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Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

612 reviews/ratings
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 Jazz Related Rock | 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
CHICK COREA - Three Quartets Post Bop | 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
CHICK COREA - Circle: Paris Concert Avant-Garde Jazz
FIRE! - You Liked Me Five Minutes Ago Jazz Related Improvisation | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 199 3.51
2 Classic Fusion 86 3.37
3 Jazz Related Rock 44 3.19
4 Post Bop 43 3.48
5 World Fusion 40 3.15
6 (Post-70s) Eclectic Fusion 39 3.49
7 Nu Jazz 35 3.46
8 Jazz Related Improvisation 18 3.58
9 Post-Fusion Contemporary 18 2.92
10 Hard Bop 14 3.36
11 Third Stream 11 3.36
12 Vocal Jazz 9 3.06
13 Progressive Big Band 9 3.61
14 DJ/Electronica Jazz 9 3.00
15 Jazz Related RnB 8 2.75
16 Latin Jazz 6 2.75
17 Jazz Soundtracks 5 3.20
18 Pop Jazz/Crossover 4 2.00
19 Funk Jazz 3 3.33
20 Exotica 2 3.00
21 Jazz Related Blues 2 2.25
22 Acid Jazz 2 3.00
23 Big Band 2 2.75
24 Afro-Cuban Jazz 1 4.00
25 Latin Rock/Soul 1 3.00
26 Jump Blues 1 3.50
27 Soul Jazz 1 3.00

Latest Albums Reviews

BILLY BANG Billy Bang / John Lindberg : Duo

Live album · 1981 · Avant-Garde Jazz
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This album, recorded at KPFK Radio in Holywood in 1979, contains three free form improvisations that were a revitalization of some of Dave Holland's early works ("Music For Two Bases", etc), released a decade earlier.

Acoustic bassist John Lindberg studied with Holland and played with Anthony Braxton among many others. Together with guitarist James Emery and Billy Bang, they founded The New York Strings Trio in the late 70s (as an alternative to the World Saxophone Quartet) with the intent of participating in New York's loft jazz scene, a re-incarnation of the free jazz scene of the late 60s. Lindberg had already released a solo bass album in 1979, and later Billy Bang released a solo violin improvisation album in 1980.

So this Lindberg-Bang duo album, called "Duo", could be placed between their solo albums and The New York Strings Trio music, all released at about the same time. Without any big surprises, listeners can find on this album perfect interplay between two young and very innovative artists, playing music full of life, emotions and even tunes and soul - not always a characteristic case for some free form string duo releases.

Lindberg's physical bass is obviously influenced by early Dave Holland, but he doesn't sound like a clone at all; the late 70s was a short but very grateful period for those searching for their own voice and willing to explore. Billy Bang, who will soon after this release become an almost free jazz celebrity, mixes adventurous free improvisation with blues and more traditional jazz forms, and shows how great the violin can sound in free improvisational jazz (without being scratchy, noisy or openly dissonant).

This is a perfect album for fans of string driven free jazz (Dave Holland, Barre Phillips, etc) - adventurous and accessible at the same time, there are just a few such albums around.

STEVE LACY Disposability

Album · 1966 · Avant-Garde Jazz
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Steve Lacy is one among a few jazz star saxmen playing exclusively soprano.His name is well known for jazz fans,but quite surprisingly his music is far not so popular as it could be. I expect one of main reasons is he was extremely prolific musician,often using same musical themes again and again,so his recorded legacy is huge and not all of the same high quality. Inexperienced listener sometimes can be mistaken trying to explore Lacy's music from his not the best place.

For very brief orientation, it's important to note that Lacy's early solo works (he played mostly all the time with greatest jazz musicians of the time as Don Cherry,Mal Waldron,Elvin Jones,Roswell Rudd,etc)are all straight-forward jazz of early 60s up to late 1965.Some critics count Lacy's first four albums as his best music ever,and this point of view is not so strange,at least not for the jazz purists.

"Disposability", Lacy's fifth album released in 1966,is his first trio recordings and and his first album containing original material (together with three Monk compositions,one Carla Bley and one Cecil Taylor's).Recorded in Rome right before Christmas,"Disposability" is first Lacy's album where he switched from hard-bop towards much more adventurous and free music. Rhythm section of heavyweight and extremely quirky Italian drummer Aldo Romano and advanced bassist Ken Carter build very unusual frames comparing with Lacy's previous works. Actually there're them two who push his music ahead. Lacy clear and vibrato-less sax soloing doesn't always fits well over sometimes too-heavy often far not all that subtle drummer constructions, but more interesting and important fact is how well Lacy feels in much freer atmosphere.

Far not his most advanced album,"Disposability" is great border-stone evidence,separating straightforward (and really great) early Lacy music from upcoming decades of his free jazz glory.Still quite accessible album is one of good entrances to Lacy music as well - if it sounds too quirky just go to his earlier music,for those attracted with Lacy's adventurous playing there are lot of excellent later works.

WADADA LEO SMITH Wadada Leo Smith / George Lewis / John Zorn : Sonic Rivers

Album · 2014 · Avant-Garde Jazz
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John Zorn's prolific Tzadik label started a new SPECTRUM series with an excellent collaboration between three modern creative jazz giants culminating in the album, "Sonic Rivers". Three horn players - trumpeter Wadada Leo Smith, trombonist George Lewis and Zorn himself on saxes, play a restrained session full of bursts and free jazz beauty.

I was expecting this album's concept to recall one of the legendary works between George Lewis and John Zorn in collaboration with guitar genius Derek Bailey resulting in the album "Yankees",released on the Celluloid label in 1982. Even if more than three decades separate these two releases, besides the line-up, they have some more things in common. Both "Yankees" and "Sonic Rivers" radiate that adventurous and creative jazz spirit which becomes more and more rare in the current jazz scene.

Wadada Leo Smith and George Lewis are two key artists of Chicago's AACM (Association for the Advancement of Creative Musicians) movement, which began in the mid 60's. Both are not only musicians, but composers as well, known for their experimental works. John Zorn is probably the most influential figure on the NY downtown avant-garde scene for the last few decades, known for his explosive dissonant playing and his many compositions as well.

Here, on "Sonic Rivers", one can find a very successful balance between the non-jazz avant-garde and the non-traditional compositions of the Chicago school, plus the New York eclectic explosive mix of all styles in one. Surprisingly enough, no-one of these three musicians dominates on these recordings. Even Zorn, adding his dissonant sax soloing, leaves a lot of space for the others. In all, this music sounds very aerial, almost minimal in moments, but still full of content - the characteristic by which one can usually separate the best free jazz albums from all the others. Lewis uses some electronic devices on a few compositions, but generally it's three horn players building multicolored acoustic pictures.

Critically thinking, there is nothing revolutionary different or just really new here. Mainly this music's value is that it reinvents that creative spirit which made so many 60s and 70s jazz releases great listening, even till now, and in a big part, almost forgotten in these modern days of music. The modern jazz scene really needs more of this inspiration today.

CHARLIE HADEN Silence

Album · 1989 · Post Bop
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In September 1987 Charlie Haden recorded an excellent piano trio album with pianist Geri Allen and drummer Paul Motian called "Etudes". Released the following year on the Italian Soul Note label, it opened with Ornette Coleman's "Lonely Woman" and continued with mostly originals by the band members, all boppish and swinging.

Three months after the "Etudes" sessions, Haden recorded more material in a Roman studio, but with a very different team this time. Billy Higgins replaces Paul Motian, lyrical Italian pianist Enrico Pieranunzi replaces Geri Allen, and even more, now there is a trumpeter on board, none other than Chet Baker. The end results became the album "Silence".

As one can expect, the music on "Silence" is different from "Etudes". With full respect to Baker's early albums, his participation on jazz albums in the 80s hardly adds a lot of pluses. His name and his voice can still attract nostalgic listeners, but his trumpet playing is hardly competitive compared with the artists he is working with. Even worse, there seems to be a rather pointless and commercial attempt to exploit Baker's past, you can't return the atmosphere back to the cool jazz era in the late 80s, added with Pieranunzi's melancholic mainstream slick piano sounds, its all quite artificial, out of time and place, a not too successful imitation.

This is still a product of classy musicians, so maybe it could attract fans of sentimental Italian jazz from the 70s, which, with varying success tried to combine American jazz traditions with Italian melodic lyricism and sentimentality.

JAN GARBAREK Til Vigdis

Live album · 1967 · Avant-Garde Jazz
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I believe you have never heard saxophonist Jan Garbarek sounding like this! Nothing strange there, most jazz fans have no idea this album exists!

The twenty-year old future Norwegian saxophone superstar is playing in a student club on "Til Vigdis". The album consists of three very free compositions with enough kicking and swinging to be recognized as post-65 Coltrane music influenced. The rhythm section (bassist Arild Andersen and drummer Jon Christensen) are both future Nordic jazz leading figures as well.

Not particularly memorable or musically exciting, this album is unique as probably one of the earlier European free jazz albums, and it also shows Garbarek's early influences as well. He will show much higher class on his next release, "African Pepperbird", but for those who only know Garbarek as a new-agey contemporary Nordic jazz star, this album could open their eyes (and may be ears). This original limited edition is really an expensive rarity though, with i-net prices up to 1500 euro.

Latest Forum Topic Posts

  • Posted 36 days ago in What Are You Listening To
    this new Chicago album is not all so bad (if not compare it with first few releases)if they will sound like on it, at least you will hear quality pop-jazz I expect
  • Posted 60 days ago in Samba
    [QUOTE=Atkingani][QUOTE=js] Michelangelo Antonioni, a great Italian master!The movie is La Notte (The Night), 1961. [/QUOTE] in late 60s Antonioni screened Blow-Up and Zabriskie Point (with Pink Floyd soundtrack)
  • Posted 2 months ago in Blues Rocker Johnny Winter Dead at 70
    another sad news this week 

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