Slava Gliožeris
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Favorite Jazz Artists

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813 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 275 3.64
2 Post Bop 84 3.50
3 Fusion 79 3.42
4 Eclectic Fusion 55 3.65
5 21st Century Modern 34 3.75
6 Nu Jazz 34 3.60
7 World Fusion 31 3.11
8 Jazz Related Rock 31 3.26
9 Hard Bop 24 3.31
10 RnB 23 3.33
11 Jazz Related Improv/Composition 22 3.55
12 Post-Fusion Contemporary 18 3.19
13 Progressive Big Band 17 3.79
14 Third Stream 17 3.47
15 Pop/Art Song/Folk 12 2.79
16 Vocal Jazz 10 3.15
17 Funk 9 3.39
18 African Fusion 7 3.71
19 Jazz Related Electronica/Hip-Hop 7 3.29
20 Jazz Related Soundtracks 5 3.50
21 Funk Jazz 4 3.38
22 Soul Jazz 3 3.33
23 Exotica 2 3.00
24 Big Band 2 2.75
25 Cool Jazz 2 3.50
26 Dub/Ska/Reggae 1 3.00
27 Blues 1 2.00
28 Afro-Cuban Jazz 1 3.50
29 Acid Jazz 1 3.00
30 Jump Blues 1 3.50
31 Latin Jazz 1 3.50

Latest Albums Reviews


Live album · 2020 · Eclectic Fusion
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Five years ago I saw Christian Scott playing live on his European tour with almost the same band (vocalist Isadora Mendez Scott is not on board, sax player Braxton Cook instead of current Alex Han and percussionist Joe Dyson instead of Weedie Braimah). He sounded quite similar to what is recorded on this newest album "Axiom", just here he sounds a bit better.

Exactly as during the gig I saw live, Scott speaks a lot, plays trumpet and manages his band well. Flutist Elena Pinderhughes is a night's star filling space with nice solos generally, not too knotty for the band's music. Lawrence Field's retro keys sound great and add a lot of 70s spirit.

Comparing with some of Scott's last studio albums, music here is much more organic, and that's for good. There is a groove and a lot of African percussion, and in general this album is not much different from today's popular London based African fusion influenced sound.

Exactly as during the concert I saw, songs here are quite long, being accessible and not too complex, the lengthiness can make the album simply sound a bit bulky as a result. Still, taking in account all the pros and cons, "Axiom" is probably the best Scott album I have ever heard.


Album · 1993 · Post Bop
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Piano player Masabumi Kikuchi, who passed away in 2015, was an unsung hero of multicultural American-Japanese jazz. Born in Tokyo in 1939 and living in New York from 1974, he went a long way on both US and Japan scenes, playing with greats such as Gil Evans, Elvin Jones, Joe Henderson and Terumasa Hino among many others. Masabumi experienced early fame as a leader playing then popular fusion in early 70s, and partially playing an early synthesizers jazz. From 90s, he became a member of Paul Motian band for decades still releasing his own albums extensively.

"Feel You" is one of Kikuchi's more obscure releases, recorded in New York and released in Japan and Germany. Here Masabumi plays as old school acoustic trio with lesser known Americans bassist James Genus and drummer Victor Jones. Stylistically covering large range of genres, "Feel You" is first of all true TRIO's album. Each member has his own significant voice here, and there is enough space for every one of them.

Album opens and closes with "Pain Killer"(I & II respectively). Funky memorable tune with deep wooden bass sounds as if the bassist is a leader of the trio. "Zig Zag" comes as true 70s post bop song with a spark, here (as well as on some others compositions) one can hear Kikuchi's moaning, not in such annoying way as Jarrett does, fortunately.

"Free Stroll" is mid-tempo freer piece, as it's title says, and the longest song on this album. Partially constructed as a dialogue between soloing piano and double bass with a support of drummer, this song is surprisingly accessible, even attractive despite of its quite loose structure.

"Little Treat" is a little ballad quite similar to such well known from Paul Motian's trio recordings (surprisingly, it is James Genus' original, the only other than Kikuchi's originals on this album, which besides of them contains two standards as well). "It Never Entered My Mind" is one of the standards (written by Hart & Rodgers), sounding here slightly melancholic and very airy.

Masabumi Kikuchi was known by his own very individual piano playing manner, when playing he's been leaving a lot of silence between separate notes. Some called his manner "a Japanese influence", he often wasn't agreeable with this tag, but as a result his music is very often quite meditative, with a touch of melancholy, but with a strict control over emotional coloring. Being a child of two radically different megalopolises, Tokyo and New York, Masabumi very often sounds as a lonely artist in a big city. Like Woody Allen in his movies, Masabumi paints his New York, just not from the Near East or Eastern Europe (Allen's heritage), but from his big city Zen-Buddhist roots.

"Up Beat Blues" actually is a brilliant post-bop piece with sultry sound demonstrating excellent collaboration between all three band members. "20th St. Shuffle" is an acoustic fusion of sort, where Kikuchi plays minimalist staccato piano over the drummer's fanfares, imitating a moving train's sound all song long.

Even if the album looks quite eclectic in genres on paper, in real life it sounds organic, united in one musical post from a capable and inspired trio.

Since both original vinyl releases (Japanese and European) are collectable rarities, the only existing reissue on CD (coming from Japan,2015) is probably easier and cheaper to find. Not really the album for newcomers, "Feel You" is interesting and valuable release for everyone who already found out the original beauty of Kikuchi's better known works and wants more.


Album · 2020 · Fusion
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Trumpeter Charles Tolliver made his name during the late 60s-early 70s, playing creative post bop in small bands with pianist Stanley Cowell and sax player Gary Bartz among others and co-founding an impressive progressive big band Music Inc. His albums from early 70s all are classics and sound pretty well even now.

From late 70s Tolliver disappeared from active recordings with a very few predominantly live recordings coming from 90s and 00's. "Connect" is his first studio album in fourteen years.

Recorded and released in UK, the veteran's album is of traditional 70s size - 39 minutes (or vinyl LP) long. It contains four Tolliver originals, some of them has been already heard on his more current albums in big band arrangements. His cross-generation all-American quintet (recorded in renown RAK studio during European tour) contains seasoned musicians bassist Buster Williams (played with Herbie Hancock and Archie Shepp among many others) and drummer Lenny White (of RTF fame), mid-generation altoist Jesse Davis and youngster pianist Keith Brown. Fashionable Brits tenor Binker Golding participates as a guest on two tracks.

Well recorded, music itself is quite conservative and recalls more early fusion era than second decade of a New Millennium. What is not necessarily a bad thing, just depending on the listener's taste. Compositions are tight, up-tempo, quite straight and not too knotty, just well played without any tricks. Fans of early fusion ca.72 will probably enjoy the sound which is really rare nowadays.

There are two reasons why "Connect" isn't as great an album as some of Tolliver's best works. First, compositions are not all that memorable, and second - drummer Lenny White (as almost always) sounds very much as rock drummer in a jazz band - heavyweight,straight-forward and non-subtle that doesn't add elegance to whole music at all. It's interesting that Binker Golding's, who is an artist of very different background and generation, soloing is quite successful and embellishes the song's sound a lot.

ANDREA MORELLI Andrea Morelli e Silvia Belfiore : DIFFRAZIONE

Album · 2020 · Third Stream
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Since the introduction of the term "third stream" in the early 60s, there were many recordings released trying to combine jazz and classical music, with mixed success. Way too often the two genres crossover sounded like classic compositions adaptating to more modern sound by adding jazzy rhythms and arrangements, or contrarily - moving jazz bands to the music hall and extracting from their music groove and joy, leaving bloodless sterile compositions.

There still have been some successful examples of the concept, and Italian reedist Andrea Morelli's "Diffrazione" is one of them. Taking twelve compositions, written by two grands of the transition era from classic music era to modern days, Frenchman Eric Satie and American Duke Ellington. He adapted them for modern chamber sax/flute - piano duo with great success.

Eric Satie, French composer known from his compositions for piano, written in the end of the 19th century, isn't all that often cited by jazz musicians. Recognized as an avant-garde composer of sorts by his contemporaries, Satie wrote many short pieces where he rejected the classic idea of musical development, building the basis for coming soon minimalism, but still leaving a lot of romanticism elements in it.

"Diffrazione" contains eight short Satie pieces (mostly all popular "Gnossiennes","Gymnopedies" plus "Sarabande" and "Je te veux", all written between 1887 and 1913), all played by the duo of Andrea and Italian pianist Silvia Belfiore. All of them are musical pieces of exceptional beauty, sounding slightly melancholic but without nostalgia, with an excellent level of emotional taste. Warm and deep chamber sound brings the listener to characteristic atmosphere of European salon on the edge of nineteen and twenties centuries, leaving the old world for soon coming modern one, with all its expectations and troubles.

The album content's other half - five Ellington songs (written between 1928 and 1967). They are ambassadors of a new world here - more rhythmical, obviously less related with old-European classic legacy, and - much more optimistic. Still, adopted for chamber duo, Ellington songs sound softer, better rounded and with many emotional colors, more common for European music.

Placed in the album's program as almost always interchanging, Satie and Ellington musical compositions always differ by their mood, but surprisingly well fit, balancing each other. Altogether, they build that fragile form of jazz and classic crossover which balances on the edge between two genres never crossing the borders and producing music of new quality.

On the album's closer - Ellington's "Angelica" - duo is extended to trio, adding drummer Alessandro Garau. This gives more rhythmic qualities to the composition, which is quite playful itself, and perfectly closes the program on joyful, optimistic note.

Album's title "Diffrazione" means "diffraction", or deviation of waves from main trajectory (the effect, first observed by Italian Francesco Maria Grimaldi, by the way). On Morelli "Diffrazione" the listener can observe the deviation from classical and jazz main trajectories with an elegance and big respect to the source.

You don't need to be a fan of jazz or classics, or both, you don't even need to know all this music terms and tags - this is the music for everyone, excellent combination of taste and master ship.


Album · 1973 · Post Bop
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Former Sadao Watanabe bassist Yoshio Suzuki's solo debut album is an essential example of what Japanese jazz of that time is. High energy mid to fast tempo perfectly executed compositions (all - Suzuki originals) that are well played and even better recorded in a warm wood sound fashion of the audiophile dream of the time, Three Blind Mice Records.

Five compositions played by the Suzuki quartet (with the addition of flutist Hideo Miyata on Samba De Chico) are characteristic transitional from post bop to acoustic fusion pieces with bop rhythmic structures and rock band energy.

Sax player Kohsuke Mine is in his best form (few months later he will release his probably best ever album "Out Of Chaos" in a very similar style), pushing the music ahead with his soulful but high energy soloing. Suzuki acoustic bass is competent, if not too original, drummer Hiroshi Murakami (Masabumi Kikuchi band's member for years) is A-list collaborator and pianist Takehiro Honda is another star on his own a member of Sadao Watanabe's quartet at the time of this album's release).

After four more traditional pieces (each between eight and ten minutes long), the album's closer is different - "Samba De Chico" represents an early fusion take on Latin jazz, adding a guest flutist soloing over the whole composition. It is the least successful song on the album, where a too fast tempo destroys authentic Latin music beauty converting it to not too impressive soundtrack for Taco advert.

To be a really great album, the music here probably lacks more compositional originality, but "Friends" is still a really good album and could be recommended for those enjoying Kohsuke Mine's early works.

Latest Forum Topic Posts

  • Posted 21 days ago in New SADE box set to be released - 'This Far'
    Sony Music have announced a new remastered SADE to be released this October Sony Music have announced details of a very special box set, elegantly entitled This Far to be released worldwide in October, which will feature remastered versions of all their studio albums to date, on pure 180-gram heavyweight black vinyl. The upcoming box set delivers the first complete collection of their studio work up to the present day. All six of the band’s acclaimed albums: Diamond Life (1984), Promise (1985), Stronger Than Pride (1988), Love Deluxe (1992), Lovers Rock (2000), and Soldier Of Love (2010) are packaged into a beautifully finished, white casebound box. The box set title, This Far, suggests that the band’s studio work may not yet be fully complete, but this new highly collectable release brings together a canon of work previously difficult to source in its original format.Revisiting the audio, the band and Miles Showell at Abbey Road Studios worked from high resolution digital transfers of the stereo master mixes, from the original analogue studio tapes, remastered at half-speed using Miles’ own unique restored Neumann VMS80 cutting lathe, to perform the 12 sides of vinyl lacquer cuts. The elaborate, half-speed mastering process produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound. No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time.Over an exceptional career spanning more than three decades, Sade’s six albums have amassed a cool 60 million worldwide sales and have been certified platinum 24 times over. Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’, and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their “place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.Live, the band have toured all corners of the globe, including a notable 1985 performance at Live Aid, Wembley Stadium, when Sade Adu was the only African-born artist to appear in front of the live audience of 75,000, plus an estimated worldwide television audience of 1.4 billion in 170 countries. The band’s most recent 2011 tour performed 106 epic shows across four continents, experienced by 800,000 fans, and was cited as “visually stunning” by Billboard with an “exquisite production”, and an “adventure at the polar extremes of dynamics.”When is SADE's 'This Far' released?SADE's This Far will be released worldwide on the 9th of October 2020.from snobb2020-09-07 08:37:31
  • Posted 24 days ago in ‘Eminent Hipsters,’ a Memoir by Donald Fagen
    Among all the chronicles of rock & roll memoirs, there’s none quite as funny as Donald Fagen’s Eminent Hipsters. Much of the humor is, perhaps, unintentional, yet Fagen’s voice as narrator, and his perspective on the travails of his life as a touring rock star, is as sardonically funny as the narratives of so many of his famous songs. But it’s written with much brilliance, and surprising candor. As in his songwriting solo and with Walter Becker, Fagen simply sees the world unlike most. His estimation of most people – especially those alive now – is less than favorable.Fagen is, of course, one of the founding members of Steely Dan with his late great partner Walter Becker, who died on September 3, 2017. Anyone familiar with the songs the two cooked up for the Dan’s songs knows how rich they are with generous amalgam of humor and darkness intertwined. That same fusion exists in Fagen’s soul, which we get to experience intimately in these pages.Donald’s a musical genius, one who has spent a lot of time in the “college of musical knowledge” as he put it, devising with Becker their own signature merger of rock songwriting with the expansive harmonies of jazz. They also created their own standard of record-making, which succeeded in being soulful, precise, funky and elegant all at once. And never imitative. Regardless of one’s enthusiasm for their music, it would be hard to minimize the degree of their innovation in creating a form only they could truly fulfill, in the songwriting, musicianship and production. They set their own Steely standard, and not once did they make an album which failed to reach it.Fagen, unlike Becker, is also a famous curmudgeon. Though this has been known about him, and expressed sometimes in interviews, nowhere have his intensely negative sentiments about the human race ever surfaced as overtly as they do here.In fact, much of the book is Fagen griping. And griping, really, in the middle of a true rock and roll dream: unlike 98% of the world’s musicians, the man has  made a fortune playing music, so really is in pretty good shape. He has earned it – sure – the guy’s a genius, and with the Dan and solo has created countless masterpieces. So what exactly does he have to complain about? Good question, and one that is thoroughly answered here. As it turns out, he’s got quite a lot to complain about. It has to do with humans in modern times, neither of which he likes much.Like Dylan’s own memoir, Chronicles, this one doesn’t tell or even attempt to relate his entire history, or that of his band. Yet Fagen has never played by the rules, and this omission of all the normal stuff distinguishes the man from most. Yet it is utterly engrossing reading. His voice comes through with all its steely mockery, derision, desolation and disgust well preserved and presented. With with precious little here about Steely Dan, there is his diary of sorts from his tour with the Dukes of September, the soul band concocted with Boz Scaggs and Michael McDonald.There are also some interesting Fagen-scribed essays here, including a long and inspired take on the Boswell Sisters and an interview he did with Ennio Morricone.  But it’s here in this tour log, more than anywhere, that the true Fagen spirit is exposed.His despair, which starts small and gradually inflates, stems from the fact that on tour with the Dukes he gets treated quite differently than when with Steely Dan. One reviewer referred to this as Donald’s “dry white whine.” Everything that affects him – the hotels, the traveling, the transport, venue, reception and food – are considerably less grand in every way than that to which he grew accustomed. And he’s hardly a go-with-the-flow kind of guy. He’s actually the exact inverse of that.But it’s not as if Donald was roughing it, really, or even sharing his space. Each artist on the tour got his own bus, and both Scaggs and McDonald would often sleep on theirs. Not Donald, who insisted always on hotel lodging, as living on a bus is, to him, tantamount to the “life of an insect.”But hotels – like concert venues – are invariably populated by other humans, which to Fagen is almost always trouble. They either want something from him he can’t deliver, or ignore him when he wants to be noticed. More annoying to him than the generation of “TV Babies” (those born with few books but constant TV) is the new generation forever tuned into the phones in their palms, rarely looking up at the world. What irked him the most was the expanding multitude of audience members who are looking at their cellphones all through the show. “Don’t they know they it lights up their face in the dark?”Then there is the challenge of staying in shape, physically and psychologically, when on the road, which to Fagen is a supreme challenge, as he writes:“Swimming? Pools are grungy or freezing or crowded or there’s just not enough time. Treadmill in the hotel gym? Go yourself – I am too wasted to exercise…. Bicycling? You mean, call the concierge, inquire about rentals, roll around unfamiliar streets while cars and trucks are trying to kill me? I can’t even get the hell out of bed.”If it weren’t Fagen writing this, it would get tiresome. But because this is a genius songwriter here, a man who has written countless miracle songs and made so many classic albums, it’s different. Because it answers a question we’ve wondered about for decades. The answer being: So this is the mind that created all those great songs with Walter Becker!He’s a songwriter and artist famous for creating something new and previously unattained with the fullness of the Dan. Yet much of modern times, including the technology created to improve our lives and standard of living, he finds to have the opposite effect. Instead of streamlining our lives and imbuing each individual
  • Posted 28 days ago in Columbia Artists says it will shut down
    Columbia Artists Management Inc., one of the leading agencies representing classical music performers, says it is shutting downNEW YORK -- Columbia Artists Management Inc., one of the leading agencies representing classical music performers, says it is shutting down.A statement emailed Saturday to CAMI artists said the agency is closing its doors Monday.“Columbia Artists has engaged with a fiduciary to enter into an assignment for the benefit of creditors, a form of insolvency proceeding where assets are liquidated and claims addressed in an orderly manner,” the statement said. “We are working tirelessly to provide each of you concrete guidance on your specific situation in the coming days. In addition, we’re working together with the fiduciary to see a safe place to land for your Columbia Artists relationship.”The statement said the company had “endured a prolonged pandemic environment,” and it listed Molly Froschauer at Sherwood Partners as the contact on behalf of the fiduciary. Sherwood’s website says Froschauer is an insolvency professional with a background as a bankruptcy lawyer.The agency, founded in December 1930, has represented many of the leading conductors, among them Herbert von Karajan, Leonard Bernstein, James Levine, Eugene Ormandy, Antal Dorati and Otto Klemperer. Its pianists included Vladimir Horowitz and Van Cliburn. and its singer roster had Leontyne Price, Renata Tebaldi, Elisabeth Schwarzkopf, Risë Stevens, Marian Anderson, Richard Tucker and Jussi Björling.The agency’s website lists its current roster as including conductors Seiji Ozawa, Valery Gergiev and Mirga Gražinytė-Tyla; singers Isabel Leonard, Russell Thomas and Brenda Rae; and pianist Maurizio Pollini.Run for many years by Arthur Judson, the agency was headed by Ronald Wilford from 1970 until he died in 2015. He was succeeded by Tim Fox, who had been the No. 2 executive under Wilford since December 2000.Fox and Froschauer did not respond to emails Saturday seeking comment.from


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