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Slava Gliožeris
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Favorite Jazz Artists

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785 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 260 3.65
2 Post Bop 82 3.51
3 Fusion 78 3.41
4 Eclectic Fusion 54 3.67
5 21st Century Modern 34 3.75
6 Nu Jazz 33 3.62
7 World Fusion 31 3.11
8 Jazz Related Rock 30 3.27
9 RnB 23 3.33
10 Hard Bop 22 3.32
11 Jazz Related Improv/Composition 21 3.55
12 Third Stream 17 3.47
13 Post-Fusion Contemporary 16 3.16
14 Progressive Big Band 16 3.81
15 Pop/Art Song/Folk 12 2.79
16 Vocal Jazz 10 3.15
17 Funk 9 3.39
18 Jazz Related Electronica/Hip-Hop 7 3.29
19 African Fusion 7 3.71
20 Jazz Related Soundtracks 5 3.50
21 Funk Jazz 4 3.38
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

MASAHIKO SATOH 佐藤允彦 Masahiko Satoh Trio : Transformation '69/'71

Album · 1971 · Post Bop
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Almost all of Japanese pianist Masahiko Sato's albums were released solely in Japan which means they are not easily accessible in the Western world. For those interested in the best Japanese jazz, his name is probably heard, but the problem is where to start with his prolific discography.

Being one of the very best Japanese jazz pianists of the last half-a-century (the other equal name is Yosuke Yamashita), Sato released plenty of albums, and they all are quite different stylistically. He was one of the leading stars of the early Japanese avant-garde jazz scene, switched towards fusion later, returned back to freer forms, collaborated with more modern electronics wizards, etc, etc.

Still, if you are new to his music, and want to chose the one album where to start, "Transformation '69/'71" is the place.

Side A is recorded in 1969 and the music is excellent post-bop, groovy and elegant, with Sato's original "Tigris" being almost a jazz standard level song. This material comes from exactly same sessions (March 17 and 20, 1969) which are presented on Sato's debut album "Palladium"(1969).

Side B is recorded with the same trio (including another Japanese avant-garde jazz scene legend drummer Masahiko Togashi and more straight and lesser known acoustic bassist Yasuo Arakawa), but two years later. The album's title comes from those two session dates and the second one is polarly different from the first one.

Still with some beauty and grace, the trio here plays knotty jazz with lots of air inside. As it is characteristic almost exclusively to early avant-garde jazz, being a free form music here radiates some spiritual energy and doesn't sound as formalistic experiment at all. It's interesting that "cosmic" effects on side B are produced by Togashi percussion, not early synth.

It doesn't evidence Satos' evolution from mainstream towards free jazz though, since during these same few years he played very different music (the good example of his r'n'b / jazz rock album is 1970 "Bridge Over Troubled Water").

This short (less than 35 minutes) album is a quintessence of Satoh's music, and it's sound quality is extremely high even for so high raised Japanese jazz recordings sound standards of the early 70s. Original vinyl is a rarity, but 2011 CD reissue (of same excellent crisp sound) being out of press still circulates on secondary market.

CHRISTIAN SCOTT (CHRISTIAN SCOTT ATUNDE ADJUAH) Axiom

Live album · 2020 · Eclectic Fusion
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Five years ago I saw Christian Scott playing live on his European tour with almost the same band (vocalist Isadora Mendez Scott is not on board, sax player Braxton Cook instead of current Alex Han and percussionist Joe Dyson instead of Weedie Braimah). He sounded quite similar to what is recorded on this newest album "Axiom", just here he sounds a bit better.

Exactly as during the gig I saw live, Scott speaks a lot, plays trumpet and manages his band well. Flutist Elena Pinderhughes is a night's star filling space with nice solos generally, not too knotty for the band's music. Lawrence Field's retro keys sound great and add a lot of 70s spirit.

Comparing with some of Scott's last studio albums, music here is much more organic, and that's for good. There is a groove and a lot of African percussion, and in general this album is not much different from today's popular London based African fusion influenced sound.

Exactly as during the concert I saw, songs here are quite long, being accessible and not too complex, the lengthiness can make the album simply sound a bit bulky as a result. Still, taking in account all the pros and cons, "Axiom" is probably the best Scott album I have ever heard.

MASABUMI KIKUCHI Feel You

Album · 1993 · Post Bop
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Piano player Masabumi Kikuchi, who passed away in 2015, was an unsung hero of multicultural American-Japanese jazz. Born in Tokyo in 1939 and living in New York from 1974, he went a long way on both US and Japan scenes, playing with greats such as Gil Evans, Elvin Jones, Joe Henderson and Terumasa Hino among many others. Masabumi experienced early fame as a leader playing then popular fusion in early 70s, and partially playing an early synthesizers jazz. From 90s, he became a member of Paul Motian band for decades still releasing his own albums extensively.

"Feel You" is one of Kikuchi's more obscure releases, recorded in New York and released in Japan and Germany. Here Masabumi plays as old school acoustic trio with lesser known Americans bassist James Genus and drummer Victor Jones. Stylistically covering large range of genres, "Feel You" is first of all true TRIO's album. Each member has his own significant voice here, and there is enough space for every one of them.

Album opens and closes with "Pain Killer"(I & II respectively). Funky memorable tune with deep wooden bass sounds as if the bassist is a leader of the trio. "Zig Zag" comes as true 70s post bop song with a spark, here (as well as on some others compositions) one can hear Kikuchi's moaning, not in such annoying way as Jarrett does, fortunately.

"Free Stroll" is mid-tempo freer piece, as it's title says, and the longest song on this album. Partially constructed as a dialogue between soloing piano and double bass with a support of drummer, this song is surprisingly accessible, even attractive despite of its quite loose structure.

"Little Treat" is a little ballad quite similar to such well known from Paul Motian's trio recordings (surprisingly, it is James Genus' original, the only other than Kikuchi's originals on this album, which besides of them contains two standards as well). "It Never Entered My Mind" is one of the standards (written by Hart & Rodgers), sounding here slightly melancholic and very airy.

Masabumi Kikuchi was known by his own very individual piano playing manner, when playing he's been leaving a lot of silence between separate notes. Some called his manner "a Japanese influence", he often wasn't agreeable with this tag, but as a result his music is very often quite meditative, with a touch of melancholy, but with a strict control over emotional coloring. Being a child of two radically different megalopolises, Tokyo and New York, Masabumi very often sounds as a lonely artist in a big city. Like Woody Allen in his movies, Masabumi paints his New York, just not from the Near East or Eastern Europe (Allen's heritage), but from his big city Zen-Buddhist roots.

"Up Beat Blues" actually is a brilliant post-bop piece with sultry sound demonstrating excellent collaboration between all three band members. "20th St. Shuffle" is an acoustic fusion of sort, where Kikuchi plays minimalist staccato piano over the drummer's fanfares, imitating a moving train's sound all song long.

Even if the album looks quite eclectic in genres on paper, in real life it sounds organic, united in one musical post from a capable and inspired trio.

Since both original vinyl releases (Japanese and European) are collectable rarities, the only existing reissue on CD (coming from Japan,2015) is probably easier and cheaper to find. Not really the album for newcomers, "Feel You" is interesting and valuable release for everyone who already found out the original beauty of Kikuchi's better known works and wants more.

CHARLES TOLLIVER Connect

Album · 2020 · Fusion
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Trumpeter Charles Tolliver made his name during the late 60s-early 70s, playing creative post bop in small bands with pianist Stanley Cowell and sax player Gary Bartz among others and co-founding an impressive progressive big band Music Inc. His albums from early 70s all are classics and sound pretty well even now.

From late 70s Tolliver disappeared from active recordings with a very few predominantly live recordings coming from 90s and 00's. "Connect" is his first studio album in fourteen years.

Recorded and released in UK, the veteran's album is of traditional 70s size - 39 minutes (or vinyl LP) long. It contains four Tolliver originals, some of them has been already heard on his more current albums in big band arrangements. His cross-generation all-American quintet (recorded in renown RAK studio during European tour) contains seasoned musicians bassist Buster Williams (played with Herbie Hancock and Archie Shepp among many others) and drummer Lenny White (of RTF fame), mid-generation altoist Jesse Davis and youngster pianist Keith Brown. Fashionable Brits tenor Binker Golding participates as a guest on two tracks.

Well recorded, music itself is quite conservative and recalls more early fusion era than second decade of a New Millennium. What is not necessarily a bad thing, just depending on the listener's taste. Compositions are tight, up-tempo, quite straight and not too knotty, just well played without any tricks. Fans of early fusion ca.72 will probably enjoy the sound which is really rare nowadays.

There are two reasons why "Connect" isn't as great an album as some of Tolliver's best works. First, compositions are not all that memorable, and second - drummer Lenny White (as almost always) sounds very much as rock drummer in a jazz band - heavyweight,straight-forward and non-subtle that doesn't add elegance to whole music at all. It's interesting that Binker Golding's, who is an artist of very different background and generation, soloing is quite successful and embellishes the song's sound a lot.

ANDREA MORELLI Andrea Morelli e Silvia Belfiore : DIFFRAZIONE

Album · 2020 · Third Stream
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Since the introduction of the term "third stream" in the early 60s, there were many recordings released trying to combine jazz and classical music, with mixed success. Way too often the two genres crossover sounded like classic compositions adaptating to more modern sound by adding jazzy rhythms and arrangements, or contrarily - moving jazz bands to the music hall and extracting from their music groove and joy, leaving bloodless sterile compositions.

There still have been some successful examples of the concept, and Italian reedist Andrea Morelli's "Diffrazione" is one of them. Taking twelve compositions, written by two grands of the transition era from classic music era to modern days, Frenchman Eric Satie and American Duke Ellington. He adapted them for modern chamber sax/flute - piano duo with great success.

Eric Satie, French composer known from his compositions for piano, written in the end of the 19th century, isn't all that often cited by jazz musicians. Recognized as an avant-garde composer of sorts by his contemporaries, Satie wrote many short pieces where he rejected the classic idea of musical development, building the basis for coming soon minimalism, but still leaving a lot of romanticism elements in it.

"Diffrazione" contains eight short Satie pieces (mostly all popular "Gnossiennes","Gymnopedies" plus "Sarabande" and "Je te veux", all written between 1887 and 1913), all played by the duo of Andrea and Italian pianist Silvia Belfiore. All of them are musical pieces of exceptional beauty, sounding slightly melancholic but without nostalgia, with an excellent level of emotional taste. Warm and deep chamber sound brings the listener to characteristic atmosphere of European salon on the edge of nineteen and twenties centuries, leaving the old world for soon coming modern one, with all its expectations and troubles.

The album content's other half - five Ellington songs (written between 1928 and 1967). They are ambassadors of a new world here - more rhythmical, obviously less related with old-European classic legacy, and - much more optimistic. Still, adopted for chamber duo, Ellington songs sound softer, better rounded and with many emotional colors, more common for European music.

Placed in the album's program as almost always interchanging, Satie and Ellington musical compositions always differ by their mood, but surprisingly well fit, balancing each other. Altogether, they build that fragile form of jazz and classic crossover which balances on the edge between two genres never crossing the borders and producing music of new quality.

On the album's closer - Ellington's "Angelica" - duo is extended to trio, adding drummer Alessandro Garau. This gives more rhythmic qualities to the composition, which is quite playful itself, and perfectly closes the program on joyful, optimistic note.

Album's title "Diffrazione" means "diffraction", or deviation of waves from main trajectory (the effect, first observed by Italian Francesco Maria Grimaldi, by the way). On Morelli "Diffrazione" the listener can observe the deviation from classical and jazz main trajectories with an elegance and big respect to the source.

You don't need to be a fan of jazz or classics, or both, you don't even need to know all this music terms and tags - this is the music for everyone, excellent combination of taste and master ship.

Latest Forum Topic Posts

  • Posted 27 days ago in Elton John Drops Jazzy ‘Come Down in Time’
    Elton John Drops Unreleased Jazz Version of ‘Come Down in Time’Rarity from Tumbleweed Connection is now available on limited edition 10-inch vinyl ahead of the release of Elton: Jewel Box[TUBE]i_xEALXGTfc[/TUBE]As part of the 50th-anniversary celebration for his album Tumbleweed Connection, Elton John has released a previously unheard jazz version of “Come Down in Time.”Recorded on March 20th, 1970, at Trident Studios in London, “Come Down in Time (Jazz Version)” more than doubles the length of the final version of the song, which was re-recorded three months later with different musicians for Tumbleweed Connection. The original jazz-influenced instrumental features piano and guitar interplay between John and Caleb Quaye, supported by David Glover on bass and Roger Pope on drums. At one point, producer Gus Dudgeon can be heard exclaiming “Very nice!” as the track breaks down into freestyle playing.The five-decade-old track was uncovered in the Elton John archives during research for his upcoming box set, Elton: Jewel Box, due out on November 13th via UME. “Come Down in Time (Jazz Version)” is available on 10-inch vinyl, limited to 5,000 physical copies, along with the B-side “Ballad of a Well-Known Gun (DJM Studio).”  Over the past month, John has been releasing other rare demos in preparation of Elton: Jewel Box, including the early demo of “Here’s to the Next Time.” He also appeared in Teyana Taylor’s new music video for “Lose Each Other.”from www.rollingstone.com 
  • Posted 32 days ago in Colosseum six-disc BBC sessions set on the way
    Pioneering UK jazz proggers BBC sessions from 1969-1971to be released in new collectionPioneering progressive jazz rockers Colosseum are to have a new, fully authorised six-disc collection of their BBC Sessions from 1969-1971 released through Repertoire Records later this month.Transmissions Live At The BBC features Colosseum sessions for BBC radio shows such as John Peel’s Top Gear, Sounds Of The 70s, Jazz Workshop and more and comprises some 60 tracks recorded between 1969 and 1971. It featurtes the earliest version of Colosseum with founder members Jon Hiseman, Dick Heckstall-Smith, Dave Greenslade and Tony Reeves joined by guitarist/vocalist James Litherland. Later classic line-ups include Dave Clempson on guitar with Chris Farlowe (vocals) and Mark Clarke (bass) with guest appearances by Barbara Thompson (sax/flute) and the New Jazz Orchestra.Much of the material has been rescued from the BBC and Colosseum archives, along with rare recordings by fans and enthusiasts. It has been painstaking collected, collated, restored and digitalised by the combined forces of historian and archivist Colin Harper and Jon’s daughter Ana Gracey. With liner notes by music journalist Chris Welch including new interviews with Dave Greenslade, Tony Reeves and Chris Farlowe.from www.loudersound.com snobb2020-10-25 04:12:42
  • Posted 34 days ago in Bonamassa channels Beck and Page on Royal Tea
    Joe Bonamassa's Royal Tea is meaty, beaty, big and bouncyJoe Bonamassa puts out a new studio album every two years, although he has been releasing an average of two albums a year for the past decade. These include live albums, collaborations with the likes of Beth Hart and sundry side projects, the latest being his instrumental outfit the Sleep Eazys. But it’s the studio albums that feed into his live shows, and lately Bonamassa has become more astute at finding a peg on which to hang. His 2018 album Redemption focused on salvation in various forms. Royal Tea was recorded at EMI’s prestigious Abbey Road Studios, something that apparently was always on his bucket list.[TUBE]G9z5iVNGeRA[/TUBE]He co-wrote the songs with his new best friend, former Whitesnake guitarist Bernie Marsden, with additional contributions from Pete Brown (Cream’s lyricist), Jools Holland and Dave Stewart. Ever-present producer Kevin Shirley then opted for a big sound that characterises the album from the outset, with a grandiose, sweeping orchestral arrangement on When One Door Opens, out of which Bonamassa emerges with a slow, portentous melody reminiscent of early King Crimson before abruptly crashing into a Beck’s Bolero-style riff. During the ensuing guitar antics his pedal board gets a vigorous work-out. Bonamassa knows what he does best and he is adept at reworking familiar traits to keep them fresh and invigorated. And there’s no risk of him repeating himself while new ideas are flowing at the current rate. That’s best illustrated on the album’s title track, a spontaneous-sounding hard stomp inspired by media coverage of Harry ’n’ Meghan’s royal bust-up. His guitar veers almost subconsciously between Jeff Beck and Jimmy Page, while the lyrics gamely try to make sense of it all.[TUBE]PZyIouoc5pY[/TUBE]His regular band are energised by the big production as well, particularly drummer Anton Fig who gets a huge, fat-but-flat sound. Meanwhile, bassist Michael Rhodes gets his moment with a wicked sludgy riff that sets up the Zeppish Lookout Man, and keyboard player Reese Wynans revels in the rhythm of High Class Girl, a souped-up Green Onions. The album ends with Lonely Boy, a rockabilly break-out for which Jools Holland is probably to blame, although the band need no encouragement and Bonamassa is inspired to try a couple of Django Reinhardt riffs. The best thing about Royal Tea is that every track could easily drop into Bonamassa’s live show – which is more than you can say for Redemption. Back on track in every sense.from  www.loudersound.com

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