Slava Gliožeris
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Favorite Jazz Artists

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520 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
JAN GARBAREK - Afric Pepperbird Avant-Garde Jazz | 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

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 179 3.68
2 Classic Fusion 64 3.45
3 Post Bop 40 3.56
4 (Post-70s) Eclectic Fusion 34 3.68
5 Jazz Related Rock 32 3.28
6 Nu Jazz 26 3.56
7 World Fusion 23 3.11
8 Jazz Related Improv/Composition 20 3.55
9 Hard Bop 17 3.47
10 21st Century Modern 13 4.04
11 Third Stream 13 3.46
12 Post-Fusion Contemporary 11 3.09
13 Progressive Big Band 11 3.73
14 Vocal Jazz 9 3.11
15 Pop Jazz/Crossover 6 2.83
16 DJ/Electronica Jazz 5 3.40
17 Jazz Soundtracks 4 3.25
18 Funk Jazz 2 3.25
19 Latin Jazz 2 2.75
20 Acid Jazz 2 3.75
21 Big Band 2 2.75
22 Exotica 1 3.00
23 Jazz Related Blues 1 2.00
24 Jump Blues 1 3.50
25 Jazz Related RnB 1 1.00
26 Soul Jazz 1 3.50

Latest Albums Reviews

STEVE LACY The Beat Suite

Album · 2003 · Avant-Garde Jazz
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One of the greatest soprano sax avant garde jazz musician Steve Lacy recorded "The Beat Suite" almost at the ned of his long-lasting and extremely prolific career. Fortunately, it is no way master's melancholic look to his past. Oppositely, "Beat Suite" is ambitious project brewing beat poetry with Lacy's improved trio's music.

Beside of Steve regulars acoustic bassist Jean-Jacques Avenel and drummer John Betsch, there are two very important collaborators participated. First is trombonist George Lewis, and the other - operatic voice singer (and Lacy's wife) Irene Aebi. Irene participated previously on some Lacy's recordings and everyone familiar with their tandem knows that her singing is an acquired taste: use of operatic voice in avant-garde jazz compositions are appreciated by ones and hated by others. Anyway, "The Suite..." is mostly based on Aebi's singing so chose properly.

Quite unusually for Lacy's music, each of ten compositions contains lyrics, including such renown material as William Burroughs "Naked Lunch", Kerouac "Wave Lover" or Alien Ginsberg "Song". Irene's singing isn't easy acceptable source of songs' lyrics so it's great that liner notes contain all the texts.

Music is quite different from Lacy's regular as well - more relaxed, with lot of free trombone soloing, it combines more 50s "beat" atmosphere (or even cool jazz) than usual Lacy's late 60s free jazz-influenced works with minimalist early 20th century/ Weimar era influenced operatic songs.

Steve Lacy recorded "The Beat Suite" at his late sixties, just a few years prior to passing away. It's really impressive evidence how creative great sax player stayed till the end of his life.


Album · 2017 · DJ/Electronica Jazz
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New Orleans trumpeter Christian Scott made his name during the last few years on the wave of jazz crossovers oriented to young rock, RnB or techno fans, during an explosive growth of popularity (Kamasi Washington with his triple CD is another great example).

I happened to see Scott playing live two years ago during his European tour - he demonstrated his showman and leadership abilities leading his young musician's band, and being much more than a virtuoso trumpeter. He spoke a lot (really more than he played trumpet), mostly about racial problems in his hometown of New Orleans.

Two years later, in 2017, Christian Scott announced releasing a trilogy dedicated to "re-evaluation of the social political realities of the world through sound... slavery in America via the prison industrial complex, food insecurity, xenophobia, immigration, climate change, gender inequality, fascism and the return of the demagogue". Not surprisingly, the trilogy's first album "Ruler Rebel" goes deeper into electronics/hip-hop culture and demonstrates sounds that are more usual for London clubs than for New Orleans streets.

Christian Scott leads basically almost the same band as on his previous album, with flutist Elena Pinderhughes on board. The music on here is a quite beautiful mix of African rhythms, heavily adapted to modern urban culture's ears with wide use of samplers and rhythm machines. There are lot of Scott's trumpet soloing on this album, mostly all straight-ahead clear tones flying over electronic rhythms/samples somewhat similar to smooth jazz trumpeter Chris Botti's manner. Probably the main attraction in this album's music is a quite successful mix of New Orleans positive energy and modern urban electronic sound. Not strange is that Scott is even more popular in London clubs than in native America - what may sound as exotic in New Orleans is very close to most modern London youth club's sound standards, with conspicuous difference since similar British bands are usually rooted in Caribbean rhythms.

Not so much a jazz record, this new album's great mission is first of all to introduce young communities, often associated with different musical traditions, to jazz culture and its modern possibilities.

TYSHAWN SOREY The Inner Spectrum of Variables

Album · 2016 · 21st Century Modern
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In the modern jazz scene its the drummers who are changing the world, I'm serious! For last few years most current and probably most interesting trend on both sides of Atlantic is growing interest to jazz composition. And starting from influential beginners The Claudia Quintet (led by drummer John Hollenbeck) followed by ECM artist drummer Ches Smith and Canadian drummer Harris Eisenstadt, there are drummers who's bands are on a forefront of new movement.

Than it's not a strange at all that Roscoe Mitchell, Steve Coleman and John Zorn drummer Tyshawn Sorey on his fifth album as leader switches towards composition. Just as with some other Sorey works, he does it on his own radical manner. "The Inner Spectrum Of Variables" is six-movement suite, released as double CD-set and composed by Sorey,which recorded by two collectives - piano trio and strings trio. Besides of composition Sorey participates as conductor and only minimally - as drummer.

Even more unusual - music presented is based mostly on classic tradition (coming from early 20th century with feel-able romanticism influences and even baroque touches) and in big part has nothing in common with any form of jazz. Movement III is a first place (after half an hour of beautiful if not dark classical intro) where one can hear some avant-garde jazz drumming and dissonant motives in band's music, but very soon it fades to already expected classic piece.

There still will be few more explosive complex inserts till the end of the CD 1, but second disc opens with ambient drums and cymbals bringing listener more to chamber hall than on jazz scene again. Movements IV-VI, filling bigger half of second set's part, are quite dark but still tuneful chamber music hall compositions, all tasteful if having nothing too much in common with jazz.

Unorthodox album, which is difficult to evaluate strictly from jazz fan point of view, "The Inner Spectrum Of Variables" is more universal work removing accurate genres' frames. Sorey demonstrates here his great abilities as composer and besides of similar stylistic Wadada Leo Smith and Henry Threadgill most current works, this album is with no doubt one of the best releases for open ears listeners, coming from 2016.

CHARLES TYLER Charles Tyler/Ensemble : Voyage From Jericho

Album · 1975 · Avant-Garde Jazz
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Bari sax player Charles Tyler, one unsung hero of early free jazz generation,met Albert Ayler when them both were just a teens. Tyler moved to New York after Ayler and soon find himself playing in Ayler's band. Tyler recorded "Bells" and "Spirits Rejoice" with Ayler and recorded two albums as leader for legendary ESP (in 1967-68). Than moved to LA for few years where played with Arthur Blythe and David Murray among others. In mid 70s Tyler returned back to New York where he played and occasionally recorded some more albums. Being one of most significant baritonist of his generation (besides of more known Hamiet Bluiett) Tyler never received serious fame or following. In early 80s he toured Europe with Sun Ra Archestra and stayed in Denmark, than relocated to France where passed away in 1992.

"Voyage From Jericho" is Tyler's first in line of albums, released in mid 70's. Excellent quintet,containing Arthur Blythe on alto, acoustic bassist Ronnie Boykins, trumpeter Earl Cross and drummer Steve Reid plays five free-bop originals, warm, groovy and tuneful. As on some other albums, Tyler successfully mixes Ayler's early jazz roots and free reading with Eric Dolphy's free-bop and Pharoah Sanders spiritual jazz. Quite simple,not overloaded music radiates original beauty and naturalism, both were often missed by later generations of free jazz musicians.

Great place to start for fans of Ayler more accessible recordings or Dolphy's free bop. The album has been reissued in France in 1993 (by Bleu Regard) but still stays real obscurity though.


Album · 2013 · (Post-70s) Eclectic Fusion
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During sixties and than seventies England spent wearing a crown of one of world's leading nation representing to the whole world rock culture, all that music,worship,life style and hysteria. The Beatles,Rolling Stones,Cream,Led Zeppelin,Deep Purple,Black Sabbath and even Sex Pistols - British acts ruled the world. Speaking about more artsy/quirky than mainstream rock side-stream of so-called "progressive rock", England was and still is absolutely dominating origin. The story of jazz in Britain are far not so glorious.

True, this country gave to the world some greatest musicians as guitarists Derek Bailey and John McLaughlin, bassist Dave Holland and reedist Evans Parker, but it's hard to speak about influential or at least easy recognizable British jazz scene doesn't matter if we mean 50s,60s or 70s. Eighties were the only exclusively glorious period with birth and short but impressive invasion to the all world's scenes of acid jazz (who doesn't know Jamiroquay,renown hats and cars collector?). Still, acid jazz (even if demonstrating some true jazz attributes) was more part of modern clubbing culture and influenced much more later non-jazzy DJs/electronics trends than "classic" jazz.

New Millennium bring some changes in that historically sad situation and (mostly with nu jazz invasion) English new jazz scene became not only much more alive, hip and creative, but now, after a decade of renaissance, to think about London as about European jazz capital doesn't sound as a joke.

From Portico, mixing unusual sound of hang with electronics,to almost cult chamber piano trio of Phronesis to younger and less serious GoGo Penguin,British nu/contemporary jazz artists won strong following in Europe. Beside of them and similar, there are different stream of modern jazz in UK, and Sons Of Kemet are among its brightest representatives.

Grew up in same post-progressive rock/acid jazz/techno-clubbing sound environment, the quartet of two drummers and tuba player led by reedist Shabaka Hutchings on their debut album go their own way. "Sons.." combine African rhythms (not Afrojazz,but more street-wise folklore rooted raw ones) with Caribbean calypso and reggae adding British rock-scene so characteristic melodic tunes. All that are presented in quite hip form of today's clubbing culture, without losing its rawness.

As a result, "Sons Of Kemet" sounds as modern incarnation of South African jazz artists,who seriously influenced British jazz (and rock) in late 60s-early 70s, or ska revolution of late 70s-early 80s. Band doesn't care much about virtuosity, their arms are raw rhythms, New Orleans' marching bands shamanism and in whole very modern urban sound (one of two band's drummers is Seb Rochford, founder and leader of another hip British band,Polar Bear). Big part of album's songs are catchy and can easily attract much wider listener than regular jazz fan (closer "Rivers Of Babylon" is freaky cover of Boney M.'s disco hit from 80s), but at the same time serious listener can find lot of free jazz elements almost everywhere.

With their debut, "Sons Of Kemet" jumped on the forefront of British creative jazz scene in a very few month, but later released just one more album. It's difficult to say what are their future plans if any since band's leader Shabaka Hutchins in 2016 released his strongly African music and spiritual jazz influenced debut as leader "Wisdom Of Elders" (on Gilles Peterson Brownswood Recordings). In all cases, Sons Of Kemet debut is significant evidence of most current original British jazz and it sounds pretty fresh and modern today as it did four years ago.

Latest Forum Topic Posts

  • Posted 18 hours ago in New Jazz Related albums 2017
    Trombone Shorty's "Parking Lot Symphony" - on Blue Notelisten here:
  • Posted 18 hours ago in New Jazz Related albums 2017
    Portuguese (of Cape Verdean origin)  singer,pianist and guitarist Carmen Souza new album contains lot of African rhythms and some more jazzy pieceslisten here:
  • Posted 2 days ago in Dylan to headline Montreal Jazz Festival
     MONTREAL (AFP) - Bob Dylan will headline this year's Montreal International Jazz Festival with a lineup that brings together both classic and emerging artists.The festival, one of the key events on the jazz calendar, will take place from June 28 to July 8 with Dylan playing June 30 in the 20,000-strong Bell Centre arena.While Dylan is one of the legends of folk and pioneers of rock, he has explored the jazz roots of pop with three straight albums that interpret classic songs.The lineup will be "eclectic and rich in styles and cultures" with artists from 17 nationalities and all continents, festival CEO Jacques-Andre Dupont said.Other prominent acts include English progressive rock pioneers King Crimson, Philadelphia soul greats The O'Jays, storied funk singer Charles Bradley, rapper Joey Bada$$ and experimental electronic artist Squarepusher.Wax Taylor, the French DJ known for his trip-hop with electronic and jazz influences, will present from his latest album "By Any Beats Necessary" with video projections.The festival will give a prime spot to local rising star Charlotte Cardin, with the 22-year-old performing three straight nights as she sings to the warmth of a piano with electro-pop touches.The festival will bring jazz greats including Charles Lloyd, John Pizzarelli and Stanley Clarke and the fusion group Pink Martini as well as newcomer Kandace Springs, a singer and pianist from Tennessee championed by the late Prince."La La Land," the Hollywood revival musical, will also figure at the festival with the city's Orchestra Metropolitan playing the score to a screening.In a new feature, the festival will launch a series called "Re:Creation" in which artists including the Montreal pianist Jean-Michel Blais reinterpret other works.from


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