Slava Gliožeris
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Registered 1959 days ago · Last visit 4 hours ago

Favorite Jazz Artists

All Reviews/Ratings

527 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 172 3.69
2 Classic Fusion 77 3.46
3 Post Bop 39 3.49
4 (Post-70s) Eclectic Fusion 38 3.61
5 Jazz Related Rock 34 3.34
6 Nu Jazz 28 3.52
7 World Fusion 26 3.19
8 Jazz Related Improv/Composition 20 3.58
9 Hard Bop 16 3.50
10 Third Stream 12 3.42
11 Post-Fusion Contemporary 12 3.00
12 Progressive Big Band 11 3.77
13 Vocal Jazz 9 3.11
14 21st Century Modern 7 3.93
15 Pop Jazz/Crossover 5 2.50
16 Jazz Soundtracks 4 3.25
17 DJ/Electronica Jazz 4 3.38
18 Big Band 2 2.75
19 Jazz Related RnB 2 1.75
20 Funk Jazz 2 3.25
21 Latin Jazz 2 2.75
22 Jump Blues 1 3.50
23 Acid Jazz 1 3.00
24 Exotica 1 3.00
25 Jazz Related Blues 1 2.00
26 Soul Jazz 1 3.50

Latest Albums Reviews

WADADA LEO SMITH Wadada Leo Smith & John Lindberg : Celestial Weather

Album · 2015 · Avant-Garde Jazz
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Finnish TUM label is a home for US giant trumpeter and composer Wadada Leo Smith most significant European recordings,mostly all monumental by form and size (incl. some double-CD studio releases). Smith's most current music isn't easy accessible,but is uniquely deep and represents one of the best modern creative genres borders crossing jazz around.

Wadada's newest TUM release isn't another monumental work as we could expect though. "Celestial Weather" is a collection of bare-naked minimalist duets with Smith' regular acoustic bassist John Lindberg, all duo's originals.

Divided to three parts, "Celestial Weather" demonstrates another side of Wadada - with same bassist he plays for decades Wadada feels very comfortable on almost chamber pre-composed pieces and very free-improvisational songs.

Recorded just by trumpeter and double bassist duo,this album is surprisingly filled with music. Sounds are clear and often quite ascetic,but it is not an album where nothing happens or where silence is a big part of recorded sound. It is quite different from Smith more bombastic works and probably not every fan of Great Lakes Suites or Ten Freedom Summers will like "Celestial Weather", but in on its own way this new release is a really important example of Wadada's creative legacy.

TOMEKA REID Tomeka Reid Quartet

Album · 2015 · (Post-70s) Eclectic Fusion
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Tomeka Reid is young Chicago-based cellist and "Quartet" is her debut release as leader (she already released an album with soundtrack for "Hairy Who & The Chicago Imagists" documentary two years ago).The album contains ten perfectly written and executed cuts recorded with great quartet (incl. Mary Halvorson on guitar,Jason Roebke on bass and drummer Tomas Fujiwara),collective of leading young New York and Chicago adventurous jazz musicians.

Tomeka is far not a newbie on jazz scene, she played with such greats as Anthony Braxton and Nicole Mitchell. From very first sounds (album's opener is only non-original composition here - it's Eric Dolphy's "17 West") it becomes obvious that Tomeka's music is rooted in old Chicagoan AACM tradition. Well composed pieces all are groovy, often quite catchy and contains complex improvisations which never become chaotic,screaming or too noisy. Her models are Billy Bragg (and Nicole Mitchell), and sounding modern her music returns the listener back to times when jazz compositions were memorable, well executed and harmonic.

All band perfectly play together and since music sounding is more accessible than regular solo works of quartet members(partially guitarist Mary Halvorson and bassist Jason Roebke), this album is excellent introduction to the world of modern adventurous music for open ears newcomers. At the same time I am sure Tomeka's debut can attract many more conservative listeners who are usually afraid of "avant-garde jazz" tag and possibly find Mary Halvorson's and Jason Roebke's own albums too quirky and chaotic.

LISA ULLÉN Lisa Ullén Quartet : Borderlands

Album · 2016 · Avant-Garde Jazz
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Korea-born Sweden-residing pianist Lisa Ullen is probably better known outside of Sweden by her collaborations with another Korean ex-patriot, New York resident cellist Okkyung Lee. In Nordic countries Lisa is well-known as highly experimental contemporary classic/improvisational/jazz musician.

Ullen debut album as leader has been released right a decade ago. Even if "Borderlands" is third quartet's album, and the line-up isn't changed a lot during these years(the only different member on new release is bassist Nils Ölmedal,who changed Ulf Åkerhielm participated on debut album), Lisa Ullen Quartet isn't a working band.Just time to time experienced members busy with other works reunite for recording of some new material.Of all three other quartet musicians,trombonist Mats Äleklint is probably most known artist (member of leading Nordic jazz bands Angles, Fire!Orchestra, All Included,Trondheim Jazz Orchestra, etc).Drummer Andreas Axelsson is better known as singer/vocalist in different metal bands(incl. Marduk,Edge Of Sanity,etc).Bassist Ulf Åkerhielm is a member of less known but excellent Brus Trio,the band which recorded with Roscoe Mitchell,John Tchicai and Charles Tyler.

Still, the music on Ullen Quartet third album isn't typical Scandinavian melodic and eclectic mix of jazz,rock and Balkan rhythms as one could probably expect from line-up. One of Lisa's more "jazzy" project, the Quartet plays quirky mix of free jazz, contemporary classical avant-garde and free improvisation. There are lot of rhythms,overlapping structures and distorted trombone sounds, Ullen piano techniques are obviously influenced by Cecil Taylor (or better to say Masahiko Satoh - kind of "Japanese Cecil Taylor" with very percussive playing but differently from Taylor on Far-Eastern manner free of emotional coloring).

There are lot of silence as part of music, not everything works and 53-minutes long album sounds too long at the final part. But at their best moments Quartet demonstrates vital and even playful eclectic modern avant-garde jazz, influenced by everything and influencing many other musical genres.

CHIHIRO YAMANAKA The Spheres: Live In Osaka!!

Live album · 2015 · Post Bop
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Everyone in the world knows who Hiromi is - Japanese pianist Hiromi Uehara was played with Chick Corea in Tokyo when she was 17 and after graduation in Berklee College in Boston (under Ahmad Jamal) she took the world by storm playing high energy technical fusion influenced by Return To Forever legacy. Hiromi is most probably most popular internationally Japanese jazz artist of today.

Much less people outside of her homeland Japan know who is Chihiro Yamanaka, and it's a shame. She is Beklee graduated pianist who leads her own bands (usually trios as Hiromi does) from early 00's. Chihiro released her first album in 2001, two years prior to Hiromi, and in 2015 came with her first ever live release (and her 18th album at all). Being celebrity of sort in home country, she is relatively unknown in Western world. During last decade some her albums have been reissued in US and Europe though.

The main difference between two is Hiromi is a piano power trio leader,playing technical high energy fusion, oriented first of all on neo jazz-rock fans. She started with playing tuneful contemporary chamber jazz, but it was fusion that made her a true star. Each success has its price - trying to continue once reached success Hiromi for some years changes nothing in her music,which with every her new album becomes moreand more repetitive and predictable.

Chihiro Yamanaka played contemporary jazz for years - not polished anemic European chamber jazz,but groovy American one, closer to good pop-jazz.Her roots are all in bop, and there are no album where this influence isn't obvious. During last some years Chihiro turns more and more towards modern post bop, adding all her pop and rock legacy to it as well.

The Sphere is are electro-acoustic trio with electric bassist Dana Roth and drummer Karen Teperberg. Chihiro herself plays piano and some analog keyboards, their music varies from pop-ballads to chamber tuneful songs to groovy post bop and fusion with analog keyboards passages.

Played live in club in Osaka, all music is playful, shining, tuneful and full of joy.There are no really new things here, but the way how it is played will make you smiling. Nothing is repetitive or boring and that feeling recalls times when jazz was not a demonstration of techniques or ambitions,but the source of fan.

JEAN-LUC PONTY Ponty & Sato: Astrorama (with Masahiko Sato)

Album · 1970 · Classic Fusion
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With full respect to French violinist Jean-Luc Ponty for his work as sideman in Mashavishnu Orchestra and partially with Frank Zappa, I have never been a big fan of his solo albums. Ponty's transformation of Gipsy swing to violin shred for middle-class sofa rockers didn't sound attractive,what for sure is a question of taste.

This Ponty early collaborative work attracted me first of all because of Japanese pianist Masahiko Sato,who is stated as co-leader. Sato in late 60s-early 70s was a true free jazz idol on Japanese scene,so I was curious what can he do in a company like this.

Recorded (and released) in 1970, "Astrorama" contains four originals,three -Ponty's and one Sato's. With no doubt it is Ponty's album first of all - his violin fusion shredding absolutely dominates here even if experienced ear can hear some interesting Sato soloing in few places. In accordance with a long lasting Japanese jazz tradition local musicians tried to collaborate with renowned Western jazz stars, such gigs or recordings were tickets of sort to domestic Jazz hall of fame.

Sato, who at the moment of "Astrorama" recording already built up the reputation of most innovative and revolutionary of Japanese "new jazz" pianist,plays electric piano here trying to adapt his very different techniques to Ponty quite conservative jazz fusion's requirements. As a result he sounds more as Corea (or Hancock) on their very early fusion recordings. Rest of the band don't help much as well - drummer Motohiko Hino (brother of renown trumpeter Terumasa Hino) is well known by his heavyweight drumming manners,fitting better to fusion or rock jazz than to more subtle genres. Unknown to me guitarist Yoshiaki Masuo doesn't shine much, and the last quintet member is a European mainstream jazz legend Dane Niels Henning Orsted Pedersen. His presence in band for sure increased the quintet status a lot, but physical and quite conservative groovy acoustic bass lines adds even more eclectics to far not very organic band.

As one can expect from such line-up,resulting music is quite a mixed bag. Ponty feels a true leader and obviously dominates with quite enthusiastic support from electric guitarist and drummer. Sato balances with different success between electric piano fusion passages and more complex,free and partially psychedelic pieces which not always fit well.

Still the year is 1970 and creativity is in the air so in whole "Astrorama" is quite rewarding listening,representing one of deviations of classic fusion on the early stage of the genre.

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