Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

545 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 188 3.64
2 Classic Fusion 79 3.40
3 Post Bop 38 3.46
4 Jazz Related Rock 37 3.26
5 (Post-70s) Eclectic Fusion 36 3.56
6 Nu Jazz 32 3.48
7 World Fusion 29 3.21
8 Jazz Related Improv/Composition 17 3.59
9 Hard Bop 16 3.50
10 Post-Fusion Contemporary 14 2.96
11 Third Stream 10 3.40
12 Progressive Big Band 9 3.67
13 Vocal Jazz 8 3.00
14 Jazz Related RnB 6 2.58
15 Pop Jazz/Crossover 5 2.50
16 Jazz Soundtracks 4 3.25
17 DJ/Electronica Jazz 4 3.38
18 Jazz Related Blues 2 2.25
19 Acid Jazz 2 3.00
20 Big Band 2 2.75
21 Latin Jazz 2 2.75
22 Funk Jazz 2 3.25
23 Latin Rock/Soul 1 3.00
24 Jump Blues 1 3.50
25 Exotica 1 3.00

Latest Albums Reviews


Album · 2015 · Avant-Garde Jazz
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Chicagoan Matana Roberts is better known by her Coin Coin... series of historical/social albums where she combines Afro-American roots with free jazz and occasionally classic orchestrations and/or electronics.

Besides of Coin Coin... she regularly works on side projects more or less related with her main line. "Always" is her second album, released in 2015, and it is a very special one. Being a younger generation AACM member Matana demonstrates her Chicagoan avant-garde jazz school's influences very often, no strange that in old AACM tradition she recorded solo sax album (what was quite a popular action in early 70s and have been over-exploited by great Steve Lacy during later decades, but is way not a fashion of the day in the second decade of new century).

Just alto sax and just two compositions are presented on this album - one continues as long as 33 minutes though. Matana plays free improvised music which is deeply rooted in early last century's legacy,mostly gospel and blues.Her sax's soloing recalls human voice, singing simple,sad and very natural story and this way "Always" is seriously related with her "Coin Coin..." music. Minimalistic cover art perfectly conveys quite technically simple and minimalist music which has almost magic influence.This album, being wholly improvised,could become an excellent soundtrack to historical art-movie about American South.

Second,shorter (less than 10 minutes long)track is not a narrative balladry, but more explosive Ayleresque free jazz song,very naturally connected with album's opener and radiating same atmosphere.Even if fully improvised sax solo music isn't listening for everyone, this album (as almost any Matana's music) is a bit more than just music - it's a true art which works even if its outer form isn't most accessible.

MASAHIKO TOGASHI Update: Live at Pit Inn Shinjuku on December 16, 1995 (with J.J. Spirits)

Live album · 1996 · Hard Bop
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One of Japanese free jazz corner stone percussionist Masahiko Togashi is known mostly by his late 60s-early 70s advanced recordings but actually he continued playing and recording up to the beginning of new century. His music is mostly all avant-garde jazz but there is a rare exemption - his J.J.Spirits (or Japan Jazz Spirits).

All-stars quartet containing beside of Togashi legendary pianist Masahiko Satoh (another Japanese free jazz cult figure),sax player Kohsuke Mine (better known by his excellent albums from early 70s) and bassist Nobuyoshi Ino. Surprisingly enough for band of such background, J.J. Spirits played mostly jazz standards not all that far from originals.

Quartet released three albums in early 90s, but here on "Update" is reunited again for one gig celebrating 40th Anniversary of Togashi's musical activities. Series of Anniversary's concerts took place in Tokyo's Shinjuku Pit Inn, some material has been recorded and released ("Update" is second album in Anniversary concert series).

Here on this live gig (as almost on any other music recorded by Togashi as leader) extremely important factor is great team and band's members communication. Togashi was better organizer than leading artist, and his all vest albums are well organized collaborative works.On "Update" (which have been released by tiny Take One Record and is true obscurity doesn't even presented on such complete sites as of advanced jazz musicians plays full-bodied groovy mainstream jazz with some unorthodox soloing and obviously they all have fun!

Two Togashi originals ("Monk's hat blues" and "My old dreams") sound as is they are evergreen hard -bop era standards, and his third "Rumba de funk" mixing hard-bop,funk and some Latin would perfectly fit on one of Hancock's pre-fusion albums.

Nobuyoshi Ino's acoutsic bass is physical, deep and rich - all music is full of it's velvet sound, recalling early Three Blind MIce's audiophile albums. Masahiko Satoh, who can be heard playing straight extremely rare, demonstrates how good he is in this unusual for him role (he still adds quirkiness and complexity to piano line,but anyway his playing is bob-rooted). True album's hero is sax player Kohsuke Mine, who almost disappeared from jazz scene after he released some exceptional albums in early-mid 70s.

All album sounds as one of those fantastic hard-bop albums from 60s where jazz spirit was all around, just with big respect transferred to mid 90s. It is not a regular Togashi's recording but music here is so great that could be recommended for everyone from jazz purist to advanced jazz fan.

STEVE COLEMAN Steve Coleman and the Council of Balance: Synovial Joints

Album · 2015 · (Post-70s) Eclectic Fusion
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I have heard Steve Coleman and his Five Elements playing live just a few weeks after he recorded this new material for what later became "Synovial Joints", and to be honest I was a really critical when started listening to this, his newest release to time.

It's not like I was seriously disappointed with Coleman's gig, better to say - I was quite seriously surprised. Excellent combo played in overcrowded Drama Theater hall with coldness I can hardly remember in any jazz concert ever. Technically great musicians demonstrated quite interesting musical ideas but tried hard to isolate themselves from any public emotions,or probably - to isolate public from anything different than their calculated (and often quite repetitive) sound.

So, when Coleman's new album has been released I have been thinking more than once if I really want to hear it. Probably, the Doris Duke Performing Artist Award Steve received earlier this year pushed me to give this music a chance. It took weeks for me to accept and appreciate new album's music, but now I can say - yes, it's a good album.

What Steve did first of all recording "Synovial Joints" is he increase of the number of band members. In fact, he used his regular "Five Elements" as basis and recruited lot of new artists(many of them already played with Steve in his other projects), up to 21 in total. As a result, Coleman's biggest band ever plays his usual math / calculated compositions with richer arrangements,but what is more important - whole sound is warmer and even mellower (what sounds more than unusual speaking about Steve Coleman music).

Attentive listener will notice that there are more improvisational components,that in many of Steve previous works, and at the same time he uses unusually much classic orchestration here. Add some frivolous Latin tunes and you got the new Steve Coleman's music - warmer,more lively and much more attractive because of that.

Newbies to Coleman's music still most probably will notice how angular new album sounds,those familiar with his previous aesthetics most probably will enjoy how more humane this album sounds still being with no doubt same Steve Coleman's music.

JEMEEL MOONDOC The Zoopkeeper's House

Album · 2014 · Avant-Garde Jazz
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Jemeel Moondoc is an excellent sax player who at early stage was a member of Cecil Taylor band for two years (in early 70s). Later he moved to New York and formed his first band Muntu (with trumpeter Roy Campbell, bassist William Parker, and drummer Charles Downs (known as Rashid Bakr) becoming a part of city's loft scene.

Later he played sporadically with different rhythm sections and released series of strong albums on Eremite Records in 90s.

On "The Zookeeper’s House",Moondoc's first studio album in more than ten years and only fifth studio recording ever released,Jemeel plays with excellent team of musicians: his current rhythm sections of bassist Hilliard Greene and drummer Newman Taylor Baker is improved with trombonist Steve Swell, trumpeter Roy Campbell (it is his final recorded music)and pianist Matthew Shipp.Moondoc who from very early years played bop-based free jazz on his newest work does it even better then before. "The Zookeeper’s House" is that extremely rare case when 70s loft scene artist not only reaches the heights of his music from that period, but even exceeds it.

Not all musicians play here on all songs - Matthew Shipp adds piano on opener and longish "One For Monk And Trane",horns play on "Little Blue Elvira" and almost eleven minutes long Alice Coltrane's "Ptah, The El Daoud". All five album's compositions are free-bop of highest probe, soulful,sometimes bluesy,tuneful,free and well-framed. There are no fillers here and by emotional atmosphere and musical quality this album fits better on list of the best releases coming from adventurous early 70s than from second decade of new century.

Surprisingly, music on this album doesn't sound nostalgic at all. Even well-known Alice Coltrane's tune gets new life, Moondoc originals all are modern and mature offspring of Eric Dolphy's early 60s' free-bop.

One among best albums coming from last decade, there are only a very few such works around.

LOTTE ANKER Floating Islands

Live album · 2009 · Avant-Garde Jazz
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Women saxophone players are often overlooked in the world of jazz, and possibly even more so in free jazz. Lotte Anker is one of the best of the modern female sax players in Europe, the continent's own Matana Roberts, but she is almost unknown outside of her native Denmark.

Classically trained, Lotte, unlike many Danish musicians who prefer the mainstream, took to playing more modern and outside jazz at an early stage, performing with trumpeter NP Molvaer and pianist Marilyn Crispell among others.

"Floating Islands" is her third album leading the trio with two well-known Americans pianist Craig Taborn and drummer Gerald Cleaver, and it's their best work to time.

To be honest,it took a lot of time,to be more precise - some years for me to appreciate this album. And the reason is not that it's too "out" or extremely hard to listen to. No, the problem is it is quirky on inexpectable manner. Quite meditative by nature, it combines Lotte's soulful blues-rooted ascetic free sax soloing over repetitive Cleaver tuned drums pulsation and Taborn's Waldron-like piano drones.Not like all three components are contrasting, but their combination is too unusual to be eaily accepted.

Only after Lotte's excellent "Birthmark" with her another trio, drumless one with Portuguese bassist Hernâni Faustino and pianist Rodrigo Pinheiro, where they play more usual energetic avant-garde jazz in strong American tradition,I returned back to her recordings with Taborn/Cleaver and finally found a key to this music.

Five compositions (two longer than 16 minutes),recorded live during Copenhagen Jazz Festival, are almost stunning example of musical magic, when slowly three artists just involve the listener to their own built world. What starts as dreamy and almost lazy meditative tune grows up to almost explosive complex sound castles, but never loses earth under its legs. Even in loudest(almost creaming) moments trio's music doesn't lose its beauty and doesn't let you go even for single moment.

All concert sounds as one good movie with own intro,story and drama,perfectly distributed in time and never losing the sense of spontaneity. Lotte's sax playing is quite warm,but never too soft or sentimental and the only thing listener wants is to hear her soloing more often.

Released on domestic Ilk label this album stayed almost unnoticed by many foreign, especially overseas listeners, and it's a shame. Find it and most probably you will be surprised how good their music is.

Latest Forum Topic Posts

  • Posted 2 days ago in Lemon-flavored Xylophones and Improv Room
    Bardzo dobre, John movi po polsku :))) snobb2015-07-29 12:14:02
  • Posted 9 days ago in Jazz related albums, 2015
    Excellent 4xCD set from four live shows of one of funk icon - Sly & The Family Stone. Previously unreleased recordings from October 1968 (two days, four concerts - two each day)listen here:
  • Posted 23 days ago in Lemon-flavored Xylophones and Improv Room
    John, you're leader of post-Warsaw Pact big band snobb2015-07-08 06:57:28


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