snobb

Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

692 reviews/ratings
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 Jazz Related 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
ROSCOE MITCHELL - Conversations I (with Craig Taborn & Kikanju Baku) Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 244 3.69
2 Fusion 83 3.50
3 Post Bop 79 3.58
4 Eclectic Fusion 43 3.72
5 Jazz Related Rock 32 3.30
6 Nu Jazz 28 3.59
7 Hard Bop 28 3.46
8 World Fusion 25 3.04
9 Jazz Related Improv/Composition 23 3.59
10 21st Century Modern 21 4.00
11 Third Stream 15 3.50
12 Post-Fusion Contemporary 15 3.17
13 Progressive Big Band 13 3.77
14 Jazz Related Pop/Art Song/Folk 9 2.94
15 Vocal Jazz 8 3.06
16 Jazz Related DJs/Electronica 5 3.40
17 Jazz Related Soundtracks 4 3.25
18 Funk Jazz 3 3.50
19 Jazz Related RnB 3 2.33
20 Latin Jazz 2 3.50
21 Acid Jazz 2 3.75
22 Big Band 2 2.75
23 Exotica 2 3.00
24 Jazz Related Blues 1 2.00
25 Jump Blues 1 3.50
26 Soul Jazz 1 3.50

Latest Albums Reviews

KATE GENTILE Mannequins

Album · 2017 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
Kate Gentile is New York-based drummer who already played with Anthony Braxton, John Zorn and more important - Tony Malaby,Kris Davis,Matt Mitchell and Chris Speed, among others. "Mannequins" is her surprisingly mature studio debut leading a quartet playing her compositions.

Tim Berne's pianist Matt Mitchell is probably best known of quartet members (he's doubles on Prophet 6 synthesizer and electronics here).Two other members are acoustic bassist Adam Hopkins and tenor/clarinetist Jeremy Viner.

Being a classic jazz quartet by line-up, Gentle's band plays far not so classic jazz though. Complex,mostly groove-less and swing-less songs by their aesthetics fit well somewhere between contemporary classical music and (non-jazz) avant-garde, that's improvisation and soloing what gives this music the right to be classified as "jazz".

Comparing with other modern days recording of similar genre (starting from some Tim Berne works to "New York new avant-garde jazz" to same Matt Mitchell solo works), Gentle's music sounds cooler,better controlled and more ... calculated. Fortunately, there are lot of internal emotions in playing and cold surface always hides internal tension and energy.

Surprisingly enough, "Mannequins" sound quite similar to post-rock - just played by very technical jazz musicians converting genre's simplicity to modern jazz complexity but leaving post-rock "static" atmosphere and rational calculated sound.

Excellent album for everyone with open ears and interested in most current creative jazz.

AKIRA SAKATA Akira Sakata & Chikamorachi with Masahiko Satoh : Proton Pump

Live album · 2018 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
On the new "Proton Pump", two Japanese living legends - reedist Akira Sakata and pianist Masahiko Satoh, perform with the younger generation American rhythm duo of Chikamorachi (bassist Darin Gray and drummer Chris Corsano) - live in Tokyo.

Satoh was a key figure in Japanese free jazz in the late 60s-early 70s, who later flirted with fusion and still releases albums time to time. Akira Sakata was another Japanese celebrity, playing with Yosuke Yamashita trio for years, later he started a solo career and is surprisingly active till now - he's possibly the best avant-garde jazz sax player in modern Japan.

Americans Chicamorachi were founded in 2005 and are very prolific, playing with the world's leading free improv artists, such as Jim O'Rourke, Merzbow, Keiji Haino among others.

"Proton Pump", recorded more than two years ago, is a classic avant-garde album of the old school. Starting from the cover art radiating the spirit of the early 70s, and finishing with a clear perfectly mixed worm sound. Sakata is the dominating figure here, with his mad genius screaming sax solos and shamanic vocalizations, but the whole quartet is simply of the highest class. Satoh plays high energy piano out of his trade-mark "science as significant part of the music" which sounded revolutionary in 1969, but too often destroys many of his later albums. Chicamorachi sound muscular, young and hungry - they add strong modernity scent to the surprisingly unsentimental music of two Japanese veterans.

Just four songs (vinyl album's size - as if CD format still doesn't exist!), perfectly played, well executed, all the time variable, but under full control of the band. A lot of tunes have almost lyrical sax timbres at moments - and not even the smallest trace of nostalgia.

This album is a really rare example of when generally over-explored and too often repetitive music sounds fresh, as if half of this century hasn't already passed.

SONS OF KEMET Your Queen Is A Reptile

Album · 2018 · World Fusion
Cover art Buy this album from MMA partners
They say there's no jazz for young people? Wrong, just look at the burgeoning London jazz scene! British-Caribbean reedsman Shabaka Hutchings rules there with his space jazz project, Comet Is Coming, plus Afrobeat Ancestors and the spiritual jazz of Sons Of Kemet.

New "Sons'..." album (already third) is just released and it burns. If Shabaka's "Comet..." is hardly jazz in traditional sense with lot of danceable electronics, "Sons..." music is rooted in jazz tradition for sure. Its an unorthodox band containing sax player, tuba player and two drummers playing music which comes right from the Paris clubs of the late 60s (Art Ensemble of Chicago's early European years) and London's Notting Hill of the late 70s (read - 2-Tone ska). Add modern rap on some songs (in a nod to the Afrocentric poets of the late 60s) - there it is.

Even more - "Your Queen Is a Reptile" is a politically sharp criticism on the British Monarchy, growing nationalism and anti-immigration moods. By its atmosphere this music is closer to BLM and anti-fa punk than more conservative jazz. Shabaka builds his own Monarchy by coronation of more or less known black women (incl. activist Angela Davis, Harriet Tubman, Ashanti queen mother Yaa Asantewaa and yes - his own great-grand mother Ada Eastman among others). Possibly surprising, the album's music is not particularly angry at all, more relaxed and even danceable in moments.

Right from the very first seconds of the opener, "My Queen is Ada Eastman", the listener is caught by the drummers' African rhythms and sax/tuba tight collaboration (ok, vocalist Joshua Idehen's rap is a matter of taste, but many will dig it). Then you get Caribbean tunes, dub and more African rhythms - all spiced with quite free jazz sax and tuba solos. Different from decades of modern jazz evolution, where complexity is usually a mandatory attribute of the genre, "Sons..." keep their music in the pocket.

The single (and one of the strongest album's songs) "My Queen Is Harriet Tubman", has been released prior to the album's release and received strong media exposure, start on this one in case of doubt. It's interesting that the album itself is released on legendary in past "true" jazz label "Impulse!", home for John Coltrane and Pharoah Sanders among many other jazz greats of their generation.

Here is a jazz for our modern days, returning back to the streets, and away from concert halls, arrogant city intellectual clubs and marginals fests, becoming people's music as it was in the late 60s (and as it was with the punk/ska explosion in London in the late 70s).

TON-KLAMI Paramggod

Album · 1995 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
Three years after their debut at the German Moers Festival (recorded and released in Japan in 1993), the Ton-Klami trio returned to the studio to record their first (and only) studio album. The same line-up (Japanese avant-garde legend pianist Masahiko Satoh, leading Korean reedist Kang Tae Hwan and lesser known Japanese percussionist Midori Takada) are improved here on three songs with New York downtown unorthodox reedist Ned Rothenberg (on alto sax and bass clarinet).

Ton Klami generally play the same music they presented on their debut album, just here on "Paramggod" it sounds more mature with better interplay - and a much improved recorded sound. In the early stages of Japanese jazz, one of the more important (philosophical) problems was whether Japan could have its own unique take on jazz, or would they just be copying Western artists. Besides percussionist Masahiko Togashi, pianist Masahiko Satoh was one of the first Japanese artists who was trying to find a specific Japanese way of playing jazz. In the mid 70s, a lot of those experiments were quite formal, but here on this album, one can hear that Japanese (or being more correct - Far Eastern) jazz exists with no doubt. Thanks to the very original Tae Hwan and his sax improvisations (very "out", cool and dzen, at the same time being very close to Western free jazz traditions), this trio's music sounds as unique as you can only imagine, a true Asian take on free jazz. Satoh himself plays in his usual manner, combining European (German) technocratic/teutonic piano sounds with some Japanese meditative atmosphere.

Guest reedist Ned Rothenberg's participation on three compositions gives some additional attractiveness, fortunately his improvs are ascetic and fit well with the main trio's building atmospheres.

One of better Satoh albums from the 90s, it's just a pity the Ton-Klami trio didn't recorded more music after this release.

TON-KLAMI In Moers

Live album · 1993 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
After some more or less successful fusion releases and a series of neoclassical piano albums released during the late 70s and 80s, Japanese early avant-garde jazz legend Masahiko Satoh returned back to his roots in the early 90s, forming Ton-Klami trio with Korean reeds player Kang Tae Hwan and lesser known Japanese percussionist Midori Takada.

The trio's debut album is their live recordings from the Moers Festival in Germany 1991, released that same year by Nippon Crown in Japan. Without a doubt, besides Satoh, the other interesting musician on this recording is Tae Hwan (playing exclusively alto sax here). Korea isn't a jazz friendly country even now, in the early 90s there were very few musicians playing jazz there at all. Reedist Kang Tae Hwan is probably the best known of them all, at least outside of the country. His sax sound is very different from any Western sax player, dry and very "out", strongly influenced by East-Asian musical traditions and Buddhist culture. At the same time, he is a real free jazz musician without overt sounds from other music.

Masahiko Satoh is known for his cold, technical piano playing. Here on this album he is even more formal, combining "teutonic" free improvisation with academic musicianship. Percussionist Midori Takada is obviously in the supporting role to the two leaders, who don't always interplay successfully. It's even more strange that here in this live recording, in fact all concert long, Satoh and Tae Kwan exchange with each other on solos almost without having a common ground for their music.

A few years later this trio will release their next album, a studio one this time, with guest New York reedist Ned Rothenberg, who demonstrates a much better communication and really better realized potential. Still, on "In Moers", they demonstrate some raw ideas more than real musicianship.

For Tae Kwan though, this collaboration was an important step towards his quite successful international solo career.

Latest Forum Topic Posts

  • Posted 3 days ago in "Investigate Russia" - Morgan Freeman
    Trump Now Says He Accepts U.S. Intelligence Reports on Russian Election Meddling  WASHINGTON — Under unrelenting pressure from congressional Republicans, his own advisers and his allies on Fox News, President Trump abruptly reversed course on Tuesday and claimed he had misspoken during a news conference with President Vladimir V. Putin about whether Russia tried to influence the 2016 presidential election.Mr. Trump, reading from a script, said he believed the assessment of the United States’ intelligence agencies that Russia had interfered in the campaign after having seemed to have accepted Mr. Putin’s assertion the day before that Russia was not involved.The misunderstanding, he said, grew out of an unsuccessful attempt to use a double negative when he answered a question about whether he believed Mr. Putin or his intelligence agencies.“My people came to me,” he said Monday in Helsinki, Finland. “They said they think it’s Russia. I have President Putin; he just said it’s not Russia. I will say this: I don’t see any reason why it would be.”On Tuesday, he said that he had misspoken. “The sentence should have been, ‘I don’t see any reason why it wouldn’t be Russia,’ sort of a double negative,” Mr. Trump said. “So you can put that in, and I think that probably clarifies things pretty good.”He also insisted that he has “on numerous occasions noted our intelligence findings that Russians attempted to interfere in our elections.” He did not mention the far greater number of occasions on which he has sown doubt about whether Russia meddled.Mr. Trump also did not retract or explain his withering attack on the F.B.I. and the Justice Department for investigating his campaign’s ties to Russia. He did not withdraw his assertion, standing next to Mr. Putin, that the Russian leader had offered an “extremely strong and powerful” denial of involvement during their two-and-a-half-hour meeting. And he did not amend his answer to a question about whether he believed Mr. Putin or officials like Dan Coats, his director of national intelligence.Mr. Trump said there were “two thoughts” on the matter, and, “I have confidence in both parties.”By nightfall, Mr. Trump appeared to regret the clarification, writing on Twitter that the “meeting between President Putin and myself was a great success, except in the Fake News Media!”The news conference on Tuesday was a hastily arranged, somewhat haphazard effort to defuse a sudden political crisis that had eclipsed the president’s trip to Europe and his meetings with Mr. Putin and the leaders of NATO members and threatened to overwhelm the White House. Dozens of Republicans distanced themselves from the president’s remarks; Democrats called for hearings; and some critics even suggested his conduct, on foreign soil, rose to the level of treason.from www.nytimes.com  snobb2018-07-18 00:50:14
  • Posted 4 days ago in "Investigate Russia" - Morgan Freeman
    snobb2018-07-17 10:31:54
  • Posted 8 days ago in “Chunga’s Revenge” Returns to Vinyl After 30 Years
    Zappa Records/UMe will reissue Frank Zappa's 1970 album, Chunga's Revenge, on vinyl for the first time in over three decades on July 20, as part of the Zappa Family Trust and UMe's ongoing initiative to restore the iconoclast's iconic catalog.Chunga's Revenge was one of three albums that the highly prolific composer-musician released in 1970, following Burnt Weeny Sandwich and Weasels Ripped My Flesh. The album, which resulted from various sessions during that year, introduced a new Mothers lineup and marked the first appearance of former Turtles members, bassist Jeff Simmons and keyboardist-trombonist George Duke, also known as Flo & Eddie, on a Zappa record. The record ebbs and flows between instrumental and vocal tracks and, as noted by Zappa himself on the original sleeve, "all vocals in this album are a preview of the story from 200 Motels," his acclaimed film and soundtrack released the following year.From the funky guitar of opening track "Transylvania Boogie" to the jazzy "Twenty Small Cigars" to "The Nancy & Mary Music," the almost 10-minute long three-part improvisational suite recorded live that sees each band member flexing their musical muscles for a freewheeling freak-out of epic proportions, Chunga's Revenge is an eclectic affair that sees the ever-restless Zappa and his Mothers traipse through a variety of genres with aplomb. Other tracks include the bluesy send-up "Road Ladies," side B opening hard rocker "Tell Me You Love Me," warped pop tune "Would You Go All the Way," and the two closing tracks "Rudy Wants To Buy Yez a Drink" and "Sharleena" that particularly showcase the vocal talents of Flo & Eddie.Unavailable for three decades, the last pressing of Chunga's Revenge was in 1986 for Zappa's rare Old Masters Box Two released on his own Barking Pumpkin Records label. The LP will receive a 180-gram audiophile repressing on black vinyl, was specially mastered with all analog production and cut directly from the original 1970 analog master tapes, and will include meticulously reproduced original artwork. A limited edition color vinyl version is also in the works to be released on the same date.from www.jazziz.com

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