Slava Gliožeris
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Favorite Jazz Artists

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792 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 83 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 RnB 24 3.35
10 Jazz Related Improv/Composition 23 3.54
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 10 3.70
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

KOBE VAN CAUWENBERGHE Ghost Trance Septet plays Anthony Braxton

Album · 2022 · Avant-Garde Jazz
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Anthony Braxton (born June 4, 1945) is one of the most respected of creative contemporary music composers and musicians, still active today (just a few months ago he played live in my hometown with his Saxophone Quartet). His early works (coming from the 60s and 70s) are mostly from the avant-garde jazz field, and some are accepted as genre standards. Later Braxton moved towards cross-genre compositional forms, usually related with jazz, but containing elements of contemporary concert hall music, some ancient folk, etc.

Braxton's one remarkable experimental work is his Ghost Trance Music series, inspired by 19th century Native American Ghost Dances and written between 1995 and 2006. The concept of GTM composition is based on idea, that there exists a "primary melody", which Braxton describes as "a melody that never ends". This line of music is written to be played in unison by any performer who wishes to participate in the "ritual circle dance". There is more information on Braxton's musical legacy presented in this nicely designed "organic" CD package's booklet, but generally one doesn't need to learn much before listening. The music itself is complex, but quite accessible.

Belgian guitarist Kobe Van Cauwenberghe, who created the project 'No [more] Pussyfooting', with music by Brian Eno and Robert Fripp, and is a member of electric guitar quartet Zwerm, is currently affiliated with the Royal Conservatoire Antwerp for an artistic research project on the music of Anthony Braxton. In 2020 he released "Ghost Trance Solos" - a solo guitar album with three Braxton compositions from Ghost Trance Music. "Ghost Trance Septet plays Anthony Braxton" is a logical continuation of Kobe's work - four Braxton Ghost Trance Music series compositions, recorded by skilled Belgium-Danish septet.

More current Braxton music is rarely played by other musicians and it's a shame. Different from dominating composers, who often combine elements of different genres in one, Braxton returns back to a past trying to find the roots and the rules and codes, and uses what he finds in his new written music, on a genetic level, not like inspiration or imitation. As a result, his music sounds as an engineered work, mechanically, but not formal or dry, since each brick has its own lively soul.

Van Cauwenberghe's septet of guitar (who in moments demonstrates that he is familiar with shredding guitar techniques playing in rock bands), bassist, drummer, pianist, sax player and trumpeter play selected Braxton compositions with respect and their own touch at the same time. For me, the program sounds as if six skilled professionals build a modern building - a unique one, with style and respect to the past, but without nostalgia, bravely looking ahead. Four compositions, 95-minutes of music, recorded on two CDs, happen to be an intriguing listening, which surprisingly lasted less then it was expected. Nicely realized great idea - hope we will hear more Braxton compositions, recorded by younger generation artists more often.

ONENESS OF JUJU / PLUNKY & ONENESS / PLUNKY Bush Brothers & Space Rangers

Album · 1996 · RnB
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On the wave of the unfading popularity of African influenced jazz in England, UK-based label Strut continues their series of US funk-RnB bands from 70s Oneness Of Juju reissues. The band's debut, "African Rhythms", has been reissued by Strut in 2002, and in 2018 once again. Band's second album, "Space Jungle Luv"(originally from 1976), has been reissued by Strut in 2002 and 2021. "Bush Brothers & Space Rangers", chronologically the band's third recorded album, received its European reissue in 2022 for the first time ever (recorded in 1977, this album has been released for the first time in 1996 only, and reissued only once after - in 2002 in Japan).

Oneness of Juju were the mid-70s continuation of early 70s SF/NYC - based sax player James Plunky Branch's avant-garde jazz band Juju, who moved to Richmond, Virginia in late 1974 and switched the direction towards funk and RnB. Their debut album (still partially with old Juju line-up) under the new name, "African Rhythms", was critically acclaimed, and contained more commercially popular music for the time with a mix of funk and RnB with African-spiritual jazz elements.

For their third album, recorded two years later, the band adds guitarist Ras Mel Melvin Glover, drummer Tony Green (instead of Babatunde) and pianist Brian Jackson (both - from Gil Scott-Heron's band) and percussionist Okyerma Asante. As a result, they loose a bit of funky edge, but receive a more sophisticated sound.

The album's opener,"Breezin'", is probably better known from George Benson's instrumental version, but it's originally a Bobby Womack song, and it comes with vocals here, a nice dreamy relaxed RnB piece. "African Rhythms", Plunky's original, is represented here by a longer very percussive acoustic version, and it sounds even better then on the band's debut, one of the album's top tracks. "Nooky", another Plunky original, is placed somewhere between the band's earlier funk-jazz and the more polished RnB, with soloing sax on the front all the time.

Side B opens with an interesting example of an early "ecological" protest song, "Be About The Future". "Afro Beat" is a very percussive funky song. "Plastic (Is Easy To See Thru)" is another one of the album's top cuts, very much a George Clinton-like piece of P-funk. The album's closer, "Rhythms Timelessness", is a two minutes-long funky instrumental with lots of guitar soloing on the front.

Japanese P-Wine reissue for the first time presented 5 never before released bonuses, on the latest Strut reissue they are available as downloads. "West Wind" is a longish relaxed African-ballade with a flute, "All Blues" is a bluesy RnB with lot of sax and piano soloing and strong vocals, sounds a bit out of place here though. "The Stuff To Make You Move", is danceable RnB and the more funky, "Get Your Head Together", with male vocals, both don't add much to the album.

WHIT DICKEY Astral Long Form : Staircase In Space

Album · 2022 · Avant-Garde Jazz
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Yesterday I used the rare opportunity to visit a retrospective exhibition of renown avant-garde artist, probably better known in Europe than in the States, Marina Abramovic. I made a 200 kilometres-long round trip on a warm summer day, and it was worth it. There were many Abramovic filmed happenings demonstrated on the big screens in a modern art gallery, in total darkness, many screens placed at the same hall. There was one, where she is cutting a five-pointed star around her belly button with a razor blade (so-called "Thomas Lips"), filmed in the year 1975. It was very impressive emotionally (knowing that Marina was born in Belgrade, Serbia, in a family of high level Communist party functionaries of former Socialist Yugoslavia), but at the same time it looked like it's coming from very old past. From the times, when the world was divided between modernists and conservatives, at a time of aggressive feminism, sexual revolution and lots of freedoms coming soon. Quite surprisingly, looking back from now at these protests, and the revolution looks very "organic", and let say "natural". And yes, free jazz was a part of it.

In a modern world, which is thousands years away, we understand all these freedoms as natural, but in fact, we are living in a much more conservative world. We have just a few formal restrictions, but we are not really free. Our lives are complex, and nowadays free jazz is not all that free anymore.

American drummer Whit Dickey is one the great figures of New Millennium creative jazz, working with many leaders of the scene. On "Astral Long Form: Staircase In Space" Dickey leads a quartet with sax player Rob Brown, viola player Mat Manieri and bassist Brandon Lopez. Their music is free, but also well organized, clever, knotty and still dreamy at times. One can hear some (possibly) pre-composed pieces here and there, but it still sounds as spontaneous very much. Tagged by the artist as "channeling ecstatic cosmic vibration", it has nothing too much in common with space psychedelia of the 60s. Being still rooted in Coltrane's legacy, it is very a modern take on things, the music, which is miles away from free jazz of "summer of love" era, its not "organic" or "natural" at all. And it is not naïve, it comes from our clever and already slightly tired world, much more complex than last century's 60s.

And it is among best soundtracks of today's life too.

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".

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  • Posted 2 months ago in A Question about Jazz sub-genres (racism related)
    moved here as well
  • Posted 4 months ago in Short News/Views from Ukraine - regularly updated
    [TUBE]YLgtBIY_LrM[/TUBE] snobb2022-06-04 14:00:30
  • Posted 4 months ago in Short News/Views from Ukraine - regularly updated
    Lithuanians collect €5 million, crowdfunding a Bayraktar drone for UkraineHundreds of Lithuanians have chipped in together to buy an advanced military drone for Ukraine in its war against Russia in a show of solidarity with a fellow former Soviet Union country.The target of €5 million was raised in just three and a half days — largely in small amounts between €5 and €100 — to fund the purchase of a Byraktar TB2 military drone, according to Laisves TV, the Lithuanian internet broadcaster that launched the drive."Before this war started, none of us thought that we would be buying guns. But it's a normal thing now. Something must be done for the world to get better," said Agne Belickaite, 32, who sent €100 as soon as the fundraising launched on


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