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Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

602 reviews/ratings
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 Pop Jazz/Crossover | review permalink
KAZUTOKI UMEZU - Eclecticism (Post-70s) Eclectic Fusion | review permalink
JAN GARBAREK - Afric Pepperbird Avant-Garde Jazz | review permalink
DAVID TORN - Polytown Nu Jazz | review permalink
MASADA - 50⁴ (Electric Masada) (Post-70s) 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) 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
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 198 3.67
2 Classic Fusion 76 3.52
3 Post Bop 70 3.59
4 (Post-70s) Eclectic Fusion 36 3.71
5 Jazz Related Rock 33 3.29
6 Nu Jazz 26 3.56
7 Hard Bop 24 3.50
8 World Fusion 23 3.11
9 Jazz Related Improv/Composition 21 3.57
10 21st Century Modern 14 4.04
11 Third Stream 14 3.46
12 Post-Fusion Contemporary 13 3.12
13 Progressive Big Band 12 3.79
14 Vocal Jazz 8 3.06
15 Pop Jazz/Crossover 8 2.94
16 DJ/Electronica Jazz 5 3.40
17 Jazz Related Soundtracks 4 3.25
18 Jazz Related RnB 3 2.33
19 Funk Jazz 3 3.50
20 Latin Jazz 2 3.50
21 Exotica 2 3.00
22 Acid Jazz 2 3.75
23 Big Band 2 2.75
24 Jazz Related Blues 1 2.00
25 Jump Blues 1 3.50
26 Soul Jazz 1 3.50

Latest Albums Reviews

HERBIE HANCOCK Dedication

Live album · 1974 · Classic Fusion
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First Hancock Japan-recorded album and true obscurity, "Dedication" in some sense is a real sensation. At the time of his funk-jazz glory (recorded in July 1974, it is closest to Hancock's "Thrust" and "Man-Child" excellent studio works with band), Hancock recorded four tracks in Tokyo in one day during his Japanese tour.

"Dedication" is not only very first Hancock solo piano album (one among a very few recorded later), it contains quite unusual music for the time. Of four Hancock album's originals, side A contains two acoustic piano songs,"Maiden Voyage" and "Dolphin Dance", both played in unusual for Hancock romantic/sentimental manner, slow-tempo,almost ballads,with complex airy arrangements.Can't remember him ever playing like that before or after. Closest example is probably another Hancock's acoustic solo piano album "The Piano"(another Japanese release, from 1979), but there he already sounds much more pop-jazz influenced.

Side B brings even more surprises - two his other songs here are both "electric", but surprisingly sounds a bit different from his regular music, recorded with band of the same time period. "Nobu" is masterpiece of sort sounding far ahead of its time. Hancock plays electric keyboards over sample-and-hold feature of an ARP 2600 synthesizer, producing techno-rhythm. Very spacey and futuristic, this composition sounds more modern and futuristic than his regular funk-jazz of the time, but without commercial trickery so usual for Hancock later electronic albums.It's interesting that in modern techno-circles this track is often mentioned as first ever recorded techno-song.

Album closes with renown "Cantaloupe Island" played by Herbie on analog keyboards over pre-recorded synth bass-line. In all, eclectic (and even eccentric) choice of music for one album, but surprisingly it works and is a perfect illustration of creative atmosphere of the time.

"Dedication" survived at least seven re-releases in Japan but was almost unknown outside of the country. First ever non-Japanese edition has been released in US in 2014 only (on Wounded Bird) and makes this music a bit more available for obscure great music from the past seekers.

HASHIMA The Haywain

Album · 2017 · (Post-70s) Eclectic Fusion
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Serbians Hashima debuted two years ago with album which sounded like chamber rock band play fusion, with precisely composed and executed songs and calculated sound. The only imperfection in their music was very static,almost academic take on jazz/rock, the music which by its origin is dynamic and vibrant.

Now, two years after, they return with their second release - Dutch painter Hieronymus Bosch's "The Haywain" inspired work which seriously differs from their debut. Dark and pessimistic as Northern European painter's art, Hashima's music is low-tempo and liquid, but contains lot of internal energy and sharpness. Closest example are Finnish Black Motor playing avant-garde jazz like if they were blues-rooted heavy metal power trio. Still Hashima music's roots are quite different and on "The Haywain" they sound more like unusual post-rock quartet with double bassist and tenor sax player on board playing avant-garde jazz.

The opener (and longest album's song) "Dance No.3" is a true bomb. Spiced with Portuguese rising star Susana Santos Silva trumpet vibrato soling (which surprisingly adds more Balkan feel to music then rest of the band) it blows your minds away. Everyone familiar with Nordic project "Angles" music can think about "Dance No.3" as minimalist "Angles'" hit with better controlled emotional coloring, like walking on the edge but never crossing the danger border.(Susana Santos Silva's fans have possibility to see her as part of probably best European progressive big band Fire! Orchestra just a few month ago; Angles and Fire! Orchestra both have some same musicians on board).

Rest of the album is played by quartet themselves and without free trumpet solos they become even slower,darker and more...chamber. Similarly as on their debut, music here develops as on rock and not a jazz album. Songs all are perfectly composed and precisely played/recorded, just rhythm/melody changes right in the middle of any composition without even a trace of preparation for such a change moves all music somewhere towards modern avant-garde field. Still, all components are such melodic and never too long-lasting, that quite complex music in whole sounds as good contemporary avant-rock album (think Kayo Dot) rather than the avant-garde jazz one.

There even are a shredding guitar sounds and thunder-like drums dueling with tenor sax, and whole album lasts just forty minutes - as good rock album from the times when good rock albums still existed (and we all know that it was such times when music has been released on vinyl since CDs were just something from futurologists dreams). Guys don't try to demonstrate technical abilities or speed at all, music sounds quite simple (but is far not so simple!), but at the end of the day I felt like I'm back in 70s and just listened to my another new great rock album.

Is jazz a new rock in 2017? I am not sure but I can seriously recommend "The Haywain" to open ears progressive rock fans unsuccessfully trying to find a new King Crimson during last two or three decades.

Not really a jazz album (from jazz purists point of view), this is the music I listened again and again last few days and one of the biggest discovery of last years. Balkans' jazz has their heroes from now.

P.S. And - I imagine that Hashima and Susana Santos Silva's whole common album could be a great thing as well!

LILAC ORCHESTRA / СИРЕНЕВЫЙ ОРКЕСТР Tsunami

Album · 1994 · Jazz Related Rock
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Early 90s were awful time in Russia which experienced all pretties of "wild capitalism"(what in Russian case actually meant just an ex-Soviet bureaucracy stealing of state assets, organized criminals racketeer them and young growing private business and huge part of simple people got lost and just trying to survive, often in poverty). At that time four young guys with musical education founded a jazz-rock band in provincial town of Penza, 600 km south from Moscow (what again in Russian case meant "in the middle of nowhere").

Russia had a difficult relations with rock music in general - during 70s and 80s millions of young people there saw in it one of almost religious attribute of freedom, (then still extremely) attractive for them Western culture and democracy. It was strictly controlled and often banned by Communist authorities though, so it developed mostly as underground protest culture, opposite to pop culture and classical music, both often were seen as part of establishment. No strange that early (and most popular) Russian rock bands all contained vocals with socially sharp, critically oriented lyrics, simply catchy melodies and usually were based on DIY musicianship level. After the end of Communism era nothing has been banned anymore (at least for decade or two) but total economical decline and political crisis pushed the rock culture (and almost all other kinds of cultural life) backstage for years.

Lilac Orchestra on their debut demonstrates high technical level of musicianship mixing high energy rock-jazz (close to Czech jazz-rockers from 70s), classical composition elements, some characteristic Slavic folk-pop sensual melodies and funky guitars.

Taking in account time/social situation and domestic rock scene tradition, that's no strange their debut album "Tsunami" passed virtually unnoticed. Reissued later on CD, it is interesting example of very rare for the country's scene example of high level musicianship and wide use of funk guitars,what was an obscure element on domestic rock culture. Lot of heavy metal-like guitars soloing on the front and heavy drumming could potentially make this album more popular, but cold emotionless musicianship and wide use of classic compositional tricks (without clear structure or concept,what made album's music quite directionless and bulky) didn't help as well.

I believe at the time of release this album sounded as "aliens music" in that time's Russian province. Even now, almost a quoter of the century later, it is mostly a collectors item evidencing one interesting but not viable stream in Russian rock of 90s.

CHICK COREA Jazzman (aka Chick Corea aka Waltz For Bill Evans)

Boxset / Compilation · 1979 · Avant-Garde Jazz
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Pianist Chick Corea's Return To Forever(RTF) project made him a superstar of sort at the late 70s, when RTF themselves were already inactive jazz fusion popularity in general experienced significant decline. Corea himself tried to find a new ground as solo artist playing everything from pop jazz to Latin to third stream, with only partial success.

At the same time music industry still worked hard trying to explore "Chick Corea"'s brand till the end. It was a time when numerous labels have released plenty of all possible re-issues,compilations and archival materials, related with Corea's name, often in quite odd form."Jazzman" is one of such releases (which can be find under dozen of different titles on the market as well).

This compilation contains four Corea's early pieces, most probably coming from three-days session, recorded in 1969. Chick collaborators are all future stars,including bassist Dave Holland,drummer Jack DeJohnette,flutist Hubert Laws,trumpeter Woody Shaw,tenor Bennie Maupin and lesser known percussionist Horacee Arnold. The music has been recorded at the same time as Corea's first avant-garde jazz work "Is", and contains stylistically very similar music. Even being less free and more tuneful, "Jazzman" for sure must to disappoint RTF fans, expecting something similar in "new" Corea's releases. At the same time, it can really attract those not so numerous fans of Corea's most creative experimental period of late 60s - early 70s. More accessible than "Is" or "A.R.C." (not mention his complex masterpieces,released with Circle), "Jazzman" contains a bit direct-less mix of avant-garde jazz, early fusion and post-bop and that way illustrates quite well where from Corea's later music is coming.

The odd thing about this album is one could already be familiar with same (or very similar material) even without knowing about it. No info is provided about original sources, and to make the situation even more dreadful, it looks some titles of previously released songs are changed as well. As a result, we know that most probably "Jazzman" contains same, or very similar material with that already released in 1972 on obscure Corea's "Sundance" album. Again, it looks that all compositions were recorded during same sessions as "Sundance", and very possible "Jazzman" combines some material, already released on "Sundance" with one or more outtakes. At the same time there are plenty of albums released under different titles,which contain same or very similar material (quite often different songs titles doesn't mean that songs are really different), plus some of alternative releases mention containing "alternate versions" of same tracks. It's almost impossible to realize now where the truth is, probably better solution is Corea's "Early Works" album, possibly containing full session's material in one place.

Anyway, released most probably as one more try to explore "hot" Corea's name of the moment, this album contains some interesting material from possibly most creative Chick's period and today can offer some attractive moments for pianist's fans.

KUBIKMAGGI Things

Album · 2017 · (Post-70s) Eclectic Fusion
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Kubikmaggi are piano trio from St.Petersburg,most European Russian city founded on eastern Baltic shores by Peter the Great, most "European" of all Russian tsars to date. Built on former Sweden-controlled territories by best French and Italian architects of the time, it was a result of an ambitious czar's project "to cut the window to Europe" for Russia. The project itself has been always a big challenge never fulfilled in full, but it gave to Russia and the world one beautiful place with very specific atmosphere, true "east meets west"(Eurasia Meets Europe),true creative boiler where Nordic rationalism is mixed with Russian metaphysical spirituality.

Originally a piano trio (or sometimes quartet), Kubikmaggi are not only a product of few hundred years of intellectual exclusivity and grey St.Peterburg's sky but as well a continuation of modern Russian avant-rock tradition, similar to Western RIO movement. Nothing's strange - Kubikmaggi's pianist and vocalist Kseniya Fedorova is a daughter of Russian avant-rock cult figure Leonid Fedorov, leader of Auktyon band.

Kubikmaggi's evolution from their debut "Needless"(2008) music till now is very impressive. Started as alternative rock quartet (with guitarist) on their debut, band sounded as bunch of students singing pretentious lyrics and adding odd sound effects trying to be different and attract attention at the same time (don't even want to mention terrible "experimental" sound mix). Here on "Things" they sound much more mature. Sound is very soft and uncompressed, not a classic "Nordic" one though. There is lot of blood and groove in album's music,with successful addition of saxophone on one song(opener).

Paying main attention on music itself,Kseniya sings only in a few places (incl. reworked in reggae key Little Tiger's song "Laying Under The Sun" from popular Soviet times children cartoon). Sounding more jazzy (partially because of sound mix),new album's music is better balanced but still contains same components as before - alternative rock's energy, snippets of brilliant tunes, some jazzy arrangements and in whole accessible and crazy mix of rational and irrational (an obvious Fedorov's genetic roots in father/Auktyon's music).

Not as screaming,intimate and sharp as Auktyon, Kubikmaggi with their third album continue the honorable tradition of St.Peterburg's avant-garde rock (and around) musical scene, and they do it well.

Latest Forum Topic Posts

  • Posted 23 hours ago in Birthdays thread
    Thanks John,among posts with news from jazz world there are one regular category - one more great "golden era's Jazz musician passed away ... then again -when you've gone you have a chance to become a legend 
  • Posted 4 days ago in Tina Turner New Autobiography
    Tina Turner: New Autobiography To Celebrate 60th Anniversary In MusicGRAMMY winner's new book to recount her captivating career story plus reveal her battle with an undisclosed illnessMore than 30 years after the release of her first memoir, Turner is set to publish her second, Tina Turner: My Love Story, in October 2018 in conjunction with her 60th year in music.The book will be published by Atria Books and will be co-written with Deborah Davis and Dominik Wichmann, according to Entertainment Weekly. Apparently, the book will leave no stones unturned, with topics spanning her complete career in music, "finding love" and surviving a previously undisclosed "life-threatening illness." Simon & Schuster will prep a companion audiobook. The eight-time GRAMMY winner previously documented her life in 1986's I, Tina, an autobiography that was eventually adapted into the 1993 film What’s Love Got to Do With It starring Angela Bassett. In the book, the "What's Love Got To Do With It" singer detailed her music career to that point, her relationship with her parents growing up and her tumultuous relationship with ex-husband/collaborator Ike Turner, whom she divorced in 1978. Turner's most recent GRAMMY win came for Album Of The Year at the 50th GRAMMY Awards for her participation as a featured artist on Herbie Hancock's River: The Joni Letters.Her latest project, "Tina: The Tina Turner Musical," is set to debut in March 2018.from www.grammy.com
  • Posted 28 days ago in Malcolm Young,AC/DC Guitarist and Co-Founder, Dead
    Musician who co-founded Australian rock legends in 1973 with brother Angus Young dies following battle with dementia  Malcolm Young, guitarist and co-founder of AC/DC, died Saturday at the age of 64. Young had been suffering with dementia for the past three years, an illness that forced his retirement from the Rock and Roll Hall of Fame-inducted band he founded with his brother Angus Young in 1973."Today it is with deep heartfelt sadness that AC/DC has to announce the passing of Malcolm Young," AC/DC wrote in a statement."Malcolm, along with Angus, was the founder and creator of AC/DC. With enormous dedication and commitment he was the driving force behind the band. As a guitarist, songwriter and visionary he was a perfectionist and a unique man. He always stuck to his guns and did and said exactly what he wanted. He took great pride in all that he endeavored. His loyalty to the fans was unsurpassed."Angus Young added, "As his brother it is hard to express in words what he has meant to me during my life, the bond we had was unique and very special. He leaves behind an enormous legacy that will live on forever. Malcolm, job well done."The Young brothers lost their older brother George Young, the Easybeats guitarist and AC/DC's longtime producer, in October at the age of 70.In an additional statement from Malcolm Young's family, the band said that Malcolm Young died peacefully Saturday with his family by his side."Renowned for his musical prowess, Malcolm was a songwriter, guitarist, performer, producer and visionary who inspired many," the statement said. "From the outset, he knew what he wanted to achieve and, along with his younger brother, took to the world stage giving their all at every show. Nothing less would do for their fans."As rhythm guitarist for the legendary rock band, Malcolm Young served as an indispensable foil to Angus Young's arena-stuffing riffs. After forming AC/DC in 1973, the Young brothers would be credited as co-writers on every song the band recorded from their 1975 debut High Voltage through 2014's Rock or Bust. That final album marked AC/DC's first without Malcolm, who announced in September 2014 that he would permanently leave the band due to dementia."We miss Malcolm, obviously," AC/DC singer Brian Johnson said in July 2014. "He's a fighter. He's in [the] hospital, but he's a fighter. We've got our fingers crossed that he'll get strong again... Stevie, Malcolm's nephew, was magnificent, but when you're recording with this thing hanging over you and your work mate isn't well, it's difficult. But I'm sure [Malcolm] was rooting for us."Malcolm Young last performed live with AC/DC when their tour for 2008's Black Ice concluded in June 2010 with a concert in Bilbao, Spain.Malcolm Young, like his older brother George and younger brother Angus, was born in Glasgow, Scotland before the whole Young family emigrated to Sydney, Australia in the early Sixties.Malcolm and Angus' first brush with rock stardom came courtesy of their brother George, who found global fame thanks to his band the Easybeats and their song "Friday on My Mind." Although Malcolm's two older brothers found success in the music industry, their father still made Malcolm work as a mechanic in a bra factory after leaving school at 15."I've never felt like a pop star – this is a nine-to-five sort of gig," Malcolm told Rolling Stone in 2008. "It comes from working in the factories, that world. You don't forget it."In 1973, Malcolm recruited Angus to form a new band, which the brothers named after the "AC/DC" electrical current marker they spotted on their sister's sewing machine. After a few lineup changes, the Young brothers were introduced to singer Bon Scott by their brother George, who would serve as AC/DC's producer on their early albums.Throughout AC/DC's tenure, Malcolm and Angus Young served as the band's main creative force, crafting the unmistakable riffs that would make AC/DC one of the biggest bands in music. Together, the brothers would create the music for hits like "Back in Black," "Hells Bells," "Highway to Hell," "Thunderstruck," "For Those About to Rock (We Salute You)," "You Shook Me All Night Long" and dozens more rock staples.However, Malcolm's time in AC/DC was not without strife: A heavy drinker, he briefly left AC/DC in 1988 during the Blow Up Your Video Tour – his only absence from the band up to and until his dementia diagnosis – to go to rehab to curb his drinking problem. After a few months, Malcolm returned to the band and remained sober ever since. "I was not surprised," George Young said of his younger brother's sobriety. "When Malcolm puts his mind to something, he does it."Eddie Van Halen wrote following Young's death, "It is a sad day in rock and roll. Malcolm Young was my friend and the heart and soul of AC/DC. I had some of the best times of my life with him on our 1984 European tour. He will be missed and my deepest condolences to his family, bandmates and friends."Megadeth's Dave Mustaine, who regarded Malcolm as one of rock's greatest rhythm guitarists, tweeted Saturday following Young's death, "I have to go...I am losing it that Malcolm is gone. I hate this..." Kiss' Paul Stanley added, "The driving engine of AC/DC has died. A tragic end for a sometimes unsung icon. One of the true greats. RIP."The Young brothers and AC/DC were inducted into the Rock and Roll Hall of Fame in 2003. With over 110 million albums sold, AC/DC is also the best-selling Australian act of all time.When Rolling Stone asked the Young brothers in 2008, Who runs AC/DC?," Malcolm replied, "We both do, because we were there from the start."from  www.rollingstone.com[TUBE]HQIREHh_OZ0[/TUBE]

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