Post Bop

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Part I

Post Bop is a modern jazz style that continues the distinguishing characteristics that separate jazz from the world of pop and rock; swing rhythm and extended harmonies (9th chords 11ths, altered chords, etc). Post Bop grew out of the Hard Bop genre during the early to mid 60s as musicians such as Bill Evans, Wayne Shorter, and Herbie Hancock began to introduce more extended harmonies, abstract structures and looser rhythms in their playing and compositions. When Hancock and Shorter joined Miles Davis’ quintet in the mid-60s, that group became the perfect vehicle for extending the boundaries of what could happen in a Post Bop format. The Miles Davis Quintet albums, "Nefertiti" and "Sorcer", continue to be pinnacles of Post Bop composition and performance. Some styles of free modal jazz, such as Coltrane's "A Love Supreme", are also part of the Post Bop sound. Although there are still some musicians, such as Kenny Garret, who play in that style, mostly that sound has been fading since the early 70s.

While still in its infancy, Post Bop was pushed off the radar during the 70s as many of its early proponents pursued the far more lucrative fields of fusion and smooth jazz. As the fusion fad began to fade, musicians began to tire of three chord vamps and the limitations of rock/pop rhythms and yearned to work with sophisticated chord changes and jazz rhythms again. The stage was set in the early 80s for the “young lion” movement and a return to both Post Bop and Hard Bop for a lot of young musicians and their fan base.

Today’s Post Bop covers a wide variety, from radio friendly to borderline avant-garde, and it’s a genre that is still ripe for more exploration. Generally speaking, the difference between Post Bop and Hard Bop is that Hard Bop carries a stronger trace of the blues and a more straight forward driving rhythm, but when you are trying to analyze certain artists or pieces of music, that difference is not always clear. Much of Branford Marsalis's music is a good example of jazz that sits right between post and hard bop. With some music, arguing whether it is Post Bop or Hard Bop becomes pointless, since depending on perspective, either genre can be seen as a subset of the other. Although we use the genre term Post Bop to tag the music described above, in a more generic sense, post bop can be the name of any swing based jazz music created after the passing of the be-bop era.

Part 2 - Post Bop in the New Century

As jazz continues to grow and develop, the worlds of modern fusion and post bop have grown closer together as many musicians; such as Dave Douglas, Craig Taborn, Greg Osby and others, freely mix elements into new hybrids.

At JMA, the distinction between Fusion and Post Bop continues to be that distinctive African syncopation known as "swing". Generally Post Bop should swing, while Fusion, quite often does not. What has changed, as we move further into the 21st century, is the way in which modern drummers are 'swinging'. Inventive drummers such as Jeff "Tain" Watts, Rudy Roystan and others are no longer putting the swing beat solely on the ride cymbal. Instead, they are liable to use any, or all pieces of the drum set at once, while they swing the beat. Also, the swing feel itself is often a bit disguised in modern jazz, it may not be so obvious, and the drummer may move in and out of swing feel, sometimes even within one phrase.

post bop top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 60 min. caching

JOHN COLTRANE A Love Supreme Album Cover A Love Supreme
JOHN COLTRANE
4.85 | 77 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
4.96 | 14 ratings
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MILES DAVIS Miles Davis Quintet : Miles Smiles Album Cover Miles Davis Quintet : Miles Smiles
MILES DAVIS
4.80 | 34 ratings
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YUSEF LATEEF Eastern Sounds Album Cover Eastern Sounds
YUSEF LATEEF
4.86 | 11 ratings
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DAVE HOLLAND Dave Holland Quintet ‎: Extended Play - Live at Birdland Album Cover Dave Holland Quintet ‎: Extended Play - Live at Birdland
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4.84 | 9 ratings
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HERBIE HANCOCK Speak Like a Child Album Cover Speak Like a Child
HERBIE HANCOCK
4.76 | 15 ratings
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KEITH JARRETT Whisper Not (Live in Paris 1999) (with Gary Peacock and Jack DeJohnette) Album Cover Whisper Not (Live in Paris 1999) (with Gary Peacock and Jack DeJohnette)
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4.87 | 7 ratings
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
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MILES DAVIS E.S.P. Album Cover E.S.P.
MILES DAVIS
4.73 | 16 ratings
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KEITH JARRETT Inside Out (with Gary Peacock and Jack DeJohnette) Album Cover Inside Out (with Gary Peacock and Jack DeJohnette)
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4.80 | 9 ratings
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DAVE HOLLAND Dave Holland Quintet ‎: Not For Nothin' Album Cover Dave Holland Quintet ‎: Not For Nothin'
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4.81 | 7 ratings
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MILES DAVIS Nefertiti Album Cover Nefertiti
MILES DAVIS
4.63 | 29 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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post bop Music Reviews

JAMIE SAFT Loneliness Road (with Iggy Pop)

Album · 2017 · Post Bop
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snobb
Some months before the release of this album there were first info/samples presented - it was snippets of ballads, played by such unorthodox avant garde jazz artists as New York downtown keyboardist Jamie Saft and drummer Bobby Previte, plus Carla Bley's regular bassist Steve Swallow, but what was even more shocking - there was vocal on these tracks, and the voice was no one else but punk-rock veteran Iggy Pop's.

RareNoise Records, founded almost a decade ago in London by two Italians, has always been oriented towards listeners with rock background searching for something new in avant-garde jazz, free improvs and similar scenes. Then, releasing the album recorded by the aforementioned jazz trio (even if quite an unorthodox one) adding three Iggy's vocal songs doesn't sound as freaky step. It would hardly attract any mainstream jazz fan, but RareNoise are obviously interested in different followers.

The bigger surprise with the album after it was already released, is that that music here is generally modern mainstream jazz (taking away the three vocal numbers). Since Iggy was planned as release's main star, lets start from him first.

All three songs with Pop's singing are ballads, not sentimental bluesy ones, but more of popular sort of modern urban balladry, characteristic for singing poets. Placed as fourth, ninth and twelfth songs among the instrumental jazz pieces, these songs work on a manner of raisins in a cake, some likes cake with raisins, others like just raisins, and there are some who like both. One things for sure, the addition of such different songs made whole album less monotonous.

As everyone familiar with who Iggy Pop is can expect, he doesn't sing any jazz here. First ballad ("Don't Loose Yourself")is a tuneful one, slightly recalling Jack Bruce's (or late Bowie's) songs of similar genre. Jazz trio play mostly in a manner of rock band here, Iggy sounds convincing and even demonstrates some fire. I can imagine a whole Iggy Pop album of such quality, and it possibly wouldn't be any wrong. Two other ballads unfortunately are more sentimental, and I wouldn't say Iggy's voice is the best choice for such kind of music. For me those left a mixed feeling of sadness and/or sorrow (I really like Leonard Cohen's songs, but he's been doing it much, much better).

Now, the rest of the album is ten more songs, and they are mostly great, if not excellent. Jamie Saft plays piano and organ here, mostly straight but demonstrates enough virtuosity and muscular energy to stay attractive all album long. In a combination with his "rock-like" manner, well crafted melodic compositions have all chances to attract far wider audience than just regular jazz fans.

Biggest album surprise are rhythm section. Pairing of original jazz bassist Swallow with far not so conformist drummer Previte was probably a risky business (ok, they already played together on previous Saft trio album), but here it works well and ... unexpectedly. If Swallow's deep physical groovy bass is's such unusual, I can hardly remember Previte playing with such delicacy and almost tender.

At the end of the day, what sounded at the very beginning as possible bad joke turned out to be a really great album. It just confirms once again how unpredictable true jazz is and - we love it for that.

TINA RAYMOND Left Right Left

Album · 2017 · Post Bop
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js
Certainly a lot of people were upset at the outcome of the last US presidential election. Finding a way to voice their disappointment and frustration may have been difficult for many, but for drummer Tina Raymond, the solution became obvious, and that was to record her first album and have it reflect her concerns about her country in the present, as well as her hopes for the future. The end result is the CD “Left,Right Left”, a collection of instrumental protest songs and patriotic songs. The CD title itself refers to the political divide in the US, often strongly amplified by an overly hyped media, that is more than happy to point out that the coasts of the US tend to represent left leaning politics, while the heartland represents the right. To help her with these musical portraits, Tina enlisted two highly skilled musicians, bassist Putter Smith and pianist Art Lande. Smith also contributed two politically themed originals to help fill out the album.

It’s a varied smorgasbord of styles and tunes that greet us on “Right, Left, Right”. “Union Maid’ and “Saigon Bride” are pretty ballads, while “The Fiddle and the Drum” and “Battle Hymn of the Republic” are borderline avant-garde. “Lift Every Voice and Sing” is gospel, while the rest more or less falls into a contemporary post bop vein, but no two tracks seem similar. All three musicians are brilliant, but Lande steals the show with his inventive playing that moves from lyrical to abstract, sometimes within the same track. Two standout tracks include the hard swinging “White Flight”, possibly the best number for straight ahead energy, and the inventive “Battle Hymn of the Republic”, that Lande gives an almost 12 tone treatment that recalls Charles Ives’ avant-garde work with traditional American songs.

Taken on its own merits, “Left, Right, Left” is a fine collection of contemporary jazz, but one can’t help but wonder, if Tina really wanted to make an impact, why didn’t she include songs with lyrics and vocals. If you were to hear any of these instrumental tracks by themselves on the radio, you would probably have no idea about Tina’s intentions.

JACK DEJOHNETTE In Movement

Album · 2016 · Post Bop
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Steve Wyzard
SCINTILLATINGLY TIMELESS!

I'm making the assumption that everyone reading this review will KNOW who I'm talking about when I refer to the fathers of Ravi Coltrane and Matthew Garrison. As a longtime DeJohnette listener, I found it VERY compelling that he would elect to record an ECM album with the sons of two legends he had performed with oh-so-long ago. Allow me to say with all the enthusiasm I can muster that while risks have been taken, the results can only be described as an album for the ages.

How can such a claim be justified with mere words? Here's a rundown of each player's performance:

Matthew Garrison: I start with Matthew because he offers this album's biggest surprises. Unlike his father, he plays the electric bass and adds "electronics" to a majority of the eight tracks. For those hoping for a good old-fashioned blowing session, you've come to the wrong place. Yes, the players' pedigrees would lead one to assume this will be a nostalgic look backward, but it just plain is not. Garrison adds spikey yet swirling textures to the title track after opening with an electric solo, and a pulsing, thudding bassline to the spooky "Two Jimmys". He rumbles on "Serpentine Fire" and broods behind the wistfully fluttering "Lydia". The album would most likely have ended up radically different (read: far less modern) without his significant contributions.

Ravi Coltrane: For as long as he lives, Ravi will be a source of amazement for having the utter boldness to play the same instrument as his father. And naturally, for as long as he lives, the two will be compared and contrasted. On In Movement, he plays the tenor on only two tracks (a mournful take of his father's composition "Alabama" and "Two Jimmys"), and soprano on the rest. While the screaming, squeaking tones heard on the title track and "Serpentine Fire" will elicit a smile of recognition, Ravi's playing is unquestionably influenced by his father without being too derivative. Some will no doubt point to his performance on "Rashied" and insist he's trying just a little too hard to recapture his father's snarly, volcanic tone, but Ravi is truly his own man. In Movement is simply not a pale reflection of past glories.

Jack DeJohnette: For someone who has been playing professionally for over 50 years, this album's drumming is downright phenomenal! Listen especially to the scintillating, intricate cymbals on "Alabama" and "Two Jimmys", and the stomping bass drum and imposing snare on "Serpentine Fire". Forget about the idea of taking it easy before sailing off into the sunset: the man has lost none of his ability, and is "all over the place" without ever dominating the material. If you want to be reminded of his fiery playing from the mid-1970s (on albums such as Gateway and Timeless), listen to his intro on "Rashied". There will be grumbling about the two tracks he leads from the piano rather than the drums (a free take of "Blue in Green", and the lightly airy-yet-still-haunting "Soulful Ballad"), but these two offer a reflective change-of-pace, and a nice contrast to the rest of the album.

Because of the players involved, In Movement will certainly be listened to and discussed for some time to come. Let me just restate that this is an amazing album, and an immediate candidate for all "best of" lists. Fans of DeJohnette, Coltrane, and Garrison will be coming back to this one again and again, long after the inevitable media hoopla has died down. Packaging and recording are (as always for ECM) immaculate. And for the cynics who say this is the closest ECM will ever come to releasing a Coltrane album, can I just say, "Thank God!"

JOE HENDERSON Barcelona

Live album · 1979 · Post Bop
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Steve Wyzard
If you're a Joe Henderson fan, his 1980 (re-released twice since) trio album Barcelona can be recommended but with one caveat. Let it be known this album is nothing like the string of tribute albums he released in the 1990's that resurrected his career. While casual listeners might immediately dismiss it as avant-garde, Barcelona is actually an improvisatory, exploratory statement that might best be described as THORNY. Simultaneously, it is also an experiment in minimalism (just sax/bass/drums), yet one that will repay repeated listening, especially for those who are already familiar with Joe's style.

The 28-minute title track is divided into two parts (to accommodate its original pressing on vinyl) and was recorded at Wichita State University in 1977. It opens with a long, occasionally abrasive duet between Henderson and bassist Wayne Darling, who arco playing summons a Vitous-like fury. Drummer Ed Soph soon joins in, and this sprawling track moves through a variety of moods, including a very rhythmic section at the 13-minute mark. Part 2 is fast and ferocious, and includes Soph's solo. The audience seems mesmerized until the very end, and occasionally Joe will stray from his mike, but otherwise the sound is good for a not-very-high-profile live recording.

The album's other two tracks, "Mediterranean Sun" and "Y Yo La Quiero" both run about five minutes each, and are much more accessible. Recorded in a German studio in 1978, these showcase Joe at his minimalistic best: no drums, just Joe's wonderful soloing backed by Darling's bass.

Once again, this album is definitely not for first-timers, nor is it background music. The extended title track may be rough going at first, but speaking for Joe's fans we can be thankful these dates were saved for posterity. Free? No, it might set you back a bit (especially if you're looking for the original cover with Gaudi's architecture), but well worth the time and effort spent tracking it down. Every time I listen to this album, I like it more.

FREDDIE HUBBARD Outpost (aka Freddie Hubbard -Amiga Jazz)

Album · 1981 · Post Bop
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Steve Wyzard
As most Freddie Hubbard fans know, his discography can be divided into two distinct categories: 1) his highly acclaimed pre-1975 recordings, and 2) his far-less-acclaimed post-1975 recordings. What happened in 1975? He signed on with Columbia and released a string of albums that can best be described as soul/funk/disco rather than jazz (and I'm attempting to be diplomatic here). Visit any good used record store and you will find truckloads of these albums carefully filed behind Freddie's name.

Then suddenly, in 1981, he released Outpost, his only album on the Enja label. This recording harks back to his classic sound, almost as if those Columbia albums had never happened. With Kenny Barron on piano, Buster Williams on bass, Al Foster on drums, and a very ECM-ish cover, Freddie declares in no uncertain terms that he is back (even if he never really left).

Outpost opens with "Santa Anna Winds", a brooding yet turbulent Hubbard composition with an exploratory center section that highlights his fiery trumpet tone. The flugelhorn ballad "You don't know what love is" will not make anybody forget his performance of "Here's That Rainy Day" (from 1970's Straight Life) but is still far above the crowd. The straight ahead "Outpost Blues" features Freddie at his swinging best. The uptempo "Dual Force" gives composer Buster Williams a chance to shine on the bass. Eric Dolphy's "Loss" closes the album with Freddie putting his own virtuosic stamp on some challenging material.

And now for the disclaimers: 1) the credits on this album clearly read "Freddie Hubbard: trumpet", but the man is very obviously playing the flugelhorn on both "You don't know what love is" and "Dual Force". 2) piano master Kenny Barron gives a fabulous performance throughout this album, but is sadly buried far too low in the mix. At the same time, bassist Buster Williams and drummer Al Foster are almost too loud, and many times are drowning out Barron's piano work (credit: producer Horst Weber, engineer David Baker). If you can overlook these faults, you should have no problem enjoying this album. With a back-catalog like Freddie's, it's easy to condemn with faint praise, but I can definitely recommend this album even if it's not one of his Blue Note/Atlantic/CTI classics.

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