Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

563 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 188 3.60
2 Classic Fusion 80 3.39
3 Jazz Related Rock 41 3.23
4 Post Bop 40 3.48
5 (Post-70s) Eclectic Fusion 35 3.53
6 Nu Jazz 33 3.47
7 World Fusion 29 3.16
8 Post-Fusion Contemporary 17 3.00
9 Jazz Related Improvisation 17 3.59
10 Hard Bop 14 3.43
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 6 2.58
16 Latin Jazz 6 2.75
17 Pop Jazz/Crossover 5 2.50
18 Jazz Soundtracks 4 3.25
19 Jazz Related Blues 2 2.25
20 Acid Jazz 2 3.00
21 Big Band 2 2.75
22 Funk Jazz 2 3.25
23 Soul Jazz 1 3.00
24 Exotica 1 3.00
25 Jump Blues 1 3.50
26 Latin Rock/Soul 1 3.00

Latest Albums Reviews

MATANA ROBERTS Matana Roberts & Sam Shalabi & Nicolas Caloia : Feldspar

Album · 2014 · Avant-Garde Jazz
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American sax player Matana Roberts,who is best known from her "Coin Coin..." albums series, regularly participates in other projects which are obvious less known.Between second and third "Coin Coin" series albums (2013 and 2015),she recorded and released highly experimental album with Montreal musicians - electric guitarist Sam Shalabi and acoustic bassist Nicolas Caloia.

Both Canadians are part of left-field Montreal scene, it's interesting to hear how their aesthetics work (or don't work) in collaboration with American trad music rooted Matana's jazz. Album is titled "Feldspar"(from my University time classic geology studies I still remember that feldspar is very hard mineral of silicate origin,which contains no ore or other valuable elements and Earth's outer crust is composed mostly of it), each album's song is titled by one of minerals name as well.

Seven improvisations present more or less tight interplay between extended ultra acoustic low bass vibrations, processed electric guitars sounds (from almost metal-rock shredding to synth-like soundscapes)and bluesy and tuneful Matana's clear sax soloing over it. At best, all three musicians find quite reflective if not telepathic interplay and demonstrates really effective and attractive form of free but tuneful jazzy improvs. Still often each of them three plays as he's interested in his own music first of all and don't care much about what happens around. In such moments Matana's sax works as cement molding music from components,which trying to run away each to its own direction. Sometimes it sounds even attractive, but more often just destroys music's integrity.

Not of the same league as Coin Coin albums, "Feldspar" has its moments and are bquite interesting release for listeners liking Matana's music. I expect her collaboration with free-improvs artists here (as well as work with different forms of processed sound) influenced Roberts' upcoming third Coin Coin album where differently from her two first Coin Coin releases,she plays solo all instruments with massive use of synths and samples and only accidental use of her main instrument - saxophone.

Matana's new album "Always" is already announced to be released in few months, what will she offer next?

MAL WALDRON Tokyo Reverie

Album · 1970 · Post Bop
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In early 1970 American pianist,already residing in Europe for some time,on the basis of his released album has been invited to visit Japan (by local Swing Journal company). On his first ever Japanese tour Mal spent two days (February 7 & 12) in studio in Tokyo where recorded some material.

Four songs,recorded by trio with domestic double bassist and drummer were soon after released as "Tokyo Bound" album. Eight compositions,recorded solo, has been released later same year as "Tokyo Reverie". Both albums didn't attract lot of attention but opened for Mal Japanese scene. He returned for next Japanese tour already next year and very soon became well known and popular pianist on Japanese mainstream scene.

When "Tokyo Bound" has been reissued few times including CD edition (in 1990), "Tokyo Reverie"'s first issue became its last. No surprise that even many Waldron fans don't know it exists.

Speaking about music, "Tokyo Reverie" contains eight Waldron originals, mostly all up-tempo rhythmic post-bop pieces, quite unmemorable. The only exception is album's closer "Blood And Guts" which stays in Mal's repertoire for decades ahead.

On "...Reverie" Waldron plays in his almost in full adopted technique of repetitive beats and rhythm domination against virtuosity,complexity and soloing. This his formula as rule perfectly works when used with trio or bigger combo, but for piano solo album (especially on not all that strong material)its limitations are obvious.No surprise this album has bigger value for completionists than for music lovers. One still can find original Japanese vinyl in European auctions at as much price as 30 euro.

Interesting evidence of Waldron's early career in Japan,no any reasons to pay fortune though.

OLIVER LAKE Oliver Lake / William Parker : To Roy

Album · 2015 · Avant-Garde Jazz
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Sax player Oliver Lake and bassist William Parker are two of a few still active 70s New York lofts' jazz musicians,true living legends. Here on "To Roy" (album dedicated to trumpeter Roy Campbell,passed away in 2014)them two are recorded together in studio for the first time ever. Even if drumless/pianoless duo isn't a conventional format,music presented is really full-bodied and quite accessible.

Both Lake and Parker represent same former lofters wing - their music has been always well structured,post-bop rooted with great balance between composed and improvised.Here on "To Roy" even quite minimalist acoustic bass/sax duo surprisingly offers lot of melodies and memorable tunes. From very first sounds one can hear that characteristic Lake soulful sax soloing and memorable Parker's vertical bass constructions.

As on many other both musicians' most successful recordings main secret is same on this album - they never let listener to stay bored even for a moment. On a composition which flows like well-cooked song with memorable tune right when one doesn't expect any surprises they add free solo,often quite explosive. What starts as free form improvisation still before you will start loosing your attention switches to beautiful sentimental melody with almost straight rhythm. Eleven members originals take 50 minutes - again not too much to become annoying. Nothing strange though - both Lake and Parker are known as masters of making even quirkiest improvisational music attractive.

Not the album for newcomers - better start form every artist's album where they play with larger band, but really great release for those who already know and love their music.

MAL WALDRON Spanish Bitch

Album · 1970 · Classic Fusion
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Almost a year after his first session for German ECM label,pianist Mal Waldron returned back to same Tonstudio Bauern in Ludwigsburg to record what should become his second album for ECM. Same trio format (with his regular Swiss bassist Isla Eckinger but new drummer Fred Braceful (as well American,based in Germany) instead of Clarence Becton), same musical concept - tight groovy tuneful compositions with some free solo insertions for bassist and drummer. As on Mal's ECM debut these insertions don't sound organic and are more tribute to free jazz fashion of the moment though.

Opener "Spanish Bitch" doesn't offer memorable tune and stays in memory more as not too successful combination between groovy trio's main theme and quite directionless (and long) bassist soloing. Second (and the last on side A)album's song is surprisingly "Eleanor Rigby". Released originally by "The Beatles" four years ago this composition still was one of most popular song around, trio makes it sound almost as r'n'b hit.

Side B opener,"Black Chant" is no-nonsense and more complex composition, here freer improvisation sounds much more organic and all trio play as one (quite heavyweight and rock-oriented drumming is probably again contribution to time's fashion and more a question of taste). Here one can find Waldron future music influences in transitional form."Black Chant" lasts more than ten minutes,some years later Mal will develop formula "one song per LP side" with tight tuneful compositions, sounding around twenty minutes each, two per album.

Fourth and last album song,"All That Funk",is up-tempo and really funky. Bassist Isla Eckinger got possibility to demonstrate his heavier (almost shredding) side on quite organically arranged soloing.In all, side B is less eclectic and works better,that side A on this release.

Surprisingly enough this material,initially recorded by ECM for their planned release,still same year has been released in Japan on Globe and never became ECM own album.

Not the best Mal Waldron release, it demonstrates well (together with ECM debut "Free At Last") musician's late 60s-early 70s musical priorities. Waldron is just one step to his favorite sound which he will demonstrate in full already after year or two and will continue playing in fact up to his death.

RUSS JOHNSON Still Out to Lunch!

Album · 2014 · Avant-Garde Jazz
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New Yorkers' Mostly Other People Do The Killing release of "Blue" where they just play note-by-note Miles Davis "Kind Of Blue" initiated stormy discussions in musical press last year. Musically hardly enticing this album's concept revitalized almost century-old disputes what is jazz and where all that go.

At the same time Chicago-based trumpeter Russ Johnson's version of Dolphy's "Out To Lunch",released same year, passed almost unnoticed. Less attractive as object for philosophical discussions, Johnson's "Still Out To Lunch!" contains more pretties for listener though. Being more customary one musician take on other artist's music,it doesn't copy the original as in case of above mentioned "Blue" and doesn't try to rework it drastically (after Otomo Yoshihide's 2005 "Out To Lunch" with Mats Gustafsson,brass section,computers and noises this task is hardy beatable).

Russ' formed very strong band play all Dolphy original album's compositions (in different order though)adding two previously unrecorded Dolphy rarities and one band drummer George Schuller father Gunter Schuller's (composer,who worked with Dolphy in his time) composition "Little Blue Devil". Johnson five-piece band don't contain vibraphonist (Bobby Hutcherson on original Dolphy release is changed by pianist Myra Melford), differently from Dolphy's alto,bass clarinet and flute Roy Nathanson plays alto and soprano sax. Johnson band sound more modern, more dynamic and if Dolphy's original is known by its excellent balance between free-bop and almost classical well organized relaxed sound, Johnson version is quite nervous,tight and riven.

Since there is hardly any sense just to copy already existing recorded music, "Still Out To Lunch" works well enough offering different look which probably could be tagged as "new century touch" on Dolphy's classics.With no doubt everyone takes a big risk working with such well-known material but Johnson and band demonstrate huge respect to original here. It's not a competition with Dolphy and not an ambition to make some things better, but more modernized presentation of genius work. Comprehensible like that this album deserves more attention - on its own way it popularizes one of the greatest jazz music ever recorded.

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