Slava Gliožeris
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Favorite Jazz Artists

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562 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 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

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 186 3.58
2 Classic Fusion 79 3.39
3 Jazz Related Rock 41 3.23
4 Post Bop 40 3.49
5 (Post-70s) Eclectic Fusion 35 3.53
6 Nu Jazz 33 3.47
7 World Fusion 29 3.16
8 Post-Fusion Contemporary 18 2.94
9 Jazz Related Improvisation 17 3.59
10 Hard Bop 14 3.39
11 DJ/Electronica Jazz 9 3.00
12 Progressive Big Band 9 3.67
13 Third Stream 9 3.33
14 Vocal Jazz 9 3.06
15 Jazz Related RnB 6 2.58
16 Latin Jazz 6 2.75
17 Pop Jazz/Crossover 5 2.50
18 Jazz Soundtracks 4 3.25
19 Jazz Related Blues 2 2.25
20 Acid Jazz 2 3.00
21 Big Band 2 2.75
22 Funk Jazz 2 3.25
23 Soul Jazz 1 3.00
24 Afro-Cuban Jazz 1 4.00
25 Exotica 1 3.00
26 Jump Blues 1 3.50
27 Latin Rock/Soul 1 3.00

Latest Albums Reviews

WADADA LEO SMITH Wadada Leo Smith & Bill Laswell ‎: The Stone

Live album · 2014 · Avant-Garde Jazz
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One of Chicago avant-garde jazz icon, Association for the Advancement of Creative Musicians (AACM) early member (from 1967),composer & musical theorist,trumpeter Wadada Leo Smith during last decade enjoys exclusive attention from advanced jazz and contemporary music fans. Only during last five years he released twelve new albums(including three double and one 4xCD set),all of good or excellent quality. His last year's "Great Lakes Suites"(TUM Records) is one of most often mentioned advanced albums in all possible 2014 year's top lists.

Bassist,sound experimenter and producer Bill Laswell is not less known person in the world of adventurous music. He is one of most respectable musicians in the field of jazz / improvisation related dub, has long lasting history collaborating with John Zorn and other New York down town leading artists.

Smith/Laswell live duo album, recorded during Laswell's residence in New York's The Stone in 2014,can easily slip unnoticed even by attentive fans since it's released as digital file only on Laswell's own M.O.D. Technologies label. It would be a real loss since it contains really great music.

Quite surprisingly for music,recorded and produced by Laswell, this one 38-minutes long composition doesn't contain many electronics and recording studio technological tricks.What we have here is liquid dark Laswell ambient bass pulsation and Wadada's fantastic trumpet piercing over it. Music is dark but far not depressive, even spacious, and all long musical piece somehow recalls Wadada's "The Great Lakes Suite". Same nature's monumental greatness, same almost pathetic simplicity,just in more minimalist form.For my great surprise two excellent but very different artists sound absolutely organic here presenting gorgeous music which is accessible and have a high lasting impact.

This release should not be missed by anyone who enjoyed Wadada's "Suites..." as well as anyone,interested in modern cross-genre advanced music.

TAKEO MORIYAMA Bit (with Mal Waldron)

Live album · 1995 · Post Bop
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Drummer Takeo Moriyama came just a little bit late to be a part of Japanese free-jazz revolution in late 60s, but this fact probably influenced his all future career in music. Started as Yosuke Yamashita Trio's drummer in mid 70's, he played with some known Japanese and European avant-garde jazz artists (including German sax players Manfred Schoof and Peter Brotzmann)but never attracted much attention as leader. Even more, for bad or for good differently from all generation of Japanese advanced jazz musicians who made their names in 1969, his playing being quite free has been always bop-influenced. As a result, it looks his music just got stuck somewhere in between of mainstream jazz and avant-garde, never becoming part of one or the other.

Here on "Bit" he recorded one of his stronger session - as duo with great pianist Mal Waldron. By it's structure "Bit" recalls Waldron's very successful late 80s series released on Italian Soul Note label where each album (studio or live) as rule contains two or three longish advanced post-bop compositions only, each over 20 minutes long. Here, this time in mid 90s,it looks Maldron tries to repeat this formula, with partial success only though.

So,"Bit"(an album,recorded live in studio)contains two compositions only, with "Laud Suite" as opener,lasting longer than 48 minutes! And there is nothing about noodling,endless free improvs - no way."Suite..." is tuneful and well framed and structured composition quite similar to Waldron music from previous decade. Since this song is credited to both Moriyama and Waldron and it doesn't exist nowhere else on Waldron recordings, it looks that it have been written specially for this session. From very first sounds one has no doubt that here's Waldron playing his music - his style is easy recognizable. At the same time during all these minutes you can feel like listening to Mal playing medley of his old tunes: almost every catchy tune is already heard somewhere before.

Structurally "Suite..." is constructed as collection Waldron soulful piano parts and Moriyamac's groovy drums solo parts changing each other on very balanced manner. Takeo's drumming is a bit too heavyweight for Mal's dark and quite lyrical piano and in moments he sounds as gracious as dancing bear in the glass room. Still,deeply rooted in hard-bop, he doesn't sound out of place here.

Second and final album's composition is Waldron standard "Left Alone". Just seven minutes and less quirky structure - this composition sounds as typical Mal top song (with Takeo landed to just supporting drummer's chair). Less adventurous at the same time "Left Alone" placed everything on their right places.In reality very much an album of Mal Waldron,this release is one good album for his fans. Far not his best it still contains lot of elements Mal music is known and loved.

P.S. A year after same label, Tokuma,will release rest of the same session's material as next duo album "Dual" (seven shorter compositions this time)

MAL WALDRON Mal Waldron-Steve Lacy : Journey Without End

Album · 1972 · Avant-Garde Jazz
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Even before one morning somewhere in mid 70's America woke up and decided that all that jazz is not what could be interesting any more (what initiated massive American jazzmen escape from there mostly to Europe),for many US artists European scenes(and atmosphere all around) often looked attractive.There are long list known musicians who spent part of their life in Europe, but probably two of most visible (if not influential) were pianist Mal Waldron and sax player Steve Lacy.

Them both started as hard-boppers, Waldron was Billie Holiday's regular accompanist from April 1957 until her death in July 1959.Steve Lacy after few early mainstream albums switched to his own kind of tuneful soprano sax soloing based avant-garde jazz,staying one of most prolific Monk legacy interpreter. Waldron moved to Paris in mid 60's,from 1967 stayed living in Munich for decades. Steve Lacy relocated to Paris in 1969 (so them both still caught these European arts capital golden age; staying there or around for more than four decades both evidenced Paris sinking to pitiable state what it is now as well though).

Both Waldron and Lacy after relocation to Europe released many albums, here and abroad - mostly in Japan and partially in States. Waldron collaborating with many European artists became one of most prolific post-bop pianist on continent,his once found still in early years piano playing manner didn't evolute a lot, but probably it became his fame main factor - his music stays easy recognizable. Similarly to Mal,Lacy released even more albums as leader, very often returning back to same dozen of tunes he played for decades. Still his each concert and each album is different, at least for those more familiar with his music.

During their European half of life both Waldron and Lacy ways crossed regularly, they have long history of collaborative works.Still "Journey Without End" recorded in Paris in 1971 and released in next year in Japan only is important as their first ever collaborative album as co-leaders. With excellent rhythm section (Kent Carter on bass and Noel McGhie on drums)quartet recorded five advanced compositions (two Waldron's on side A and three Lacy's on side B).

Many Waldron and Lacy music fans will agree that even if each of artists is great leader,their work as duo very often gives better result - clear straight and free Lacy's trumpet is perfectly earthed by Waldron moody,dark and dreamy and always more framed Waldron's piano. Starting from "Journey Without End", Wal-Steve duo will release thirteen more collaborative albums as co-leaders,but their few very first are very best as well.

By its atmosphere "Journey..." is more Lacy's album than Waldron's (two Lacy's compositions "I Feel A Draft" and "A Bone" are presented here for the first time and he will play them again and again for years ahead).Waldron piano with advanced rhythm section anchoring Lacy's free and flying sax soloings well, but still it's Lacy who pushes all the music ahead. His free improvs initiates Waldron's freer,sometimes funkier playing.Groovy rhythm section finishing that tasty mix to very accessible (for such kind of music) but advanced at the same time brew. It's interesting that side A (which contains Waldrons songs) sounds better than more abstract Lacy compositions on side B: Waldron's compositions are stronger here and shine brighter under Lacy more adventurous hand.

Same year duo will record (in Paris again) and release (this time on French America Records)their second collaborative album - just three originals even freer,more Lacy-influenced and equally great music.Their debut as duo isn't well known since it looks it has been never reissued and it's shame - it contains one of the best music recorded by them both.


Album · 2015 · World Fusion
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Italy-born US-based sax player Rudresh Mahanthappa third album in row on German ACT label is in many senses a return to his roots. First of all, all album is dedicated to Charlie Parker (who Rudresh counts as his main influence from early age). Second, after two ACT released strongly Asian music influenced albums, "Bird Calls" is much closer to Rudresh early freer and more jazzy works. Even bassist Francois Moutin, who started collaboration with Mahanthappa as far as on his second album in 2002, is presented here.

Three other members of new quintet are pianist Matt Mitchell, drummer Rudy Royston and third generation jazz musician trumpeter Adam O'Farrill(both his grandfather and father are well-known Afro-Cuban jazz artists).

Nothing on this album comes directly from Parker's legacy - all compositions are Mahanthappa originals. Even by its sound they recall more Ornette Coleman that Charlie Parker. There is no mistake in album's dedication though - Rudresh uses Parker's tunes and ideas deconstructing them and adding as micro-scoping elements (together with his Indian heritage elements) in absolutely new music.

The result is new, fresh and modern sounding. Rudresh saxophone playing techniques are fast and pedantically precise,as his sound is. Those familiar with his earlier (mostly US-recorded) music will find here his characteristic attention to details and internal structure against catchy tunes (two previous ACT albums were more tuneful and soulful in contrast); still one can't call this music tuneless. Just combined of myriads of small elements musical mosaic is similar to kaleidoscope where each moment's view is much more impressive than final impression after all pictures series.

As always with Mahanthappa's music, it is full of muscular energy and even is his sax is on the front there are lot of space for all band's members.Still, he's obvious leader here. Probably main attraction of this release comes from unique fragile balance between jazz tradition,Indian music elements and modern arrangement when all three components are presented in equal proportions.As a result listener can really enjoy synthesis of rich components without domination or confrontation between them.

It's more a question of taste but I really enjoyed this new Rudresh album more than the music from his two previous ACT releases where jazz component too often has been almost lost under the domination of different folklore material. One great new 2015 ACT season opener.


Live album · 2015 · Avant-Garde Jazz
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One of most respectable of living jazz drummers Jack DeJohnette is best known by his countless collaborative works with pianist Keith Jarrett and partially by his own fusion-oriented Special Edition. It's less known that he was one of the early members of Chicago's Association for the Advancement of Creative Musicians (AACM). Together with his former classmates from musical college reedists Roscoe Mitchell and Henry Threadgill (among others) Jack plays live gig on 2013 Chicago Jazz Fest,quite surprisingly released by ECM.

Actually, the quintet on this recording is a re-incarnation of never recorded AACM-founder pianist Muhal Richard Abrams' band from mid 60's (adding AACM non-related bassist Larry Gray), DeJohnette is stated as leader most probably because he was an initiator of recorded concert, and because of his long-lasting relation with ECM label as well.

Six compositions come all from band members,plus one song is fully improvised. Album opens with Roscoe Mitchell's "Chant" - high energy almost seventeen minutes long composition with memorable bagpipe-like soloing, it really recalls Art Ensemble of Chicago's(AEoC) music of mid 70's (it was actually written at that time).Very impressive opening continues with "Jack 5" - not DeJohnette,but Abrams composition,quite loose and directionless, especially as for live show. Album loses its dynamic a bit, Mitchell's "Think", already more chamber and similar to his more current complex works, doesn't help much.

"Museum Of Time" is DeJohnette's new song,written specially for this gig, it's most tuneful and straight album's composition,well framed but not all that memorable.Threadgill's "Leave Don't Go Away" is soulful as all his music,well orchestrated; two above songs just return music back on earth (without being simple or easy accessible, no way!);it finishes with Larry Gray bass soloing and together with Mitchell's album opener, "Leave..." is another greatest album's composition.

After announcements (separated on CD in sixth track),the band play "something spontaneous for you" - fully improvised high energy music which sounds quite fresh and moody.Titled "Ten Minutes" it actually lasts only six (probably the result of editing because of physical CD space limitation).

All in all,this re-united all-stars band looks much better on paper than it sounds,even if I believe AEoC and AACM music fans will be really interested to hear this music. I was really surprised realized in early 2015 that there is announced extensive "Made In Chicago" tour,based on this concert's material! It's pity there are not planned gigs near my hometown, I would be really glad to see these great artists playing together, they all are living legends and important influences for last half of century's jazz.

This album,most probably released on wave of increased interest (partially in Europe) to advanced Chicago jazz of Wadada Leo Smith and Roscoe Mitchell,probably wouldn't increase drastically the number of such music lovers,but old fans will find some nice moments here for sure.

Latest Forum Topic Posts

  • Posted 3 days ago in What are You Listening II
    just yesterday listened to very new album with same pianist and drummer
  • Posted 17 days ago in Jazz related albums, 2015
    Japanese noise/improvs guitar wizard Keiji Haino leads his already traditional super power-trio with bassist Jim O'Rurke and drummer Oren Ambarchi on new album with long (as usual) title "Tea Time For Those Determined to Completely Exhaust Every Bit Of This Body They've Been Given". Recorded live during gig in Tokyo,it contains three longish compositions.This music is  not a Japanese brutal avant-rock of "Ruins...", and quite different from North European aggressive punk-jazz. Lot of (quite tuneful) processed guitars, some ambient noise, non-orthodox Keiji vocals (think Mike Patton) - in all it sounds quite close to experimental rock, so isn't all that inaccessiblelisten here: snobb2015-02-27 01:06:20
  • Posted 22 days ago in What are You Listening II
    ^ I've seen them playing live two or three years ago at Blues Fest in Poland, they still play  for bikers as few decades ago


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