Slava Gliožeris
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Favorite Jazz Artists

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780 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 258 3.66
2 Post Bop 80 3.52
3 Fusion 79 3.40
4 Eclectic Fusion 57 3.68
5 21st Century Modern 34 3.76
6 Nu Jazz 33 3.62
7 World Fusion 30 3.10
8 Jazz Related Rock 30 3.27
9 Jazz Related Improv/Composition 22 3.52
10 RnB 22 3.34
11 Hard Bop 21 3.31
12 Third Stream 17 3.44
13 Post-Fusion Contemporary 15 3.17
14 Progressive Big Band 15 3.83
15 Pop/Art Song/Folk 11 2.86
16 Vocal Jazz 10 3.15
17 Funk 9 3.39
18 African Fusion 8 3.75
19 Jazz Related Electronica/Hip-Hop 7 3.29
20 Funk Jazz 4 3.38
21 Jazz Related Soundtracks 4 3.25
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

SONS OF KEMET Black To The Future

Album · 2021 · Eclectic Fusion
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Being a scene leader has its pros and cons. From the positive side, you are known, you have your followers and each of your new works is awaited. From the other side, there are expectations, a lot of them. And it's not an easy job to fulfill all of them. Some fans are waiting for another album of the music they know and like and any change in direction can disappoint them. Others are happy with what you already did but are not much interested in another "same" recording, so they are expecting from you something new. Doesn't matter what you do, some of your fans will be disappointed.

Shabaka Hutchings, who with no doubt is one of the leaders of the burgeoning London jazz scene, runs three different projects trying to solve above mentioned problems in a best possible way, and quite often he succeeds in it.

On "Back To Future" - the newest album from his most eclectic project Sons Of Kemet - is obvious continuation of quartet's previous work, extremely successful "Your Queen Is A Reptile", with some insignificant modifications.

On "Your Queen Is A Reptile", the band's debut on Impulse!, the quartet of sax player, tubist and two drummers went back to African roots, adding more percussive vibes with a big list of guesting additional drummers. Rapper/vocalist Joshua Idehen has been presented on the opener and closer, for the first time (both two early quartet albums were fully instrumental). On "Back To Future", Shabaka uses same formula, when Joshua Idehen opens and closes the show, but there are more guest vocalists on the album (incl. Angel Bat Dawid), as a result, whole recording sounds more as "singing music", rather than just instrumental. And Shabaka adds more brass instead of percussion too. From the musical side we have same Caribbean flavored marching semi melancholic tunes, just less percussive and slightly polished with electronics.

Shabaka obviously trying not to lose a successful formula of the previous album, only slightly modifying and refreshing the sound. As a result, we got an evolutional, not revolutionary work, still with easy recognizable Shabaka's sound.

REZ ABBASI Unfiltered Universe

Album · 2017 · 21st Century Modern
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Pakistani-born US-based guitarist Rez Abbasi is better known from his jazz fusion works, often with a touch of Southern Asian tradition. Here on "Unfiltered Universe", he leads an international band containing such stars as pianist Vijay Iyer and sax player Rudresh Mahanthappa among others.

Differently from his many previous recordings, Abbasi concentrates more on composition here, while still maintaining his high energy sound known from his fusion works. Electric/processed guitar sound is on the front together with Mahanthappa's sax soloing. Drummer Dan Weiss (who has been active in the metal scene) adds more drive and heaviness to the album's music too. It's a pity Iyer's piano is often somewhere on the second plan with just a few solos.

Being a competent work of true professionals, "Unfiltered Universe" lacks compositional expressiveness. Even though they include some elements of Indian sub-continent music here and there, the songs often still sound as a bit dry and too formal and formulaic guitar fusion, not composition-oriented modern jazz.

ARUÁN ORTIZ Aruán Ortiz With Andrew Cyrille And Mauricio Herrera : Inside Rhythmic Falls

Album · 2020 · Avant-Garde Jazz
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Many creative modern jazz followers most probably noticed young Cuban pianist Aruan Ortiz, who bravely opened the premiere jazz stages' door and partially participated with artists as grand as Wadada Leo Smith, Greg Osby, William Parker, Oliver Lake among many others. His own discography is not as numerous, but he already has released some noticeable works as a leader, predominantly on European labels (Newvelle & Intakt). His every new album is an event of unexpectedness since he freely moves between Latin, avant-garde and more traditional jazz genres.

"Inside Rhythmic Falls" is Ortiz's newest (Aug. 2021) album, released on Swiss Intakt again. The album, recorded by an unorthodox trio, consisting of Ortiz, genius drummer Andrew Cyrille and Cuban percussionist Mauricio Herrera. It starts with the very Caribbean "Lucero Mundo", featuring the spoken word vocals of Emeline Michel & Marlène Ramírez-Cancio. The opener will be very much in place on today's London streets with their dominance of Caribbean jazz, but don't be fooled by it.

It isn't an album's visit card, more like an intro demonstrating this album's relationship with Afro-Cuban roots. The rest of the album contains very refreshing percussive jazz, which mixes avant-garde freedom with Latin sensuality.

As a result, we have a rhythmic trio playing quite melodic and moody music, from a slow-tempo ballad of sorts, "De Cantos Y Ñáñigos", to African dances of "Inside Rhythmic Falls Part I (Sacred Codes)". The participation of drummer Hamid Drake on any musician's album is an evidence of quality, "Inside Rhythmic Falls" is not an exemption. But here we get much more - a trio of equal artists playing modern jazz of highest order together. Quite accessible for the genre it represents, this album depends on this category of releases which the open ear listener will listen to more than once or twice.

The album ends same way as it starts - with short "Para Ti Nengón", a free interpretation of Cuban trad song (all other songs are Ortiz originals).

BARRY ALTSCHUL Barry Altschul’s 3dom Factor : Tales of the Unforeseen

Album · 2015 · Avant-Garde Jazz
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Barry Altschul is an under-recorded virtuoso free jazz drummer who made his name in the short-lived but exceptional Circle - early avant-garde jazz band where he played with such (now) stars as pianist Chick Corea, reedist Anthony Braxton and bassist Dave Holland. His new trio, 3Dom Factor, is an extremely rare project as a leader. They just released their new live album, "Long Tall Sunshine", so it looks like it makes some sense to re-listen to their second, and last (Aug.2021) studio album, "Tales of the Unforseen", released six years ago.

The trio's bassist, Joe Fonda, is another free jazz veteran who played with Altschul in FAB Trio (with violinist Billy Bang). Third 3Dom Factor's member is a younger generation reedist, one of the modern scene's leaders, Jon Irabagon.

From the very first moments the trio's sound is easy recognizable when Irabagon plays bluesy and soulful different reeds solos with the support of a very technical and muscular rhythm section. Twenty-six minutes long opener, "As The Tale Begins", is a spontaneous composition (as well as two others on the album) which gives a lot of space for each of the three artists' soloing. Of the three composed songs, one belongs to Thelonious Monk ("A Tale Of Monk: Ask Me Now"), one more - to Annette Peacock("Annette´s Tale Of Miracles") and the rest - to Altschul himself ("A Drummer´s Tale"). Still, the spontaneous pieces are full of tuneful snippets and lyrical moments while the composed ones get quite free, so the border between firsts and seconds are often blurred.

Most importantly, the trio is of the highest level of professionalism, playing mid-tempo soulful free jazz with lots of spirit, what once was almost a standard for the genre (I'm speaking about early 70s), but almost disappeared with time.

There are not many novelties in this music, and the sound is quite conservative (yeh, it sounds funny - conservative free jazz), but somehow it revitalizes one of the best traditions free jazz established long ago, and it works well in the modern world.

One can hardly find here harsh moments, or explosive energy, or even faster pieces (all of that partially can be found on the trio's freshly released live album), but "Tales Of The Unforeseen" is a solid masters' work, which demonstrates great spirit and maturity.

HASHIMA Starry Night

Album · 2021 · Eclectic Fusion
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"Starry Night" is Serbian quartet Hashima's third album, and their second release for American label Odradek Records (who previously re-released Hashima's second, originally Serbia-released album "The Haywain", in 2019). It contains more eclectic material than their previous one, and muically it moves noticeably towards prog/post rock.

Above mentioned eclecticism is not strange at all, knowing that the compositions presented come from some very different sources. "Glaciers", "Eclipse" and "Muriel" are all recorded in the renown La Buissonne Studios in France and are rooted in the band leader Igor Mišković's childhood memories about some nights in 1999 when NATO planes bombed his hometown of Belgrade. These contain short lyrics and Igor's vocals.

NATO bombings of Serbia in 1999 is one of the most dramatic events in the country's last decade, and the memories about it are very fresh and emotive there till now. I haven't been there during the bombings, but my wife, who is native Serbian, was there and these nights in her hometown of Loznica where some military objects were bombed as well, are very fresh in her memory. I spent some years in early 00' living around Western Balkans, and I heard from many different people their memories about these days. One can see the building in a centre of Belgrade, half-destroyed by the bombings, still today, and it is obviously left unrepaired as a monument for the drama. As a result, in today's Serbia we have radically separated population by their opinion about the future - some see their future in modern Western world, as part of European civilization, and others - believing in some mystical "special way" (far not for the first time in the country's history), furiously proposed by Eurasian-Orthodox Russia.

Mišković himself, who is of a younger generation and saw these events more with child eyes, says in liner notes: "It had been a very odd and difficult situation and emotional experience to spend strangely beautiful childhood days during a period of bombing in Belgrade, Serbia in 1999". What I really like in these three songs there is some sadness, and some darkness, and a bit of melancholy, but there is no hate or hysteria, or pain. The world is more difficult than we would like it being, and sometimes things go not the way we would like them going, but we must to find the way to live in this real world.

Rest of the songs are all different but generally fit together with the first trilogy (which is obviously responsible for the album's title) quite well. "Dance No.1" is possibly the jazziest piece on the album with trombone soloing from guest star Italian Gianluca Petrella, still with very recognizable Hashima's mid-tempo slightly melancholic sound. "Release" is a live version of their debut album's song, presented here in collaboration with choir which builds a very church-like pastoral atmosphere.

The closer, "Junkopedia", is a soundtrack to a short movie about Serbian painter Leonid Šeika, an almost eight-minute long freer jazz piece.

In all, it's great to evidence that Hashima found their own recognizable sound, and continues releasing strong music and doesn't avoid some new searches.

Latest Forum Topic Posts

  • Posted 27 days ago in Charlie Watts, the Rolling Stones’ Drummer Dead
    Charlie Watts, the Rolling Stones’ Drummer and Inimitable Backbone, Dead at 80Rock & roll legend “passed away peacefully in a London hospital earlier [Tuesday] surrounded by his family,” according to publicist Charles Robert “Charlie” Watts, the Rolling Stones’ drummer and the band’s irreplaceable heartbeat, has died at age 80.Watts’ publicist confirmed his death in a statement. “It is with immense sadness that we announce the death of our beloved Charlie Watts,” it read. “He passed away peacefully in a London hospital earlier [Tuesday] surrounded by his family.” The statement referred to Watts as “one of the greatest drummers of his generation” and closed by requesting that “the privacy of his family, band members, and close friends is respected at this difficult time.”Watts’ death comes several weeks after it was announced that the drummer would not be able to perform on the Rolling Stones’ No Filter Tour of U.S. stadiums. “Charlie has had a procedure which was completely successful, but his doctors this week concluded that he now needs proper rest and recuperation,” a rep for the band said in a statement at the time. “With rehearsals starting in a couple of weeks, it’s very disappointing to say the least, but it’s also fair to say no one saw this coming.”It was hard to imagine the Stones without Watts even then, though. His light touch, singular rhythmic sense, and impeccable feel, as heard on canonical rock songs such as “Paint It, Black,” “Gimme Shelter,” and “Brown Sugar,” made him both the engine that powered the Stones’ music and one of the most famous and respected drummers of all time.As Keith Richards said in 1979: “Everybody thinks Mick and Keith are the Rolling Stones. If Charlie wasn’t doing what he’s doing on drums, that wouldn’t be true at all. You’d find out that Charlie Watts is the Stones.” And yet, Watts was very different from the rest of the Stones. His dapper dress sense — Vanity Fair elected Watts to the International Best Dressed List Hall of Fame — was ultimately more in line with the jazz he loved and sometimes played than rock & roll. Watts also famously remained faithful to Shirley Shepherd, his wife since 1964, which set him somewhat apart from his excessive, hard-partying bandmates. Unlike born road warriors such as Keith Richards, Watts often seemed uninterested in touring and gave the distinct impression the Stones was a job more than a calling or a lifestyle choice. His battle with drugs and alcohol in the mid-Eighties was, like many things about the man, largely private. “I’m big on letting people do what they want, which doesn’t make for good bandleaders,” he told Rolling Stone in 1991. “If I had led the Rolling Stones, they wouldn’t have gotten anywhere. We’d still be running around trying to find an amp, 30 years later.” Tributes from Watts’ rock & roll peers and admirers have already started to come in, with Graham Nash telling Rolling Stone, “Without question, Charlie Watts was one of the greatest drummers in the world. His secret — the same as Ringo — is heartbeat. Charlie Watts was the heartbeat of the Rolling Stones.”On Twitter, Elton John praised Watts as “the ultimate drummer. The most stylish of men, and such brilliant company.” And Brian Wilson wrote, “I’m just shocked to hear about Charlie Watts. I don’t know what to say, I feel terrible for Charlie’s family. Charlie was a great drummer and I loved the Stones music, they made great records.”Watts was born on June 2nd, 1941, in London, the son of a lorry driver. A jazz fan and 78 collector from an early age (Miles Davis, Dexter Gordon, and Charlie Parker were particular favorites), he took up the drums around age 14, sleeping in his favorite suit now and then to give it the same look as Parker’s. Watts played in jazz combos until 1962, when he started splitting his time between playing in Alexis Korner’s Blues Incorporated and working as an ad-agency graphic designer. He was not the Stones’ first drummer. The band played its first gig in 1962, with the lineup of singer Mick Jagger, pianist Ian Stewart, guitarists Keith Richards and Brian Jones, bassist and future Pretty Things leader Dick Taylor, and drummer and future Kink Mick Avory. Within months Avory was out, Watts was in, and he played his first gig with the Stones on January 12th, 1963, at the Ealing Jazz Club. Their first single, a cover of Chuck Berry’s “Come On,” was released in June 1963. “It’s All Over Now,” their first U.K. Number One, arrived in June 1964. (“I Can’t Get No) Satisfaction,” driven by Watts’ relentless pound, hit Number One in the U.S. in May 1965.For all of his low-key skill behind the kit, Watts seemed well aware that he was an irreplaceable element of the Stones’ sound. As one famous story from the band’s heyday goes, Jagger once phoned Watts’ hotel room in the midst of an all-night party, asking, “Where’s my drummer?” Watts reportedly got up, shaved, dressed in a suit, put on a tie and freshly shined shoes, descended the stairs, and punched Jagger in the face, saying, “Don’t ever call me your drummer again. You’re my singer!”As much as Jagger’s lyrics or Richards’ riffs, Watts’ timekeeping on key Stones songs made them key Stones songs. The loose, almost jazzy feel on “19th Nervous Breakdown,” his groove lock with Richards on “Beast of Burden,” his extraordinary control with a very odd rhythm on “Get Off of My Cloud,” the bounce of “Jumpin’ Jack Flash,” his ice-cold snare on “Gimme Shelter” — all of these are masterclasses in serving the song and shaping it at the same time. In addition to his brilliant drumming, Watts also used his design skills to craft various tour stages, including the 1975 lotus stage, the 1989-90 Steel Wheels tour, the Bridges to Babylon tour, the Licks tour, and the Bigger Bang tour.Away from the day job, Watts was a frequent jazz player. In 1986, he debuted the 32-piece Charlie Watts Orchestra, which was full of contemporary British jazz players. In 1991, with the Charlie Watts Quintet, he released From One Charlie, a tribute to
  • Posted 44 days ago in Kool & The Gang’s Dennis Thomas Dead At 70
    Dennis “Dee Tee” Thomas, saxophonist and original member of the chart-topping funk and R&B group Kool & The Gang, has died, Variety reports. The band confirmed his passing on social media, writing, “Dennis was known as the quintessential cool cat in the group, loved for his hip clothes and hats, and his laid-back demeanor.” He passed away “peacefully in his sleep” at the age of 70.Thomas formed the instrumental soul-jazz band the Jazziacs in 1964 with brothers Ronald “Khalis” Bell and Robert “Kool” Bell and several other friends from their Jersey City high school. By the time they released their self-titled debut album in 1969, they had settled on a new name: Kool & The Gang. After dabbling with funk and disco, they rose to fame with their 1973 album Wild And Peaceful, but their commercial peak came a few years later when they brought James “J.T.” Taylor in as a dedicated lead vocalist.“A huge personality while also an extremely private person, Dennis was the alto saxophone player, flutist, percussionist as well as master of ceremonies at the band’s shows,” the band’s tribute reads. “Dennis’ prologue featured on the groups 1971 hit, ‘Who’s Gonna Take the Weight’ is legendary and an example of his showmanship. Dee Tee was the group’s wardrobe stylist who made sure they always looked fresh. In the band’s early days, Dennis also served as the ‘budget hawk,’ carrying the group’s earnings in a paper bag in the bell of his horn.”Thomas played on every Kool & the Gang studio album, including their upcoming album Perfect Union, which is out later this month. He just performed with the band at their Los Angeles show at the Hollywood Bowl on July 4. He is survived by his wife Phynjuar Saunders Thomas, daughter Tuesday Rankin sons David Thomas and Devin Thomas, Aunt Mary “Duggie” Jones, sisters Doris Mai McClary and Elizabeth Thomas Ross, brother Bill Mcleary, and his nieces, nephews, and grandchildren.[TUBE]l9I8gFsD5Zw[/TUBE]from
  • Posted 44 days ago in Recently Watched Films
    after summer break, my beloved art movies cinema with small hall and 70s-style cafe started new season with Italian movie "Gli Anni Piu Belli"(Our best years) - the romantic and very Italian story about three friends and a beautiful girl, which in time will become a girlfriend of two of them. The story begins in early 90s, when the boys are still teenagers, and finishes when they are in their 50s. Lot of Italian scenery, Rome & Naples, and Italian music, mostly easy recognizable ital-pop from late 80s. Not a masterpiece for sure, but nice 2 hours of very moody Italian pictures, emotions and sounds. [TUBE]X5KHk6SGOEU[/TUBE][TUBE]XiB3X1liJFk[/TUBE]


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