Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

782 reviews/ratings
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 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
WADADA LEO SMITH - Wadada Leo Smith & Bill Laswell ‎: The Stone Avant-Garde Jazz | review permalink
ADAM LANE - Adam Lane's Full Throttle Orchestra ‎: Live In Ljubljana Progressive Big Band | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 257 3.66
2 Post Bop 81 3.52
3 Fusion 79 3.40
4 Eclectic Fusion 57 3.68
5 21st Century Modern 35 3.77
6 Nu Jazz 33 3.62
7 Jazz Related Rock 31 3.29
8 World Fusion 30 3.10
9 Jazz Related Improv/Composition 22 3.52
10 RnB 22 3.34
11 Hard Bop 21 3.31
12 Third Stream 16 3.53
13 Post-Fusion Contemporary 15 3.17
14 Progressive Big Band 15 3.83
15 Pop/Art Song/Folk 11 2.86
16 Vocal Jazz 10 3.15
17 Funk 9 3.39
18 African Fusion 9 3.72
19 Jazz Related Electronica/Hip-Hop 7 3.29
20 Funk Jazz 4 3.38
21 Jazz Related Soundtracks 4 3.25
22 Soul Jazz 3 3.33
23 Cool Jazz 2 3.50
24 Exotica 2 3.00
25 Big Band 2 2.75
26 Blues 1 2.00
27 Afro-Cuban Jazz 1 3.50
28 Acid Jazz 1 3.00
29 Jump Blues 1 3.50
30 Latin Jazz 1 3.50

Latest Albums Reviews

CHELSEA CARMICHAEL The River Doesn’t Like Strangers

Album · 2021 · African Fusion
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Chelsea Carmichael is a Manchester-born and London-based tenor saxophonist who plays with such leaders of the modern London jazz scene as SEED Ensemble, Theon Cross and Joe-Armon Jones (and - as a part of Jools Holland’s Rhythm and Blues Orchestra if you're less familiar with nowadays London's jazz scene). Still, the biggest influence on her debut's music comes from the album's producer and the London scene's leading cult personality, Shabaka Hutchings.

Soulful and dubby Jamaican spiritual jazz, often associated with different Hutchings' projects, is easily recognizable here. It wouldn't be a mistake to say that "The River Doesn’t Like Strangers" sounds like it has been recorded by a female version Shabaka Hutchings. Whereas Shabaka likes marching rhythms and attacking tempos, Chelsea plays slower, softer and and with more nuances.

"The River Doesn’t Like Strangers" is not battle hymns of Caribbean immigrants of Shepherds Bush and Peckham, it's more spiritual songs with strong reggae roots. On support, Chelsea has Sons Of Kemmet drummer Edward Wakili-Hick, Polar Bear bassist Tom Herbert and The Invisible guitarist Austria-born David Okumu. This strong band plays moody and catchy danceable music, really great at their best moments.

True, as with many of Shabaka's own albums, the music sometimes loses its direction or simply remains repeating rhythmic loops. Not a big fault for something that sounds like a ritualist soundtrack though. Strong debut on its own right, "The River..." makes one feel really curious what Chelsea will offer next.

JAMES BRANDON LEWIS James Brandon Lewis Quartet with Aruán Ortiz, Brad Jones and Chad Taylor: Code of Being

Album · 2021 · 21st Century Modern
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Born in Buffalo in 1983, James Brandon Lewis is the son of a preacher father and a schoolteacher mother. A New York-based rising star sax player, he has a background in University studies under Wadada Leo Smith and also playing gospel as well. After some years working for TV and as a studio musician, Lewis started his recording career as a leader in 2010, playing avant-garde jazz and modern jazz-related crossover music. His soulful, r'n'b and soul rooted liquid sax sound is always mixed with free improvisation in the same way of the great free jazz masters of the 60s.

Lewis' first album with an accent on composition (and his European debut) was actually a duo album (James Brandon Lewis - Chad Taylor "Radiant Imprints", Off Records, 2018, Belgium). The duo played at Willisau Fest (released on "Live in Willisau", Intakt, 2020,Switzerland) and then grew into a quartet with bassist Brad Jones, and pianist Aruán Ortiz, which recorded and released their critically acclaimed debut on Swiss Intakt the same year.

Just released, "Code Of Being" is the quartet's second album and Lewis' third European release. Recorded in Switzerland, the album contains possibly the best music Lewis has played until now. The band is very capable, including one of the most interesting piano player of his generation, Cuban Aruán Ortiz. Many songs have strong melody and are quite memorable, with soulful Lewis' sax soloing (very much in Rahsaan Roland Kirk vein). Still differently from Kirk, Lewis doesn't play groovy r'n'b, his music is closer to cinematic pseudo-soundtrack, which incorporates many genres, from Ortiz Latin-scented piano on "Where Is Hella", to the almost chamberesque "Tessera". The album's opener, "Resonance", is an absolute beauty, it comes as today's minimalistic echo of Charlie Haden Liberation Orchestra's debut music.

By its structure, the album's content is well balanced, mixing some very tuneful songs with more free and complex compositions. The listener never expect what comes next.

Being far not so simple under the skin, the music here sounds surprisingly accessible. "Code Of Being" is one among the better examples of modern creative jazz, which combines the tradition and modernity in a right proportion.


Album · 2020 · Jazz Related Rock
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American blues rock guitarist and vocalist Joe Bonamassa is probably one of the known blues-rock artists of his generation. Different from previous generations of American bluesmen, his influences were the British blues-rock of John Mayall and Cream, as well as early bluesy prog rockers (Jethro Tull, etc). Starting his recording career in 2000, Bonamassa jumped up right to the forefront of the modern blues rock scene, combining American blues and r'n'b roots with British rock energy and prog complexities.

Still it took two decades before he did the next step in the same direction-recording a British blues rock album at Abbey Road studio in London with some of the genre's leading legends on support. The result is as great as one could expect.

"Royal Tea" sounds as if it had been recorded in the early seventies, or late 80s, in Britain. Nothing strange - almost all of the song's co-authors are Whitesnake guitarist Bernie Marsden and former Cream lyricist Pete Brown. Marsden participates as backup vocalist as well as another British celebrity, Jools Holland (co-author/piano on one song).

The opener, "When One Door Opens", is a big sound high energy hard rock hymn recorded with The Bovaland Symphonic Orchestra. Rest of the songs are all perfectly recorded in a fashion of Cream's early albums - full bodied soft clear sound. Most important thing is Bonamassa doesn't try to copy or imitate his heroes, he just plays original music that could be created in England during the late 60s. His band's drummer, Anton Fig, (who played on tours/recordings with Madonna, Mick Jagger and Kiss among many others) does a fantastic job creating an atmosphere of the stadium rock era.

Album's first half is all winners with the heavy ballad, "Why Does It Take So Long To Say Goodbye"(influenced by both Cream and Whitesnake), groovy rocker "Lookout Man!", and the album's trade mark "Royal Tea". When listening, seasoned rock fans can easily recall late 60s/early 70s period of time, when almost any new album was a collection of fresh and extremely high quality songs, no fillers.

The album's second half is strong enough too, but is less influenced by British blues rock and sounds mostly as just another Bonamassa typical "American" album. "Lonely Boy", a Jools Holland influenced rockabilly, sounds quite strange and is out of the place here. The closer, "Savannah", is a Southern rock piece, which looks like it's added just to complete the album's space since there were not enough original material.

Still, the whole album sounds fresh and really inspired, it's material alone could build a strong tour program, which will be released soon (and recorded on Bonamassa's next, live album).

RON CARTER Ron Carter, Jack DeJohnette & Gonzalo Rubalcaba : Skyline

Album · 2021 · Post Bop
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Super-trio album, "Skyline", reunites Cuban pianist Gonzalo Rubalcaba with his American mentors - drummer Jack DeJohnette and acoustic bassist Ron Carter. Rubalcaba played with them in the late 90s, when he arrived to Miami from the Dominican Republic.

On "Skyline", all three musicians offer some of their previously played tunes. So, this album is more about collaboration and emotional colors than about really a new thing. The opener, "Lágrimas Negras"(traditional Cuban "Black Tears" from 20th) played as a bolero is an absolute winner. "Novia Mia" is another Cuban classic, dreamy and melancholic.

Still, the main album's flow is mainstream jazz, with swinging rhythm section and lots of groove. Ron Carter adds his "Gypsy" (originally released in 1979 on his album with Chick Corea) and “A Quiet Place” from his 1978 album, "A Song for You", (Jack DeJohnette played on the original version as well). DeJohnette offers “Silver Hollow”, originally recorded with his fusion project New Directions in 1978, and “Ahmad the Terrible” - his dedication to Ahmad Jamal. Rubalcaba's addition is “Promenade”, from his late 90s album, and “Siempre Maria” - another Cuban rhythm scented song, originally released by him in 1992. The album's closer, "RonJackRuba", is a bluesy improv, which was born right in the recording studio.

During the decades of the genre's existence, acoustic trio post bop experienced many ups and downs, and nowadays it is far not so noticeable and dominating as it was in late 60s or early 70s. Quite often new generations of jazz fans are more familiar with once widely influential fusion or more modern jazz sounds of the late 90s and New Millennium. Still it's post bop which is saving the jazz tradition till now, and sometimes it is undeservedly forgotten. "Skyline" is an album made by the genre's masters, reminding us how great this music can sound again.

SONS OF KEMET Black To The Future

Album · 2021 · Eclectic Fusion
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Being a scene leader has its pros and cons. From the positive side, you are known, you have your followers and each of your new works is awaited. From the other side, there are expectations, a lot of them. And it's not an easy job to fulfill all of them. Some fans are waiting for another album of the music they know and like and any change in direction can disappoint them. Others are happy with what you already did but are not much interested in another "same" recording, so they are expecting from you something new. Doesn't matter what you do, some of your fans will be disappointed.

Shabaka Hutchings, who with no doubt is one of the leaders of the burgeoning London jazz scene, runs three different projects trying to solve above mentioned problems in a best possible way, and quite often he succeeds in it.

On "Back To Future" - the newest album from his most eclectic project Sons Of Kemet - is obvious continuation of quartet's previous work, extremely successful "Your Queen Is A Reptile", with some insignificant modifications.

On "Your Queen Is A Reptile", the band's debut on Impulse!, the quartet of sax player, tubist and two drummers went back to African roots, adding more percussive vibes with a big list of guesting additional drummers. Rapper/vocalist Joshua Idehen has been presented on the opener and closer, for the first time (both two early quartet albums were fully instrumental). On "Back To Future", Shabaka uses same formula, when Joshua Idehen opens and closes the show, but there are more guest vocalists on the album (incl. Angel Bat Dawid), as a result, whole recording sounds more as "singing music", rather than just instrumental. And Shabaka adds more brass instead of percussion too. From the musical side we have same Caribbean flavored marching semi melancholic tunes, just less percussive and slightly polished with electronics.

Shabaka obviously trying not to lose a successful formula of the previous album, only slightly modifying and refreshing the sound. As a result, we got an evolutional, not revolutionary work, still with easy recognizable Shabaka's sound.

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