted free improvs or pseudo -intellectual structure-less noodling, Portuguese trio plays very modern post-jazz when elements of acoustic ambient, jazzy industrial/noise and more traditional acoustic jazz trio all are equal parts of aesthetically attractive musical picture.

On "Empire", band's second album (and first international release), trio collaborates with unorthodox British sax player John Butcher. Three compositions of vinyl-only release sounds fresh and demonstrates rare form of exploratory in modern jazz when searching of new forms doesn't separate music from listener. All album long open ears listener feels like he is participating in artists collaboration carefully and with high level of professionalism stepping ahead and even more - it looks like he goes with them this fragile and beauty way they are laying behind.

One great example of new millenium adventurous jazz, unfortunately out of press vinyl release only.

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