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814 reviews/ratings
LOUIS ARMSTRONG - The Louis Armstrong Story, Volume I: Louis Armstrong And His Hot Five Classic (1920s) Jazz | review permalink
MILES DAVIS - Agharta Fusion | review permalink
EARTH WIND & FIRE - Gratitude RnB | review permalink
HERBIE HANCOCK - Speak Like a Child Post Bop | review permalink
FRANK ZAPPA - One Size Fits All (as Frank Zappa And The Mothers Of Invention) Jazz Related Rock | review permalink
HERBIE HANCOCK - Crossings Fusion | review permalink
PARLIAMENT - Mothership Connection Funk | review permalink
HERBIE HANCOCK - Thrust Funk Jazz | review permalink
SUN RA - Angels and Demons at Play Progressive Big Band | review permalink
SUN RA - Sun Ra And His Astro Infinity Arkestra : Atlantis Avant-Garde Jazz | review permalink
SANTANA - Santana Latin Rock/Soul | review permalink
FUNKADELIC - America Eats Its Young Funk | review permalink
MILES DAVIS - Live At The Fillmore East Fusion | review permalink
HERBIE HANCOCK - V.S.O.P. Post Bop | review permalink
MILES DAVIS - Get Up With It Fusion | review permalink
JIMI HENDRIX - Electric Ladyland (Jimi Hendrix Experience) Jazz Related Rock
MILES DAVIS - Miles Davis Quintet : Miles Smiles Post Bop | review permalink
MILES DAVIS - Nefertiti Post Bop | review permalink
MILES DAVIS - Big Fun Fusion | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Fusion 106 3.69
2 Avant-Garde Jazz 61 3.99
3 Hard Bop 52 3.85
4 Post Bop 52 4.14
5 Soul Jazz 41 3.40
6 World Fusion 39 3.60
7 Big Band 38 3.83
8 Eclectic Fusion 35 3.76
9 RnB 34 3.62
10 Jazz Related Rock 31 3.74
11 Bop 28 4.04
12 Funk Jazz 26 3.60
13 Progressive Big Band 25 4.08
14 Nu Jazz 24 3.44
15 Pop/Art Song/Folk 21 2.81
16 Funk 21 3.90
17 Third Stream 20 3.90
18 Exotica 18 3.44
19 Jazz Related Electronica/Hip-Hop 18 3.39
20 Post-Fusion Contemporary 13 3.46
21 Cool Jazz 12 3.75
22 Dub/Ska/Reggae 12 4.04
23 Latin Jazz 11 3.91
24 Jazz Related Soundtracks 10 3.95
25 Blues 10 3.80
26 Vocal Jazz 10 3.75
27 Jazz Related Improv/Composition 9 3.44
28 Swing 8 4.00
29 21st Century Modern 8 4.31
30 Latin Rock/Soul 6 3.75
31 African Fusion 5 4.00
32 Acid Jazz 4 3.50
33 Classic (1920s) Jazz 2 4.50
34 Dixieland 1 3.50
35 Afro-Cuban Jazz 1 4.50
36 Bossa Nova 1 3.50
37 Jazz Education 1 3.50

Latest Albums Reviews


Album · 2020 · 21st Century Modern
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“Omega” is the first album by saxophonist Immanuel Wilkins, but he is hardly a new comer to the jazz scene. Since his arrival in NYC in 2015 he has been building a solid reputation as an educator and as a sideman with artists as diverse as Jason Moran, Branford Marsalis, the Count Basie Orchestra and Bob Dylan. He and his chosen band have been working together for four years and it shows through in their strong communication and interplay. At first listen, “Omega” carries the hallmarks of modern jazz with its abstract and energetic mix of post bop, fusion and free jazz, but there is something new and different present in Wilkins’ music, and if you are not familiar with African American church music you might miss it. Yes, Wilkins’ music is often abstract and complex, but there is also a strong emotional element present as well. The cries and the longings of gospel music are here, but not in any cliché way. Immanuel and his band may present an emotional melody, but the way they work with it and develop it is pure modern jazz.

Wilkins often has a dry direct sax tone similar to Jackie MacLean and Steve Coleman, but he can also build up to an expressive melodic cry that recalls Albert Alyer and latter day Coltrane. The way in which Immanuel can build a solo off of a single melodic base may remind some of Kenny Garret as well. Pianist Micah Thomas has some Herbie Hancock in him, but he can also thunder in the big two handed tradition that has passed from Art Tatum to Matthew Shipp. Drummer Kweku Sumbry uses the entire kit in his maelstrom assaults in that style preferred by today’s NYC based drummers, and bassist Daryl Jones can be quite melodic, even doubling Wilkins on some of the songs melodies. The hallmark of this band is the way in which they can work together as an ensemble, trading and combining ideas in ways that break down the cliché roles of soloist and accompanist. The wide range of this band is also remarkable as they move from intense free modern bop to lyrical ballads.

The main difference in Immanuel’s music is in its powerful emotional content. There is so much great music these days, but so much of it is intellectual and dry and seems to lack heart. Even Wilkins’ song titles are significant as they reference poignant history such as Ferguson and Mary Turner, as well as his attempts to look inside with titles like “Grace and Mercy” and “Guarded Heart”. If you are tired of clever smirky play on words as song titles, you’ll find none of that here, same goes for the music. Immanuel and his band play like they mean it. Its rare for my reviews to indulge in superlatives, but this album deserves it. “Omega” is one of the best debuts I have ever heard and is also one of the best jazz albums for this year. Wilkins has managed to present a very original and personal vision, and that is not easy to do. Also, I don’t mind telling you that the ending of “Gaurded Heart” had me in tears, that doesn’t happen often with me and modern jazz music.


Album · 2019 · Big Band
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Horizons Jazz Orchestra is a South Florida all-star big band that grew out of the remains of Lee Harris and Dennis Noday’s Superband. The last Superband album was supposed to be a tribute to Harris, their lead arranger and composer, but Lee passed away before the album could be finished and many of the band’s performers moved on to other projects. Trombonist Michael Balogh decided to finish the project by inviting some of his favorite musicians to join the remaining members of Superband thereby creating a new ensemble, Horizons Jazz Orchestra, and “The Brite Side” is their debut album. As mentioned earlier, this album is a tribute to Lee Harris and every track but one is either a Harris original composition or arrangement.

Horizons plays bright upbeat big band music with a 60s-70s pop leaning that may remind some of Quincy Jones, Maynard Ferguson and Thad Jones. Many of the band members have ties to the Stan Kenton Orchestra, so there is that influence as well. Several tracks have that Four Brothers/Woody Herman smooth sax section ensemble work which comes as no surprise since section leader Billy Ross played in the Herman band as well as with many top names in pop and RnB. Lots of instantly recognizable jazz favorites are performed here along side Harris’ originals which are easy to pick up on at first listen. The ensemble work is flawless and the solos are short and to the point, this is big band music that can easily be enjoyed by non-jazz fans and big band aficionados alike.

Some top cuts include the high energy of “After You’ve Gone, Finally” and “Fourth Dimension” which feature that smooth Woody Herman sax ensemble sound. Title track “The Brite Side” sounds like a movie soundtrack performed with a lengthy multi-sectioned 70s progressive rock arrangement and “the Sound” features a noir ballad vehicle for the tenor saxophone soloing of Billy Ross. “A Train Bossa” shows how well “Take the A Train” takes to a bossa nova rhythm and “Red Apple Sweet” is a soul jazz workout for the Hammond B3 playing of Gary Mayone.

JOHN DAVERSA Cuarentena : With Family at Home

Album · 2020 · Latin Jazz
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Its not unusual for a John Daversa album to carry a theme outside of the music itself, so it is with his new album, “Cuarantena: With Family at Home”, on which he explores the importance of familial relationships in a time of quarantine through a collection of boleros, a musical form that was often a part of his family gatherings when he was young. Many of these compositions by Daversa are homages to various family members, and also many other of the compositions were written by other family members. Interspersed between the tracks, the various members of Daversa’s quintet discuss how family and music interact in their own lives. Speaking of the assembled quintet for the recording, this is an all-star ensemble with top names at every position; Gonzalo Rubalcaba on piano, Carlo De Rosa on bass, Dafnis Prieto on drums and Sammy Figueroa on percussion.

As mentioned already, every one of these songs is a bolero, but do not expect sameness, instead this album is laden with creative eclecticism. Boleros tend to be rhythmically laid back and very melodic, and you do get a lot of that on here, but there are variations too. “#45” features some high speed bebop unisons, “#22” contains fiery solo trade offs, “Puppitas” has a far out arrangement that borders on the avant-garde, and “#19”builds into an aggressive samba like energy. Still, the hallmark of “Cuarantena” are the more laid back boleros that fascinate with their open spaces and relaxed timing. The open spaces can almost recall a classic ECM disc, only with a Latin flavor and no icy reverb. When Daversa’s lonely trumpet plays over a sparse accompaniment I’m also reminded of Miles’ classic “Quiet Nights” album. All members of the band are careful not to overplay and the tracks are made more interesting because different members of the band will drop out of the mix for a while instead of all five going at it all the time. Overall, a most valuable player award could go to Rubalcaba whose wide ranging skills can add variety through his knowledge of post bop, Latin jazz and classical.

This is a beautiful album, very thoughtful and sensitive. Its great to hear musicians with mind blowing chops set their pyrotechnics aside for a while to just play music that anyone can relate to, not just fans of jazz or Latin music.

CHICO HAMILTON Chico Hamilton Trio Introducing Freddy Gambrell

Album · 1958 · Hard Bop
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Freddie Gambrell is another pianist you can file under the tag, ‘one of the best piano players you never heard of.’. The reason you probably never heard of him is that he only recorded three albums, and the best of those three, “Chico Hamilton Presents Freddie Gambrell”, shows up in the Chico Hamilton discography, not Gambrell‘s. The best way I can introduce Freddie is to describe how I found his playing. I was listening to a 5 CD collection of Chico Hamilton music from the late 50s on random shuffle when I noticed this rather odd and attention grabbing pianist would show up occasionally. His playing was rooted in hard bop, but there were these weird surprises and unexpected jumps in his solos. All of this was reminding me of Herbie Nichols or Jaki Byard, but this guy was obviously neither of them. I didn’t even think that Chico ever worked with a pianist, but upon checking the CD package I see there is this one album with pianist Freddie Gambrell, someone I was not familiar with at all, so I wanted to find out more.

Apparently after recording this one album with Chico in 1958, Freddie released two more in 1959, with neither making much of an impact and although he worked regularly in San Francisco for the rest of his life, both as a pianist and big band leader, you can not find much more information about him than that. So really, the best of Freddie’s lasting legacy is just this one album with Hamilton. The style on here is west coast hard bop, in other words somewhat laid back. Chico and bassist Ben Tucker provide a rhythmic pocket for Gambrell but not much else. There is little interplay between the players and no bass or drum solos either, this is very much a Gambrell solo act. Freddie’s playing is rooted in the pre-Bill Evans school of Art Tatum and Erroll Garner, with a lot of blues thrown in as well. Then there are his unique excursions that can go anywhere unpredictably, this is what grabbed my attention about this guy in the first place, and its what continues to get my attention anytime I give him a listen. If you like any of the other pianists I referenced in this review, or other slightly off-kilter players like Monk or Ellington, then give Gambrell a try. This is one jazz musician who should be better known.

WYNTON MARSALIS Wynton Marsalis & Jazz at Lincoln Center Orchestra : The Ever Fonky Lowdown

Album · 2020 · Third Stream
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After an incredibly long and productive buildup, it looks like Wynton Marsalis has hit the apex of his career with “The Ever Fonky Low Down”, a tour de force of spoken word, music and dance that speaks volumes against the negative forces that have been on the rise in recent times. The album itself is excellent, but I do hope someday he makes the filmed performance of this more available because with dancers, a large music ensemble and a charismatic narrator in Wendall Pierce, much of the appeal of this opus is visual. The real star of the show here is the lengthy text read by Pierce as the hustling character, Mr Game (“Sell you a loan that will take your home“). Mr Game is part insincere wealthy preacher, corrupt politician and conniving criminal hustler all rolled into one as he attempts to brainwash his audience. The words were all written by Wynton, who is apparently just as talented at libretto as he is with music as he displays the background for the cynical logic that threatens our world today. I won’t try to give out too many details about Mr Game’s rap as he tries to deride ‘they’ and buildup ‘his people’, but you will hear similarities to Hitler’s speech about the Polish people, Trump’s exaggerated and fabricated claims about illegal immigrants and the twisted logic of those who try to justify, or deny, the evils of slavery, genocide and ‘ethnic cleansing’. But its not just about the Mr Games of the world, instead, Wynton is challenging us to look deeper at how we react to Mr Game and his opponents. Do we let them manipulate and divide us, or are we able to think for ourselves and keep our moral compass on track.

The rhythms on here are pure New Orleans in many flavors such as RnB, Dixieland, odd metered modern jazz, post bop modal grooves, street marches and more. On top of this rhythmic foundation Wynton interjects his orchestrations that show similarities to Ellington, Mingus, Stravinsky, Bernstein and Sun Ra. There are plenty of hot solos from the all-star band and lots of free form interaction during the longer jams. It's very telling that the music is based in New Orleans, that fertile birthplace of creativity from which a subjugated people ended up spreading their culture and changing much of the world. As mentioned before, this is a very visual production and its great watching the three male dancers improvise and move in synchronicity with methods taken from jazz ballet and New Orleans street dancing. Also enjoyable is Wendall Pierce’s very charismatic performance, especially when his eyes flash like the devil when Mr Game moves in for the ‘closer‘. Wynton's hand picked musicians bring much personality to the proceedings as well, particularly the three female singers and blues/country guitarist and vocalist Doug Wamble, whose southern drawl can sound charming and also ironically troubling.

What makes ‘Fonky Lowdown’ so powerful is that Marsalis has very thoroughly laid out what dangers lay in wait in today’s world. In a recent interview Wynton pointed out, “This is no time to be sleep walking”. I was already aware of much of what Marsalis relates here, but I have never heard it all illustrated in such a cohesive manner, once again, in Wynton’s own words, “showing us a blueprint on how to rise above populist propaganda”. Don’t expect easy answers or liberal platitudes on how to make things better. Also don't expect cliche shaming and a roll call of past grievances. Instead, Marsalis is shooting for bigger game as he displays the thinking that allows those that should know better to stand by while the 'Mr Games' of the world go about their business. 'Fonky Lowdown' is a call for everyone to pay attention and be ready to act if needed.

Latest Forum Topic Posts

  • Posted 13 days ago in guitar is good for your mental health?
    Playing musical instruments is good for you in so many ways. I teach people how to play for a living and even if you are not going to be a professional performer, the benefits of learning how to play a musical instrument are well documented. I also encourage people to play for and with others. This also carries more benefits in the social aspects.
  • Posted 15 days ago in Does anyone know who this is?
    Thats Dizzy Reece. That is from the album cover to "A Variation on Monk". Here is the album:http://www.jazzmusicarchives.com/album/dizzy-reece/dizzy-reece-quintet-%e2%80%8e-a-variation-on-monk%28ep%29 js2020-10-15 07:09:24
  • Posted 16 days ago in question about chords
    The answer to all of those questions is yes. As far as notes between D and D#, that is what is called quarter tones or microtones. Microtones exist in other cultures and are also being explored by many western composers and musicians. I moved this to the Musicians Exchange.js2020-10-14 08:56:24


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Warthur wrote:
more than 2 years ago
Hey dude,

You've banned me from the forums but I can still access the review submission system and site interactions.

If that is intentional then fair enough but if not I thought it'd only be honest to give you a heads up.

Warthur wrote:
more than 2 years ago
js - please clear some space in your PM inbox, I'm trying to send you something.


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