Slava Gliožeris
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Favorite Jazz Artists

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788 reviews/ratings
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 - 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
SEI MIGUEL - Salvation Modes Avant-Garde Jazz | review permalink
WADADA LEO SMITH - Wadada Leo Smith & Bill Laswell ‎: The Stone Avant-Garde Jazz | review permalink
ADAM LANE - Adam Lane's Full Throttle Orchestra ‎: Live In Ljubljana Progressive Big Band | review permalink

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Avant-Garde Jazz 257 3.66
2 Post Bop 81 3.52
3 Fusion 79 3.40
4 Eclectic Fusion 57 3.68
5 21st Century Modern 35 3.77
6 Nu Jazz 35 3.63
7 World Fusion 31 3.10
8 Jazz Related Rock 31 3.29
9 Jazz Related Improv/Composition 23 3.54
10 RnB 23 3.35
11 Hard Bop 21 3.31
12 Third Stream 16 3.53
13 Post-Fusion Contemporary 15 3.17
14 Progressive Big Band 15 3.83
15 Pop/Art Song/Folk 11 2.86
16 Vocal Jazz 10 3.15
17 Funk 10 3.35
18 African Fusion 9 3.72
19 Jazz Related Electronica/Hip-Hop 7 3.29
20 Funk Jazz 4 3.38
21 Jazz Related Soundtracks 4 3.25
22 Soul Jazz 3 3.33
23 Cool Jazz 2 3.50
24 Exotica 2 3.00
25 Big Band 2 2.75
26 Blues 1 2.00
27 Afro-Cuban Jazz 1 3.50
28 Acid Jazz 1 3.00
29 Jump Blues 1 3.50
30 Latin Jazz 1 3.50

Latest Albums Reviews

BINKER & MOSES Feeding The Machine

Album · 2022 · Nu Jazz
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"Feeding The Machine" is the fifth album from London's sax/drums duo, Binker & Moses. They started in singer Zara McFerlane's support band, both duo members built an extremely successful career on the burgeoning London new jazz scene of the time, as a duo and collaborators as well. They are probably the best representatives of the movement's leftfield, combining minimalist orchestration with complex techniques and spiritual jazz of the late 60s tradition.

"Feeding The Machine" in realty is recorded by a trio, not duo. The addition of bassist Max Luthert (who played with Sara McFarlane as well) is really significant for the album's sound and common atmosphere. Luthert plays here actually not bass, but modular synth and operates live electronic loops as well. His sound, being always a bit on the back, builds very unique tasteful aerial atmosphere behind the mid-tempo knotty Boyd's drumming and flying free over the birdcalls-like Golding soloing saxes.

This album recalls for me very much the cult work of another times - "Beyond Recall", a masterpiece of sorts, released in 1991 by one of Berlin's electronica school geniuses, Klaus Schulze (who died just a few weeks ago). Huge orange sun of the last sunshine moments over the sea waters and two ducks small silhouettes, very graphical, with the sun behind them. Probably, one of the very last really impressive Berlin electronica school releases, it was mature, almost sounded tired, with a touch of melancholia, but in general very calm. True, it was a pure electronic one.

"Feeding The Machine" sounds very much as a "Beyond Recall" of Generation Z, or music for fans who were born when "Beyond Recall" had been released, or after. So, "Feeding The Machine" sounds more "organic" (or acoustic + analog), slightly less emotional and a bit more energetic, but still that feel of maturity and light melancholy combination is quite similar. Each generation has their own music, which usually changes from explosive creative bravura at the early stage to more well balanced, calculated and matured (at least according to optimistic scenario) moving towards the end of the cycle. London's "new" jazz isn't all that young anymore. It gave to the musical world a lot, partially returning streetwise youth culture in Europe to jazz as a fresh and creative music. This music is still really popular, but another new thing is already probably not too far. "Feeding The Machine" is still no way a swan song of the musical sub-culture, but very possible it's one of its mature monuments.


Album · 2011 · Nu Jazz
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Portuguese trumpeter, Susana Santos Silva, is one of today's leading European jazz female trumpeters (ok, there aren't many around). She is based in Stockholm and collaborates with many creative artists from Northern Europe, regularly releasing quite experimental albums as leader as well.

"Devil's Dress" is her debut, released eleven years ago. From a decade's distance, it's interesting to hear where it all started. Containing solely her original compositions, "Devil's Dress" sometimes sounds a bit raw and directionless, but on the strong side, one can find there are a lot of unusual combinations of acoustic strings and popular at the time simplified rock song aesthetics against complex "compositions", and all the time Silva's trumpet, breaking the rules and trying to fly free. Predominantly mid-tempo, often meditative, the music here isn't easy listening as it probably looks from the first impression. Silva's trumpet sounds warm, but easily producing dissonant sounds as well, there is not even a single composition where she avoids playing free at least for a few moments. This music is hardly a classifiable genre which hardly helps it to find a wider attention. For listeners who know Silva from her later works, and who like them, "Devil's Dress" is probably interesting as historical evidence about "where all that started".

CLAUDIO MILANO (NICHELODEON) NichelOdeon / InSonar & Relatives : Incidenti - Lo schianto

Album · 2021 · Jazz Related Improv/Composition
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Italian seven-octave vocal range singer Claudio Milano, after a seven years gap, returns with an impressive album, released under the NichelOdeon/InSonar & Relatives name. What we got here in fact is a collection of music, recorded with different line-ups in different places all around Italy during 2014-2019.

Extremely eclectic, this album in whole works surprisingly well as if it was recorded at once, according to (mad) scenario. In a few words, what happens here can be described as the soundtrack for (nonexistent) "Picasso's Guernica" movie, recorded by Frank Zappa's XXI century incarnation after his return back to fatherland of Sicily. Quite cinematographic, album's music combines prog rock, metal elements, baroque organs, Gothic darkness, operatic vocals, Weimar Republic operetta, classic strings, bombastic pathetic atmosphere cross-mixed with Diamanda Galas aesthetics and... many many more.

Vocals (and lyrics) are still a king here, so I would recommend to find the lyrics in the language you understand (originally - in Italian),it helps (English translation has been kindly provided to me by Claudio himself). As with many of Claudio's previous albums, the main problem is who the listener is. The album is so radically eclectic, that it's difficult to imagine which musical genre fans will accept it as "music produced for them". Those fearless hearts, searching for something they probably never heard in their life, must give it chance.


Album · 2020 · RnB
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Shemekia Copeland is one among the brightest stars of modern blues in the states. Her music is deeply rooted in the blues tradition, but it sounds surprisingly fresh and modern at the same time. I'm a follower for some years, it's a bit pity that "Uncivil War" isn't as great as it could be.

Comparing it with her previous works, this album is faster, more groovy and significantly influenced by blues-rock. Shemekia's characteristic naïve but usually positivist lyrics are a question of taste, I don't really care much about it here. On the best numbers, her excellent vocals with lots of emotion is what takes listeners by storm. There are some truly exceptional guitarists on board, so songs like hot opener "Clotilda’s On Fire" or "Money Makes You Ugly" burn as hell. "Give God The Blues" is a clever reggae-ballade and "In The Dark" is dark night electric blues at it's best.

Main album's problem is that beside above mentioned strong numbers there are lot of fillers. Stones' "Under My Thumb" cover is probably the oddest one. Country scented "Uncivil War" and "Dirty Saint" aren't much better. Listening to this album again and again during the last few months, I just noticed that I'm listening actually to four or five songs from it on account of the others. It's still worth the attention because of its best songs.

MASADA New Masada Quartet

Album · 2021 · World Fusion
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The original acoustic Masada, presented at the end of the last century was an innovative and partially genre-defining John Zorn project with Dave Douglas, Greg Cohen, and Joey Baron combining Klezmer and free jazz. Electric Masada modifications in the beginning of the new Millennium was a true bomb, an explosive mix of heavy metal and free jazz scented with Near East knotty tunes.

Twenty years later, this new incarnation includes the guitarist Julian Lage, the bassist Jorge Roeder, and the drummer Kenny Wollesen. If electric Masada was an Yiddish free jazz metal on steroids, New Masada Quartet sounds more like four seasoned veterans' unhurried conversation about the time they were young sitting under still-warm autumn sun. There is still a lot of Klezmer in the new album's music, a spark or a few of guitar/sax free soloing and a lot of mid tempo melancholy. Nothing revolutionary can be found here, not even high-energy ecstatic danceable, as on many recordings from the last century, and unfortunately - not even catchy melodies are presented. True, for the old band's fans this release is a reminder of sort how great the original Masada was at their time. Better choose one of the two-decades old releases, as a rule they are better for sure.

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