Slava Gliožeris
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796 reviews/ratings
STEELY DAN - Countdown to Ecstasy Jazz Related RnB
MILES DAVIS - Agharta Fusion
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
WILLIAM PARKER - William Parker Trio ‎: Painter's Spring Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 278 3.69
2 Fusion 93 3.53
3 Post Bop 85 3.57
4 Eclectic Fusion 52 3.70
5 Jazz Related Rock 34 3.29
6 Hard Bop 33 3.44
7 Nu Jazz 31 3.60
8 World Fusion 30 3.17
9 21st Century Modern 27 3.89
10 Jazz Related Improv/Composition 24 3.56
11 Third Stream 16 3.41
12 Post-Fusion Contemporary 16 3.22
13 Progressive Big Band 15 3.80
14 Jazz Related RnB 13 3.35
15 Jazz Related Pop/Art Song/Folk 10 2.95
16 Vocal Jazz 10 3.30
17 Jazz Related DJs/Electronica/Rap 5 3.40
18 Jazz Related Soundtracks 4 3.25
19 Cool Jazz 3 3.67
20 Funk Jazz 3 3.50
21 Exotica 2 3.00
22 Acid Jazz 2 3.75
23 Big Band 2 2.75
24 Jazz Related Blues 2 3.00
25 Latin Jazz 2 3.50
26 Soul Jazz 1 3.50
27 Jump Blues 1 3.50
28 Afro-Cuban Jazz 1 3.50
29 Funk 1 3.50

Latest Albums Reviews

JAMIE SAFT The Jamie Saft Quartet : Hidden Corners

Album · 2019 · Fusion
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Pianist/keyboardist Jamie Saft is one of more interesting figure connecting New York down town jazz with burgeoning London jazz scene (through collaboration with London-based RareNoise label). His newest all-star quartet's album "Hidden Corners" continues this direction presenting Saft & Co.s touch on such a fashionable in London spiritual jazz.

Album's opener "Positive Way" is possible the best illustration what "Hidden Corners" are all about - soulful composition influenced by "Love Supreme"/Coltrane circa '65 music will obviously attract fans of Pharoah Sanders spiritual jazz re-birth. It is most memorable song coming from the album, what comes after is quite a mixed bag though. Right after very skilled but not same inspired quartet offers freer journey which is quite bulky and directionless.

Rest of the album contains a songs collection of two types - more soulful and spiritual (though a bit faceless) compositions and freer but too formal and emotionless pieces. Music here is well played but has no chances to win in a competition with enthusiastic youngish British bands dominating on London scene. Today's spiritual jazz attracts new listeners mostly because of its fresh, maybe partially naive, atmosphere and re-invented spirit of late 60s. Saft's quartet sounds as a bit bored bunch of pros playing some fashionable tunes on request (or because of contractual obligation). Not a bad music, but it lacking inspiration.

JOHN ZORN John Zorn / George Lewis / Bill Frisell ‎: More News For Lulu

Live album · 1992 · Hard Bop
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John Zorn is one of key figure in New York down town scene for some last decades who for many listeners associates with radical experimentation and/or prolific accessible jazz-related releases long lasting history. Both tags are right, but Zorn has much more faces then just this. In late 80s, besides of developing one of his most shocking and influential Naked City project, based on Japanese brutal avant-rock jazzier interpretation, Zorn played in unusual trio with his regular guitarist of that time Bill Frisell and AACM trombonist George Lewis. Two albums has been recorded - both in Europe.

First one - "News For Lulu" - is mostly studio work, when its continuation "More News For Lulu" contains similar material but this time coming from two gigs - one in Paris and the other in Basel, Switzerland. Unusual trio of sax player, trombonist and guitarist plays Blue Note material,or more precisely - hard bop compositions from Sonny Clark, Hank Mobley, Big John Patton, Kenny Dorham, and Freddie Redd, in addition to one selection from Misha Mengelberg.

Most unusual is the fact that this music, recorded almost in the same time when Zorn worked with Naked City,sounds very bright, swinging, light-full and in general very optimistic. Surprisingly enough, trio doesn't cross hard bop frames too often and their down town touch on material is noticeable mostly by modern arrangements and some freer soloing.

Probably a bit too long (lasting one hour and 18 minutes),the album demonstrates some repetitiveness in a second half, but in all it's an enjoyable example of three highest class musicians' work, one among best music John Zorn ever recorded under his name and excellent entry point for newcomers with mainstream jazz background interested in John Zorn massive legacy and unorthodox modern jazz in general.

MAISHA Welcome To A New Welcome

Live album · 2016 · World Fusion
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Looking from the few years distance on what were a roots of amazing London young jazz scene of today, Maisha's debut requires bigger attention. SE London sextet led by drummer Jake Long plays live on this short release and they do it really well.

Everyone familiar with spiritual jazz legacy from 60s and 70s will easily hear in their music Pharoah Sanders soulful tunes, Alice Coltrane meditative beauty and John Coltrane ecstatic sax soloing. Just three songs but the listener gets enough to jump in that spiritual jazz magic known from the decades ago once again.

It happened for me to listen Pharoah Sanders playing his old songs just a few years ago (yes, he is really popular again, at least in Europe), and it was a great possibility to touch a legend. Still, he sounds now more like a history even if there are already a generation of two who never heard his name before. Maisha play his music (or music which was his and some others almost half a century ago)in a way that makes this music sounding actual again. For young listeners just founding their jazz the band brings that spirit and a beauty of jazz often as a very new experience.

Quite relaxed compositions are all beautiful, with strong jazz roots(post-bop)influence but at the same time scented with African rhythms and enough catchy for being accepted by non-jazz listeners. Sax player Nubya Garcia delivers solos Pharoah himself would be proud of(soon after she will leave starting extremely successful solo career) and participation of electric guitarist Shirley Tetteh injects true blood to this beautiful musical body.

Maisha will release their full-size debut album in 2018 on Gilles Peterson's Brownswood Recordings with wider distribution and stronger support but everyone interested in best new London's jazz could be interested in listening to their first release - this small album is worth to be heard.

ALFA MIST Structuralism

Album · 2019 · Nu Jazz
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For some last years London's burgeoning jazz scene often associates with rebellious street-wise Afrobeat, Caribbean rhythms, electronics and hip-hop influenced fusion. Still not every artist there sounds such way.

Self-taught pianist,composer and producer Alfa Mist just released his second album which obviously being a part of about mentioned movement covers quite different areas. Proclaimed by artist as "battles with self and the societal pressures" product in real life "Structuralism" contains comfortable lite fusion recalling American smooth jazz.

There are lot of strings on some songs, two female guest vocalists, beautifully-melancholic sax soloing and modern slick production, plus hip-hop elements, but resulting music is all but rebellion. In fact, almost any composition fits quite well for use as soundtrack to Sunday morning Travel TV broadcast.

Still, few dramatic moments save the album of being openly boring so it could be recommended for those trying to escape from disturbing reality to comfortable (and sterile) pinkish-greenish lounge.

ARASHI Semikujira

Album · 2016 · Avant-Garde Jazz
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74 years old veteran of Japanese avant-garde jazz reedist Akira Sakata leads furious acoustic trio with two young Scandinavians - Swedish bassist Johan Berthling and Norwegian drummer Paal Nilssen-Love. The name of the trio is Arashi("Storm"), and their second album,released two years after their self-tittled debut,recorded in Swedish studio and released on Austrian label, is titled "Semikujira"("North Pacific Whale").

Paal Nilssen-Love is extremely prolific artist and producer pushing all Nordic adventurous noisy jazz ahead, bassist Berthling is known as Swedish super bands Angles and Fire!/Fire! Orchestra member, so one can expect really muscular and quirky rhythm section work here - they fulfill expectations in full. Still main star of the show is Akira himself,who not only plays alto sax and clarinet, but adds lot of vocalize (which hardly can be called "singing").

Differently from many other Akira's more abstract works, Arashi is power trio which plays well framed muscular free jazz in New York of 80s tradition, but on very Japanese manner. Over the tight rhythm basis Akira blows some attacking if quite soulful sax soloing, but much more impressive is his absolutely shamanic vocalizes in Japanese,repetitive,hypnotizing and very organic.

From songs titles it's obvious that Japanese folklore, or better to say - ritualistic songs were taken as source of inspiration, and the result is not less than fascinating. Without loosing trad songs structure and some melodious component,power trio reworks them right to free jazz shamanic compositions which surprisingly enough don't lose their relation with shamanic nature of originals.For sure Sakata's voice is not for everyone taste, but those familiar with Japanese brutal avant-rock or experimental radical free jazz (which was a main source of inspiration for John Zorn series of early releases),or fans of Diamanda Gallas' singing will accept Akira's vocal pyrotechnics without big problems.

Arashi's debut two years ago received lot of positive critics, their second work is even better.

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