Slava Gliožeris
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Favorite Jazz Artists

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728 reviews/ratings
JAZZ Q PRAHA /JAZZ Q - Symbiosis Jazz Related Rock | review permalink
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 Jazz Related 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
ROSCOE MITCHELL - Conversations I (with Craig Taborn & Kikanju Baku) Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 255 3.69
2 Fusion 85 3.52
3 Post Bop 82 3.54
4 Eclectic Fusion 44 3.72
5 Jazz Related Rock 34 3.29
6 Nu Jazz 30 3.62
7 Hard Bop 29 3.47
8 World Fusion 25 3.04
9 Jazz Related Improv/Composition 23 3.59
10 21st Century Modern 23 3.98
11 Post-Fusion Contemporary 17 3.21
12 Third Stream 15 3.50
13 Progressive Big Band 13 3.77
14 Jazz Related Pop/Art Song/Folk 10 3.00
15 Vocal Jazz 8 3.06
16 Jazz Related RnB 7 2.86
17 Jazz Related DJs/Electronica 5 3.40
18 Jazz Related Soundtracks 4 3.25
19 Cool Jazz 3 3.67
20 Funk Jazz 3 3.50
21 Exotica 2 3.00
22 Acid Jazz 2 3.75
23 Big Band 2 2.75
24 Latin Jazz 2 3.50
25 Jump Blues 1 3.50
26 Jazz Related Blues 1 2.00
27 Afro-Cuban Jazz 1 3.50
28 Funk 1 3.50
29 Soul Jazz 1 3.50

Latest Albums Reviews


Album · 2018 · Nu Jazz
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After eleven years of activities and seven successful albums London-based Phronesis were probably most respectable contemporary jazz trio in UK. Few years ago, when their music started sounding a bit too safe and predictable they did a double shot trying to improve the situation. First they recorded (at Abbey Road Studios in London) much more muscular album ("Parallax")then they ever did before. I saw them playing life with these new songs and they sounded as high-energy power trio, but from the bad side their new music lost part of their melodies putting them in danger to become "another fusion piano trio". An year after they released an excellent album of their known songs recorded with Frankfurt radio big band. What's next?

Just released their ninth album "We Are All" doesn't open radically different horizons, but it looks here they finally found their best ever balance between slightly melancholic chamber jazz and more modern and youthful power trio sound. Trio's songs are tightly composed and precisely executed again with bigger attention to melodies. They reduced high energy of "Parallax" till controlled groovy sound with complex interplay between virtuoso piano soloing and physical acoustic bass.

"We Are All" represents contemporary European jazz at it's best - multilayered intellectual improvisational music sounds almost as accessible as pop and rock songs without loosing its quality. One critic called "Phronesis" "the best modern jazz piano trio since EST", with "We Are All" release they have serious evidence that he was right.

ANGLES Angles 3 : Parede

Live album · 2018 · Avant-Garde Jazz
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Swedes Angles started a decade ago as sax player Martin Kuchen-led sextet playing modern mix of avant-garde jazz, Balkanica and electronic jazz. Very tuneful,emotionally colored and politically sharp songs made them one of most popular Nordic jazz band right after their debut in 2008 (on Portuguese Clean Feed label). They grew up from sextet to octet (Angles 8) for their third album and till nonet(Angles 9) for their fourth one (all - recorded live).

Band'sound became more orchestrated (possibly as the answer to success of their colleagues another Nordic super-group Fire! who grew up from power trio to progressive big band) and more sharp on Angles' two studio albums,recorded in 2014 and 2017. Being a classy band, their formula became a bit too predictable so the year 2018 gives their fans a radical change.

Angles' new album "Parede" (yes, live for sure) is recorded by Angles 3 - and they are really a trio now! Based predominantly on the compositions from their last studio album "Disappeared Behind The Sun", new Angles model is rooted on Albert Ayler free jazz tradition. Sax player Martin Kuchen with old drummer Kjell Nordeson and new Norwegian drummer Ingebrigt Håker Flaten (a member of The Thing power super-trio together with reedist Mats Gustafsson, the leader of above mentioned Fire!) instead of Angles' original Johan Berthling play bare-naked versions of of well-arranged Angles 9 originals.

The difference in music comparing with any previous Angles line-up is significant even if there still are some Balkan tunes, melodies snippets and soulful Kuchen sax soloing. Trio Angles play free jazz of old school, it radiates energy, emotions and live listeners participation is right in place here.

Probably, more Angles side-project than logical continuation, Angles 3 released truly unexpectable album at a moment when it looked they became too predictable. Not every "bigger" Angles fan will stay happy with this new music but I believe they will find some new listeners too with this step.

VLADIMIR CHEKASIN Second Siberian Concert

Live album · 1994 · Eclectic Fusion
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Sax player/multi-instrumentalist Vladimir Chekasin was my very first experience listening jazz live. As undergraduate university student in 1981 or 1982 I felt some initial interest to jazz even if my strong prerogatives were Black Sabbath (going) and The Stranglers(coming). I lived in same town with famous free jazz Ganelin trio and when trio's member announced his solo concert in my university Aula I just decided to give the jazz a chance.

This evening changed my life, not less.It looked there were even no air to breath in overcrowded old building's hall with high wooden doors and white columns. Students and younger professors waited for something... unexpected. And it happened - Chekasin played quite emotive solo gig using circular breathing techniques, simultaneously playing of two saxophones and free improvisation against strange electronic device, kind of early analogue modulator/synthesizer. Fortunately for newcomers as I was, Chekasin's music was far from formal, it contained lot ot tunes snippets, emotive soloing and strange rhythms what made it surprisingly accessible.

At the end of the night I didn't realize (as many others sitting and standing near me in a hall) what it was - we just evidenced highest class musical shamanism session we had never saw in our lives. From that day I started visiting jazz concerts more often but it still took two decades to start listening jazz recordings.

"Second Siberian Concert" is recorded just a few years later in Novosibirsk - largest Siberian academic city, and till now it stays a last recording evidence of Chekasin musicianship as leader. He still plays time to time but concentrates mostly on jazz education in Lithuanian Academy of Music and Theater and leading excellent student's Big Band.

The quartet recorded contains of Chekasin, playing plenty of reeds (obviously using simultaneously playing techniques since there are no other reeds player on board and one can hear different reeds played at the same time),analogue synth and occasionally piano; Romania-born Vilnius-based keyboardist Oleg Molokoedov (piano,analogue keys,synth) and local rhythm section - bassist Sergey Panasenko and drummer Sergey Belichenko.

The year is 1985 and synthesizers (especially in jazz, and more precise - in Soviet jazz!) still look like extreme modernism so no strange whole music is heavily overloaded with their sounds. Synths are still analogue so their sound doesn't attack listener's nerves as later time plastic electronics but still great Chekasin's sax soloing and two-reeds interplay too often disappears without significant traces in that wall of synth sounds.

Three compositions (two long and one - two-minute short) are mostly improvised but contain plenty of composed sources incl. popular swing tunes,themes from ballet,Slavic folklore elements and circus marches. Sound quality is only average though.

Released in 1994 only, after Soviet Union finished existing, this album has been never well known or widely distributed. Now available on bandcamp as digital download, it represents nice opportunity to hear one of the most interesting innovative artist of the region. Not a best artist's work for sure, it still is a valuable evidence in Chekasin's far not so umerous discography.

GANELIN TRIO/SLAVA GANELIN Live In East Germany (aka Catalogue)

Live album · 1980 · Avant-Garde Jazz
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It's quite paradoxical that Ganelin Trio, most probably the only European band which played free jazz by the same way and on the same level of creativity and virtuosity as genre's American leaders, have deep Eurasian roots. Founded in early 70s in Vilnius, capital city of then Russians occupied Lithuania, it included three emigrants from Russia motherland.

Band's leader pianist and composer Vyacheslav (Slava) Ganelin was born in a family of Russian Jews not far from Moscow in the end of WWII and moved to occupied Vilnius with his parents being 4 years old boy. Sax player Vladimir Chekasin born in Sverdlovsk (now - Yekaterinburg), Ural's industrial town right on the border between Europe and Asia. He graduated as classic clarinet artist in his hometown conservatory and moved to Vilnius already being young perspective musician at 24. Drummer Vladimir Tarasov comes from Russian sub-Arctic city of Archangelsk, important Russian Navy port in the Far North, where he played jazz in local clubs still being teenager. At 19 he started music studies in St. Petersburg Conservatory but has been dismissed same year because of propaganda of jazz(!).He didn't return to Archangelsk but moved to Vilnius, where he started playing jazz with pianist Ganelin in legendary Vilnius' "Neringa" restaurant.

So, in year 1971 in Vilnius, town where I was born and grew up (ok, I was only 8 years old boy in 1971), three future avant-garde jazz giants founded the trio which influenced all Lithuanian jazz scene for decades ahead. For outsiders, it's almost impossible to imagine in what world trio's music was born. As a century before that Russian Empire banned the use of Lithuanian language in a territory of occupied Lithuania in any form,other than spoken word (i.i. books,newspapers,schools and University education on Lithuanian all were under the ban), their successors Soviet Empire banned on all controlled territories any forms of Western culture, different than some classical music. Rock music was a main target as it sounded as a right danger for Communist regime, jazz (since there as rule is no lyrics) was classified as "rotten Capitalism" propaganda and was under pressure and strict control as well. Vilnius (besides of Tallinn in Estonia, another Russian occupied European country) was a true mecca for semi-underground jazz since the town during Soviet rule became a quite isolated place, kind of sleepy province far from Moscow and Leningrad where everything was under strict control of KGB eyes. There in Lithuania of that period even existed a jazz studies in State Conservatory (established not in capital Vilnius, but in Klaipeda - smaller town 300 km west on Baltic coast, even more far from Big Brother's eyes).

So, there were some fresh air for jazz musicians in Vilnius with possibility to play in restaurants, Universities halls and even on local radio/TV in rare cases. From other hand, Vilnius was in same isolation from internal world (read - world outside of USSR) as any other place in Empire of Evil. There was no possibility to buy jazz recordings or to hear modern jazz played on radio (rare exception was a Polish radio often plying pop jazz, it was possible to hear it in Vilnius). The only source of musical news was a contraband vinyls coming from West which were extremely rare, banned and as a result unbelievable expensive (to buy one I often needed to pay my young graduate engineer two weeks' salary).

There were active exchange of used vinyl and home-made tapes between musicians and jazz fans as well which often was main sources of any new information. In that atmosphere three young musicians with classical music education and underground street-wise new jazz information started playing music never heard here before. As a result, Ganelin Trio,especially on early stage, sounded as fresh and unexpected European version of Art Ensemble of Chicago: they played lot of instruments (often sounding as much bigger combo than real trio) mixing American free jazz with their classic music formal roots and in part Russian folklore.

There are lot of recordings coming from late 70s - early 80s recorded by trio, but almost all of them are bootleg level live tapes, smuggled through the border and released in UK by another Russian Jew emigre in UK Leo Feigin on his Leo records. "Live In East Germany" is a good example of such release - rare foreign gig (recorded in Eastern Germany), as usually - one long composition divided on two vinyl sides. Trio sounds as much bigger band (Ganelin even plays some distorted guitars closer to the end of the gig, Chekasin plays multiple saxophones simultaneously), there is lot of freedom, lot of melodies, hyper-energy of their live shows and lot of humor and circus as well.

All music sounds fresh and unexpected and surprisingly well organized what evidences classical musicians' education. Don't be fulled by the year of the concert - because of Iron Curtain free jazz came to this part of Europe much later and there are one of very early evidences of it. Taking in account the time correction because of political reasons, they are as fresh as US free jazz of mid 60s.

One great (and for many jazz fans unexpectable) music, it is easier acceptable now because of some re-issues around. Ganelin left for Israel in 1987 disbanding the trio, he teaches music in Lithuanian Music and Theater Academy and plays regular concerts in Vilnius till now. Chekasin teaches in same Academy and runs students big band, Tarasov switched towards avant-garde audio-visual arts, one can hear/see his new installations regularly.


Album · 2018 · Post-Fusion Contemporary
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UK-born Graz, Austria-based sax player Julian Argüelles last year arranged (and conducted) his first big band album ("Behemoth") for one of my British scene favourites - Phronesis, with big success. Four days ago he released a new album as leader, so I just need to hear how does it sound.

Argüelles leads a quartet with pianist-drummer-bassist, what generally looks like it could be Phronesis (reed-less trio) plus Argüelles himself. The similarity is even closer since the participating Argüelles quartet pianist is no one else but Ivo Neame, Phronesis' founding member.

"Tonadas" (or "tunes" in Spanish) is a beautiful collection of lively chamber songs. Dominating Latin titles possibly show the source of inspiration for the author, but the music itself is not really Latin-influenced. One can think of this as Phronesis improved with a sax player soloist playing more relaxed music than usual. Pianist Neave has more freedom here compared to his work on Phronesis albums, and he really shines on smart and swinging solos.

This album's music is elegant and warm - much more alive and pleasant than many of today's sterile-sounding chamber jazz collectives. Less energetic, it probably will attract a bit different listener than hard Phronesis fans, but in general, "Tonadas" is a nice modern jazz album for widest listener categories.

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    The Reverend Al Green has released his first new recording in nearly a decade. The 72 year old soul legend has been working with producer Matt Ross-Spring at the Sam Philips Studios in Memphis to create a new version of the Freddie Fender song ‘Until The Next Teardrop Falls’. It’s part of a new series of productions specially commissioned by Amazon which also features William Bell, John Prine and Margo Price. This new recording features some old friends of Al Green, including Hammond B3 legend Charles Hodges. Matt Ross-Spring told NPR: "Charles is the organ player on all the classic Al Green stuff and unbeknownst to me they hadn't played together since the 1980s! The session was already pretty special but their reunion (both musically and personally) was very profound for everyone." Green has been persuaded out of his semi-retirement for the project. He rarely steps into the studio these days but is regularly seen preaching at the Full Gospel Tabernacle – the Memphis church he founded in 1976. from snobb2018-09-14 05:05:42


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