Slava Gliožeris
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Favorite Jazz Artists

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793 reviews/ratings
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 - 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
SEI MIGUEL - Salvation Modes Avant-Garde Jazz | review permalink
WADADA LEO SMITH - Wadada Leo Smith & Bill Laswell ‎: The Stone Avant-Garde Jazz | review permalink
ADAM LANE - Adam Lane's Full Throttle Orchestra ‎: Live In Ljubljana Progressive Big Band | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 257 3.66
2 Post Bop 83 3.52
3 Fusion 79 3.40
4 Eclectic Fusion 57 3.68
5 21st Century Modern 35 3.77
6 Nu Jazz 35 3.63
7 Jazz Related Rock 32 3.30
8 World Fusion 31 3.10
9 RnB 24 3.35
10 Jazz Related Improv/Composition 23 3.54
11 Hard Bop 21 3.31
12 Third Stream 16 3.53
13 Post-Fusion Contemporary 15 3.17
14 Progressive Big Band 15 3.83
15 Pop/Art Song/Folk 11 2.86
16 Vocal Jazz 10 3.15
17 Funk 10 3.35
18 African Fusion 10 3.70
19 Jazz Related Electronica/Hip-Hop 7 3.29
20 Funk Jazz 4 3.38
21 Jazz Related Soundtracks 4 3.25
22 Soul Jazz 3 3.33
23 Cool Jazz 2 3.50
24 Exotica 2 3.00
25 Big Band 2 2.75
26 Blues 1 2.00
27 Afro-Cuban Jazz 1 3.50
28 Acid Jazz 1 3.00
29 Jump Blues 1 3.50
30 Latin Jazz 1 3.50

Latest Albums Reviews


Album · 2022 · Jazz Related Rock
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American singer Shemekia Copeland spent the last decade releasing strong blues albums, rooted in tradition, but with a touch of freshness. Her voice is easy recognizable, and her straight-to-face, often naïve lyrics, are both her strong trademarks. Shemekia's previous album, "Uncivil War", released in 2020, offered faster and a more rhythmic touch on blues, still being a mixed bag containing some top-songs and fillers as well. With "Done Come Too Far", Copeland explores the new territories even deeper. Still with strong blues roots, she bravely moves towards high-energy blues-rock. From the very first sounds of the new album, she offers simply, groovy pieces, which blow listener's hats away from their heads. "The Talk", strongest album's blues, demonstrates how great a blues singer she really is. "Gullah Geeche" is an acoustic country-blues with banjo and fiddle on the front, and "Why Why Why" is an old-fashioned ballad. "Fried Catfish and Bibles" is pure Americana, with banjo and fiddle again, really danceable. Shemekia returns to heavy blues-rock on the title song, a duet with guitarist and singer Cedric Burnside. "Barefoot in Heaven" is already characteristic Copeland RnB with soloing from Will Kimbrough's electric guitar. She returns back to a country piece with "Fell in Love With a Honky". "The Dolls Are Sleeping" is an acoustic ballad (with Oliver Wood on acoustic guitar). On "Dumb It Down", one can enjoy electric organ. "Nobody but You", the closer, is straight-ahead heavy blues rock again.

As many previous Shemekia's albums, the newest one is a mixed bag of some strong songs and some fillers, offering a wide range of blues and Americana this time. Her best songs are really great songs, those which are not as successful, can sound a bit boring. Still, she offers here on this album a lot of what her fans love most of all - her unique voice.

KOBE VAN CAUWENBERGHE Ghost Trance Septet plays Anthony Braxton

Album · 2022 · Avant-Garde Jazz
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Anthony Braxton (born June 4, 1945) is one of the most respected of creative contemporary music composers and musicians, still active today (just a few months ago he played live in my hometown with his Saxophone Quartet). His early works (coming from the 60s and 70s) are mostly from the avant-garde jazz field, and some are accepted as genre standards. Later Braxton moved towards cross-genre compositional forms, usually related with jazz, but containing elements of contemporary concert hall music, some ancient folk, etc.

Braxton's one remarkable experimental work is his Ghost Trance Music series, inspired by 19th century Native American Ghost Dances and written between 1995 and 2006. The concept of GTM composition is based on idea, that there exists a "primary melody", which Braxton describes as "a melody that never ends". This line of music is written to be played in unison by any performer who wishes to participate in the "ritual circle dance". There is more information on Braxton's musical legacy presented in this nicely designed "organic" CD package's booklet, but generally one doesn't need to learn much before listening. The music itself is complex, but quite accessible.

Belgian guitarist Kobe Van Cauwenberghe, who created the project 'No [more] Pussyfooting', with music by Brian Eno and Robert Fripp, and is a member of electric guitar quartet Zwerm, is currently affiliated with the Royal Conservatoire Antwerp for an artistic research project on the music of Anthony Braxton. In 2020 he released "Ghost Trance Solos" - a solo guitar album with three Braxton compositions from Ghost Trance Music. "Ghost Trance Septet plays Anthony Braxton" is a logical continuation of Kobe's work - four Braxton Ghost Trance Music series compositions, recorded by skilled Belgium-Danish septet.

More current Braxton music is rarely played by other musicians and it's a shame. Different from dominating composers, who often combine elements of different genres in one, Braxton returns back to a past trying to find the roots and the rules and codes, and uses what he finds in his new written music, on a genetic level, not like inspiration or imitation. As a result, his music sounds as an engineered work, mechanically, but not formal or dry, since each brick has its own lively soul.

Van Cauwenberghe's septet of guitar (who in moments demonstrates that he is familiar with shredding guitar techniques playing in rock bands), bassist, drummer, pianist, sax player and trumpeter play selected Braxton compositions with respect and their own touch at the same time. For me, the program sounds as if six skilled professionals build a modern building - a unique one, with style and respect to the past, but without nostalgia, bravely looking ahead. Four compositions, 95-minutes of music, recorded on two CDs, happen to be an intriguing listening, which surprisingly lasted less then it was expected. Nicely realized great idea - hope we will hear more Braxton compositions, recorded by younger generation artists more often.

ONENESS OF JUJU / PLUNKY & ONENESS / PLUNKY Bush Brothers & Space Rangers

Album · 1996 · RnB
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On the wave of the unfading popularity of African influenced jazz in England, UK-based label Strut continues their series of US funk-RnB bands from 70s Oneness Of Juju reissues. The band's debut, "African Rhythms", has been reissued by Strut in 2002, and in 2018 once again. Band's second album, "Space Jungle Luv"(originally from 1976), has been reissued by Strut in 2002 and 2021. "Bush Brothers & Space Rangers", chronologically the band's third recorded album, received its European reissue in 2022 for the first time ever (recorded in 1977, this album has been released for the first time in 1996 only, and reissued only once after - in 2002 in Japan).

Oneness of Juju were the mid-70s continuation of early 70s SF/NYC - based sax player James Plunky Branch's avant-garde jazz band Juju, who moved to Richmond, Virginia in late 1974 and switched the direction towards funk and RnB. Their debut album (still partially with old Juju line-up) under the new name, "African Rhythms", was critically acclaimed, and contained more commercially popular music for the time with a mix of funk and RnB with African-spiritual jazz elements.

For their third album, recorded two years later, the band adds guitarist Ras Mel Melvin Glover, drummer Tony Green (instead of Babatunde) and pianist Brian Jackson (both - from Gil Scott-Heron's band) and percussionist Okyerma Asante. As a result, they loose a bit of funky edge, but receive a more sophisticated sound.

The album's opener,"Breezin'", is probably better known from George Benson's instrumental version, but it's originally a Bobby Womack song, and it comes with vocals here, a nice dreamy relaxed RnB piece. "African Rhythms", Plunky's original, is represented here by a longer very percussive acoustic version, and it sounds even better then on the band's debut, one of the album's top tracks. "Nooky", another Plunky original, is placed somewhere between the band's earlier funk-jazz and the more polished RnB, with soloing sax on the front all the time.

Side B opens with an interesting example of an early "ecological" protest song, "Be About The Future". "Afro Beat" is a very percussive funky song. "Plastic (Is Easy To See Thru)" is another one of the album's top cuts, very much a George Clinton-like piece of P-funk. The album's closer, "Rhythms Timelessness", is a two minutes-long funky instrumental with lots of guitar soloing on the front.

Japanese P-Wine reissue for the first time presented 5 never before released bonuses, on the latest Strut reissue they are available as downloads. "West Wind" is a longish relaxed African-ballade with a flute, "All Blues" is a bluesy RnB with lot of sax and piano soloing and strong vocals, sounds a bit out of place here though. "The Stuff To Make You Move", is danceable RnB and the more funky, "Get Your Head Together", with male vocals, both don't add much to the album.

WHIT DICKEY Astral Long Form : Staircase In Space

Album · 2022 · Avant-Garde Jazz
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Yesterday I used the rare opportunity to visit a retrospective exhibition of renown avant-garde artist, probably better known in Europe than in the States, Marina Abramovic. I made a 200 kilometres-long round trip on a warm summer day, and it was worth it. There were many Abramovic filmed happenings demonstrated on the big screens in a modern art gallery, in total darkness, many screens placed at the same hall. There was one, where she is cutting a five-pointed star around her belly button with a razor blade (so-called "Thomas Lips"), filmed in the year 1975. It was very impressive emotionally (knowing that Marina was born in Belgrade, Serbia, in a family of high level Communist party functionaries of former Socialist Yugoslavia), but at the same time it looked like it's coming from very old past. From the times, when the world was divided between modernists and conservatives, at a time of aggressive feminism, sexual revolution and lots of freedoms coming soon. Quite surprisingly, looking back from now at these protests, and the revolution looks very "organic", and let say "natural". And yes, free jazz was a part of it.

In a modern world, which is thousands years away, we understand all these freedoms as natural, but in fact, we are living in a much more conservative world. We have just a few formal restrictions, but we are not really free. Our lives are complex, and nowadays free jazz is not all that free anymore.

American drummer Whit Dickey is one the great figures of New Millennium creative jazz, working with many leaders of the scene. On "Astral Long Form: Staircase In Space" Dickey leads a quartet with sax player Rob Brown, viola player Mat Manieri and bassist Brandon Lopez. Their music is free, but also well organized, clever, knotty and still dreamy at times. One can hear some (possibly) pre-composed pieces here and there, but it still sounds as spontaneous very much. Tagged by the artist as "channeling ecstatic cosmic vibration", it has nothing too much in common with space psychedelia of the 60s. Being still rooted in Coltrane's legacy, it is very a modern take on things, the music, which is miles away from free jazz of "summer of love" era, its not "organic" or "natural" at all. And it is not naïve, it comes from our clever and already slightly tired world, much more complex than last century's 60s.

And it is among best soundtracks of today's life too.

BINKER & MOSES Feeding The Machine

Album · 2022 · Nu Jazz
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"Feeding The Machine" is the fifth album from London's sax/drums duo, Binker & Moses. They started in singer Zara McFerlane's support band, both duo members built an extremely successful career on the burgeoning London new jazz scene of the time, as a duo and collaborators as well. They are probably the best representatives of the movement's leftfield, combining minimalist orchestration with complex techniques and spiritual jazz of the late 60s tradition.

"Feeding The Machine" in realty is recorded by a trio, not duo. The addition of bassist Max Luthert (who played with Sara McFarlane as well) is really significant for the album's sound and common atmosphere. Luthert plays here actually not bass, but modular synth and operates live electronic loops as well. His sound, being always a bit on the back, builds very unique tasteful aerial atmosphere behind the mid-tempo knotty Boyd's drumming and flying free over the birdcalls-like Golding soloing saxes.

This album recalls for me very much the cult work of another times - "Beyond Recall", a masterpiece of sorts, released in 1991 by one of Berlin's electronica school geniuses, Klaus Schulze (who died just a few weeks ago). Huge orange sun of the last sunshine moments over the sea waters and two ducks small silhouettes, very graphical, with the sun behind them. Probably, one of the very last really impressive Berlin electronica school releases, it was mature, almost sounded tired, with a touch of melancholia, but in general very calm. True, it was a pure electronic one.

"Feeding The Machine" sounds very much as a "Beyond Recall" of Generation Z, or music for fans who were born when "Beyond Recall" had been released, or after. So, "Feeding The Machine" sounds more "organic" (or acoustic + analog), slightly less emotional and a bit more energetic, but still that feel of maturity and light melancholy combination is quite similar. Each generation has their own music, which usually changes from explosive creative bravura at the early stage to more well balanced, calculated and matured (at least according to optimistic scenario) moving towards the end of the cycle. London's "new" jazz isn't all that young anymore. It gave to the musical world a lot, partially returning streetwise youth culture in Europe to jazz as a fresh and creative music. This music is still really popular, but another new thing is already probably not too far. "Feeding The Machine" is still no way a swan song of the musical sub-culture, but very possible it's one of its mature monuments.

Latest Forum Topic Posts

  • Posted 2 days ago in the governor of Kurgan (Russia) criticized jazz
    The official accused American music of provoking depression and suicide in Russian citizens.The governor of the Kurgan region, Vadim Shumkov, seems to have found the root cause of depression, suicide, spiritual emptiness and quarrels among Russian citizens. The so-called "quasi-cultural vulgarity" was to blame for all this disgrace. The head of the region said on his channel that suicides and depression in the country are provoked by the fact that the children of Russians sing songs of the descendants of African-American slaves, probably referring to jazz and rock and roll:“Many of our children, grandchildren of the victorious people are already growing up, not knowing and not remembering their kind-tribe, singing songs written by the descendants of African-American slaves, often imitating and imitating in habits, language, being filled with frankly second-rate quasi-cultural vulgarity. Clinging to this secondness, being proud of it. Hence the growth of frank spiritual emptiness, depressions, suicides. Lack of meaning in life".Neglect of native culture leads to quarrels, writes Shumkov. He sees salvation in instilling in young people a love for their roots and the memory of their ancestors.The politician also attributed the underestimation of the importance of his native national culture, roots, national traditions to the causes of mental illness, spiritual emptiness and lack of meaning in life. The governor is convinced that the neglect of native culture and commonality with related national traditions leads to the fact that the biblical Cain and Abel again go brother against brother, hiding behind foreign “well-wishers”, for whom they are “white Papuans” and ordinary consumables.In social networks, they did not fail to recall in this regard the similar words of the Soviet leader Nikita Khrushchev, who, like all Russian rulers in general, considered himself an expert not only in politics or economics, but also in culture and was very fond of speaking out on a variety of occasions. Here is what Khrushchev thought of the great musical genre of the 20th century, jazz:“I don’t want to offend blacks. But, in my opinion, this music is Negro. I'm talking about jazz... Huh?.. What?.. That's when American jazz was performing, I was sitting with the American ambassador Thompson. I looked and I told him: "This is Negro music". I don't want to judge her. Each nation has its own traditions, and, apparently, they were born with it, they got used to it, they like it. But I was born in a Russian village. I was brought up on Russian music, folk music. Therefore, I am pleased to hear when the songs of Solovyov-Sedov are sung, although he is not Gray, but Solovyov.By the way, exactly 60 years ago, on December 1, 1962, he visited an exhibition of avant-garde artists in the Moscow Manege and was dissatisfied with the paintings presented:“...The leaders of the party and government examined the work of some of the so-called abstractionists. It is impossible without a feeling of bewilderment and indignation to look at a daub on canvas, devoid of meaning, content and form. These pathological quirks are a pitiful imitation of the corrupt formalist art of the bourgeois West... Such "creativity" is alien to our people, they reject it. This is what people who call themselves artists should think about, but create such “pictures” themselves that you won’t understand whether they are drawn by a human hand or painted with a donkey’s tail. They need to understand their delusions and work for the people…”from snobb2022-12-03 15:14:38
  • Posted 20 days ago in Short News/Views from Ukraine
    Two killed in explosion in Polish village near Ukraine border[TUBE]HEjMRe47nEk[/TUBE]Two people died Tuesday afternoon after a projectile struck an area where grain was drying in Przewodów, a Polish village near the border with Ukraine, domestic media reported.Polish Prime Minister Mateusz Morawiecki has called an emergency meeting of the country's top national security and defence officials due to a "crisis situation", according to government spokesman Piotr Mueller.
  • Posted 23 days ago in Hawkind Co-Founder Nik Turner Dead at 82
    Nik Turner, the English multi-instrumentalist best known as a member of the British space-rock band Hawkwind, has died. The news was announced on Turner’s Facebook page. “We are deeply saddened to announce the passing of Nik Turner – The Might Thunder Rider, who passed away peacefully at home on Thursday evening,” the statement read. “He has moved onto the next phase of his Cosmic Journey, guided by the love of his family, friends and fans. Watch this space for his arrangements.” Turner was 82 years old.Born on August 26, 1940 in Oxford, Τurner moved to the town of Margate, Kent as a teenager. After leaving for one voyage with the Merchant Navy, he traveled around Europe taking menial jobs, including a stint as a roustabout in a traveling music circus. Though he had two years of clarinet and saxophone lessons in the early 1960s, it wasn’t until he encountered some free jazz players in Berlin that he considered pursuing music seriously. “They convinced me that you didn’t need to be technical to express yourself,” he told Mojo in 1999. “I decided that what I wanted to do was play free jazz in a rock band – what I was trying to do in Hawkwind, basically.”In 1969, Turner initially offered to work as a roadie for the newly formed Hawkwind, but was soon invited to join the band. He went on to co-write some of their most popular songs, including ‘Brainstorm’ and ‘Master of the Universe’, but was kicked out in 1976 due to complaints about his playing over his bandmates. He briefly returned to the band in 1982 before leaving two years later.After being dismissed from Hawkwind, Turner traveled to Egypt, where he was given three hours to record himself playing flute in the King’s Chamber of the Great Pyramid of Giza. Upon his return to England, he assembled the band Sphynx with Alan Powell, Mike Howlett, Tim Blake, and Harry Williamson, and incorporated those recordings into a full album, Xitintoday, which came out in 1978. Many of the Sphynx musicians also appeared on the 1978 single ‘Nuclear Waste’, which featured lead vocals from Sting. Over the years, Turner released music with the projects Inner City Unit, Nik Turner’s Fantastic All Stars, and Space Ritual, the latter of which was active until his death. from [TUBE]2U05HunYjwM[/TUBE]


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