Slava Gliožeris
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882 reviews/ratings
STEELY DAN - Countdown to Ecstasy RnB
MILES DAVIS - Agharta Fusion
JAZZ Q PRAHA /JAZZ Q - Symbiosis Jazz Related Rock | review permalink
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 / SURVIVAL UNIT - 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

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 310 3.69
2 Fusion 95 3.53
3 Post Bop 92 3.54
4 Eclectic Fusion 56 3.69
5 Jazz Related Rock 35 3.30
6 Nu Jazz 35 3.60
7 Hard Bop 33 3.44
8 World Fusion 32 3.14
9 21st Century Modern 30 3.87
10 Jazz Related Improv/Composition 24 3.56
11 RnB 24 3.44
12 Third Stream 18 3.42
13 Post-Fusion Contemporary 18 3.19
14 Progressive Big Band 15 3.80
15 Pop/Art Song/Folk 13 2.96
16 Vocal Jazz 12 3.33
17 Jazz Related Electronica/Hip-Hop 6 3.33
18 African Fusion 6 3.67
19 Jazz Related Soundtracks 5 3.50
20 Funk Jazz 4 3.38
21 Cool Jazz 3 3.67
22 Funk 3 3.50
23 Acid Jazz 2 3.75
24 Exotica 2 3.00
25 Big Band 2 2.75
26 Blues 2 3.00
27 Latin Jazz 2 3.50
28 Soul Jazz 1 3.50
29 Afro-Cuban Jazz 1 3.50
30 Jump Blues 1 3.50

Latest Albums Reviews

GINGER BAKER Ginger Baker Trio ‎: Going Back Home

Album · 1994 · Eclectic Fusion
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Imagine British rock supergroup Cream with jazz bassist Charlie Haden instead of Jack Bruce and Americana-jazz guitarist Bill Frisell instead of Eric Clapton. Here they are - original Cream drummer-led Ginger Baker Trio. They sound actually as it looks on paper - quite oddly.

Frisell fans will recognize his guitar sound from very first seconds, and it stays a signature sound of all album. Haden most of the time stays on safe support, but Baker's ambition to be a leader is obvious, not always for good. His playing recalls an elephant, dancing in a crystal glass room, elegance (with big help of strangely sounding drum set, probably a rock band's one), and this thunder like drums are placed on the front of the sound mix.

Two standards (incl.Monk's Straight, No Chaser) sounds unusually, but hardly all that attractive. Other songs are members' originals, some sounds more like rock songs (and them are probably among better album's songs). Most of the time I've been thinking that album's edition in "minus one" format (without the drummer, of course) would sound really more attractive(if a bit too sleepy, as many similar Frisell's works). In general, all music sounds as it has been recorded separately by each musician at home and then mixed in one in studio, not a good feeling for jazz of any form.

Not really unlistenable,this album has its attraction in weird combination of musicians, but too often it doesn't work properly.

CHARLES LLOYD 8 : Kindred Spirits (Live From The Lobero)

Live album · 2020 · Post Bop
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Sax player Charles Lloyd, one of the few still active jazzmen from Coltrane era, made his name in mid 60s playing soulful hard bop and spiritual jazz, often beside rock musicians in arenas, not tiny jazz clubs.

In the eighties, he returned back on scene with slightly modified post-bop, adopted to more chamber-like ECM listeners. Not really grooveless as many European ECM recordings, his music was accessible, tuneful and enough safe to fit comfortably in label's catalog. In new Millennium, Lloyd moved to Blue Note again with some usual and some unorthodox recordings(as 2018's Vanished Gardens with Lucinda Williams). '8: Kindred Spirits ',recorded during his 80th birthday celebration gig on March 15, 2018 at his hometown venue, Santa Barbara’s Lobero Theatre,and released in early 2020,comes as a pleasant surprise.

Recorded with his slightly modified regular band from some last years (guitarist Julian Lage, pianist Gerald Clayton, bassist Reuben Rogers, and drummer Eric Harland), this album contains strong songs from different periods,but more important - for the first time for many years (if not decades)it leaves safely comfortable (some can say -'sleepy') zone of Lloyd releases from few last decades and music here really burns.

Depending on edition (the regular one contains just four songs plus DVD), the listener receives some well played, muscular and tuneful music, played with enthusiasm, spiritually and a touch of adventure. The opener,'Dream Weaver,'comes from Lloyd's glory day in mid sixties (most probably it is his biggest hit ever). Stretched till twenty-plus minutes, it has enough space for some extended improvisations still staying warm and framed at the end of the day. 'Requiem', the ballad originally released in 1992 on Lloyd's one of ECM album, sounds bluesy and 'organic' against more sterile original.

'La Llorona', a Latin trad tune, is elegant and only very slightly melancholic here.The closer,'Part 5: Ruminations,' is second longest album's composition, and besides of strong tune it has a lot of place for soloists improvs (some of which are quite free). Besides of Lloyd's regular pianist Gerald Clayton,in big part responsible for band's sound for years, there's a guitarist Julian Lage who makes this album so special. Lot of excellent guitars soloing refresh the sound a lot and makes all music sound very gracious.

Other editions can contain three vinyls+DVD and deluxe editions with full concert documented (12 songs). Strong choice of material and lively, inspired musicianship makes '8: Kindred Spirits' one of the better Lloyd release for some years,if not decades.

YOSUKE YAMASHITA Yosuke Yamashita Trio ‎: Dancing 古事記

Live album · 1969 · Avant-Garde Jazz
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"Dancing 古事記" is respected Japanese piano player Yosuke Yamashita's debut album, coming from the time he was a student of musical college in Tokyo. A bassless trio, coming from behind the barricades during the student occupation of Waseda University in July 1969.

The years 1968 and 1969 were both a breaking point in Western world, with counterculture peak, explosion and start of decline as well (ie Woodstock, barricades in Paris' Sorbonne, etc, etc). The world will never be the same again, and what is probably much less known, these events catalyzed the reaction in Japan as well.

Three tracks, of which first 50-seconds long one is not a music but recorded on barricades agitator's speech (on Japanese). It introduces the atmosphere of the moment and two upcoming long free jazz pieces perfectly.

What in a Western world of the time is a rock revolution of late 60s, on Japanese ground has it's equivalent in avant-garde jazz, extremely radical music for the time.

Yamashita plays with his early days trio, containing drummer Takeo Moriyama and sax player Seiichi Nakamura. Their music here still doesn't reach the level of aggression known from Peter Brötzmann's "Machine Gun", but despite of some tuneful inclusions, it sounds as perfect soundtrack to the actions in a student campus that's for sure.

Later same year Yamashita will release with same trio his first studio album "Mina's Second Theme" which bring him first success, still as underground jazz artist for the beginning.

Quite aptly titled "Dancing 古事記", this album represents both the spirit of era and a music of the short-lived but very creative moment of Japanese jazz history.

P.S. There is still available short filmed video from this concert on youtube which is very recommended for those interested in catching the spirit of the moment

BILL LAURANCE Live at Ronnie Scott's

Live album · 2020 · Nu Jazz
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Better known as member of American jazz super-group Snarky Puppy, English pianist and composer Bill Laurance collaborates with some other renown artists and leads own bands as well. His trio (with British bassist Jonathan Harvey and Lithuanian drummer Marijus Aleksa) just released their live album, recorded a year and half ago in legendary London's Ronnie Scott's club.

Full-bodied, well composed and perfectly played acoustic nu jazz, in a key of early Phronesis, is a perfect example of best British music of the genre. No use of electronics, sound effects or studio technology. Each song has own face and appeal,delicate applause in a club adds warm atmosphere to almost studio-like recording.

Continuing the decades long tradition of acoustic piano-bass-drums jazz trios, Bill Laurance trio on this release builds a solid bridge from twenty's century to the first decade of the New Millennium. Best acoustic nu jazz looking from today becomes part of jazz history as well. Laurance's "Live At Ronnie Scott's" is a valuable illustration to the British page of it.

JOHN MCLAUGHLIN John McLaughlin, Shankar Mahadevan, Zakir Hussain : Is That So?

Album · 2020 · World Fusion
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Living legend English guitarist John McLaughlin is a man responsible for probably best ever recorded guitar fusion album. His early interest to Indian music (and culture in general)is well documented on "My Goal's Beyond"(1971) and more significantly on early Shakti albums which were again excellent examples of Indo-fusion.

Don't be fooled by the name though - the newest work, credited to McLaughlin as leader, "Is That So?", is not in the league of both above mentioned masterpieces.To be honest, "Is That So?" in reality is first of all vocal album of prolific Indian singer and films soundtrack composer Shankar Mahadevan. Being a cult figure in India, he's almost unknown in Western world, so crediting his album to McLaughlin as leader is understandable marketing trick for American label AbstractLogix,who released the album just a week ago.

Then,under the cover we have what we have. Shankar Mahadevan sings six lyrical songs,ballads of sort, under minimalist accompaniment of McLaughlin processed guitars and even more minimalist licks of another Indian,former Shakti tabla player Zakir Hussain.

Fortunately, all music doesn't sound as Bollywood soundtrack. It is more rooted to Indian traditional sound, but it is still first of all singer's album. McLaughlin guitars sound processed using computer,is liquid,rhythm-less and hardly differs from what could be produced using inexpensive synths. Tabla's soloing is most livable and most attractive element of all music, but we don't get a lot of it. Harmony-less Indian music without rhythmic component after some time sounds same again and again, at least for Westerner's ear.

Quite a weird release,it will hardly attract McLaughlin guitar work's fans or even Shakti early albums lovers. Maybe Shankar Mahadevan singing followers will find it interesting though.

Latest Forum Topic Posts

  • Posted 21 hours ago in Polish composer Krzysztof Penderecki dies at 86
     Grammy award-winning Polish composer Krzysztof Penderecki dies at 86Polish composer Krzysztof Penderecki at a news conference in Warsaw, Poland, Monday, Sept. 16, 2013.   -   Copyright  AP Photo/Czarek SokolowskiCelebrated Polish composer Krzysztof Penderecki has died at the age of 86 after "a long and serious illness," Poland's Ministry of Culture announced on Sunday.The Ministry described Penderecki as "one of the greatest Polish musicians" with Minister Piotr Glindski lamenting "a great and irreparable loss".Born in 1933 in Debica, southern Poland, Penderecki started studying the violin after the end of the Second World War and entered the Academy of Music in Krakow at 18.He pierced through the Iron Curtain and gained international recognition in 1961 when he won the Prize of the UNESCO International Tribune of Composers for "Threnoby to the Victims of Hiroshima", a musical ode dedicated to the victims of the first-ever atomic bombing.Already established as the leader of the Polish music avant-garde, he peppered his classical composition with human voices, unusual instruments and sound effects including alarms and recording of typing machines.Throughout the following decades, his work, while still thoroughly modern, also became heavily inspired by sacred music.Overall, he is credited with composing more than 100 instrumental works, including 20 chamber pieces, seven symphonies and four operas which he also conducted around the world.He also composed more than 120 musical pieces for animated films, plays, documentaries and movies including the film scores for David Lynch's "Wild at Heart", William Friedkin's "The Exorcist" and Stanley Kubrick's "The Shining".His impressive catalogue won him many accolades including four Grammy Awards, most recently in 2016 for Best Choral Performance, and an Emmy Award in 1995.from
  • Posted 8 days ago in What are You Listening II
  • Posted 24 days ago in How Frank Zappa helped invent jazz-rock
    ‘Hot Rats’ at 50: How Frank Zappa busted up his band, moved to L.A. and helped invent jazz-rock  By Richard Gehr America in 1969 was nearly as weird as it is today.A seemingly endless war in Southeast Asia, the horrific assassinations of political progressives and creepy Richard Nixon’s presidency cast shadows even the last flickering flames of summer love couldn’t dispel. (Charles Manson didn’t help.)Elsewhere in this strange world, rock still mattered a great deal to a great many people. The Band, the Byrds and their brethren were espousing an acoustic rural retreat from all that; the Grateful Dead and Jefferson Airplane were keeping the West Coast weird, although that wouldn’t last long; and King Crimson was unleashing a prog-rock masterpiece, “In the Court of the Crimson King.”In Los Angeles, meanwhile, Frank Zappa seemed to split the difference between art, revolution and retreat when he recorded “Hot Rats,” his second yet most important solo album, during the summer of ’69. The 50th anniversary of “Hot Rats,” released in October of that year, has been observed with “The Hot Rats Sessions,” an illuminating six-CD box set co-produced by Frank’s younger son, Ahmet, and longtime Zappa “vaultmeister” Joe Travers. It’s a revealing look into the mind of a genius at the height of his powers and itching to move on. “The Hot Rats Sessions” is the latest in a series of ambitious vault-spelunking projects undertaken by Frank’s descendants in collaboration with UMe, their long-term licensing partner since 2015. “We’re completists,” Ahmet says. “It’s like archaeology and we take it very seriously.”Long before novelty hits like “Valley Girl” and his televised jousting with the would-be music censors of Tipper Gore and the Parents Resource Music Center, Zappa was already a musical force to be reckoned with. “Freak Out!,” his 1966 doo-wop-meets-dada-rock debut with the Mothers of Invention, was cited by Paul McCartney as inspiration for “Sgt. Pepper’s Lonely Hearts Club Band.” Zappa repaid the compliment in 1968 with “We’re Only In It for the Money,” which pilloried “Sgt. Pepper’s” with its cover and all things Summer of Love with its music.“Hot Rats,” however, was completely different. Raw yet refined, accessible yet sophisticated, “Hot Rats” introduced what would come to be known as jazz-rock fusion, but with the added allure of Zappa’s intriguingly idiosyncratic take on classical music. Its beautifully layered textures were the result of previous experiments with variable-speed recording. For all its organic innovation, though, it was both a critical and commercial failure, topping out at No. 173 on the Billboard album chart. It did well in Europe, however, and eventually became one of the Zappa catalog’s most consistent sellers. Zappa didn’t pal around with other rockers, preferring to hunker down in the studio and tour regularly, if not always profitably, with the Mothers. Zappa had been living in New York for two years prior to “Hot Rats,” performing surreal and improvisational shows in Greenwich Village. He was looking for a new direction when he returned to Los Angeles, where he would spend the rest of his life, in 1968. The Mothers’ failure to achieve commercial sense, and his own desire to move forward musically led Zappa to replace the Mothers with studio musicians on “Hot Rats,” with the exception of keyboards, reeds and woodwinds player Ian Underwood.The rationale for “Hot Rats’” reliance on hired hands — and the stark reasons why Zappa disbanded the Mothers — can be gathered from an unpublished press release that would have announced the Mothers’ dissolution: “I wanted the group to be a frightening big band,” Zappa writes. “The only thing frightening about the band today is the expenses, the wrong notes & disinterested performances, and the inability of the audience to grasp what the group is really doing.” Acrimony and lawsuits inevitably followed the breakup, and Frank would assemble different and more musically pliable “Mothers” lineups in years to come.Zappa released 62 records before his death from prostate cancer in 1993 at age 52 — and nearly as many have been released posthumously. He was driven by an extraordinary work ethic from beginning to end. In 1969 alone, “Hot Rats” was preceded in April by the densely-collaged double album “Uncle Meat.” He also produced Captain Beefheart and His Magic Band’s underground double-album masterpiece, “Trout Mask Replica”; “Permanent Damage,” by all-girl groupie group the GTOs (Girls Together Outrageously); and “An Evening With Wild Man Fischer,” a movingly destabilized double-album commentary on ‘60s rock culture. Music from the “Hot Rats” sessions would also appear on subsequent Zappa releases. “Hot Rats” looms large for the Zappa family. “For the majority of my life I only heard Frank’s music,” says Ahmet. “Maybe 10 times at the max did I hear him play something else, like Howling Wolf or the Bulgarian women’s choir.” As for the music on “Hot Rats”: “These were my lullabies.” Older brother Dweezil, meanwhile, to whom the album is dedicated, has been performing “Rats” on the road in its entirety.“The Simpsons” creator Matt Groening, a Zappa family friend and longtime Zappa fan, wrote appreciative liner notes prior to hearing “The Hot Rats Sessions.” After doing so, he says, “I was struck by how fun and confident the early versions of the instrumentals are, and by what a melodic genius Zappa is as both a serious composer and a rock guitar improviser.”For Joe Travers, the eventual success of “Hot Rats” was due to “the combination of styles of music, the relatively instrumental nature of the music, and the guitar soloing. As Gail [Zappa, Frank’s late widow] told me so many times, that was the album that put Frank on the map as a guitar player.” Zappa indeed plays at his air-sculpting, storytelling best on a roughly modified Gibson Les Paul Goldtop. He also had access to more tracks on a tape recorder than ever before. Recorded on a prototype machine, “Hot Rats” became rock’s first 16-track album.Over the course of three lengthy recording sessions, Zappa and Underwood mixed it up with adventuresome jazz-steeped studio cats including Max Bennett (bass), Ralph Humphrey (drums) and John Guerin (drums); sinuous R&B violinist Don “Sugarcane” Harris and French jazz violinist Jean-Luc Ponty; and even a 15-year-old Shuggie Otis on bass. Evocatively swinging electric chamber music rubs against vigorously dirty R&B improvisations, and a new feeling of precision prevails. Also in the studio for the “Hot Rats” sessions was 19-year-old Bill Gubbins, whose intimate photographs and account of the experience are collected in “The Hot Rats Book” (Backbeat). Gubbins chanced upon Zappa buying a pre-gig coffee in Cleveland and requested an interview. Their meeting led to


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