Slava Gliožeris
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Favorite Jazz Artists

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781 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 258 3.66
2 Post Bop 81 3.52
3 Fusion 79 3.40
4 Eclectic Fusion 57 3.68
5 21st Century Modern 34 3.76
6 Nu Jazz 33 3.62
7 Jazz Related Rock 31 3.29
8 World Fusion 30 3.10
9 Jazz Related Improv/Composition 22 3.52
10 RnB 22 3.34
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 9 3.39
18 African Fusion 8 3.75
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


Album · 2020 · Jazz Related Rock
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American blues rock guitarist and vocalist Joe Bonamassa is probably one of the known blues-rock artists of his generation. Different from previous generations of American bluesmen, his influences were the British blues-rock of John Mayall and Cream, as well as early bluesy prog rockers (Jethro Tull, etc). Starting his recording career in 2000, Bonamassa jumped up right to the forefront of the modern blues rock scene, combining American blues and r'n'b roots with British rock energy and prog complexities.

Still it took two decades before he did the next step in the same direction-recording a British blues rock album at Abbey Road studio in London with some of the genre's leading legends on support. The result is as great as one could expect.

"Royal Tea" sounds as if it had been recorded in the early seventies, or late 80s, in Britain. Nothing strange - almost all of the song's co-authors are Whitesnake guitarist Bernie Marsden and former Cream lyricist Pete Brown. Marsden participates as backup vocalist as well as another British celebrity, Jools Holland (co-author/piano on one song).

The opener, "When One Door Opens", is a big sound high energy hard rock hymn recorded with The Bovaland Symphonic Orchestra. Rest of the songs are all perfectly recorded in a fashion of Cream's early albums - full bodied soft clear sound. Most important thing is Bonamassa doesn't try to copy or imitate his heroes, he just plays original music that could be created in England during the late 60s. His band's drummer, Anton Fig, (who played on tours/recordings with Madonna, Mick Jagger and Kiss among many others) does a fantastic job creating an atmosphere of the stadium rock era.

Album's first half is all winners with the heavy ballad, "Why Does It Take So Long To Say Goodbye"(influenced by both Cream and Whitesnake), groovy rocker "Lookout Man!", and the album's trade mark "Royal Tea". When listening, seasoned rock fans can easily recall late 60s/early 70s period of time, when almost any new album was a collection of fresh and extremely high quality songs, no fillers.

The album's second half is strong enough too, but is less influenced by British blues rock and sounds mostly as just another Bonamassa typical "American" album. "Lonely Boy", a Jools Holland influenced rockabilly, sounds quite strange and is out of the place here. The closer, "Savannah", is a Southern rock piece, which looks like it's added just to complete the album's space since there were not enough original material.

Still, the whole album sounds fresh and really inspired, it's material alone could build a strong tour program, which will be released soon (and recorded on Bonamassa's next, live album).

RON CARTER Ron Carter, Jack DeJohnette & Gonzalo Rubalcaba : Skyline

Album · 2021 · Post Bop
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Super-trio album, "Skyline", reunites Cuban pianist Gonzalo Rubalcaba with his American mentors - drummer Jack DeJohnette and acoustic bassist Ron Carter. Rubalcaba played with them in the late 90s, when he arrived to Miami from the Dominican Republic.

On "Skyline", all three musicians offer some of their previously played tunes. So, this album is more about collaboration and emotional colors than about really a new thing. The opener, "Lágrimas Negras"(traditional Cuban "Black Tears" from 20th) played as a bolero is an absolute winner. "Novia Mia" is another Cuban classic, dreamy and melancholic.

Still, the main album's flow is mainstream jazz, with swinging rhythm section and lots of groove. Ron Carter adds his "Gypsy" (originally released in 1979 on his album with Chick Corea) and “A Quiet Place” from his 1978 album, "A Song for You", (Jack DeJohnette played on the original version as well). DeJohnette offers “Silver Hollow”, originally recorded with his fusion project New Directions in 1978, and “Ahmad the Terrible” - his dedication to Ahmad Jamal. Rubalcaba's addition is “Promenade”, from his late 90s album, and “Siempre Maria” - another Cuban rhythm scented song, originally released by him in 1992. The album's closer, "RonJackRuba", is a bluesy improv, which was born right in the recording studio.

During the decades of the genre's existence, acoustic trio post bop experienced many ups and downs, and nowadays it is far not so noticeable and dominating as it was in late 60s or early 70s. Quite often new generations of jazz fans are more familiar with once widely influential fusion or more modern jazz sounds of the late 90s and New Millennium. Still it's post bop which is saving the jazz tradition till now, and sometimes it is undeservedly forgotten. "Skyline" is an album made by the genre's masters, reminding us how great this music can sound again.

SONS OF KEMET Black To The Future

Album · 2021 · Eclectic Fusion
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Being a scene leader has its pros and cons. From the positive side, you are known, you have your followers and each of your new works is awaited. From the other side, there are expectations, a lot of them. And it's not an easy job to fulfill all of them. Some fans are waiting for another album of the music they know and like and any change in direction can disappoint them. Others are happy with what you already did but are not much interested in another "same" recording, so they are expecting from you something new. Doesn't matter what you do, some of your fans will be disappointed.

Shabaka Hutchings, who with no doubt is one of the leaders of the burgeoning London jazz scene, runs three different projects trying to solve above mentioned problems in a best possible way, and quite often he succeeds in it.

On "Back To Future" - the newest album from his most eclectic project Sons Of Kemet - is obvious continuation of quartet's previous work, extremely successful "Your Queen Is A Reptile", with some insignificant modifications.

On "Your Queen Is A Reptile", the band's debut on Impulse!, the quartet of sax player, tubist and two drummers went back to African roots, adding more percussive vibes with a big list of guesting additional drummers. Rapper/vocalist Joshua Idehen has been presented on the opener and closer, for the first time (both two early quartet albums were fully instrumental). On "Back To Future", Shabaka uses same formula, when Joshua Idehen opens and closes the show, but there are more guest vocalists on the album (incl. Angel Bat Dawid), as a result, whole recording sounds more as "singing music", rather than just instrumental. And Shabaka adds more brass instead of percussion too. From the musical side we have same Caribbean flavored marching semi melancholic tunes, just less percussive and slightly polished with electronics.

Shabaka obviously trying not to lose a successful formula of the previous album, only slightly modifying and refreshing the sound. As a result, we got an evolutional, not revolutionary work, still with easy recognizable Shabaka's sound.

REZ ABBASI Unfiltered Universe

Album · 2017 · 21st Century Modern
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Pakistani-born US-based guitarist Rez Abbasi is better known from his jazz fusion works, often with a touch of Southern Asian tradition. Here on "Unfiltered Universe", he leads an international band containing such stars as pianist Vijay Iyer and sax player Rudresh Mahanthappa among others.

Differently from his many previous recordings, Abbasi concentrates more on composition here, while still maintaining his high energy sound known from his fusion works. Electric/processed guitar sound is on the front together with Mahanthappa's sax soloing. Drummer Dan Weiss (who has been active in the metal scene) adds more drive and heaviness to the album's music too. It's a pity Iyer's piano is often somewhere on the second plan with just a few solos.

Being a competent work of true professionals, "Unfiltered Universe" lacks compositional expressiveness. Even though they include some elements of Indian sub-continent music here and there, the songs often still sound as a bit dry and too formal and formulaic guitar fusion, not composition-oriented modern jazz.

ARUÁN ORTIZ Aruán Ortiz With Andrew Cyrille And Mauricio Herrera : Inside Rhythmic Falls

Album · 2020 · Avant-Garde Jazz
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Many creative modern jazz followers most probably noticed young Cuban pianist Aruan Ortiz, who bravely opened the premiere jazz stages' door and partially participated with artists as grand as Wadada Leo Smith, Greg Osby, William Parker, Oliver Lake among many others. His own discography is not as numerous, but he already has released some noticeable works as a leader, predominantly on European labels (Newvelle & Intakt). His every new album is an event of unexpectedness since he freely moves between Latin, avant-garde and more traditional jazz genres.

"Inside Rhythmic Falls" is Ortiz's newest (Aug. 2021) album, released on Swiss Intakt again. The album, recorded by an unorthodox trio, consisting of Ortiz, genius drummer Andrew Cyrille and Cuban percussionist Mauricio Herrera. It starts with the very Caribbean "Lucero Mundo", featuring the spoken word vocals of Emeline Michel & Marlène Ramírez-Cancio. The opener will be very much in place on today's London streets with their dominance of Caribbean jazz, but don't be fooled by it.

It isn't an album's visit card, more like an intro demonstrating this album's relationship with Afro-Cuban roots. The rest of the album contains very refreshing percussive jazz, which mixes avant-garde freedom with Latin sensuality.

As a result, we have a rhythmic trio playing quite melodic and moody music, from a slow-tempo ballad of sorts, "De Cantos Y Ñáñigos", to African dances of "Inside Rhythmic Falls Part I (Sacred Codes)". The participation of drummer Hamid Drake on any musician's album is an evidence of quality, "Inside Rhythmic Falls" is not an exemption. But here we get much more - a trio of equal artists playing modern jazz of highest order together. Quite accessible for the genre it represents, this album depends on this category of releases which the open ear listener will listen to more than once or twice.

The album ends same way as it starts - with short "Para Ti Nengón", a free interpretation of Cuban trad song (all other songs are Ortiz originals).

Latest Forum Topic Posts

  • Posted 2 days ago in What are You Listening II
    [TUBE]/ECGft-VgIsg[/TUBE] [TUBE]lTfNINPcjU8[/TUBE]snobb2021-11-25 10:27:44
  • Posted 4 days ago in Adele Samples Erroll Garner on New Album
    Pop superstar Adele released her jazz-flavored new album, 30, on November 19 via Columbia/Melted Stone to great critical and audience acclaim. The record includes an interlude titled “All Night Parking” that samples Erroll Garner’s standard composition, “No More Shadows,” from 1964. You can listen to it via the player below. You can also find out more about Garner’s original track HERE.[TUBE]vjtbafmOjcY[/TUBE]from
  • Posted 16 days ago in Alex Skolnick debuts first-ever blues trio track
    Alex Skolnick debuts first-ever blues trio track, Florida Man BluesThe metal man reunites with his jazz trio and trades gargantuan gains for crystal cleans in his debut out-and-out blues effort(Image credit: Alex Skolnick) One of the most prolific shredders and fusion virtuosos around, Alex Skolnick has showcased a mastery of multiple genres, from heavy metal to jazz, with the likes of Testament, Trans-Siberian Orchestra, Metal Allegiance and The Alex Skolnick Trio.For his latest outing, however, Skolnick has ventured into new territory, reuniting with his trusted trio – bassist Nathan Peck and drummer Matt Zebroski – for his first-ever fully fledged blues track, Florida Man Blues.It’s a stark contrast to anything we’ve heard the electric guitar titan deliver to date. Unlike his previous efforts this year – such as his mind-bending collab with Lost Symphony, Marty Friedman and Nuno Bettencourt – Skolnick ditches gargantuan gains for crystal cleans in a demonstration of his versatile chops.It’s a first for Skolnick in the vocal department as well, who pairs his new-found penchant for out-and-out blues with a taste for the lead singer role.[TUBE]ed4a7FxK3tY[/TUBE]Wielding a number of blues guitars in the accompanying music video – peep that pink Squier Stratocaster – Skolnick treats listeners to an extended opening bout of improvisation, with single-coil snaps and flurrying pentatonic frills.Paying homage to the energetic soloing of Jimi Hendrix and Stevie Ray Vaughan, Florida Man Blues offers just the right amount of laid-back nonchalant noodling and a thirst-quenching quantity of decorative licks, which precede an irresistible gain-tinged fretboard exploration.As the track progresses, so too does Skolnick’s playing, which is later treated to a touch more gain and a healthy dose of wah.Accompanying the track is a music video directed by Adam Dubin, whose credits include the video for Metallica's Nothing Else Matters, which recently topped one billion views on YouTube.“The blues has always been a big component of my playing, across genres,” reflected Skolnick. “In high school, B.B. King was on my turntable as much as Van Halen. And I’ve always loved the lyrical humor of folks like Junior Brown, Frank Zappa and early Tom Waits. “Florida Man Blues presented an opportunity to fully display these influences for the first time on a recording.”Of the track, which was originally penned back in 2019, the axe slinger added, “It gives me great pleasure to finally release this video. In the two years since we tracked this tune, so much has happened."In contrast to the social commentaries Skolnick has shared throughout the past two years, Florida Man Blues casts such issues aside and instead adopts one goal: to provide a song that is “non-partisanly entertaining”.“We can all use a good dose of solid blues and good humor during these times. I’m grateful to everyone involved, from tracking to filming, especially Adam Dubin, who believed in this song and felt it deserved a video as big as, well… Florida.”from snobb2021-11-11 12:45:46


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