Slava Gliožeris
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Favorite Jazz Artists

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552 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 189 3.62
2 Classic Fusion 80 3.39
3 Jazz Related Rock 39 3.22
4 Post Bop 38 3.46
5 (Post-70s) Eclectic Fusion 35 3.54
6 Nu Jazz 33 3.47
7 World Fusion 29 3.21
8 Jazz Related Improv/Composition 16 3.63
9 Hard Bop 15 3.47
10 Post-Fusion Contemporary 15 2.97
11 Third Stream 10 3.40
12 Progressive Big Band 9 3.67
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

VIJAY IYER Mutations

Album · 2014 · Third Stream
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American pianist Vijay Iyer ECM debut opens with "Spellbound And Sacrosanct, Cowrie Shells And The Shimmering Sea" - solo piano composition,coming from his first ever album, released in 1995 (Memorophilia,Asian Improv Records ‎– AIR 0023). But on "Mutations" this song sounds not like free improv, but as well-composed chamber piece. "Vuln,part 2" coming next changes the mood radically - Iyer's piano sounds are walking over deep electronics pulsation more common on ambient or left-field recordings.

Rest of the album is completed with one long suite,composed by Iyer and played by him (on piano and electronics) and strings quartet."Mutations I-X" is perfect title for music presented under that title - mostly pre-composed,it flows changing its form,mood and timbres but staying generally almost the same. All compositions are minimalist,with lot of space and cross-stylistic by their origin. Strings quartet (cello,viola and two violins) sound sometimes chamber,but more often - dark,dissonant or even streetwise(in places their droning recalls "Apocalyptica plays Metallica" aesthetics). Iyer plays very ascetic piano here and there, more often he's a source of different electronic voices and noises.

Main pleasant surprise with "Mutations.." is that being a product of many (and often polar)influences,music here doesn't sound chaotic or eclectic. All techniques and aesthetics are so carefully used that final product sounds as new unity,tasteful,stylish,ambitious and accessible at the same time.

As many cross-genre recordings of similar origin, "Mutations" isn't music for everyone's ear. Jazz purists wouldn't find much jazz here (probably not at all),chamber snobs will be shocked by flippant use of electronics,noise and drones combining it with string quartet's music,but fans of advanced (and very cinematographic,or probably better to say - modern theater soundtrack-like)music will find lot of joy and new ideas here. Excellent Vijay ECM debut - opening label's already a bit conservative doors wider.


Live album · 1969 · Classic Fusion
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Japanese leading trumpet player Terumasa Hino's "Hi-Nology" is his most commercially successful album and in fact his start to international fame.Released in 1969,it was one of the very first fusion album recorded by country's artists and released in Japan.Sometimes described as "Miles Davis undone step" in reality it isn't that.

Terumasa Hino started as mainstream jazz trumpeter and in 1968 switched from hard bop to more modern post-bop forming Hino-Kikuchi Quintet with pianist Masabumi Kikuchi. Their debut,recorded same year,was released in 1969 only, and few month later Terumasa Hino releases "Hi-Nology" with same band,just with different pianist (acoustic pianist Kikuchi has been changed with Hiromasa Suzuki on electric piano).The concept of electric fusion was just in the air around, and Hino was obviously heavily influenced by Davis re-tuning his quintet for playing more advanced sound.But if Miles very soon brewed jazz improvisation with psychedelic rock jamming,Terumasa stayed deeply rooted in mainstream jazz building his fusion on boppish basis.Miles concentrated his interest on textures against form, Hino demonstrates perfectly framed and structured songs in mainstream jazz tradition.

Released on the peak of fusion "revolutionary" popularity, this album was a true success between both yesterday's jazz adepts searching for new sound and part of rock fans,since very jazzy by its nature album's compositions were not so different from tuneful well-structured rock songs (thanks to thunder-like Motohiko Hino drumming Hi-Nology sounds not all that different from some rock albums of the time).

So,representing just a different (and generally more conservative by its nature) leg of just-born fusion comparing with Miles Davis music of the moment, Hino's quintet plays music which has born under Davis influence. The real reason why it sometimes sounds more advanced is that that hard-bop rooted Hino is more open to another huge moment's influence - free jazz. Miles was known by his negative point of view towards free jazz (what not always means his music isn't influenced by it), Terumasa Hino saw free jazz as part of his music (even if in reality Hino's music as rule is never such free as Miles'). As a result on "Hi-Nology" one can find lot of freer soloing which don't change basic structure but add lot of fashionable free jazz arrangements hardly possible in Miles music. Miles has been never interested in flirting with free jazz, and because of that Hino music for some ears sounds as "Miles undone next step brewing fusion and free jazz". I believe if Miles would be interested to make this step his music would sound much freer.

"Hi-Nology" stays one of the best early Japanese fusion album and start of commercial success for Terumasa Hino. Besides of few other country scene's similar releases it built the basis for plenteous and influential J-fusion movement some years later.

TONY MALABY Tony Malaby's Tubacello : Scorpion Eater

Album · 2014 · Avant-Garde Jazz
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"Scorpion Eater" could be a great title for fiction book or art-crime movie.Using it for avant-garde jazz quartet's album is intriguing but does it has any sense? Sax player Tony Malaby who led two unusual trios few years ago - one with tuba and drums and another with cello and drums - just decided to combine them in more compact quartet,leaving just one drummer on board. "Scorpion Eater" is his second album as leader coming from 2014,this time recorded with exotic sax-tuba-cello-drums quartet Tubacello (first was released with Malaby's more traditional Tamarindo trio).

Album's opener "Buried" just blows the listener out - unusual tuba/cello low frequencies rhythmic duo instead of more traditional bass works surprisingly well in short(just two-minute+)attack,perfect fresh alternative to what could be a power trio's song.But right after things turns to unexpected direction. "Trout Shot",second longest album's composition, is nothing but free form percussive construction of rhythms and sounds but thanks to exceptionally creative drummer John Hollenbeck it is full of tension and changes.In a second half it explodes with almost tribal rhythms and silently-screaming sax,in whole it fits to be used as alternative scene horror movie's soundtrack. Two minutes long "Fur" coming after is a distant desert song,fragile and sounding from far away,with touch of Eastern motif in sax line.

"March" leads us to album's central composition,fifteen-minutes long "Bearded Braid". This meditative ambient piece slows things down telling Eastern fairy-tale which finishes with very short "Scorpion Eater" - full of tension and drama with no unambiguous final.

Far not very often jazz album's title means something or has relation with music it contains. "Scorpion Eater" is a rare exception,even more unique since music it contains is quite abstract and free.Great example how cinematic modern creative music can be.For those experienced in using their imagination Malaby's "Scorpion Eater" is as great as the book or movie of such title could be.


Live album · 1986 · Avant-Garde Jazz
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If you're new in Japanese avant-garde jazz, one of the very first names you will hear is Masahiko Togashi.Drummer from his teens,in 60s he played in internationally most known Japanese jazz man of the time Sadao Watanabe's band.In late 60s together with pianist Masahiko Satoh he became one of icon of Japanese just-born free jazz. In 1969 he lost use of his legs as a result of accident,but stayed playing music using his own percussion techniques.Paradoxically, right from same 1969 he started releasing albums as a leader and has been prolific artist up to the end of the century.

Speaking about his musical legacy,his best works are still his collaborative albums,not solo releases,especially those coming from late 60s - early 70s. After burgeoning early 70s avant-garde jazz scene it was declined very fast in a few years after and never returned back even a part of such popularity again.It's common for almost every Japanese avant garde jazz artist of first generation that in mid 70s after some years of glory they stayed out of place and often out of job. Many changed the direction to moment-fashionable fusion,some switched to most respectable jazz form in Japan - hard bop.Many of them tried to return to more adventurous music later but rare succeeded - as rule having no mainstream jazz roots,first generation's free jazzers just got stuck in their youth music without finding any development possibilities.

Togashi,having hands-only drumming/percussion abilities, from very early step developed his own percussive sound combining African tom-tom and meditative Japanese techniques,just using them both in a free manner.It sounded quite unusual and progressive in early 70s but didn't change much after decades. Few his solo (percussion only) albums were quite successful demonstrating early world music-influenced (or pre-new age) aesthetics,but generally quality of almost any Togashi's album heavily depends on collaborators participated. Being kind of celebrity in Japanese jazz,Togashi always has ability to form strong bands, "Bura Bura" recorded concert isn't exception.

On paper,"Bura Bura" team looks like all-stars quartet where Togashi is supported by Steve Lacy on Soprano, trumpeter Don Cherry and bassist Dave Holland.In real life things are a bit different. If Steve Lace (who was most probably more popular in Japan than anywhere else for decades)was regular Togashi's musical partner playing with bhim during his every of twelve Japanese tours,for Cherry and Holland such collaboration is a new thing.As a result all concert sounds more like jam than improvisational collaboration.Of all ten songs,recorded during concert in Tokyo,only four were used on original "Bura Bura" album - two Togashi's originals and two Lacy's. It's quite understandable since at least Togashi and Lacy were both familiar with that material.

Togashi's originals both are tuneful and very percussive, but hardly memorable. Cherry plays beautiful trumpet solos on "Contrast",but it hardly saves all song - feeling of raw jam session stays all album long. Two Lacy's originals are both well known and easy recognizable, "Wickets" and especially "Flakes" were played and recorded by Lacy himself much more often than once or twice."Wickets" even contains insert from John Lee Hooker's blues with Don Cherry vocals! These songs save album, it's obvious how Lacy compositional abilities change music quality for good(even if common musicianship still sound quite raw).

It's interesting that French release of "Bura Bura" contains quite different selection from the same concert's material - adding Don Cherry original "Mopti" and changing Togashi's "Contrast" to his other song,"Spiritual Nature",coming from his one of the most commercially successful album of the same title,recorded in 1975 (with Sadao Watanabe on board,among others). Most probably such choice is an adaptation for European market.

At last,in 2002 all 10 songs were released in Japan as double CD.Probably good choice for collector,this version has its pros and cons. It contain some better songs than were chosen for original LP,but at the same time it contains around 100 minutes of music,10 loose compositions of which only two are shorter than 11 minutes and far not all music is so interesting.It's not the album you will listen too often for sure.

In all, near average Togashi's album where sound names don't generate expected quality, but still nice listening.

TERUMASA HINO Group Everything Everything Everything: Hino's Journey to Air

Album · 1970 · Avant-Garde Jazz
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Trumpeter Terumasa Hino, the first candidate for best Japanese jazz trumpeter ever,is known quite well outside of his home country,mostly by his Miles Davis-influenced fusion albums. It's less known that during early 70s he was involved in free jazz movement, and almost unknown that during his first ever visit to New York in 1970 he recorded one-shot project's "Group Everything Everything Everything" album (released exclusively in Japan though).

I have no idea if Terumasa has been influenced by Alan Silva "Luna Surface" radical album, recorded and released some month prior to "Group Everything..." session, if not than probably very similar idea just flew somewhere around in that creative and electrified air of late 60s-early 70s. Silva in Paris formed 11-piece band (participating as violinist/conductor) and let musicians to play whatever they want,all at once. Resulted two-sides long track "From Luna Surface" presented kind of organized chaos,collective unframed and uncontrolled improvisation,reflecting creative freedom of the time and having it's own (non-conventional) beauty.

Terumasa Hino formed in New York 12-piece Japanese-British-American band (with Dave Holland on bass,sax players Dave Liebman and Steve Grossman among others)and recorded two-sides long free-improvised composition "Journey To Air" - electro-acoustic tsunami with lot of personal soloing. If Silva's work was more about unlimited freedom, Terumasa's music is better organized,contains more tunes and virtuosic solos and aesthetically is closer to contemporary classic avant-garde than Silva's destructive anarchistic no-wave.

The future of both above mentioned albums are polar different - French BYG-released "Luna Surface" became a cult album (what as rule means everyone heard about it but almost no-one heard the music itself),Japanese-only album "Hino's Journey To Air" became a collectable rarity(in late 70s it was re-released as Terumasa Hino's solo album of the same title)."Luna Surface" was first, "Journey To Air" sounds better - those who like the former most probably will really enjoy the later.

P.S. It's interesting that part of the project musicians (without Terumasa Hino) three months later recorded another similar album (this time as "Everything Is Everything" band,another excellent line-up including guitarist John Abercrombie,bassist Reggie Workman,trumpeter Randy Brecker and drummer Lenny White besides of Liebman/Grossman duo from initial project). Japanese only release as well.

Latest Forum Topic Posts

  • Posted 12 hours ago in Jazz related albums, 2015
    Great news for Jeff Beck's fans - after series of below average albums coming from some last years Jeff released inspired collection of new live recordings, full of fire. Contains two previously unreased studio tracks as well.listen here:
  • Posted 11 days ago in Birthdays thread
  • Posted 14 days ago in Jazz Speaker /System Suggestions?
    ^ from the above review it looks MA speakers are good choice, British manufacturers knew how to produce good acoustic systems still from earlier Tannoy and Polk Audio makes.


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