Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

641 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 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
FIRE! - You Liked Me Five Minutes Ago Jazz Related Improvisation | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 210 3.51
2 Classic Fusion 91 3.37
3 Post Bop 46 3.46
4 Jazz Related Rock 45 3.19
5 (Post-70s) Eclectic Fusion 41 3.49
6 World Fusion 40 3.15
7 Nu Jazz 35 3.46
8 Post-Fusion Contemporary 19 2.92
9 Jazz Related Improvisation 18 3.58
10 Hard Bop 14 3.36
11 Third Stream 12 3.29
12 Vocal Jazz 9 3.06
13 Progressive Big Band 9 3.61
14 DJ/Electronica Jazz 9 3.00
15 Jazz Related RnB 8 2.75
16 Latin Jazz 6 2.75
17 Pop Jazz/Crossover 6 2.25
18 Funk Jazz 5 3.20
19 Jazz Soundtracks 5 3.20
20 Jazz Related Blues 2 2.25
21 Exotica 2 3.00
22 Acid Jazz 2 3.00
23 Big Band 2 2.75
24 Afro-Cuban Jazz 1 4.00
25 Cool Jazz 1 4.00
26 Jump Blues 1 3.50
27 Latin Rock/Soul 1 3.00
28 Soul Jazz 1 3.00

Latest Albums Reviews

WADADA LEO SMITH Wadada Leo Smith / George Lewis / John Zorn : Sonic Rivers

Album · 2014 · Avant-Garde Jazz
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John Zorn's prolific Tzadik label started a new SPECTRUM series with an excellent collaboration between three modern creative jazz giants culminating in the album, "Sonic Rivers". Three horn players - trumpeter Wadada Leo Smith, trombonist George Lewis and Zorn himself on saxes, play a restrained session full of bursts and free jazz beauty.

I was expecting this album's concept to recall one of the legendary works between George Lewis and John Zorn in collaboration with guitar genius Derek Bailey resulting in the album "Yankees",released on the Celluloid label in 1982. Even if more than three decades separate these two releases, besides the line-up, they have some more things in common. Both "Yankees" and "Sonic Rivers" radiate that adventurous and creative jazz spirit which becomes more and more rare in the current jazz scene.

Wadada Leo Smith and George Lewis are two key artists of Chicago's AACM (Association for the Advancement of Creative Musicians) movement, which began in the mid 60's. Both are not only musicians, but composers as well, known for their experimental works. John Zorn is probably the most influential figure on the NY downtown avant-garde scene for the last few decades, known for his explosive dissonant playing and his many compositions as well.

Here, on "Sonic Rivers", one can find a very successful balance between the non-jazz avant-garde and the non-traditional compositions of the Chicago school, plus the New York eclectic explosive mix of all styles in one. Surprisingly enough, no-one of these three musicians dominates on these recordings. Even Zorn, adding his dissonant sax soloing, leaves a lot of space for the others. In all, this music sounds very aerial, almost minimal in moments, but still full of content - the characteristic by which one can usually separate the best free jazz albums from all the others. Lewis uses some electronic devices on a few compositions, but generally it's three horn players building multicolored acoustic pictures.

Critically thinking, there is nothing revolutionary different or just really new here. Mainly this music's value is that it reinvents that creative spirit which made so many 60s and 70s jazz releases great listening, even till now, and in a big part, almost forgotten in these modern days of music. The modern jazz scene really needs more of this inspiration today.


Album · 1989 · Post Bop
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In September 1987 Charlie Haden recorded an excellent piano trio album with pianist Geri Allen and drummer Paul Motian called "Etudes". Released the following year on the Italian Soul Note label, it opened with Ornette Coleman's "Lonely Woman" and continued with mostly originals by the band members, all boppish and swinging.

Three months after the "Etudes" sessions, Haden recorded more material in a Roman studio, but with a very different team this time. Billy Higgins replaces Paul Motian, lyrical Italian pianist Enrico Pieranunzi replaces Geri Allen, and even more, now there is a trumpeter on board, none other than Chet Baker. The end results became the album "Silence".

As one can expect, the music on "Silence" is different from "Etudes". With full respect to Baker's early albums, his participation on jazz albums in the 80s hardly adds a lot of pluses. His name and his voice can still attract nostalgic listeners, but his trumpet playing is hardly competitive compared with the artists he is working with. Even worse, there seems to be a rather pointless and commercial attempt to exploit Baker's past, you can't return the atmosphere back to the cool jazz era in the late 80s, added with Pieranunzi's melancholic mainstream slick piano sounds, its all quite artificial, out of time and place, a not too successful imitation.

This is still a product of classy musicians, so maybe it could attract fans of sentimental Italian jazz from the 70s, which, with varying success tried to combine American jazz traditions with Italian melodic lyricism and sentimentality.


Live album · 1967 · Avant-Garde Jazz
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I believe you have never heard saxophonist Jan Garbarek sounding like this! Nothing strange there, most jazz fans have no idea this album exists!

The twenty-year old future Norwegian saxophone superstar is playing in a student club on "Til Vigdis". The album consists of three very free compositions with enough kicking and swinging to be recognized as post-65 Coltrane music influenced. The rhythm section (bassist Arild Andersen and drummer Jon Christensen) are both future Nordic jazz leading figures as well.

Not particularly memorable or musically exciting, this album is unique as probably one of the earlier European free jazz albums, and it also shows Garbarek's early influences as well. He will show much higher class on his next release, "African Pepperbird", but for those who only know Garbarek as a new-agey contemporary Nordic jazz star, this album could open their eyes (and may be ears). This original limited edition is really an expensive rarity though, with i-net prices up to 1500 euro.


Album · 2013 · Third Stream
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From the very early days of the AACM (Association for the Advancement of Creative Musicians founded in Chicago in 1965) its members were influenced by classical/composed music as much as by jazz/improvisational.Muhai Richard Abrams,Roscoe Mitchell and trumpeter Wadada Leo Smith are all renowned authors of solid composed works, many of which are recorded.

"Occupy The World" is Leo's monumental two-CD conceptual album, dedicated to political tension and activism in the modern world. Smith developed his own non-metric compositional theory that he uses in his music: none of the five long (between 15 and 33 minutes) compositions have a continued theme, all the music is kind of liquid kinematic installation of rhythmic and melodic multi-layers, but it has nothing in common with esoteric/new age amorphous viscosity. Each musical layer, even more, each small element, is engineered in details. There are a lot of small spaces where each musician has some space for improvisation, so the music doesn't sound too fixed or cemented, but at the same time, there are not even minimal traces of chaos.

For listeners not very familiar with Smith's musical theories, this hour-and-half long double album sounds like something that is very close, and yet alternative at the same time, to a more traditional classical opus. These dramatic and often bombastic compositions also contains precisely included distortions and rhythmical structures that are more African than European, but all in all, this music sounds as if you're in an Opera House, not in a jazz club.

For this project, Smith and his regular collaborator bassist John Lindberg, co-operate with a leading Finnish progressive jazz orchestra (22-piece collective with harpist Iro Haarla, trumpeter Verneri Pohjola, Danish drummer Stefan Passborg, sax player Mikko Innanen on board among others). Not all the members play on every composition, Smith uses smaller sub-collectives depending on his vision and needs. Not all the compositions are really new - for example, "The Bell - 2" was originally written by Smith for the late 60s Anthony Braxton album, "3 Compositions of New Jazz".

Not an easy listen and probably even more controversial because of it being a cross-genre work, it represents one of the most ambitious and monumental pieces of music of the last couple years, not many artists around have the inspiration and faith required to still be working in this field. Wadada Leo Smith is one of the few living legends, who even in his 70s, is looking ahead.

MASABUMI KIKUCHI Poesy : The Man Who Keeps Washing His Hands

Album · 1971 · Avant-Garde Jazz
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Japanese pianist Masabumi Kikuchi is one among this country's best known abroad jazzmen. He studied in Berklee in late 60s and on return to Japan played with many American musicians,touring the country.

I've reed in Masabumi's interview with Ethan Iverson (2013)he never liked his Berklee studies (except for Herb Pomeroy)and in his early years was influenced by advanced artists of the time as McCoy Tyner.He met Paul Bley when he played in Japan with Sonny Rollins,and Paul became his next hero.

Later, Masabumi started playing with bassist Gary Peacock (who palyed with Bley and lived in Japan for some years in late 60s-early 70s). Here 0n "Poesy",Peacock plays excellent deep physical bass on three compositions (I believe Peacock's time in Japan was his most inventive and advanced period), but generally this album is Kikuchi duo work with leading Japanese percussionist Masahiko Togashi.

Masahiko Togashi was one of very first Japanese free-jazz drummer in early 60s, but after accident in late 60s he wasn't able to play drums anymore. He switched to percussion and developed very complex and loose own techniques.Here on "Poesy" Masahiko demonstrates it in whole.

"Poesy" isn't characteristic album for Japanese early 70s jazz scene - it isn't loud,noisy,dissonant and quirky. No-one push music to the limit here. Kikuchi is obviously influenced by American jazz tradition, he plays tuneful and even warm piano,but without sentimentalism or catchy appeal of some his later works.He even doesn't scream a lot when playing on Jarrett's manner(he will develop this techniques later, but you still can hear him here as well what shows that he did it originally,with no relation to this Jarrett's manner; Jarrett will become star after few years).

"Poesy" is a great title for this music,just think about Western-Japanese cocktail,mixing European tradition with American freedom and Eastern Buddhist meditativeness.Music sounds well balanced as rarely,being beautiful,adventurous and stimulating at the same time.

Kikuchi will return back to States soon where he will stay for decades till now.He will release many albums developing his own style (some of them are really successful, others-not so much).Gary Peacock will become a real ECM star playing with Jarrett and Paul Motian among others (his Japanese period collaborations stay one of his most interesting works till now). Masahiko Togashi continued to enjoy Japan's cult percussionist status for decades ahead.

This album (with magnificent full title "Poesy:The Man Who Keeps Washing His Hands")was reissued on CD and became easier accessible evidence of great times in jazz.

Latest Forum Topic Posts

  • Posted 10 days ago in What Are You Listening To
    this new Chicago album is not all so bad (if not compare it with first few releases)if they will sound like on it, at least you will hear quality pop-jazz I expect
  • Posted 34 days ago in Samba
    [QUOTE=Atkingani][QUOTE=js] Michelangelo Antonioni, a great Italian master!The movie is La Notte (The Night), 1961. [/QUOTE] in late 60s Antonioni screened Blow-Up and Zabriskie Point (with Pink Floyd soundtrack)
  • Posted 36 days ago in Blues Rocker Johnny Winter Dead at 70
    another sad news this week 


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