Slava Gliožeris
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587 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 196 3.53
2 Classic Fusion 80 3.39
3 Jazz Related Rock 42 3.20
4 Post Bop 40 3.49
5 (Post-70s) Eclectic Fusion 39 3.49
6 World Fusion 36 3.15
7 Nu Jazz 34 3.46
8 Jazz Related Improvisation 16 3.59
9 Post-Fusion Contemporary 16 2.91
10 Hard Bop 14 3.39
11 DJ/Electronica Jazz 9 3.00
12 Progressive Big Band 9 3.67
13 Third Stream 9 3.33
14 Vocal Jazz 9 3.06
15 Jazz Related RnB 8 2.75
16 Latin Jazz 6 2.75
17 Jazz Soundtracks 5 3.20
18 Pop Jazz/Crossover 4 2.00
19 Funk Jazz 3 3.33
20 Exotica 2 3.00
21 Jazz Related Blues 2 2.25
22 Acid Jazz 2 3.00
23 Big Band 2 2.75
24 Afro-Cuban Jazz 1 4.00
25 Latin Rock/Soul 1 3.00
26 Jump Blues 1 3.50
27 Soul Jazz 1 3.00

Latest Albums Reviews

ARCHIE SHEPP Tray of Silver

Album · 1979 · Hard Bop
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Late seventies were the time when world is turned over for all generation of yesterday adventurous jazz stars who became famous in late 60s and continued to enjoy success in early 70s. Musical fashion has been changed dramatically and one morning many of them woke up jobless,sometime even homeless and as rule - useless.Not so many of them survived these and upcoming years successfully, fortunately Archie Shepp did. To pay his bills he just started to record music on request,playing what labels wanted him to be played. During second half of decade Shepp released lot of albums of varied quality and even more varied stylistic, but what helped him to survive that difficult time was good old hard bop (not so obvious choice for Shepp who didn't come to late 60s avant-garde jazz from hard-bop scene, as many others,though).In some European scenes and more important - in Japan hard bop just displaced rapidly disappearing avant-garde jazz for some years, Archie Shepp found his new listener here.

From impressive amount of Shepp releases coming from mentioned era there are some still very adventurous albums,lot of hard bop based music with still his freer touch here and there and few very straight works, "Tray Of Silver" is one of them.

Four quite long compositions, three of which are Horace Silver originals, acoustic boppish quartet with Yusef Lateef and Horace Silver himself drummer Roy Brooks,one-time Art Blakey Jazz Messangers pianist Mickey Tucker,Gil Evans tuba/baritone player Howard Johnson and Japanese bassist (who released album with Herbie Hancock on same Denon label two years ago).Recorded in Tokyo's studio, album has characteristic warm,deep and clear "Japanese" sound. All musicians are high-class so the music is well played but biggest surprise, at least for old Shepp's fans is how safe he plays here. If on many his other hard bop - based albums from the same time he doesn't avoid risky improvisations and even some dissonant,explosive soloing, on "Tray Of Silver" he plays extremely straight,note by note. Fortunately,album is not a collection of late night smokey bar - type nostalgic ballads, there are some mid-tempo quite energetic numbers, and included ballads themselves don't sound too sticky.But being extremely safe,all music becomes quite faceless, just another tunes played by skilled but not very original band.

Hardly an interesting addition for those loving adventurous Shepp, it's still better-than-average hard bop album,not all that inspired, but well played and recorded.

GYÖRGY SZABADOS Szabados György / Roscoe Mitchell: Jelenés (Revelation)

Live album · 1998 · Avant-Garde Jazz
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Hungarian avant-garde jazz pianist György Szabados,leading his "Royal Hungarian Court Orchestra"(MAKUZ) for decade,plays on this excellent album live show with Art Ensemble of Chicago sax player Roscoe Mithell. Live album contains three long compositions, recorded in Budapest Thalia Theater in 1996.

Two first are Szabados originals,each lasting more than 26 minutes. Characteristically for all Gyorgy's music, them both are tightly composed,with strong Central European classic influence and full of Hungarian folk soul,rhythm and sparks. MAKUZ (originally fluctuating line-up band) here contains some best Hungarian jazz musicians on board, including reedist Mihály Dresch,acoustic bassist Róbert Benkő and violinist Ferenc Kovács among other.Lead by Szabados and playing together for years, band demonstrates telepathic relations on Szabados compositions they obviously know perfect.Mitchell is obvious newcomer to this music and it's interesting how he's finding his way to participate.On "Motif",divided between MAKUZ almost groovy and quite free if tuneful parts and Szabados well-composed chamber sounding moments,Roscoe adds one of his most soulful and tuneful alto solos sometimes dueling with Dresch tenor.

Revelation is another well-composed song,but this time main accent is Hungarian folk roots, from Szabados shamanic ritual singing to plenty of so important to any Hungarian music violin soloing. Kovács demonstrates real magic here very successfully balancing between complex almost chamber composition's construction and almost dance-able Csárdás fest. He still never cross this dangerous border,separating tasteful folklore from music for tourists.As on previous song, Mitchell participates in few places adding fantastic clear and tuneful sax solos,then all music generally quite massive and very European,in seconds becomes lighter,more playful and full of American jazz blood.

Albums closer,shortest but still over 18-minutes long composition is free improvisation, dedicated to Roscoe's Art Ensemble Of Chicago(AAoC) music.It leaves all chamber seriousness aside and now it's true free jazz jam. Dresch plays bass clarinet,rhythm section with two percussionist imitate something what could be counted as "small instruments" and even Szabados adds fast and non-all-that serious piano improvs. All music here recalls early very free AAoC works,still European section are obviously too heavyweight and anchored to reach real AAoC playfulness.

Recording sound is quite clear,just mix could be better-balanced - with reeds on the front,Szabados piano sounds as it's placed backstage as a result lot of Szabados excellent playing nuances are missing.

SEI MIGUEL Salvation Modes

Live album · 2014 · Avant-Garde Jazz
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For enthusiastic jazz fans, who as me listen to tens or even hundred of new releases every year,this problem is most probably well known - your ears can more and more easily separate excellent musicians from not so good ones,you can recognize more and more even small nuances in your music, but at the same time you evidence that terrible "sameness" of all modern jazz. Main field of unexpected experiments lies somewhere in grey zone of quirky and generally very non-musical improvisations,huge part of which should be tagged as aural/sounds/instrumental freaksperimentation and it hardly adds any valuable experience to modern jazz.There as rule are released a few really good modern jazz albums every year and each of them are true event."Salvation Modes" is not just one among best this year releases,it's extremely rare jazz album,containing new good jazz!

French-born and long-lived in Brazil trumpeter Sei Miguel is well known to extremely small crowd of good modern jazz fans. Or in other words,being a Portuguese (where he lives for years)jazz celebrity,often called "Portuguese avant-garde jazz godfather" he is almost unknown outside of the country. Sei released his debut album (already in Portugal) being 27 years old(in 1988) and since that in his discography containing more than ten albums there's only one released outside of Portugal (on active but minor Lithuanian NoBusiness Records).So it's not strange if you never heard his name before.

To be honest,from previous two or three Miguel albums I heard before I had very controversial feeling: too often he sounded as mad genius,playing music for the parallel world. This new Clean Feed release placed everything to its places - it's almost masterpiece.

Three long compositions,all coming from previous time, but newly recorded with three different groups.All music is liquid,slow but never lazy,quite cold very free but at the same time well-controlled. Most important thing here is most probably Miguel comes from some untypical background where all musical elements are combined in slightly unusual manner for excellent result.

Album's opener "Prelúdio E Cruz De Sala" is longest track lasting more than 27 minutes. It's played by electro-acoustic quartet,containing besides of Sei his regular guitarist Pedro Gomes,percussionist César Burago and trombonist Fala Mariam. From very first sounds music reminds early electric Miles fusion,aerial,liquid,but not psychedelic,more dark ambient influenced cold,well calculated,almost industrial by sound's aesthetic. Differently from ambient music, lot of things happens here all the time adding lot of life to musical mass viscosity. In moments this music recalls early Bill Dixon third stream - related music, just here it goes more far from its roots. Third stream in dark ambient age. Somewhere after 23 minute when listener doesn't expect big changes in flow processed scratchy guitar's sound breaks musical mass to two parts by real industrial scratchy drill increasing sound intensity and tension to maximum.

Second composition "Fermata" (titled by catastrophic earthquake in Latin America some decades ago)is played by different quartet: this time Miguel collaborates with same as above percussionist César Burago (using radio for producing lot of radio air noises), adding double bass Margarida Garcia (using specific twin bass) and organist André Gonçalves. Shortest album's composition (under 10 minutes long) are minimalist,slow but full of energy. Radio air noises build background for precise trumpet's and percussion's soloing acupuncture,when bass builds minimalist but almost mainstream rhythm structures. Hammond organ doesn't sound as if you're listen to 70s soul jazz at all - most often it's used to generate some sounds and noises as alternative to electronic effects.

Final album's composition "Cantata Mussurana" lasts 18 minutes and is played by largest collective. Here Sei uses two bandeonists,traditional bass section (drummer plus electric bassist),his regular guitarist Pedro Gomes,violinist Ernesto Rodrigues,trombonist Fala Mariam,Rafael Toral on sound effects and - a vocalist! Kimi Djabaté narrates and sings Creole purification ritual text translated from French to Portuguese. This composition is well framed and anchored by almost funky if extremely slow bass,and as both previous flows slow with even more tension,nervous atmosphere,lot of percussion,guitar and especially trumpet sounds around.It very successfully transfers New Orleans shamanism to new era urban sound without destroying it and without even a smallest traces of kitsch or imitation.It's dark,it's heavy,it's genuine,it's original - and it works.

"Salvation Modes" is easily one of the best albums I heard this year. Take "Bitches Brew",add early Bill Dixon third stream avant-garde aesthetics,mix with dark ambient,industrial,Don Cherry pocket trumpet,remove all 60s/70s elements (psychedelia,guitar soloing,etc,etc),filter using "less is more" formula and forget all cliches - this is "Salvation Modes",with no doubt most original album of true adventurous jazz I heard this year.

ANTHONY BRAXTON Triotone (with György Szabados / Vladimir Tarasov)

Live album · 2005 · Avant-Garde Jazz
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Leo Records founder and owner one-time professional high-jumper Russian Jew and former Soviet Union-immigrant to Israel and later to Britain Leo Feigin (real name Alexey Leonidov) made his name in early 80s releasing Soviet underground artists recordings in the West (many of materials were collected by him during his visits of former homeland and illegally crossed "Iron Curtain" since such kind of music never has been legal in Communist Empire. His biggest success were very first releases of Lithuanian Ganelin Trio, who at one moment became hottest collective coming from Eastern part of Europe, or even from all Europe (on the wave of upcoming "Perestroika" - are someone around who still remember what does it means?). Established in UK in 1979, the label later became a prolific producer of avant-garde jazz albums from all-world artists.With big respect for Leo's (the man and the label) activities on early stage, I personally have been quite often disappointed with their releases. Working exclusively with already recorded materials,Leo releases lot of music (very often recorded by well-known artists)using it just "as it is" - without serious editing,with very varied sound and mix quality,etc. All these collections of out-takes,rehearsal and concerts board-recordings often have importance for collectors,but can disappoint fan searching for well recorded valuable album. Still sometimes Leo brings as music which would be hardly released anywhere else, and part of it is really valuable.

"Triotone" is one of such albums, unique trio live recordings, coming from small place (even not a town - just village) in Vojevodina,Northern province of Serbia. After-Yugoslavian Serbia is hardly a jazz-heaven, even if there exists some regular jazz festivals and few bigger jazz concerts happens every year(as rule its are fusion or more mainstream jazz you can here there). At the same time in Kanizsa (or Magyarkanizsa,how local Hungarian minority call this place) year after year some world-level advanced jazz grands come to play on annual fest,organized by local Hungarians,most Western-oriented nation in all Serbia.

Even if one of living legends sax player Anthony Braxton is stated as trio's leader (what is understandable from marketing point of view), this album is mostly Hungarian pianist and composer Gyorgy Szabados brainchild. Being almost unknown outside of his home-country,Gyorgy(who passed away in 2011) was Hungarian piano avant-garde god-father. Classically trained,he combined in his music so characteristic for Hungarian musicians Bartok-influence with European free jazz tradition and Transylvanian folklore roots.All music on this album (including 32-minutes long opener Trioton) is written by Szabados (and differently from many free jazz mostly improvisational recordings music here is really composed).Gyorgy plays his trademark technical but lyrical piano sounding close to chamber music.

There is no need to introduce Braxton - but this album has some exclusivity touch: during many years if not decades one can hardly find any recordings where Anthony doesn't play as leader, and even more - play music,composed by other musician. All that one can find on "Triotone" and it's really very interesting how Braxton sounds as sax player - collaborator.

If Szabados and Braxton already had one album,recorded together some years ago, former Ganelin Trio's drummer Vladimir Tarasov is new person here. His after-Trio career has been divided between drummer's seat in Lithuanian Symphonic Orchestra,teaching in Vilnius Music Academy and developing multi-genre audio-visual installments art, still with regular playing in different (usually one-event) jazz-projects of untypical format. Vladimir made Vilnius his home when I was 5 (born and living in same town), since that time I had perfect possibility to evidence his musical development during bigger part of half-century. From Ganelin's Trio free-jazz drummer he became free improvisational artist with unique his own techniques,which are not always all that related with jazz tradition.Here on "Triotone" he plays almost same music what he plays when illustrates cinematic video-installations in Modern Arts Center in Vilnius - quirky free-form but very fragile rhythmic soundscapes,which not always fits well to Braxton/Szabados quite massive musicianship, but from other hand with no doubt works as very surrealistic decorations.

Musically, album is based around it's opener - 32-minutes long Szabados "Trioton" suite, well-composed in Gyorgy's Bartok-plus-Magyarfolk manner, quite chamber,lyrical and melodic,with dramatic touch.Still Braxton's surprisingly fresh and active sax improvisation over piano sound and mega-layered Tarasov rhythmic constructions decompose suite making it a composition of avant-garde jazz, not chamber piece anymore. Four rest compositions (little more than 20 minutes long both together) are just nice miniatures adding some accents but has no chance to overweight concert's opener.

Recorded sound is quite good (as for filed recording),Szabados piano playing is one of his top. Braxton sax soloing takes less that everyone would like to have, but he demonstrates excellent form on its. Tarasov's drumming doesn't always really fit,but his originality compensate it.In all - really interesting work, partially for Braxton "jazzy" side fans, but even more for those who can find out for themselves such possibly new names as pianist Gyorgy Szabados and drummer Vladimir Tarasov.

STEVE LACY Prospectus (aka Clichés)

Live album · 1983 · Avant-Garde Jazz
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Some people say Steve Lacy played few same tunes all his life. Speaking formally about compositions, it's difficult do not agree with that,even more - playing few same tunes lot of times he tried to record them again and again,so his really extended discography partially contains of ten or so his own "standards".But - everyone more familiar with Lacy music will agree that one can hardly find on his releases these compositions sounding too similarly. Even on his sax solo recordings (there are quite a lot of such type of releases)same songs usually sound very different.

Here on double vinyl,coming from early 80s (who said 80s were a dark time for adventurous jazz? Lacy simply doesn't care about time's fashion)Lacy plays mostly compositions from his "golden fund", as often. But what an album it is! If for many fans (including myself) Lacy's music usually associates with tuneful but ascetic/minimalist sound,usually played by small band (from solo to duo to trio),here Lacy leads sextet improved with George Lewis on trombone. And from album's music one can easily hear that here plays really small orchestra - sound is full-bodied,richly arranged,with muscular bluesy rhythm section. Interplay between band members are telepathic,they obviously enjoy their playing so all quite a long album sounds as one jazz fiesta (material is recorded live in France and live informal atmosphere adds a lot, on weak side recording's sound quality is only average).

So, Steve and Co. play his "Stamps" and "Wickets" and "The Dump",side-long "Clichés"(with "Cyrille Few and his friend"(?!)on percussion), "The Dump" again, but all same songs sound totally different played by this powerful band (often all this music sounds just like freer and more atonal and distorted. Lacy on soprano and unusual alto together with Lewis's trombone on front of sound demonstrate fantastic playful soloing anchored by more conservative rhythm section. Irene Aebi sings (in her specific classic-influenced manner) on few songs as well.Hour and half of very enthusiastic musicianship doesn't continue too long,one can hardly find even short boring moment here.

Reissued in 1999 on CD,original album lost part of its content (there was not enough place for two wholly filled vinyls on single CD),but generally became a bit more concentrated and better edited.Both versions are excellent place to start for everyone interested in Lacy's bigger bands music.

Latest Forum Topic Posts

  • Posted 16 hours ago in What are You Listening II
    Isn't Blixa a Nick Cave's collab ?
  • Posted 5 days ago in What Are You Listening To
    [QUOTE=js]Bewildered hippies watch the MC5 "Kick out the Jams".[/QUOTE] would like to be there 
  • Posted 5 days ago in What Are You Listening To
    [QUOTE=Matt][QUOTE=snobb]Potpourri on classic Pink Floyd themes played by some previous band members ,plus many guests. Spiced with soulful and simple as usual David Gilmour guitar solos, produced by great Phil Manzanera in style,imitating new age, without being true new agememorabilia  [/QUOTE]I like it Slava, much better than I expected.[/QUOTE] for me it all sounds as I already heard it all - there are lot of themes and tricks coming from different previous albums, and nothing different (I don't say new) at all. Most probably if it would be band's debut (I mean just deleting all their legacy from our heads) it would be quite good album on its own manner. 


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