Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

556 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 188 3.61
2 Classic Fusion 80 3.39
3 Jazz Related Rock 41 3.23
4 Post Bop 39 3.47
5 (Post-70s) Eclectic Fusion 35 3.53
6 Nu Jazz 33 3.47
7 World Fusion 29 3.16
8 Post-Fusion Contemporary 17 3.00
9 Jazz Related Improv/Composition 17 3.59
10 Hard Bop 15 3.47
11 Progressive Big Band 9 3.67
12 Third Stream 9 3.33
13 Vocal Jazz 8 3.00
14 Jazz Related RnB 6 2.58
15 Latin Jazz 6 2.75
16 Pop Jazz/Crossover 5 2.50
17 Jazz Soundtracks 4 3.25
18 DJ/Electronica Jazz 4 3.38
19 Jazz Related Blues 2 2.25
20 Acid Jazz 2 3.00
21 Big Band 2 2.75
22 Funk Jazz 2 3.25
23 Exotica 1 3.00
24 Jump Blues 1 3.50
25 Latin Rock/Soul 1 3.00

Latest Albums Reviews

AKIRA SAKATA Akira Sakata & Giovanni Di Domenico: Iruman

Album · 2014 · Avant-Garde Jazz
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Japanese sax player Akira Sakata born near Hiroshima in 1945.After university studies in marine biology, he switched towards jazz artist's career becoming a part of Japanese explosive free-jazz scene in late 60s.Akira still evidenced best time of this genre in Japan,but in fact since free jazz popularity declined drastically during seventies, he was late just a moment to become a star.From 1972 to 1979 he was a member of well-known Yosuke Yamashita Trio,in 80s he played with Last Exit; Bill Laswell became his albums producer (incl. "Fisherman'" with former Miles Davis guitarist Pete Cosey). Still last decades of XX century weren't all that productive and successful for Sakata.

During first decade Sakata became much more popular again, partially on wave of reborn interest to free improvisation in Europe. Here on "Iruman"(Japanese word of Portuguese origin,which came to Japan with Jesuits in 16 century and in original (“irmão”) meaning “brother”) Akira plays duo with twice younger Italian pianist Giovanni Di Domenico,his first duo with pianist ever. Giovanni Di Domenico grew up in Cameroon and plays free improvisations(more often) and classic compositions, sometimes African music-influenced.

Recorded in Tokyo,this album contains mostly free-improvised music,but of quite unusual kind.Sakata,who in his younger years has been known by quite explosive screaming sax attacks,is much subtle here. His playing is often meditative, philosophical and combines Japanese and European classic tradition (in moments he sounds similar to Jimmy Guiffre).Akira sings on few songs (instead of playing sax) as well, surprisingly his Japanese tradition-influenced vocalize fits well and adds lot of additional charm to whole music. Di Domenico plays very free form piano miniatures,but well-structured,tuneful and lyrical - listen to separate fragments often reminds European chamber piano recital,in moments warn,sometimes almost polished.

Probably looking as chaotic bag of unrelated components on paper,all these elements mixed both together work surprisingly well. Album sounds quite easy-listenable,non-boring and attractive. Not all music is of the same level, there are some moments where happens almost nothing,but in whole "Iruman" is the album, interesting not only for fan of Akira Sakata or free improvisations.


Album · 1973 · Post Bop
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Double bassist Naosuke Miyamoto has been already experienced jazz musician in his late 30th (played with George Kawaguchi and Sadao Watanabe among others)when he released his debut as leader in 1973. "Step!" received positive press and became one of the most popular jazz albums,released that year in Japan.This didn't change Miyamoto's musical career at all - soon he left Tokyo for life in provincial town where stayed playing jazz in local scene for decades. Last year(2014) Naosuke Miyamoto (77) participated as youngest band's member seeking Guinness World Records recognition as world's oldest jazz trio (with average age of 81).

Miyamoto's debut(and most probably the only true album as leader; the other one he released some years later exists as promo/limited edition release)has been released on Japanese one of most prestigious label Three Blind Mice(kind of Japanese ECM known by their audiophile sound)and is perfect illustration how important sound/mix quality is for any release success.

Miyamoto-led sextet(consisting of some musicians of his generation and some youngsters)plays very solid but quite safe mainstream jazz, somewhere between hard-bop and post bop. Of five album's compositions,two are less known Harold Land songs("Step Right up to the Bottom" and "A New Shade of Blue"),rest are members' originals. Miyamoto, obviously influenced by Mingus music,plays deep and rich but quite linear bass,accented on the mix as leading instrument. All sound is extremely spacious,warm and sounds as if the listener is sitting on scene between musicians. Both sax players soloing is tuneful,clear with beautiful tones as well as piano sounds. Trying to analyze all music components it becomes obvious that music and musicians all are good professional band and hardly more, but entirety is much better than each part.

Many Three Blind Mice albums have same fantastic sound, not all them sound same attractive though. Still "Step!" is a great example how virtuosic production can make one just a little better-than-average music sounding much,much better.Being a true artist and label success at the time of release, this album is still popular till now and evidences many reissues (incl. SACD audiophile versions). Good sound engineering is important part of musical art doing good music even better.

JOHN TCHICAI Rufus (with Archie Shepp)

Album · 1966 · Avant-Garde Jazz
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There are two great but almost forgotten albums, recorded at early days of free jazz by two great collectives. To be correct,both them were recorded at the same day and in the same studio, even more - them both were released only three years after they were recorded, by same label,just one right after another.

The New York Contemporary Five have been founded by trumpeter Don Cherry after he left Ornette Coleman and sax player Archie Shepp after his departure from Cecil Taylor band. Third reedist Denmark-born John Tchicai was less known but already played with some progressive New York artists. With support of groovy boppish rhythm section (Don Moore and J. C. Moses) the quintet was a all-star collective of sort.

In August 1963 quintet came to studio to record music, heavily influenced by "the New Thing". Besides of original band's session, some additional material has been recorded in studio same day - by the same band but without Don Cherry. Somehow all music recorded stayed unreleased till 1966,when it was released by Dutch Fontana as two separate albums. Full band recordings came as New York Contemporary Five's "Consequences” and music,recorded without Don Cherry came as John Tchicai - Archie Shepp's "Rufus".

If on "Consequences” trumpeter Don Cherry (still all in free jazz and not on his new upcoming interest - world fusion)is obvious leader, Cherry-less quartet represents balance of two quite different sax players - linear European classic influenced Tchicai on alto and African-American jazz tradition rooted Shepp on tenor. Well-framed by rhythm section,them both surprisingly founds way of collaboration successfully enough. Five compositions are all full of energy, tunes and rhythms and are closer to Dolphy's free-bop than to some free-form improvs which will dominate on free scenes some years after.

Not on the level of best advanced jazz releases of the time,this album contains really interesting early free jazz boppish and well structured form which almost disappears with no traces just few years later.Re-released many times (including CD versions)in Europe and Japan,it looks this album has been never issued in States. It's a shame - it not only contains quite original early free jazz but evidences beginning of successful career of two great jazz sax players - John Tchicai and Archie Shepp.

ADAM LANE Adam Lane's Full Throttle Orchestra ‎: Live In Ljubljana

Live album · 2014 · Avant-Garde Jazz
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American bassist Adam Lane is one among well-known musicians pushing advanced modern jazz ahead. If his small bands music is more a question of taste, his bigger combo Full Throttle Orchestra (actually small big band)is probably his most successful format.

On newest album,titled simply "Live In Ljubljana" Adam & Co demonstrate their best music ever. Recordings are made in 2012 at annual jazz festival in Slovenian capitol, one of oldest such eve in region,existing already more than half of century. Ljubljana itself is fantastic small town,real pearl placed between Alps slopes and Adriatic coastal area. Ljubljana's jazz festival got second breath around a decade ago when switched its program towards more modern advanced jazz. In fact, together with similar (but much younger) annual jazz festival in Portugal them two cover by best modern jazz all Southern Europe every summer. No strange leading European advanced jazz label Clean Feed releases lot of concerts from both festivals on their CDs every year.

On this concert Adam leads eight-piece band consisting of rhythm section and large team of brass musicians: two trumpeters (American Nate Wooley and rising Portugal star Susana Santos Silva),sax players Avram Fefer,Matt Bauder and David Bindman plus Reut Regev on trombone. Excellent if not all-star line-up. And they sound like that.

Differently from many Lane's previous albums, here his band plays more straight music, combining early big bands' fun with virtuosity and complexity of Charles Mingus music. Being accessible,even catchy,music here still contains lot of free improvisation,characteristic for progressive big band. All musicians obviously enjoy playing (as well as listeners - you can hear their reaction in moments as well) - and the result is excellent.All compositions are greatly composed and even better played - nothing sounds too repetitive or static here. Each band's member has space for soloing,but no solos lasts too long - right as long as good artist needs to make music more spiced but without risk to lose listeners' attention. Almost 80 minutes recording doesn't last long - in fact it looks it finishes earlier than you expecting. What again evidences how really good the music is - after more than hour of dynamic small orchestra music's listening you feel like wanting more.

Not really a release for Lane's more experimental sound fans,"Live In Ljubljana" is excellent album for everyone interested in advanced small orchestras' music, most probably the best progressive big band's album released in 2014.

MAL WALDRON Blood And Guts

Live album · 1970 · Hard Bop
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Pianist Mal Waldron first ever live album has been released in 1970 on tiny French Futura label. It contains four longish (each - over ten minute long)compositions, recorded in May 1970 at American Cultural Center in Paris. Mal plays in his most comfortable format - trio,two other members are local musicians who will never record with Waldron again. Twenty-four years old bassist Patrice Caratini will play on Kenny Clarke's French-released album " Kenny "To Day"" in 1980 and will collaborate extensively on domestic jazz and world music recordings. Drummer Guy Hayat already played in mid 60s with Bud Powell. Anyway, lesser known Waldron's band members surprisingly fit well for lively live music.

Album opens with Waldron original "Down At The Gill's" - groovy rhythm section openly push Waldron piano ahead, at moments he sounds almost as playing early rock'n'roll theme on piano. Comparing with Waldron other recordings coming from the same time,where he usually plays mid-tempo well balanced repetitive rhythmic beats or slower tuneful songs,muscular "Down At The Gill's" sounds as stadium rock-hit.

Recording engineer Alain Gandolfi (future drummer and co-founder of funky-fusion Cortex band)has been obviously interested in upcoming proto-funk sound: Mal's piano sounds a bit flat but drums and especially double bass sound are very deep,rich and mixed on the front(common sound mix balance is really pleasant,with just few ultra-low frequencies deep lows,dangerous for acoustic system). "My Funny Valentine" sounds surprisingly warm and original at the beginning but probably lasts a bit too long, last quoter of twelve minute-composition isn't all interesting and sounds like trio continues playing just because can't decide how to finish the song.

Second of three album's Mal originals,"La Petite Africaine", is excellent example of Waldron as composer. Again,pushed ahead with bopish but extremely groovy rhythm section,it shows how great Mal music sounds when more flesh and blood are added.

Album's closer (and title song) has been already recorded by Mal earlier this year,but in solo piano version (released on "Tokyo Reverie" same year). This live version,played with muscular trio opens new colors of this great composition, Waldrom will return playing it again and again years and decades after.

In all,better than average Waldron album,one between his best recorded during early 70s. Original vinyl LP is collectable rarity (it was re-released on vinyl some years later in Japan). Fortunately,there are French and Japanese CD reissues available on market,so there are some more accessible ways to get this strong album for your collection.

Latest Forum Topic Posts

  • Posted 5 days ago in Recently Watched Films
    Watched Mexican filmmaker Alejandro Gonzalez Inarritu "Birdman" earlier today - in small art-cinema with just 70+ seats,no pop-corn and pleasant luxury to take cup of coffee(china,no plastic) with you from inside cafe right to the film. Excellent story about Broadway (and partially Hollywood) backstage with some colorful New York atmosphere.  Michael Keaton (who I generally don't like from Batman times) was great, but biggest surprise was a great music - all movie is full of perfectly recorded in 5.1 format Mexican drummer Antonio Sanchez (member of Pat Metheny Group) solos, lyrical,cinematic and very right in place. Sanchez plays himself (or better to say just plays drums when filmed) more than once in different film moments and he/his music is important part of that special Broadway/New Your atmosphere. On return home just find out that movie soundtrack was released last year  by Milan Records snobb2015-04-12 12:24:41
  • Posted 13 days ago in Lemon-flavored Xylophones and Improv Room
    even more - Easter
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