snobb

Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

863 reviews/ratings
STEELY DAN - Countdown to Ecstasy 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 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 / SURVIVAL UNIT - Nation Time (Live at Vassar College) 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

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 307 3.70
2 Fusion 93 3.53
3 Post Bop 87 3.57
4 Eclectic Fusion 53 3.71
5 Jazz Related Rock 35 3.30
6 Nu Jazz 34 3.59
7 Hard Bop 33 3.44
8 World Fusion 32 3.14
9 21st Century Modern 30 3.87
10 Jazz Related Improv/Composition 24 3.56
11 RnB 22 3.43
12 Third Stream 17 3.41
13 Post-Fusion Contemporary 17 3.21
14 Progressive Big Band 15 3.80
15 Pop/Art Song/Folk 12 2.92
16 Vocal Jazz 12 3.33
17 Jazz Related Electronica/Hip-Hop 6 3.33
18 African Fusion 6 3.67
19 Jazz Related Soundtracks 5 3.50
20 Funk Jazz 4 3.38
21 Cool Jazz 3 3.67
22 Funk 3 3.50
23 Acid Jazz 2 3.75
24 Exotica 2 3.00
25 Big Band 2 2.75
26 Blues 2 3.00
27 Latin Jazz 2 3.50
28 Soul Jazz 1 3.50
29 Afro-Cuban Jazz 1 3.50
30 Jump Blues 1 3.50

Latest Albums Reviews

JOHN MCLAUGHLIN John McLaughlin, Shankar Mahadevan, Zakir Hussain : Is That So?

Album · 2020 · World Fusion
Cover art Buy this album from MMA partners
Living legend English guitarist John McLaughlin is a man responsible for probably best ever recorded guitar fusion album. His early interest to Indian music (and culture in general)is well documented on "My Goal's Beyond"(1971) and more significantly on early Shakti albums which were again excellent examples of Indo-fusion.

Don't be fooled by the name though - the newest work, credited to McLaughlin as leader, "Is That So?", is not in the league of both above mentioned masterpieces.To be honest, "Is That So?" in reality is first of all vocal album of prolific Indian singer and films soundtrack composer Shankar Mahadevan. Being a cult figure in India, he's almost unknown in Western world, so crediting his album to McLaughlin as leader is understandable marketing trick for American label AbstractLogix,who released the album just a week ago.

Then,under the cover we have what we have. Shankar Mahadevan sings six lyrical songs,ballads of sort, under minimalist accompaniment of McLaughlin processed guitars and even more minimalist licks of another Indian,former Shakti tabla player Zakir Hussain.

Fortunately, all music doesn't sound as Bollywood soundtrack. It is more rooted to Indian traditional sound, but it is still first of all singer's album. McLaughlin guitars sound processed using computer,is liquid,rhythm-less and hardly differs from what could be produced using inexpensive synths. Tabla's soloing is most livable and most attractive element of all music, but we don't get a lot of it. Harmony-less Indian music without rhythmic component after some time sounds same again and again, at least for Westerner's ear.

Quite a weird release,it will hardly attract McLaughlin guitar work's fans or even Shakti early albums lovers. Maybe Shankar Mahadevan singing followers will find it interesting though.

YOSUKE YAMASHITA Yosuke Yamashita Trio ‎: Sunayama

Album · 1978 · Avant-Garde Jazz
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During early seventies, pianist Yosuke Yamashita trio were a front-line power of Japanese avant-garde jazz. Cecil Taylor-influenced high-energy percussive straight-in-your-face piano playing style in combination with Akira Sakata's free sax attacks and drummer's (Takeo Moriyama and later, Shota Koyama)rock-heavy artillery built complex,usually knotted aural constructions of surprisingly well-organized beauty. Their albums,released between 1970 and 1975 all are classics of Japanese avant-garde jazz.

On "Sunayama", Yamashita's work from second half of 70s, one can evidence quite unusual for him instrumentation. Credited to his regular trio, the album contains three pieces,recorded actually by septet/octet when Yamashita's trio is improved with brass section (and an electric guitarist on one track).

Being characteristic for his trio busy high energy free jazz under the skin, in many moments album's music sounds as avant-garde jazz big band with rich brass (and addition of soling electric guitar on "Usagi No Dance - Dedicated To Pepi"). It's interesting to mention, that intentionally or not the combo never sounds as one small orchestra - more like two group of musicians, the trio and four-piece brass section improvising each their own way.

On paper it most probably sounds as a chaos, but surprisingly enough all album long Yamashita controls the situation well and final music has its own internal order. Not such explosive as on his earlier works, this album's attraction lays mostly in a rare possibility to hear the great master trying something different. Perfectly recorded (as many Japanese releases coming from seventies), "Sunayama" is an attractive release for Yamashita fans, still probably a bit risky try for newcomers.

Being for years an obscurity, in 2009 the album has been reissued in Japan on CD so there is a bigger chance to find it now.

JOE MCPHEE / SURVIVAL UNIT McPhee, Rempis, Reid, Lopez, Nilssen-Love : Of Things Beyond Thule Vol 1

Live album · 2020 · Avant-Garde Jazz
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One of the early releases coming in a very beginning of a new year is a collaborative work, recorded by high class free improvisers quintet of seasoned tenor Joe McPhee and cohort of younger creative jazz stars.

Joe McPhee (probably in a pair with Charles Gayle) is one of the busiest veterans of loft jazz around playing with many today's sound names and recorded intensively. His new quintet contains such leaders of modern avant-garde jazz as sax payer Dave Rempis and Norwegian drummer Paal Nilssen-Love, rising star cellist Tomeka Reid (who toured Europe last year as Art Ensemble of Chicago's member) and relatively lesser known New Yorker bassist Brandon Lopez.

Just two compositions, recorded live at Chicagoan The Hungry Brain on December 16 2018. Each lasts less than 20 minutes.Quite surprisingly, there are only a few explosive moments on this album, slow to mid-tempo music predominates. Saxes often sound as bird calls communication with cello vibrations and lot of percussion on the back. Common mood is more philosophical than energizing, and excellent interplay between quintet members builds intellectual and rousing atmosphere. Without leaving a frames of the genre, this album belongs to a more successful examples of live recordings in prolific Joe McPhee discogs.

EVAN PARKER Evan Parker, Barry Guy, Paul Lytton : Concert in Vilnius

Live album · 2019 · Avant-Garde Jazz
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Three British free jazz giants playing together already for some decades, recorded live during their gig at Vilnius Jazz Fest in 2017. Three names that are written in gold to European avant-garde jazz history playing in my hometown and I just listen to their playing two years later from my home sound system and not live from the dark scene of the Russian Drama Theater, a regular home for Vilnius Jazz Fest for the last few years? What's wrong with me?

Or - it's not me? In a fast changing world where even my conservatism towards technologies gives up against the comfort of paying for your Saturday coffee and eclairs with smart phone apps and using Google Maps trying to find a shorter way from small countryside town to nearest lake, free jazz, just in one day, turned into a predictable attraction. What was a blowing-your-head new experience in 60s, reinvented in loft culture in the 80s and reborn for a short time at the beginning of the new Millennium, in one day just became an artifact of the past, the world that doesn't exist anymore.

Four free form improves, near an hour of music. Well recorded, with few screams and applause from the public here and there, the music here is competent but doesn't radiate an energy of artists earlier concerts. Not explosive but more philosophically calculated, and often slightly melancholic, somehow it transfers that feeling of paradise lost very well.

As with almost any bigger free jazz artist, all three musicians never repeat same thing twice, but at the same time all what they play sounds already heard for many times. True, the difference is in tons of nuances, but do we are still interested in all these small things?

Anyway, those who love the music of the times when they were young will really appreciate the album. For young folks it will probably sound as a strange thing, but in all cases Parker, Guy and Lytton are those who left their significant footprint in a history of European jazz.

WILLIAM HOOKER Symphonie Of Flowers

Album · 2019 · Avant-Garde Jazz
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William Hooker - one among the most technical and progressive thinking drummers around, who has played with Billy Bang, Thurston Moore, David Murray, David S. Ware and William Parker among many others, comes with his new ambitious work. Double-vinyl album "Symphonie Of Flowers" contains a suite of sorts. Drums are obviously the dominant here, but there are duos (with piano player Mara Rosenbloom), trios, and bigger combo music presented.

The album opens running train-like with Hooker's drumming pushing the music ahead, that rhythm and the feeling doesn't disappear the whole album long. Pianist Mara Rosenbloom plays free piano in a manner of Cecil Taylor. Then there is a trio of Hooker, Rosenbloom and saxophonist Stephen Gauci, with free sax soloing series. On three songs, pianist Mara Rosenbloom plays duets with multiple drummers,and a larger ensemble contains electronic musician Eriq Robinson among others.

Quite a long recording, this album isn't boring or repetitious. The music varies from muscular rock-like avant-garde jazz, to energetic electronics-spiced wizardry. As with many of his previous albums, Hooker works in a class of his own and always offers something new for open ears listeners.

Latest Forum Topic Posts

  • Posted 10 hours ago in José James’ Upcoming Album ...
    José James’ Upcoming Album Reverberates with the Warmth of the 1970sJosé James, who co-founded Rainbow Blonde Records, grew tired of the major-label machinations he dealt with earlier in his career. (Photo: Janette Beckman)“Turn Me Up,” a single off José James’ upcoming No Beginning No End 2, radiates like an anthem. Inside an enticing groove, he sings, “I’m feeling good baby and I’m feeling free/ And yes I’m young gifted and black, so just let me be.” Celebrations are in order not just because James has an album that showcases some of his best songwriting to date, but it’s being released on Rainbow Blonde, a new label the vocalist co-founded with singer-songwriter Talia Billig and sound engineer Brian Bender. “It’s such a blessing to have founded a label. I honestly couldn’t have asked for a better team,” James said. “Talia brings all her experience from working with Blue Note Records, and Brian brings so much audio-engineering experience as a producer; he’s a musician as well. They’re also friends of mine, and we’ve been working together for years.” James offers the new recording, which is due out March 6, as a sequel to his 2012 Blue Note debut, No Beginning No End. During the making of both albums, he was in transition between labels, and there’s a sonic similarity between the two. Both boast a vibe that fuses the warm analog sounds of the 1970s with contemporary hip-hop-centric pulses.[TUBE]ux5efB3tpvQ[/TUBE] “The late-’70s is a beautiful, overlooked point of reference,” James said after noting the emergence of Elton John, Roberta Flack, James Taylor and Carole King, as well as the popularity of funk, disco and reggae during the decade. “There was a moment in American music, where you had all of these seemingly disparate styles coming into power at the same time. And they were all hiring jazz musicians in the studios to help create this new tapestry. That ’70s sound—that warmth—still reverberates within me.” When James made No Beginning No End, he and Bender worked closely with performers like bassist Pino Palladino and keyboardist Robert Glasper. The sequel features bassist Ben Williams, drummer Jamire Williams, and a raft of vocalists like Lizz Wright, Ledisi, Aloe Blacc and Laura Mvula. And in keeping with its predecessor, No Beginning No End 2 places an emphasis on songwriting and production, rather than centering on a specific genre. The new album also features radio-friendly bangers like “I Need Your Love,” a sensual mid-tempo duet with Ledisi, the shuffling two-stepper “Baby Don’t Cry” and the glimmering “Feels So Good.” Other highlights include “Saint James,” an introspective ballad about James’ experience as a martyr in toxic romances, and “Oracle,” a gorgeous soul-searching lament, co-written by Billig. “I wanted to end the album with ‘Oracle,’ because it’s like a moment of ascension and peace. There’s always some spirituality involved with my music,” he explained. No Beginning No End 2 comes on the heels of James’ 2018 exploration of Bill Withers’ repertoire, Lean On Me (Blue Note). The three years the singer spent performing, touring, recording and interacting with Withers had a profound effect on his’ songwriting: James learned how to be more direct in his lyrics. “There’s an obtuseness within contemporary jazz, which I love. But there is something so direct about ‘Lean On Me’ or ‘Lovely Day,’” James said. “To see people in places like Japan and throughout Europe sing and know all the words to those songs, and to see the joy those songs evoked really made me feel good.” James appreciates the unyielding support Blue Note President Don Was gave him during his seven-year run on the legendary jazz label. But that support didn’t completely shield him from the pressures of being on a major label. “In the era where Death Row Records is now owned by Hasbro, once you sign on the dotted line with a major record label, you just don’t know where your creative capital is going to land,” James said. “For Talia, Brian and me, it’s really important to know that our music has a safe home and a destiny.” James then recalled his transition to Blue Note after being signed to Impulse! Records, now a Universal Music Group subsidiary. “By the time No Beginning No End was finished, written, recorded, mastered and mixed, EMI had been sold to Universal. So, all the people that I had signed on to work with at Blue Note were fired worldwide, except for a few core people. We’re talking people in about 40 countries. That’s no small thing,” James explained. “There’s also the pressure of knowing that you could be dropped from the roster at any moment,” he continued “There’s a transactional nature that’s inherit in this business. Not to say that you can’t succeed within it. But knowing that if things go ‘wrong’—or if a record is not received the way that you wanted it to—that your relationship with the label could be over is stressful.” James wants Rainbow Blonde to offer a better experience for artists, as it takes on one project at a time, offers licensing deals and remains flexible in regard to contracts. “If anybody has big success with us and wants to go to another label, we’ll wish them well. If they want to do another album with us, then we will consider that, too,” he said. The label aims to capture a diversity of music while also serving as a platform for a diverse roster in terms of race, gender, ethnicity and sexual orientation. “A record label should reflect the times that it exists in as a societal function,” James said. “Jazz plays a huge piece in our vision. But it’s important for us to see Rainbow Blonde being perceived as something broader than jazz. We’re a label for creative voices who have a vision of how they want to be presented to the world.” from http://downbeat.com snobb2020-01-28 05:26:48
  • Posted 14 days ago in Blues Foundation Announced Blues Music Award Nomin
    Blues Foundation Announced 41st Blues Music Award Nominees: The Blues Foundation has announced the list of 41st Blues Music Awards (BMA) nominees, and you can check out the full list here. The BMAs are generally recognized as the highest honor given to blues musicians and are awarded by vote of Blues Foundation members. The ceremony is scheduled to be held on May 7 at the Cannon Center for the Performing Arts in Memphis, Tennessee.from www.jazziz.com
  • Posted 26 days ago in Recently Watched Films
    New experience - watching the movie in cinema at New Year's night. The choice of the film was quite successful - French movie about modern time and even more - their golden age - "La Belle Epoque".Seasoned spouses are not happy living together. She is a psychologist with private practice and he -  caricaturist, fired from the newspaper which closes physical edition for internet one.She drives Tesla and enjoys modern technologies and he's all in his younger years, the 70s. Then, he got the chance to participate in reality happening which brings participants to the time they can chose. He asks for 1974 and big part of the movie shows us how great/strange/different the 70s were.Lot of 70s France atmosphere around - a bit too theatrical, but who cares... Fanny Ardant still looks great after all these decades [TUBE]tukMRXkjhlM[/TUBE] snobb2020-01-02 07:33:31

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JMA TOP 5 Jazz ALBUMS

Rating by members, ranked by custom algorithm
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