Slava Gliožeris
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Favorite Jazz Artists

All Reviews/Ratings

532 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
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
ROSCOE MITCHELL - Conversations I (with Craig Taborn & Kikanju Baku) Avant-Garde Jazz | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 171 3.69
2 Classic Fusion 77 3.46
3 Post Bop 43 3.52
4 (Post-70s) Eclectic Fusion 38 3.61
5 Jazz Related Rock 33 3.32
6 Nu Jazz 26 3.54
7 World Fusion 25 3.10
8 Jazz Related Improv/Composition 20 3.58
9 Hard Bop 18 3.47
10 Third Stream 13 3.46
11 Progressive Big Band 12 3.75
12 Post-Fusion Contemporary 11 3.09
13 Vocal Jazz 9 3.11
14 21st Century Modern 9 3.94
15 Pop Jazz/Crossover 5 2.50
16 Jazz Soundtracks 4 3.25
17 DJ/Electronica Jazz 4 3.38
18 Acid Jazz 2 3.75
19 Big Band 2 2.75
20 Jazz Related RnB 2 1.75
21 Funk Jazz 2 3.25
22 Latin Jazz 2 2.75
23 Jump Blues 1 3.50
24 Exotica 1 3.00
25 Jazz Related Blues 1 2.00
26 Soul Jazz 1 3.50

Latest Albums Reviews

HENRY THREADGILL Old Locks and Irregular Verbs

Album · 2016 · Third Stream
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Henry Threadgill's "Old Locks And Irregular Verbs" is an exceptional album, one among few released this year. Living AACM legend, Threadgill is high respected not only among avant-garde jazz fans. His music is almost always tuneful, well structured and being adventurous as rule is quite easy accessible.

"Old Locks..." are different best though. It's a tribute to "improvisation conduction" pioneer Butch Morris, and it represents Threadgill as a composer (he doesn't play here at all). Four parts suite is played by a bit unusual (but probably expected from Threadgill) band - two star-pianists(Jason Moran and David Virelles), two alto saxophonists,cellist,tuba player and drummer. Music itself is closer to Threadgill's AACM colleague Wadada Leo Smith's more current monumental works, but perfectly avoiding later's often bombastic monumentalism.

In fact, "Old Locks..." are one of quite rare successful examples of brewing (modern) classics and jazz - being pre-composed, all album sounds extremely fresh and dynamic, full of jazz swings and freer soloing.Strictly looking, it is not jazz mixed with classics anymore, it is the new music rooted in both but distanced far enough from both to be accepted as independent genre.

Quite different from more regular Threadgill recordings,this music has his signature with no doubt - in tunes, light and optimistic atmosphere surprisingly successfully combined with New Orleans funeral marches echoing. It's not like such work is exclusive for Threadgill - everyone familiar with his obscure Zoid's debut album remembers for sure how strange it sounded offering two amorphous percussive pieces closer to minimalism than to usual Threadgill's full-blood pulsating jazz (tuba player Jose Davila plays on both above mentioned albums). But for listeners waiting for "another Threadgill" who's expectation are based on his more regular music, this album brings a surprise.

One can hardly mention bad or even average album, released bu Threadgill, "Old Locks And Irregular Verbs" is not only good, it opens some new horizons. Not often such thing happens on modern jazz scenes.


Album · 1970 · Post Bop
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Kosuke Mine is a Japanese reeds player better known by his collaboration on sound early Japanese advanced jazz albums, partially playing in pianist Masabumi Kikuchi late-60s sextet and percussionist Masahiko Togashi more straight band few decades later.

Mine released some albums as leader as well, some earliest releases are high-rated obscurities between Japanese jazz collectors. "Mine" LP is important not only as early Kohsuke advanced release,but even more as very first album released on just established Japanese legendary label Three Blind Mice,known by his audiophile quality and accessible but advanced repertoire (especially during first years of existence).

Full-Japanese quintet play quite characteristic for the time hard/post bop hybrid with anchoring mainstream rhythm section and freer soloists, especially Kohsuke on alto/soprano sax and keyboardist Hideo Ichikawa. Three sextet originals plus Joe Henderson "Isotope" all sound pretty nice, with delicate and restrained rhythm,melodic but freer Kosuke solos and tasteful Rhodes licks. Well-balanced mix and uncompressed sound are both pros too on this not too original but professional and well-played album.

Not on the level of adventuress of Japanese avant-garde jazz of the time, "Mine" is nice work for those searching on advanced mainstream jazz of 60s or 70s,rooted in Dolphy's free-bop.


Album · 1992 · Post Bop
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Tethered Moon was Japanese pianist Masabumi Kikuchi (who passed away last summer)probably most successful project in Western market. Tokyo-born, Kikuchi lived in New York for decades but never won a real popularity in States (similarly in Japan,where he played and recorded extensively as well).

Tethered Moon were a all-star trio founded as secret Japanese King/Paddle Wheel label's weapon searching for success on European market. Two trio's other members were both established stars in Europe, Kikuchi played with them both already for some time as well. So - pianist Masabumi Kikuchi, bassist Gary Peacock and drummer Paul Motian debut album "Tethered Moon", released originally in Germany by Japanese label King/Paddle Wheel.

Before recording of the album's music, Kikuchi for some years played with different fusion projects almost using electric keyboards, so "Tethered Moon" is kind of his return to acoustic piano (mostly for good). Peacock and Motian are extra-class rhythm section which on this album play surprisingly straight if groovy. Album opens with three standards,continues with three Peacock original and finishes with long (over 14 minute)Kikuchi's "Tethered Moon".

Music is mid-tempo,tuneful,warm,even dreamy in moments. Kikuchi plays in characteristic for that period slightly chamber manner with touch of humor what makes all music more alive and playful. Being accessible listening,this album was hardly an event of the year, but aptly hitting the fashion of the day (presenting high-class hybrid of Paul Bley progressive chamber piano post-bop and European contemporary jazz ECM sound)it helped a lot establishing the band name in European (and later - US market). Next year after European release,the album has been released in US by Evidence, upcoming decade bring five more Tethered Moon albums (all - on German labels).

Not Kikuchi's (or any of other two trio's member) most innovative,original or just interesting music, Tethered Moon were good choice for those searching for accessible but intelligent and quality jazz during 90s. Very possible this project opened to Kikuchi doors to German ECM Records some years later (on this label Masabumi released some his most mature music ever)

AKIRA SAKATA Sakata Orchestra ‎: 4 O'Clock

Album · 1981 · Avant-Garde Jazz
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Japanese reeds player Akira Sakata (born in Hiroshima in 1945) for last decade is on the top of most requested internationally country's jazz artist,playing and recording in States,Europe and Japan. He started his career in early 70s as highly respected Yosuke Yamashita Trio's member,but switched to solo career in early 80s. In mid-80s he played with short-lived but significant Peter Brotzmann's Last Exit (noisy supergroup with Sonny Sharrock,Ronald Shannon Jackson and Bill Laswell on board), and he met new Millenium playing with most radical experimenters around.

Still in early 80s Akira was more anchored to composed music, his short-lived but great Sakata Orchestra are a great example. "4 O'Clock" is the only band's studio album, released in 1981.

Massive reeds section (incl. future star Kazutoki Umezu),two drummers,two bassists,percussionist and two piano/keyboards players (plus uncredited operatic vocals on side B) build true orchestral feel on four pre-composed musical pieces. Differently from Sakata's current dominance of very free forms and often chaotic soloing, Sakata Orchestra were perfectly organised progressive big band with well-framed rhythm structures and arrangements. Main attraction were constantly changing soloists demonstrating truly free improvisational abilities.

Trying to use all most advanced trends of the time (incl. some cosmic electronic sounds and operatic vocals),Akira doesn't lose jazz orchestra's ground even for a second. It makes all music sound accessible,but very fresh and modern.

Well recorded (I missed more lows in mix though), this album sounds really attractive even today - great place to start one's journey researching rich legacy of living Japanese adventurous jazz legend.

PAULA SHOCRÓN Shocron-Gutfraind Cuarteto : Percepciones

Album · 2007 · Post Bop
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It's a shame we don't know much about today's South American jazz scene.Traditionally,region's jazz associates with Latin jazz and bossa novas what for sure has strong historical reason.

Paula Shocron is a younger generation Argentinian pianist who already has a numerous collection of released albums. Her music has strong mainstream jazz roots, but always sounds very modern. Paula doesn't avoid freer improvisations and even on more traditional songs she uses lot of non-conventional moves to make her music sounds fresh and less predictable.

"Perceppciones" is collaborative album, released by Paula's and Argentinian guitarist Marcelo Gutfraind co-led quartet, and it is an excellent example of Argentinian modern jazz at its best.

Marcello studied at Berklee in US and on return to Argentina plays as session artist with local musicians and teaches music as well. He has released three albums as leader, and on "Perceptiones" he simply steals the show.

Seven album's compositions (all - Paula or Marcelo originals) cover wide range of jazz sub-genres. Mostly rooted in hard/post bop, each composition has own tune,tells own story and without restrictions demonstrates brief tours towards fusion, Latin,chamber jazz and some more. Marcello guitar sound is warm, liquid and placed a bit in front of sound mix it leads listener from very beginning till the album last note. Paula's piano solo are really nice, but there aren't still Marcelo guitar dominates almost everywhere.Rhythm section is competent but them are obviously on support of two leaders.

With our (non-South American residents) limited knowledge of continent's modern jazz scene, this album gives an excellent possibility to ensure how interesting and stirring it can be.Unfortunately, as all other Paula Shocron and Marcelo Gutfraind albums, "Percepciones" is released in Argentina only so has only limited accessibility for foreign listeners.

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