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Slava Gliožeris
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Favorite Jazz Artists

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581 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 194 3.54
2 Classic Fusion 80 3.39
3 Jazz Related Rock 41 3.23
4 Post Bop 40 3.49
5 (Post-70s) Eclectic Fusion 38 3.50
6 Nu Jazz 34 3.46
7 World Fusion 34 3.16
8 Post-Fusion Contemporary 16 2.91
9 Jazz Related Improvisation 16 3.59
10 Hard Bop 14 3.39
11 DJ/Electronica Jazz 9 3.00
12 Progressive Big Band 9 3.67
13 Third Stream 9 3.33
14 Vocal Jazz 9 3.06
15 Jazz Related RnB 8 2.75
16 Latin Jazz 6 2.75
17 Jazz Soundtracks 5 3.20
18 Pop Jazz/Crossover 4 2.00
19 Funk Jazz 3 3.33
20 Exotica 2 3.00
21 Jazz Related Blues 2 2.25
22 Acid Jazz 2 3.00
23 Big Band 2 2.75
24 Afro-Cuban Jazz 1 4.00
25 Latin Rock/Soul 1 3.00
26 Jump Blues 1 3.50
27 Soul Jazz 1 3.00

Latest Albums Reviews

ROSCOE MITCHELL Conversations I (with Craig Taborn & Kikanju Baku)

Album · 2014 · Avant-Garde Jazz
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Seventy-three year old Art Ensemble of Chicago legend Roscoe Mitchell experiences one of his most creative periods during last years. "Conversations I" is one of his most current albums and differently from some his more contemporary classic-related recordings it contains improvisational jazz.

Besides of Roscoe,trio contains two musicians of young generation: well known pianist/keyboardist Craig Taborn(who already collaborated with Mitchell on some recordings) and virtually unknown drummer Kikanju Baku,who in my eyes is real hero of this album. Seventy-something minutes long free-form improvisational release could sound as danger in many listeners minds,and not without reason - too often even talented musicians enjoy playing what they like to play with each other and using the modern technologies' possibilities offers all that endless noise to public,searching on new "New Things".As a result more and more even enthusiastic experimental music fans starting to avoid everything what is attractively tagged as "free form improvisational suite presented in full without editing..." etc,etc.Fortunately, "Conversations" are not that kind of beauty,even more - this music in many senses is right opposite to thrillers,described above.

From very first seconds "Conversations"' listener feels like he's presented on good old friends meeting - each musical instrument is extremely close to speechless hunam voice here, not always by its sound but more important - by the way it's used. Roscoe plays relaxed but very active story-telling saxes and flute,changing every minute,with million of intonations,subtle emotions and unusual warmness. Fantastic drummer Baku demonstrates true miracles - his quirky and technical drumming doesn't sound as mechanical device produced sound at all. Extremely percussive album could be described as collection of dialogues, and even those who don't understand the language,are involved and really enjoy the process of conversation.

Craig Taborn's keyboards are important but only supportive instrument here; its sound as youngest friend in a meeting who enjoys listening to dialogues of two his friends and adds some comments trying to be tactic and doesn't destroy great atmosphere.

The main miracle is still how beautiful and easy-accessible sound this quirky and complex music. Most probably it happens because all album long things changes every moment: one can hardly find two same tricks or steps here. Telepathic communication,warm and stylish atmosphere,tasteful balancing between beauty and complex - all that ingredients makes this album one of the best recordings I listened for quite a long time.Sound quality is excellent - listener feels like sitting between the musicians on scene.

And - if you will like this album and will feel like it's not enough, there are "Conversation 2" released by same trio, similar but a bit different second part of the real joy.

SABIR MATEEN Holidays In Siena

Live album · 2011 · Avant-Garde Jazz
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Probably not of real star status,American sax player Sabir Mateen has serious reputation,partially in Europe,as one of strongly representative American free jazz reedists of mid-generation.During last decade he released just one album in States,but near ten in Europe(mostly in Italy,but in Poland and France as well).I had a pleasure to see him playing live just two months ago - during excellent concert where he played duo with younger Lithuanian guitar improviser Juozas Milasius. That has been almost stolen by extravagant poser Milasius by his Sharrock-meet-Bailey guitars accrobatics. Sabir demonstrated his usual American jazz-rooted but far not so explosive (and externally effective) sax impovs which successfully anchored guitar extravaganza though.

Here, on one of Mateen latest live releases, situation is almost oppositely different. Sabir plays in Italian Siena,hometown of his musical partner - acoustic bassist Silvia Bolognesi.Virtually unknown outside of her homecountry,Silvia played with Butch Morris Orchestra,participated in Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton masterclasses.

Sabir is in great form here - he is obvious leader, and his sax fills all the space of Teatro dei Varii. As usual, his soloing isn't sharp,more thinking and even lyrical in moments (Sabir plays flutes and clarinet as well).From very beginning Silvia's bass is on (quite straight) rhythmic support, she will have her solo moment as well though. Generally all recordings sound more as solo reeds recital,with sax or clarinet telling stories, building quite comfortable and intelligent atmosphere,without tension,screaming or distortions,but far not polished or conformist. Sabir demonstrates here what he does best - almost forgotten free jazz tradition without noises,sound attacks and playing on listeners nerves. And it works perfectly - Silvia isn't really on his league but Sabir's playing is warm and informal enough to save the situation. With better bassist (or let say - as a sax/reeds/bass acoustic trio) it most probably would be a really great night.

CHARLES TYLER Mid Western Drifter

Album · 1992 · Avant-Garde Jazz
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Kentucky-born bari sax player Charles Tyler met Albert Ayler at age 15, and later relocated to New York to play with him. Tyler participated recording Ayler's "Bells" and "Spirits Rejoice",in 1966 released debut as leader (on ESP-Disk).In late 60s he moved to California to study and teach, played with Arthur Blythe and David Murray among others. His albums,released in late 60s - early 70s contain tuneful and energetic free bop, non-nonsense one, but even at that time he haven't been widely recognized.During 70s he played in New York lofts (incl. Sam Rivers Rivbea),collaborated with Cecil Taylor and Billy Bang,

In 1982 traveling Europe as Sun Ra Archestra's member he decided to stay in Denmark, at the end of the decade relocated to France. During his European period he recorded few more albums,played with local musicians and American ex-repatriates as Steve Lacy. His European releases,all on tiny labels,are even less known than his earlier American works, and it's a shame,since he stays one of rare baritone sax player-band leader with characteristic tuneful free-bop playing,recalling Ayler explosive and noisy but very trad-jazz rooted free jazz.

"Mid Western Drifter" is second of two Tyler released French studio albums,coming from the last decade of his life.Both released in 1992,they contain far not as explosive playing as could be find on his American recordings from early 70s. First of two,"Folly Fun Magic Music" has been recorded with team of young French jazz musicians and even if contain some interesting moments,in whole sounds as lion playing with cats (all obviously enjoy the music they play though). Second, "Mid West Drifter", recorded just some weeks after, contains more mature music, played by trio (with Didier Levallet on bass and Curtis Clark on piano). The album opens with narrative poem of the same title and continues with mid-tempo boppish,bluesy and even trad-jazz influenced compositions, moody,even melancholic,but almost always with freer Tyler's soloing. Even if quite different by expression, all music and Tyler playing in partial recall some Archie Shepp late-70s freer hard bop album. From one hand this music has not much in common with big jazz scenes of early 90s, but from other hand it demonstrates that rare,near unique feel of authentic free-bop,which could be find probably on best 60s recordings only. It's obvious that being almost isolated from contemporary jazz stream of the time, small Scandinavian and France club scenes were that place where that originally American authentic early free bop spirit survived almost till the end of the century not in revival,but in original form.

Steve Tyler passed away in Toulon,France just less than three months after he recorded this his last album,from heart failure at the age of only 51.The only one more album he released during the last decade of his life,besides of two mentioned above",is obscure "Autumn In Paris"(1988) recorded and released in Sweden (on Silkheart)with local Brus Trio(I had a great pleasure to listen them live already as "Brus Sextet" in 2010 in Birstonas Jazz Fest - they played highest probe nu jazz that time).

Closing "Mid Western Drifter" Tyler sings "'Round Midnight" - with melancholy and touch of sadness in his voice.Great album for fans of accessible,soulful and tasteful free bop,it's shame Steve Tyler's name is almost forgotten. He requires more exposition, especially his earlier innovative albums. Fortunately there are some CD releases on market, I would recommend Tyler's European recordings to everyone who like Archie Shepp hard bop music.

JIMMY GIUFFRE Jimmy Giuffre 3 & 4 New York Concerts

Live album · 2014 · Avant-Garde Jazz
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Jazzarcheology during last years had become quite a popular and hot fans of one or another legendary artist really enjoy of this growing fashion.But to be honest big amount of attic issues hardly attracts more casual listener - as rule all the best recordings are already released and well known, and what comes now usually has more historical not musical value. Fortunately, there are some exemptions, "New York Concerts" are one of them

Reedist Jimmy Giuffre was criminally under-appreciated jazz musician who started like cool jazz sax player but from very early 60s switched towards his own unorthodox jazz avant-garde, free but chamber music influenced music very different from what came from Ornette Coleman,Albert Ayler or late-60s John Coltrane. Jimmy released three experimental albums in 1961, of which third "Free Fall" just initialized his broke-up with major label,Columbia. And after that Giuffre didn't release a single record tlll early 70s. Two mid 70s albums were still quite free but inconsistent, and he returned back in early 80s with strong band, playing fusion.His most interesting period of 70s stayed undocumented till now, fortunately this new double release fills this vacuum in full.

Double CD-set contains two Giuffre concerts,recorded same year but with different line-up. And the year is 1965, the year of "New Thing"!Both concerts are recorded in same place - Columbia University, but first set's CD contains later one,recorded in September. Giuffre plays as trio leader here,with drummer Joe Chambers and bassist Richard Davis.From very first seconds,everyone familiar with Jimmy's music will be surprised how free and how muscular the trio sounds here!Five originals and Ornette Coleman’s “Crossroads” all played very loose but still have that specific Giuffrean chamber feel.Sound is surprisingly clear and well balanced for such archival material.

Second CD contains quartet recordings coming from May concert. Here Barre Phillips changed Chambers on bass and pianist Don Friedman is added. More quirky and intense quartet sound is less chamber and sounds closer to what sounded around at that year, with Giuffre playing faster and in moments sharper solos.It works well on more energetic moments,but fails in some silent pauses, lasting for too long.

In all, this release is a holy grail for Jiuffre fans opening for listeners the curtain from almost decade of silence. For casual listener there are some great places, but some historically important concert evidences could sound as filler as well. Released as double CD, this set contains eighty-and-a few minutes of music,and such kind of package looks more as commercial trick.Well edited version,combining best moments from both concerts (most probably up to one hour long) would be a great gift for everyone interested in best early American avant-garde jazz.

ARCHIE SHEPP Tray of Silver

Album · 1979 · Hard Bop
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Late seventies were the time when world is turned over for all generation of yesterday adventurous jazz stars who became famous in late 60s and continued to enjoy success in early 70s. Musical fashion has been changed dramatically and one morning many of them woke up jobless,sometime even homeless and as rule - useless.Not so many of them survived these and upcoming years successfully, fortunately Archie Shepp did. To pay his bills he just started to record music on request,playing what labels wanted him to be played. During second half of decade Shepp released lot of albums of varied quality and even more varied stylistic, but what helped him to survive that difficult time was good old hard bop (not so obvious choice for Shepp who didn't come to late 60s avant-garde jazz from hard-bop scene, as many others,though).In some European scenes and more important - in Japan hard bop just displaced rapidly disappearing avant-garde jazz for some years, Archie Shepp found his new listener here.

From impressive amount of Shepp releases coming from mentioned era there are some still very adventurous albums,lot of hard bop based music with still his freer touch here and there and few very straight works, "Tray Of Silver" is one of them.

Four quite long compositions, three of which are Horace Silver originals, acoustic boppish quartet with Yusef Lateef and Horace Silver himself drummer Roy Brooks,one-time Art Blakey Jazz Messangers pianist Mickey Tucker,Gil Evans tuba/baritone player Howard Johnson and Japanese bassist (who released album with Herbie Hancock on same Denon label two years ago).Recorded in Tokyo's studio, album has characteristic warm,deep and clear "Japanese" sound. All musicians are high-class so the music is well played but biggest surprise, at least for old Shepp's fans is how safe he plays here. If on many his other hard bop - based albums from the same time he doesn't avoid risky improvisations and even some dissonant,explosive soloing, on "Tray Of Silver" he plays extremely straight,note by note. Fortunately,album is not a collection of late night smokey bar - type nostalgic ballads, there are some mid-tempo quite energetic numbers, and included ballads themselves don't sound too sticky.But being extremely safe,all music becomes quite faceless, just another tunes played by skilled but not very original band.

Hardly an interesting addition for those loving adventurous Shepp, it's still better-than-average hard bop album,not all that inspired, but well played and recorded.

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