Slava Gliožeris
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Favorite Jazz Artists

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540 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 185 3.68
2 Classic Fusion 71 3.49
3 Post Bop 45 3.58
4 (Post-70s) Eclectic Fusion 35 3.69
5 Jazz Related Rock 32 3.28
6 Nu Jazz 26 3.56
7 World Fusion 22 3.09
8 Jazz Related Improv/Composition 21 3.57
9 Hard Bop 17 3.44
10 21st Century Modern 14 4.04
11 Third Stream 13 3.46
12 Progressive Big Band 12 3.79
13 Post-Fusion Contemporary 11 3.09
14 Vocal Jazz 8 3.06
15 Pop Jazz/Crossover 6 2.83
16 DJ/Electronica Jazz 5 3.40
17 Jazz Related Soundtracks 4 3.25
18 Funk Jazz 2 3.25
19 Latin Jazz 2 2.75
20 Acid Jazz 2 3.75
21 Big Band 2 2.75
22 Exotica 1 3.00
23 Jazz Related Blues 1 2.00
24 Jump Blues 1 3.50
25 Jazz Related RnB 1 1.00
26 Soul Jazz 1 3.50

Latest Albums Reviews

CHICK COREA Jazzman (aka Chick Corea aka Waltz For Bill Evans)

Boxset / Compilation · 1979 · Avant-Garde Jazz
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Pianist Chick Corea's Return To Forever(RTF) project made him a superstar of sort at the late 70s, when RTF themselves were already inactive jazz fusion popularity in general experienced significant decline. Corea himself tried to find a new ground as solo artist playing everything from pop jazz to Latin to third stream, with only partial success.

At the same time music industry still worked hard trying to explore "Chick Corea"'s brand till the end. It was a time when numerous labels have released plenty of all possible re-issues,compilations and archival materials, related with Corea's name, often in quite odd form."Jazzman" is one of such releases (which can be find under dozen of different titles on the market as well).

This compilation contains four Corea's early pieces, most probably coming from three-days session, recorded in 1969. Chick collaborators are all future stars,including bassist Dave Holland,drummer Jack DeJohnette,flutist Hubert Laws,trumpeter Woody Shaw,tenor Bennie Maupin and lesser known percussionist Horacee Arnold. The music has been recorded at the same time as Corea's first avant-garde jazz work "Is", and contains stylistically very similar music. Even being less free and more tuneful, "Jazzman" for sure must to disappoint RTF fans, expecting something similar in "new" Corea's releases. At the same time, it can really attract those not so numerous fans of Corea's most creative experimental period of late 60s - early 70s. More accessible than "Is" or "A.R.C." (not mention his complex masterpieces,released with Circle), "Jazzman" contains a bit direct-less mix of avant-garde jazz, early fusion and post-bop and that way illustrates quite well where from Corea's later music is coming.

The odd thing about this album is one could already be familiar with same (or very similar material) even without knowing about it. No info is provided about original sources, and to make the situation even more dreadful, it looks some titles of previously released songs are changed as well. As a result, we know that most probably "Jazzman" contains same, or very similar material with that already released in 1972 on obscure Corea's "Sundance" album. Again, it looks that all compositions were recorded during same sessions as "Sundance", and very possible "Jazzman" combines some material, already released on "Sundance" with one or more outtakes. At the same time there are plenty of albums released under different titles,which contain same or very similar material (quite often different songs titles doesn't mean that songs are really different), plus some of alternative releases mention containing "alternate versions" of same tracks. It's almost impossible to realize now where the truth is, probably better solution is Corea's "Early Works" album, possibly containing full session's material in one place.

Anyway, released most probably as one more try to explore "hot" Corea's name of the moment, this album contains some interesting material from possibly most creative Chick's period and today can offer some attractive moments for pianist's fans.


Album · 2017 · (Post-70s) Eclectic Fusion
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Kubikmaggi are piano trio from St.Petersburg,most European Russian city founded on eastern Baltic shores by Peter the Great, most "European" of all Russian czars to date. Built on former Sweden-controlled territories by best French and Italian architects of the time, it was a result of an ambitious czar's project "to cut the window to Europe" for Russia. The project itself has been always a big challenge never fulfilled in full, but it gave to Russia and the world one beautiful place with very specific atmosphere, true "east meets west"(Eurasia Meets Europe),true creative boiler where Nordic rationalism is mixed with Russian metaphysical spirituality.

Originally a piano trio (or sometimes quartet), Kubikmaggi are not only a product of few hundred years of intellectual exclusivity and grey St.Peterburg's sky but as well a continuation of modern Russian avant-rock tradition, similar to Western RIO movement. Nothing's strange - Kubikmaggi's pianist and vocalist Kseniya Fedorova is a daughter of Russian avant-rock cult figure Leonid Fedorov, leader of Auktyon band.

Kubikmaggi's evolution from their debut "Needless"(2008) music till now is very impressive. Started as alternative rock quartet (with guitarist) on their debut, band sounded as bunch of students singing pretentious lyrics and adding odd sound effects trying to be different and attract attention at the same time (don't even want to mention terrible "experimental" sound mix). Here on "Things" they sound much more mature. Sound is very soft and uncompressed, not a classic "Nordic" one though. There is lot of blood and groove in album's music,with successful addition of saxophone on one song(opener).

Paying main attention on music itself,Kseniya sings only in a few places (incl. reworked in reggae key Little Tiger's song "Laying Under The Sun" from popular Soviet times children cartoon). Sounding more jazzy (partially because of sound mix),new album's music is better balanced but still contains same components as before - alternative rock's energy, snippets of brilliant tunes, some jazzy arrangements and in whole accessible and crazy mix of rational and irrational (an obvious Fedorov's genetic roots in father/Auktyon's music).

Not as screaming,intimate and sharp as Auktyon, Kubikmaggi with their third album continue the honorable tradition of St.Peterburg's avant-garde rock (and around) musical scene, and they do it well.

GEORGE ADAMS Sound Suggestions

Album · 1979 · Post Bop
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American tenor George Adams is best known from his long-lasting collaboration with pianist Don Pullen (they co-founded and ran successful band for years). Still he has released some albums under own name, many of them are of same great quality.

Jumped on forefront of jazz scene in early 70s playing in Charles Mingus band, Adams debuted as leader with two obscure avant-garde jazz albums on tiny and short-lived Italian Horo label. "Sound Suggestions", his third album as leader, comes as surprise - it's released on respectable German ECM label, and the band is all-stars. Sextet, containing bassist Dave Holland and drummer John DeJohnette among others,plays five members' originals - tightly composed memorable songs stylistically fluctuating between post-bop and European avant-garde jazz.

"Baba', album's opener,its longest track and is written by Anglo-Canadian trumpeter Kenny Wheeler and from very first seconds sounds like the melody you know for years. "Imani's Dance", Adams composition, continues "Baba" in natural way almost imperceptibly transfers to more muscular and groovy but still very soulful song. Adams, in ECM fashion, on this album plays less explosively than on many his previously and later works. Still, as for label's standard, album's music is very groovy, warm and ... American sounding. Perfectly recorded and mixed, "Sound Suggestions" are quite different from sterile groove-less and often emotionless ECM sound which has been already formed at the time of album's release.

Side B contains three shorter compositions. German musician Heinz Sauer (band's second tenor) composition "Stay Informed" is freer and more knotty than first two (completing side A), Adams even gets a chance for some harsher solos. Adams' "Got Somethin' Good For You" is up-tempo blues-based song with his own vocals on it.

"A Spire", Kenny Wheeler album's closer is the only ballad here and it radiates light melancholy. A great tasteful collection of beautiful music of miscellaneous origin, accessible but enough progressive for being attractive for listeners who avoid too conservative mainstream jazz. Not really typical ECM-style release (ok, they were more adventurous back in 70s), "Sound Suggestions" stays Adams only album on this label. Reissued on CD in 1994 it is quite accessible to find and can be really recommended as excellent evidence of creative jazz era. This music sounds modern even today.

CRAIG TABORN Craig Taborn And Ikue Mori : Highsmith

Album · 2017 · Avant-Garde Jazz
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After the release of probably his best album ever, "Daylight Ghosts", earlier this year, pianist Craig Taborn comes with a radically different work - a free improvisation collection recorded by a duo of himself and downtown laptop artist Ikue Mori.

Mori started her musical career as a self-taught percussionist in the New York no-wave scene, but soon switched to drum machines and electronics. During the last decade, she played and recorded regularly with many avant-garde jazz renown artists, including pianist Sylvie Courvoisier, violinist Mark Feldman, harpist Zeena Parkins, vocalist-electronicist Maja Ratkje, guitarist Fred Frith and cellist Okkyung Lee among many others.

A jazz duo of pianist and electronics/lap top artist probably doesn't sound like a great idea, at least on paper. Surprisingly, "Highsmith" contains more accessible and better organized music than one could expect. It is a collection of free improvisations, recorded in studio soon after the duo played live at the Village Vanguard in 2016, and even if the music sounds like free improvs for sure, it doesn't remind one of a bulky mix of accidental piano sounds and spacey loops, that's for sure.

Taborn plays quite explosive piano passages radiating dark chamber avant-garde beauty successfully combining them with silence without loosing the music's dynamic. Mori improvises using electronic sounds and noises around Craig's more solid sound, filling the space with every-second-changing electronic wizardry. All album long, the listener can't stop marveling hearing this unbelievable masterful use of percussive, in moments abrasive sounds, as equal part of complex (if ascetic) jazzy improvisation.

Lots of things happen every single moment here and after the album's last sounds, there is not even a trace of feeling that the album was too dread, repetitive or just openly boring. Successfully avoiding both formal electronics monotony, and cheap spacey looping tricks, "Highsmith" represents one really rare example of electro-acoustic improvisational music symbiosis which isn't too formal, and contains a lot of life in it, and being really experimental can attract more than a few dedicated listeners.

Interesting new side illustration for Taborn, one of the better recordings for Mori for sure.


Album · 2010 · Avant-Garde Jazz
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Sax player Jon Irabagon is better known as co-founder and co-leader of funny no-nonsense avant-garde jazz parody-circus Mostly Other People Do The Killing (MOPDTK). Irabagon as his own projects leader is usually more serious, more innovative, more experimental and in moments not less humorous.

"Foxy" is a great example. Just looking on the album's cover one can easily recall Sonny Rollins' "Way Out West" from 1957. Irabagon runs on "Foxy" same tenor-double bass-drums trio as Rollins did more than half of a century ago, just Jon's drummer is Barry Altschull (not Rollins' Shelly Manne) and the bassist is Peter Brendler (instead of Rollins' Ray Brown). Than, album's title "Foxy" can issue some association with Rollins' tune "Doxy", but similarities finish here.

Irabagon's "Foxy" is one 78-minutes long improvised jam (separated to twelve "songs"),rooted in blues, bop standards, Ornette Coleman's groovy harmolodics and presented with style and grace. There are no common theme in album's music but Irabagon skilfully adds tuneful snippets here and there all album long. As a result the listener gets album which doesn't sound too monotonous, boringly repetitive or too "out". There are lot of swing, bluesy structures and melodic groove which make this fully improvised album sound almost danceable and really accessible.

Great example of serious modern jazz which doesn't sound too serious, good entry for fans of MOPDTK interested in similar but slightly more experimental music.

Latest Forum Topic Posts

  • Posted 18 days ago in Jazz and Communism? The Perfect Oxymoron
    Paquito D’Rivera considers the implications of International Jazz Day 2017Steve Mundinger/Thelonious Monk InstituteThe author (left) embraces trumpeter James Morrison at the White House in 2016Since its first edition, organized by UNESCO and the Thelonious Monk Institute of Jazz in 2012, International Jazz Day has presented and encouraged performances and jazz-education initiatives around the globe. Each year, IJD visits a host city with a grip of the world’s best musicians, to give master classes and perform in an all-star gala concert webcast. For 2017, leading up to the official IJD date of April 30, those players and singers converged on Havana, Cuba. As experienced by JazzTimes, the long weekend was a rousing success that saw plenty of enriching collaboration between a diverse jazz A-list and the exceedingly fertile Cuban scene.More than anything, these inspired musical interactions came off as a portent of the brilliant things to come if interests of human goodwill were able to supersede politics. Nevertheless, and not surprisingly, the event incited pushback from musicians, especially Cuban-American expats, who questioned the wisdom of rewarding a controversial government like Cuba’s with an important event that employs jazz as a metaphor for democracy and fellowship. We present here a reaction from the renowned clarinetist, saxophonist and composer Paquito D’Rivera, who, it’s worth noting, performed at last year’s IJD concert at the White House, in an ensemble featuring his former Irakere bandmate Chucho Valdés. – JazzTimes***“I don’t like jazz,” the Soviet Premier Nikita Khrushchev declared in the early 1960s. “I used to think it was static when I heard it on the radio.” That anecdote, among many others, can be found in S. Frederick Starr’s passionate 1983 book, Red and Hot: The Fate of Jazz in the Soviet Union. As a result of his objections, many jazz clubs in the Soviet Union closed, and the official musicologist in the Kremlin was removed from office, to be replaced by none other than Leonid Brezhnev!In the late 1940s, when Mao captured Shanghai, the city’s musical nightlife ceased to exist, simply because the Communists considered those “decadent” nightclubs antithetical to socialism. A similar argument was made in the early 1970s by José Llanuza, the man chosen by the Cuban government to get rid of the cultural hubs they viewed as dens of iniquity.In a few words, it is obvious that the music of Armstrong, the Duke, Dizzy, Bird and Goodman has not exactly been the favorite choice of extreme-Left dictators. And that is why I want to extend my gratitude to Herbie Hancock, Quincy Jones, Esperanza Spalding, Antonio Sanchez, Marcus Miller, Regina Carter and others for having brought a bit of music and joy to my impoverished native city of Havana for International Jazz Day—even if it could only mean a small Band-Aid applied to the profound and infected wound that Cuba has suffered during almost six decades of tropical communism. Still, I must confess I was glad to know that jazz—a musical genre for which musicians and music lovers of my generation suffered attacks, censorship and persecution—was present in the streets of (what is left of) Havana. A friend, almost in tears, told me over the phone that she saw Spalding play in a small bar while Quincy listened.Thanks to contemporary technology—much of it unavailable to the regular Cubans on the island—I was able to enjoy excerpts of the concert webcast, and saw that the interaction between local artists and visiting foreigners reached inspiring levels of excitement. The opening Afro-Cuban chant by vocalist-percussionist Oscar Valdés brought back memories of my younger days in Irakere, and the energetic rendition of “Manteca” was very touching, as was the beautifully articulated and constructed solo by Chilean tenor saxophonist Melissa Aldana on a swingin’ “There’s a Boat Dat’s Leavin’ Soon for New York” with Kurt Elling. It was very refreshing to see the multitalented Bobby Carcassés improvise with Esperanza, who also backed the extraordinary Youn Sun Nah on a unique version of “Bésame Mucho.” The ineffable Richard Bona brought a note of humor with his unique African version of “Bilongo,” and Ivan Lins reminded us about the huge contribution of Brazilians to the jazz language. And what about that impressive parade of great pianists of all ages, from Roberto Fonseca, Harold López-Nussa and John Beasley to Herbie, Chucho Valdés, Gonzalo Rubalcaba and many more? In other words, I have no doubt that UNESCO and the Thelonious Monk Institute of Jazz put together a really great show in Havana.On the other hand, one could argue that celebrating music that represents democracy like no other, in a country that hasn’t held truly free elections in well over half a century, is a contradiction: a detail that did not prevent Irina Bokova—director-general of UNESCO and for a long time a member of the Bulgarian Communist Party—from using words such as “freedom” and “human rights” in her opening speech. So the music was great, in stark contrast to some inexplicable statements about peace, tolerance, unity, dignity and respect for the beliefs of others. And it was surreal to hear words of thanks for the hospitality provided by an illegitimate, dictatorial and intolerant government that for over half a century has divided Cuban families (mine included), starved its people and glorified subversion and war around the world while brutally silencing, incarcerating and oppressing those at home who disagree with its tyrannical regime.Nevertheless, I reiterate my friendship with and admiration for the musicians, and thank once again all my free colleagues from around the globe for their good intentions in my long-suffering homeland. Sadly, as that old proverb states, “The road to hell is paved with good intentions.”  from snobb2017-10-02 13:30:59
  • Posted 31 days ago in Morgan Freeman - "Investigate Russia"
    [TUBE]VMAAwykuIOA[/TUBE] snobb2017-09-26 23:11:57
  • Posted 50 days ago in Jazz Related videos


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