Slava Gliožeris
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Favorite Jazz Artists

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543 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 187 3.63
2 Classic Fusion 80 3.39
3 Post Bop 38 3.46
4 Jazz Related Rock 37 3.26
5 (Post-70s) Eclectic Fusion 35 3.54
6 Nu Jazz 32 3.48
7 World Fusion 29 3.21
8 Jazz Related Improv/Composition 17 3.59
9 Hard Bop 15 3.47
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

KEIJI HAINO Peter Brotzmann, 灰野敬二 Keiji Haino, Jim O'Rourke: Two City Blues 1

Live album · 2015 · Jazz Related Improv/Composition
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Japanese guitarist Keiji Haino is a cult figure on country's traditionally influential alternative music scene. Started playing guitar in early 70s, he developed Derek Bailey and his compatriot Masayuki Takayanagi free-improv guitar music adding rock-machismo image what probably doesn't look all that casual but fits well to Japanese underground jazz/rock/improv music tradition.

During last few years Haino increased his international notoriety prolifically playing and recording with such genre leaders as Oren Ambarchi and Jim O'Rourke.

Here on his newest live release from concert at Shinjuku Pit Inn in Tokyo,recorded in 2010, Haino plays with Jim O'Rourke and European free jazz icon German sax player Peter Brotzmann. Everyone familiar with prolific Brotzmann's legacy knows how dominating he is even on collaborative recordings, surprisingly here on "Two City Blues 1" he isn't.

Combination of two free-improvs electric guitarists and free sax player could sound weird, but generally it works quite well. "Two City Blues 1" isn't first common work for Haino and Brotzmann, their "Shadows",released on Japanese DIW label are quite well known. Guitarist Jim O'Rourke is regular musical partner for Haino for some last years as well. Still fully improvised music sounds a bit raw, it often sounds like each of three musicians just plays his own music without paying of lot attention what two others do.

As it was already mentioned above, surprisingly Brotzmann (or any other trio's member) doesn't dominates and both two compositions sound as three equal musicians recital. Music is not too fast,not too noisy (at least - not for Brotzmann,Haino or O'Rourke standard), even meditative in moments, but main problem here is there is absence of true communication between artists here.

"Two City Blues 1", actually released few months after the release of "Two City Blues 2" (which was released on CD and vol.1 as vinyl only)is another album in massive collection each of three trio's members already has released,Haino followers will probably enjoy it but generally it is far not his best work (even more same could be said about Peter Brotzmann).

STEVE LACY Explorations (with Subroto Roy Chowdhury)

Album · 1987 · Jazz Related Improv/Composition
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"Explorations" is an obscure album, credited to Indian sitar player Subroto Roy Chowdhury and soprano sax player Steve Lacy, but actually its Chowdury's trio playing with Lacy as a guest artist.

Subroto Roy Chowdhury made his name in India and Europe during the 70s as a traditional raga player, even if his main scenes in Europe were mostly jazz festivals. Here on this unorthodox recording he shares the leader role with jazz avant-garde rooted sax player Steve Lacy, and surprisingly it works perfectly.

This album was recorded in Tonstudio Bauer (main German studio servicing ECM artists for decades). On "Explorations" three tracks, only Tabla player Shibsankar Ray and Patricia Martin (on Tambura) play on all three. Basically all three of these tracks are ragas, or based very much on ragas, but what differs from track to track is who leads, Lacy on sax or Chowdhury on sitar. On opener "Saxoraga", Lacy takes the lead as the rhythm section builds and provides a rhythmic basis for Lacy's soulful and thoughtful improvisation. Many a 70s musicians dabbling in Indian music from outside the tradition could be accused of 'esoteric noodling', but "Explorations" is absolutely free of that. Lacy is a well-known student of Indian composition and did not enter into this recording session lightly.

On the second composition "Spontaneity", Subroto Roy Chowdhury plays his usual raga music as a trio leader (Lacy does not participate). After the expected quiet opening, this one eventually builds to an intense torrent of rhythms. Some may find this somewhat similar to ragas they have heard by Ravi Shankar or Ali Akbar Khan.

All of side B is filled with a twenty-two minute long composition on which all four musicians play. Subroto Roy Chowdhury and his trio lead, while Lacy's sax adds excellent small ornaments to their music, which as a result sounds more cosmopolitan and modern.

This album has been released on vinyl and CD in 1987 by the tiny German Jazzpoint label, and never re-released after that. "Explorations" is recommended for Lacy fans, as well as for those with interest in Indian ragas. This album can become an excellent discovery, opening a new, unusual side of Lacy and Subroto Roy Chowdhury both.


Live album · 1983 · Avant-Garde Jazz
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"New Wine..." is an album in voluminous series of Lithuanian Ganelin Trio albums, released by UK-based Leo records in early 80s. Actually, Leo label has been founded by Russian Jew Leo Feigin,who left Soviet Union for Israel in 1974 and soon find himself working in London for BBC Russian Services, mostly to promote unknown in the Western world free jazz from Soviet Union.

Ganelin Trio were main artists pushing Leo Records ahead at label's early stage. Since there were no legal possibility for artists (at least - jazz and rock musicians)from Soviet Union to release their recordings outside of Soviet Block, almost all Leo releases of that time are actually an authorized bootlegs, mostly semi-pro live recordings from different,often underground gigs. Recorded tapes crossed the border usually in an illegal way to become later vinyl albums which were not available for purchase in Soviet Union.

"New Wine..." contains one long composition (divided on two parts because of vinyl album's limitations) recorded in Latvian capitol Riga (part of Soviet Union at the time of recording) in summer 1982. Even usually tagged as "free jazz" band, Ganelin Trio always played well organized music, their own mix of classic composition, complex virtuosic improvisation and almost childish Art Ensemble of Chicago-like playfulness. Trio sounds as bigger combo here, it's almost unbelievable that this complex high intensity music is played by three musicians. In addition to Tarasov's drumming machinery, Ganelin besides of his usual piano plays electric guitar,horn and percussion when Chekasin demonstrates unique abilities combining two saxophones (simultaneously),trombone,horn and clarinet.The very same year I (still a student) saw Chekasin playing live solo concert in my University (I have been lucky to live and study in the same town where Ganelin Trio has been founded and based), he played simultaneously two saxophones and electronic device-based highly improvised night which made me,originally AC/DC and Deep Purple fan, an jazz adept for life!

"New Wine..." isn't trio's best gig (they sound a bit too formal here and sound quality could be better as well)and one can find them playing same material on some other releases. But at the same time this album is another great evidence of excellent musical occurrence, unexpected and unique in their own way,when repressive regime can initiate a birth of extremely free and impossible to control music which than becomes a part of the all world's cultural legacy.


Live album · 1977 · Avant-Garde Jazz
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"Akashi"(嵐)is exceptional album in history of Japanese avant-garde jazz. Recorded in September 1976 and released next year, it is kind of swan song of country's free jazz golden era.

Pianist Yosuke Yamashita beside of Masahiko Satoh is a key person in Japanese avant-garde jazz piano. Heavily influenced by Cecil Taylor, Yosuke has his own sound though - not so heavy,very fast,colder(more mechanical?)and kind of sliding. Still main "Akashi"'s hero is not him, but excellent sax player Akira Sakata who at the time was regular member of Yamashita Trio. With third trio member Shota Koyama and guest reedist Gerald Oshita band surprisingly often sounds as much bigger orchestra. Being a direct recording from live show with 13-piece Butoh dance troupe, double album contains some places where not much happens (at least musically) what made it a bit inconsistent (obviously video version could fill that gap), but it doesn't destroy the overall impression too much.

Starting from catchy cover art (with one of dancers pictured in action)and very first opener's sounds the listener can expect something non-ordinary and he wouldn't be disappointed. Almost twelve-minutes long opener "Moonlight Desert" is perfect tuneful song with one sax playing almost straight beautiful melody and the other jumping and squawking all around with unbelievable speed and intensity.

In longer than one and half hour concert there are everything you want - free jazz sax acrobatics, characteristic Eastern percussion,ethnic Japanese elements and ambient noises,blended with dancers steps on the scene's floor,which can be well heard in moments and than become part of rhythm section. There are trio's very own version of Albert Ayler's "Ghosts"(Ayler was a very strong influence to sax player Akira Sakata) or better to say - two versions, which cover vinyl version Side A and opens Side B. The later contains screaming vocals (in Japanese) by its intensity and emotional level beating highest Japanese standards.

Central album's part (partially sides B & C) are filled mostly with short minimalist piano-led miniatures, sometimes almost groovy, in moments - near classic, almost all - elegantly beautiful,which most probably serving dance troupe actions. Still two longer pieces (between 18 and 21 minutes long) return band on the front of the scene.

Very variable, this album has that cinematic feel when the music is of so good quality that being formally a soundtrack for theatrical action is successfully living its own life. And even more - all this is played and performed live - and that real-time atmosphere is perfectly presented.

Even late 70s already weren't so great for such music in Japan, it's just a miracle how such a large-scale show/recording ever happened. Very soon domestic free jazz stars will go low profile playing small underground venues or re-switching to always popular on Japanese scene hard bop.

Being a Japanese-only release, this album stayed in a shade for decades. Reissued by Super Fuji Discs as double CD set, it became more accessible (but not all that cheap still). For fans of Japanese free jazz or/and Akira Sakata's sax playing it's worthy of every euro spent though.


Live album · 1989 · Avant-Garde Jazz
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It's a great fortune that still in 60s Lithuania has become one of the main center of experimental jazz in big territories east from Berlin - Vienna axe. Being occupied by Soviet Russians,it was one of rare places in all former Soviet Union where jazz wasn't under formal or informal ban. As a result,Moscow-born Lithuanian Conservatory graduate Slava Ganelin founded here one of the most radically experimental jazz band of the time,coming from that part of the wold - Ganelin Trio. Trio's activities as well as all members teaching in different Lithuanian music schools initiated serious growth of interest to that music in a country as well as established very influential domestic jazz tradition.

Reeds player Petras Vyšniauskas,who born in small Lithuanian provincial town and played on weddings from his early teens, became a leading sax player of mid generation jazz musicians, formed under Ganelin trio influence. During late 80s and 90s he became a main figure on domestic stage with very realistic ambitions to become a new Vladimir Chekasin (Ganelin Trio's sax player). Unfortunately, Petras didn't. Already in 90 he almost abandoned avant-garde jazz scene concentrating on teaching work in Lithuanian Academy of Music and Theater and growing interest in collaboration with academic and neo-folk artists(he still plays rare jazz concerts till now though)

Still his works from late 80s - early 90s contain some excellent examples of quite original advanced jazz. "VIennese Concert" is Petras first ever live album and as well his debut on Western label. Recorded during concert in Vienna, this album contains in fact two different collectives music,recorded same day. First part is played by regular Vysniauskas trio (with Lithuanians pianist Kęstutis Lušas and drummer Gediminas Laurinavičius).It opens with Petras sax soloing - very Steve Lacy-like,but more lyrical,a bit dreamy and philosophical. Vyšniauskas has been always strongly related with his roots,provincial small town atmosphere and his music,being very modern by form just radiate that natural way of life. It's fantastic how being free-form dissonant trio leader, using synthesizers and unorthodox rhythm constructions,in depth Petras stays same small boy playing on the village weddings.

On the second part of concert,trio is joined by pianist Slava Ganelin himself and second drummer Mika Markovich (unknown name for me). Improved band left relaxed and almost dreamy atmosphere in past and jumps ahead with quirkiness and high energy of modern nervous urban world.

Vyšniauskas playing is excellent here, on the level of Steve Lacy but more personally colored and unique.It's pity there stayed only a few recorded evidences from that time, and all them are generally obscure.

P.S. Album opener's "Plunge" doesn't mean what you most probably expect - it's just a name of Petras hometown. Third and fifth compositions' titles come from Lithuanian small places names as well.

Latest Forum Topic Posts

  • Posted 8 days ago in Jazz related albums, 2015
    Last Frank Zappa's album (he working on it in December 1993 prior to his death) is finally completed and released for the first time. Titled "Dance Me This" in true Zappa tradition this release doesn't contain lot of music for dance or even singing. Not lot of quirky rock as well.Expect Synclavier, experimental composition and use of electronicslisten here:
  • Posted 23 days ago in James Last, bandleader, dies 86
    James Last, bandleader, dies 86 James Last, one of the most popular band leaders of the post-war period, has died in Florida James Last in 2009 Photo: Rex Features Big band leader James Last has died aged 86 at his home in Palm Beach, Florida. The final one of his remarkable 90 performances at London's Royal Albert Hall came in April 2015 as part of a farewell tour he announced after becoming seriously ill last year. The German-born musician sold millions of records and was a regular fixture on UK television for many years with his James Last Orchestra. He pioneered what became known as "Happy Sound". In a statement, his manager said: "Mr Last passed away yesterday [June 9 2015] in Florida, peacefully and in the presence of his family." Born Hans Last on April 17 1929, the man always known to friends as Hansi became highly adept at adapting pop hits to big band arrangements and in his lifetime he sold more than 80 million albums worldwide. He performed about 2,500 live concerts during a career spanning five decades, after clinching his first record deal in 1964. Non-Stop Dancing, released in 1965, was a sensation, and included short performances of popular songs, tied together by dance beats and crowd noises. He worked with many popular musicians, including Cliff Richard, Freddy Quinn, Richard Clayderman and René Kollo. In the UK alone, he had 52 hit albums between 1967 and 1986, cementing him in the record books as the second-best selling artist of all time, behind Elvis Presley. Last said he was proud that Presley recorded his own composition Fool. Last had a Top 10 hit in America in 1980 with The Seduction, the theme song from American Gigolo, and the bandleader modestly explained his musical ability in his 2009 autobiography, stating: "I am simply lucky enough to be one of the few people in the world who can hear one kind of music and immediately be able to translate it into another without having to think too much about it." He released albums devoted to the music of Abba, Motown, Andrew Lloyd Webber, Bach and Vivaldi, and also interpreted the music of Bob Marley. James Last in concert at the Swiss Life Hall, Hanover, Germany in April 2015 REX FEATURES Last had learned how to play the tuba and the piano as child, before switching to bass as a teenager and learning his trade with the Hans-Gunther Oesterreich's Radio Bremen Dance Orchestra. He was voted as the best bassist in the country by a German jazz poll for three consecutive years, from 1950-1952. He recently went on a farewell tour, called Non-Stop Music, which took in London and ended in April in Cologne. A public memorial service will take place in Hamburg in the coming weeks. from snobb2015-06-11 03:58:58
  • Posted 40 days ago in Lemon-flavored Xylophones and Improv Room
    all best things we have in life are generally unexpected


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