Slava Gliožeris
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Favorite Jazz Artists

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522 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 Pop Jazz/Crossover | review permalink
KAZUTOKI UMEZU - Eclecticism (Post-70s) Eclectic Fusion | review permalink
JAN GARBAREK - Afric Pepperbird Avant-Garde Jazz | review permalink
DAVID TORN - Polytown Nu Jazz | review permalink
MASADA - 50⁴ (Electric Masada) (Post-70s) 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) 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
SEI MIGUEL - Salvation Modes Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 172 3.70
2 Classic Fusion 74 3.46
3 Post Bop 40 3.54
4 (Post-70s) Eclectic Fusion 33 3.65
5 Jazz Related Rock 32 3.28
6 Nu Jazz 26 3.56
7 World Fusion 25 3.10
8 Jazz Related Improv/Composition 20 3.55
9 Hard Bop 17 3.47
10 Third Stream 13 3.46
11 Post-Fusion Contemporary 11 3.09
12 Progressive Big Band 11 3.73
13 21st Century Modern 11 4.00
14 Vocal Jazz 9 3.11
15 Pop Jazz/Crossover 6 2.83
16 Jazz Soundtracks 4 3.25
17 DJ/Electronica Jazz 4 3.38
18 Acid Jazz 2 3.75
19 Big Band 2 2.75
20 Jazz Related RnB 2 1.75
21 Funk Jazz 2 3.25
22 Latin Jazz 2 2.75
23 Jump Blues 1 3.50
24 Exotica 1 3.00
25 Jazz Related Blues 1 2.00
26 Soul Jazz 1 3.50

Latest Albums Reviews


Album · 1973 · Classic Fusion
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Polish trumpeter Tomasz Stanko is most probably country's best known jazz musician for some decades and prestigious ECM label in-house artist. Better known (especially outside of his homeland) from his ECM-sound recordings, in his early ears Stanko played quite different music. Started his career still at late 60s, Tomasz played with in Polish legend Komeda band, starting his career as leader in early 70s.

"Purple Sun" is Stanko quintet third album recorded live in empty hall of Music School in Munich,Germany. All-Polish quartet is completed with German bassist Hans Hartmann here. Album contains four originals (twolong and two shorter pieces). Confusingly enough, "Purple Sun" is often classified in music media (partially Polish) as early example of Polish avant-garde jazz which it isn't.

In reality bass-drums-trumpet-sax quartet with violinist Zbigniew Seifert on board plays high energy fusion strongly influenced by Davis' "Silent Way" and "Bitches Brew". Representing contrast difference from popular Stanko ECM albums of contemporary (chamber) jazz, "Purple Sun" with its raw energy and quite free structure possibly sounds as avant-garde piece for traditional Stanko listeners but everyone familiar with early Miles fusion will confirm their musical similarity.

Stanko's fusion is more European comparing with Miles - there are less American jazz roots (no groove) but lot of German krautrock influence in a form of straight power flow and rock-psychedelia. And yeh - the level of musicians virtuosity is far not as in Davis fusion bands.

Still music sounds really fresh and inspired and common "rockish" aesthetics could be attractive for fans of jazz-rock. In all cases, this album (reissued in Poland on CD at least twice so quite accessible) is not for numerous fans of ECM-period Stanko. Lovers of early Miles fusion will probably find here a nice example of similar music recorded by one of the best Polish jazz musician ever.


Live album · 2016 · Avant-Garde Jazz
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Starting from late 60s solo saxophone recordings aren't rare thing, Chicagoan Association for the Advancement of Creative Musicians (AACM) and soprano genius Steve Lacy introduced world to that kind of highly creative and usually very free-form kind of jazz. Solo trumpeter albums are much more obscure though.

American trumpeter Peter Evans (better known to wide auditory as Mostly Other People Do The Killing band member) has already released some, but his newest "Lifeblood" is his first solo trumpet album in five years. It contains recordings from different shows recorded in 2015-16 and lasts almost two hour long. To make things even more twisted,"Lifeblood" is released in digital form only - usual download files and ... USB memory stick (or being more correct - USB credit card memory stick). Since the size of content doesn't exceed the space of casual double CD-set, it's obvious that physical recording's form has been chosen not only because of technical needs.

So - what do we have inside? Solo reeds albums are always hit or miss, at their best such music radiate artist's creativity and technical perfection but sometimes we just evidence never-ending demonstration of musician's ego drilling your ears and twitching your nerves. Than 109 minutes long "Lifeblood" can sound as really risky business.

Fortunately it isn't. Evans plays solo trumpet concerts regularly for years so what one can hear on this album isn't just exotic demonstration of technical abilities on request. "Lifeblood" contains two longer pieces ("suites") - twenty-seven minutes long opener of the same title and three-parts forty-minutes long closer "The Prophets". All music is highly improvised but contains never ending mosaic of tunes and rhythms snippets changind each other very dynamically so such a long free-form album doesn't sound boring at all.

Evans plays trumpet with rare virtuosity using his own techniques besides of more traditional, he uses breathing and his mouse as source for percussion added and generally minimalist music is surprisingly dense and dynamic. Quite unusually for music of such kind all concert sound is warm,even intimate at moments. Peter successfully finds the right balance between passionate playing and relaxed atmosphere, music isn't explosive nor meditative.

Surprisingly, almost two hours of solo trumpet music of free form don't require special concentration from listener. It is not elevator music for sure, but it works pretty well sounding at home when I was doing some home works or reading news in internet. I listened to the album three or four times during last some weeks - it says a lot!

USB stick isn't most popular form of physical jazz album maybe, than go for more usual download and don't miss this probably best reeds player solo album of last decade or so.


Album · 1978 · (Post-70s) Eclectic Fusion
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Ornette Coleman was the one among a few jazzmen who started playing what later has been titled "a new thing" still in late 50s. His album "Free Jazz" gave the tag for all new jazz direction which dramatically changed genre's scene for decades to come. Still at the late 60s-early 70s it looked Ornette got stuck in his music(his excellent "Science Fiction" from 1972 is an exception only confirming the sentence).

Fortunately for us jazz lovers he did it again - in late 70s Ornette returned back with new jazz revolution again. His new quintet came all-electric this time - two(!) guitarists, bassist and unorthodox drummer Ronald Shannon Jackson beside of Coleman himself. The music,if still rooted in early free jazz, was seriously different and at the moment sounded extremely modern and non-conventional at the same time. Influenced by some time's dominated trends, Ornette's new music was closer to jazz fusion, or better to say - free funk still staying within jazz idiom.

First ever recorded example of Ornette's new music has been released on their "Dancing in Your Head"(1977) - 31 minute-short LP which contained only one true new band's composition "Theme From A Symphony" (which initially has been planned as EP release) and completed with four-and-half minute "Midnight Sunrise" world fusion piece,recorded with Master Musicians of Jajouka. Then in 1978 same band releases "Body Meta" - true first full album of "harmolodic" jazz. Five compositions, almost forty minutes of excellent energetic and free mix of groovy pulsation, drummers acrobatics and extremely inspired and focused Coleman sax soloing, one among best in his career.

Comparing with many recordings,released by Coleman and his followers later, "Body Meta" has one big advantage - because of permanent changes of tunes and rhythmical structures whole album doesn't sound all that much repetitive and initial fresh and positive impression doesn't change to boredom after first fifteen-twenty minutes of listening.

Coltrane (and his collaborators/followers) will develop and explore this new for the time sound for decades to come but "Body Meta" still will stay one of style cornerstone album in jazz history.


Album · 2016 · 21st Century Modern
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American composer and cellist Christopher Hoffman is almost unknown for wide public. He is the author of several soundtracks, worked with Martin Scorcese, Yoko Ono, Marianne Faithfull and many others. For modern jazz listeners he could be known as member of several Henry Threadgill bands (incl. Zooid,Dimples and Double-Up Ensemble) and sax player Tony Malaby Tubacello Quartet.

As a leader, Hoffman released four albums of which the newest one is self-produced Silver Cord Quintet. Containing one of the best modern jazz musicians as reedist Tony Malaby and pianist Kris Davis on board among others, Silver Cord Quintet plays very modern form of adventurous jazz combining well-composed songs with quite free members' improvisations.

Band leader Hoffman's classical roots are feel-able on every album's composition, but nothing sounds chamber here. Young drummer Craig Weinrib adds lot of muscular groove and trombonist Ben Gerstein is inventively destructive. Compositions are well-written but played with with high level of inventiveness inside with excellent Malaby's sax and Davis piano soloing against each other.

Still, quite quirky and far-not-so accessible music sounds surprisingly beautiful and attractive. Great example how advanced and complex in great hands can sound simply great - one among better advanced jazz albums released this year. It's a shame if this self-released piece of art will pass unnoticed.

ARCHIE SHEPP Archie Shepp / Michel Marre Quintet ‎: You're My Thrill (aka Passion)

Album · 1986 · Hard Bop
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In mid 80s one of free jazz cult figures American tenor Archie Shepp returns to his early r'n'b roots again and again. Usually combined with vocals and bluesy hard-bop numbers, Shepp's albums from that period are often a mixed bag, but for followers contain lot of interesting moments.

One of better known albums of such kind is his "Down Home New York", recorded in States and released on renown Italian Soul Note label in 1984. "You're My Thrill"(reissued later on CD as "Passion" with two bonus tracks) was recorded in France and released on tiny domestic Vent Du Sud label. Both vinyl and CD (reissued in 1990)versions are real obscurities.

From very first album sounds it becomes obvious that Shepp (or label) obviously tries to re-vitalize "Down Home NY.."'s successful formula. At the very same way, "You're My Thrill" opens with 10+ minute long catchy r'n'b number of the same way (actually, it is same song as "Dow Home.."'s opener, just titled here as "Passion" and completed with slightly different lyrics)

Then (strictly according to previous album formula again) we have series of hard hard bop ballads with a few freer reeds solos and some of vocals.In contrast to Soul Note release where Shepp plays with team of renown Americans (incl. Kenny Werner on piano and Saheb Sarbib on bass among others), on "You're My Thrill" we hear mostly domestic European band. Weirdest collaborator is German keyboardist Siegfred Kessler using solely analog synths with extremely non-jazzy plasticky effervescent sound.

Supporting band's leader trumpeter/tuba player Michel Marre demonstrates few solos, not on the level of Shepp's better collaborators' though.CD version's two bonuses are more lively compositions, contain more inspired (and a bit freer) playing but can hardly save all album.

Obscure and hardly attractive for casual listener, this album still contains its two or three attractive moments for Shepp's fan or collector.

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