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Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

792 reviews/ratings
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
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
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
FIRE! - You Liked Me Five Minutes Ago Jazz Related Improvisation | review permalink
JOHN ZORN - Ipsissimus (with Moonchild Trio) (Post-70s) Eclectic Fusion | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 271 3.44
2 Classic Fusion 114 3.40
3 Post Bop 64 3.38
4 (Post-70s) Eclectic Fusion 51 3.48
5 Jazz Related Rock 47 3.21
6 World Fusion 45 3.16
7 Nu Jazz 38 3.41
8 Post-Fusion Contemporary 25 2.90
9 Jazz Related Improvisation 18 3.58
10 Vocal Jazz 17 2.97
11 Hard Bop 16 3.34
12 Third Stream 13 3.27
13 Jazz Related RnB 11 2.77
14 DJ/Electronica Jazz 9 3.00
15 Latin Jazz 8 2.75
16 Progressive Big Band 8 3.63
17 Funk Jazz 7 3.21
18 Pop Jazz/Crossover 7 2.14
19 Jazz Soundtracks 6 3.25
20 Soul Jazz 4 2.88
21 Jazz Related Blues 2 2.25
22 Exotica 2 3.00
23 Cool Jazz 2 3.75
24 Acid Jazz 2 3.00
25 Big Band 2 2.75
26 Afro-Cuban Jazz 1 4.00
27 Jump Blues 1 3.50
28 Latin Rock/Soul 1 3.00

Latest Albums Reviews

WILLIAM PARKER Painter's Spring

Album · 2000 · Avant-Garde Jazz
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New York acoustic bassist William Parker started his musical career in jazz as far back as the early 70s, collaborating with Don Cherry and, more notably, Cecil Taylor. Still, it was already the 90s when he became one of the main figures in the down town avant-garde jazz scene, experiencing hard times once again - this time being deeply in the shade of fashionable-again mainstream jazz.

A prolific leader and collaborator, he became a real star (and probably the leading acoustic bassist on the avant-garde jazz scene) only in the first decade of the new century. Being very physical and muscular, his bass usually sounds tuneful and even lyrical, which is what often makes his music attractive for a wide audience.

With busy drummer Hamid Drake, William Parker played together in one of the most successful Peter Brotzmann projects from the 90s, Die Like a Dog (initially born as an Albert Ayler tribute project). Now, as a trio with the lesser known reedist Daniel Carter, they have recorded a collection of muscular but tuneful, almost catchy compositions, "Painter's Spring", quite straight (by William's standards). All but two of the songs are William's originals, and they all generally sound like a mosaic of paintings (it's a rare case where the album's title means a lot). There is no obvious leader and the music is a product of equal collaboration between all three musicians.

With all of its accessibility and beauty, this album is probably the best entrance to the usually more complex and quirky, but always colorful world of Parker's music.

ARCHIE SHEPP Down Home New York

Album · 1984 · Hard Bop
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After a series of mainstream recordings, Archie Shepp changed things up during the late 70s-early 80s with "Down Home New York", a great stand alone album returning more freedom to Shepp's sound.

Released on the Italian Soul Note label, 'Down Home' opens with a ten minutes long modern r'n'b influenced title song, full of energy and pulsating rhythms, openly recalling street-wise hip-hop atmosphere of the time. This Shepp original includes all the band's member's vocals, most probably this song became a reason for negative critical reaction on this album. Some critics obviously were still waiting for Shepp's return to his non-conformist free-jazz of the late 60s, or at least another comfortable hard bop album. Shepp did the unexpected step instead - releasing an album that mixes spiritual jazz, r'n'b and free-bop (which is not really all that far from what he's playing most recently). Anyway, his open eared fans received this album with big respect, and it is now known as Shepp's best work coming from the 80s.

After the title song, Shepp plays thye soulful standard, "Round About Midnight", spiced with freer soloing. After bassist Saheb Sarbib's original "May 16th", and the free-bopish and bluesy "The 4th World", Shepp closes the album with a straight take on Coltrane's "Straight Street". All the musicians are great here, particularly the very physical bassist Saheb Sarbib, and piano player Kenny Werner. Shepp himself is in great form and this release in whole represents one of these rare excellent inspired albums coming from the 80s. Its just a pity it's so short!

JOHN HÉBERT Floodstage

Album · 2014 · Avant-Garde Jazz
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Thinking about modern avant-garde jazz, we usually expect noisy, quirky, atonal, scratchy music - as if to sound listener-friendly is a sign of bad manners. Lousiana-born acoustic bassist John Hebert's third album breaks this rule - fortunately!

"Floodstage" is a piano trio album, mostly acoustic, dark, slow and lazy, rooted in New Orleans traditions. John Hebert is better known as the collaborator on many modern American jazz albums (Uri Caine, Fred Hersch and Mary Halvorson among others). Two of his trio colleagues are established jazz masters: Gerald Cleaver is probably the busiest drummer around New York's "new avant-garde scene", working with Tim Berne, Michael Formanek, Craig Taborn and many others; while French pianist Benoît Delbecq is a fast-rising star, probably the most interesting jazz pianist in the modern Paris jazz scene.

Quite surprisingly for a modern avant-garde jazz album, there are a lot of tunes, moods and soul on "Floodstage". Being a collaborative work of three equal musicians, there is enough space for each trio member. Louisiana atmosphere is surprisingly organically mixed with chamber piano on some songs, it continues with bluesy-rooted fusion like compositions where Delbecq plays vintage analog synth. Tasteful use of prepared piano doesn't destroy American South's atmosphere on quite cinematographic tunes, sounding almost like movie soundtracks.

Can't remember the last time I listened to a whole new album from beginning to end with such pleasure. With no doubt this album is another Clean Feed label success. Recommended - not only for adventurous listeners, but for every jazz fan interested in the best modern releases.

WILDFLOWERS Wildflowers 1: The New York Loft Jazz Sessions

Live album · 1977 · Avant-Garde Jazz
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Free jazz being almost synonym of Jazz during short period of late 60s-early 70s disappeared from American jazz scenes blown away by fusion.Yesterday stars trying to survive changed their music to more accessible (as Archie Shepp)or moved to Europe where free jazz stayed alive founding its niche in small clubs for years.In late 70s though American free jazz experienced some renaissance in a form of so called "loft jazz scene" - avant-garde jazz musicians activities based around New York Soho district former industrial lofts, refurbished to musicians studios. One of central such studio was Sam Rivers Studio Rivbea. Lot of concerts took a place there and some cult albums were recorded as well.

Probably most representative document of loft jazz era was five vinyl set "Wildflowers", recorded during May 1976 at Rivbea Studio and released on tiny Douglas Records in 1977. Decades after this release received almost cult status and was reissued on CDs. Each of five albums contains collection of compositions recorded by different artists.

Wildflowers: New York Loft Jazz Sessions 1 opens with great sax player Kalaparusha's trio (he passed away last year leaving a very few solo albums,coming from 70s). Soulful free sax improvisation,supported with pulsation from rhythm section."Jays" aren't presented on any other Kalaparusha album.

Second composition "New Times" is played by alto sax player Ken McIntyre,better known by his debut album "Looking Ahead" (recorded with Eric Dolphy). If McIntyre early works are deeply rooted in hard bop, "New Times" is fast, screaming quite free composition based on African rhythms.

Drummer Sunny Murray played and recorded with Albert Ayler in 60s among others.His quintet plays "Over The Rainbow" here, with sax player David Murray obviously taking on Ayler's soulful side here.

Rivbea Studio's owner Sam Rivers plays "Rainbows" as trio leader,his fast sax soloing is without doubt "Wildflowers 1" crown.Explosive, with heavy duty rhythm section, Rivers adds power and drive into quite relaxed release atmosphere. Since all material is recorded live, one can hear crowd screaming at some Rivers solos' top.

Album's closer is surprisingly muscular Henry Threadgill's Air composition "Usu Dance". Usually more tuneful, Threadgill shows here different side of his music - high energy of live show.

It's known that some best jazz comes from live recordings. And two very important factors for recorded music quality are the time and the place. "Wildflowers" aren't just compilation - it's very precise historical document from short-lived loft jazz era, recorded at its best time in it'e best place. Each of five series' albums is unique and excellent on its own way, now re-issued as 3 CD set they are easier accessible. Everyone interested in first meeting with loft jazz must start here (old fans already own this set for sure).

NILS PETTER MOLVÆR 1/1 (with Moritz von Oswald)

Album · 2013 · DJ/Electronica Jazz
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Norwegian trumpeter Nils Petter Molvaer is often mentioned as one of the pioneers of European and worldwide nu jazz. His solo debut, "Khmer", changed the European scene radically in 1997 by combining Jon Hassel’s "fourth world" music, Jan Garbarek's Nordic ambient jazz and drum & bass. During the next two and half decades Molvaer tried to combine his aerial trumpet sound with house and rock, all with only limited success. Like his compatriot and fellow nu jazz cornerstone figure, pianist Bugge Wesseltoft, (who in 2011 released an original and successful duo album with German techno producer and computer guru Henrik Schwarz), Molvaer, in 2013 tries a similar duo formula with another German techno cult figure, multi-instrumentalist and producer Moritz von Oswald.

Moritz, who was born and lives in Berlin, is one of the early key figures in minimalist techno. On "1/1" he builds a dark pulse-beat based dub/techno atmosphere, filled with similar minimalist Molvaer's trumpet soloing. Different from the Wesseltoft/ Schwarz album, which was more danceable, full of rhythms and more optimistic atmosphere, "1/1" is of the Berlin electronics school. At its best moments, this music stays close to Molvaer's "Khmer", unfortunately some compositions sound way too long since nothing happens for long minutes and it looks like both artists are not sure where they are going. Still, an interesting album, some fresh breath for Molvaer.

Latest Forum Topic Posts

  • Posted 13 days ago in What Are You Listening To
  • Posted 31 days ago in The Crimson Project new album & European tour
    King Crimson off-shot The Crimson Project (feat.Adrian Belew, Tony Levin, Pat Mastelotto, Markus Reuter, Julie Slick and Tobias Ralph) released new live album at March 3,2014 (recorded in Tokyo,Japan) and are on their tour around Europe during nearest weeks:The Crimson ProjeKCt19/03/2014Palladium ClubWarsaw, PolandThe Crimson ProjeKCt  20/03/2014Klub StudioKrakow, PolandThe Crimson ProjeKCt21/03/2014Neuberin HalleReichenbach,GermanyThe Crimson ProjeKCt22/03/2014KonzerthauseKarlsruhe, GermanyThe Crimson ProjeKCt23/03/2014Frankfurter HofMainz, GermanyThe Crimson ProjeKCt25/03/2014GrughalleEssen, GermanyThe Crimson ProjeKCt26/03/2014Z7Basel, SwitzerlandThe Crimson ProjeKCt27/03/2014Archa TheatrePrague, Czech RepublicThe Crimson ProjeKCt29/03/2014Auditorium SupercinemaChieti, ItalyThe Crimson ProjeKCt30/03/2014Auditorium Manzoni Bologna, Italy The Crimson ProjeKCt31/03/2014Auditorium VerdiMilan, ItalyThe Crimson ProjeKCt01/04/2014Auditorium Parco della MusicaRome, Italy snobb2014-03-19 08:04:29
  • Posted 49 days ago in Jazz related albums 2014 (incl.comp & reissues)
    London-based Ace Records re-issued excellent (and near forgotten) Frank Foster "Loud Minority" album (originally released on Mainstream Records in 1971). Frank Foster was better known as sax player in Count Basie Orchestra (in 50s) who after Basie's death continued as Count Basie's Orchestra leader. He released some hard-bop solo albums as well, but his probably lesser known and very interesting activity was Loud Minority Big Band, progressive big band formed in early 70s. "Loud Minority" album is their debut, surprisingly explosive brassy album, recorded in the key of time: lot of electric guitars,keyboards (Jan Hammer),heavyweight drums (Elvin Jones), modern percussion (Airto Moreira) and probably the only chance to hear Dee Dee Bridgewater as protest singer,screaming Archie Shepp-like Black poetry. Recommended for fans of orchestrated progressive funky fusion of early 70s, really great albumlisten here: http://www.jazzmusicarchives.com/mp3/frank-foster/4231 snobb2014-03-01 02:31:28

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