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

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JOHN COLTRANE A Love Supreme Album Cover A Love Supreme
JOHN COLTRANE
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MCCOY TYNER Sahara Album Cover Sahara
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
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GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence Album Cover Gary Burton / Chick Corea ‎: Crystal Silence
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post bop Music Reviews

THE BRUBECK BROTHERS Timeline

Album · 2018 · Post Bop
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js
If you have been into jazz for a long time, then you probably recall Dave Brubeck’s kids, Chris and Dan, joining with their dad on several musical endeavors and introducing Dave to staples of the hippie generation such as electronic instruments, long hair, and who knows what else. A lot of time has passed since then and Chris and Dan long ago developed their own musical personalities that stand apart from their famous father. On their recent release, “Timeline”, the brothers re-visit their father’s legacy as they pay tribute to the 60th anniversary of Dave’s famous cross-cultural trip (with Dizzy, Satch, Duke etc), on behalf of the US government, to Russia and the Middle East. Many of the tracks on “Timeline” were performed by Dave on the tour, while other tunes on here were one’s he wrote while being inspired by the music of the different countries he was visiting. To their credit, the brothers do not merely copy their father’s work, but instead update the music with new modern arrangements.

The album opens with the familiar rhythms of the classic “Blue Rondo a la Turk”, which Dan plays on the doumbek, quite possibly the Middle Eastern street instrument that inspired Dave’s original creation in 9/8 time. From here the Brubeck brothers and their talented co-stars, Mike DeMicco on guitar and Chuck Lamb on piano, move through an energetic array of hard bop, post bop and Latin jazz songs, plus a couple of ballads too. On the ballads, Chris sets aside his bass to display his smooth mellow melodic tone on the trombone. This combo is a talented foursome, but for my money, the main scene stealer is pianist Chuck Lamb who’s rhythmically intense solos give the songs a charging inertia, plus his imaginative originals, “Boundward Home” and “Prime Directive”, are two of the best tracks on the album. Another top cut on is Dave’s “Tritonis”, which has a spiraling atypical chord progression, almost psychedelic in its twisting turning patterns.

This is an excellent tribute to Dave’s musical journey long ago, and there is not a speck of nostalgia or resting on one’s past laurels to be found here. All of this music is fresh and energetic and played with vital rhythms drawn from many cultures.

GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence

Album · 1973 · Post Bop
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Steve Wyzard
VISCERAL PASTORALISM?!?

While earlier albums would go on to be highly acclaimed and sought after (such as Keith Jarrett's Facing You and the first Terje Rypdal album), Crystal Silence is the album that brought ECM Records to the attention of a much wider audience, especially in the USA. It was Gary Burton's first album for the label, and in 45 years since has never been out of print. Bringing together a wide variety of moods and atmospheres, the performances are masterly and the album is to this day a very high point in both performers' discographies. There are no classic standards, and surprisingly for a duo setting, all 9 songs have never sounded better, even though most have appeared in vastly different contexts and arrangements elsewhere.

If you enjoy jazz piano and vibraphone, what's not to like about Crystal Silence? Detractors are quick to point to this album as "Exhibit A" of the much-discussed mythological "ECM sound", or to dismiss it as the direct ancestor of Wyndham Hill pastoralism. In reality, Corea and Burton are exerting far too much energy keeping the music moving (in every sense of the term), so any claims of "haunted melancholy" can't really be taken seriously. "Senor Mouse", soporific? "Falling Grace", otherworldly? Yes, there are slower, quieter tunes, but again, this album is the complete package.

As ECM's first legitimate masterpiece, it's hard to imagine today how this album was first received upon release in 1973. Both players' very distinctive styles are immaculately served by the recording. I'll close by saying that the title track is one of their greatest performances EVER, and that the album cover remains one of ECM's best in a very crowded field.



JOHN ABERCROMBIE Up And Coming

Album · 2017 · Post Bop
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Steve Wyzard
WINTERY

Despite being 12 minutes shorter, if you liked John Abercrombie's 2013 album 39 Steps, you should also enjoy 2017's Up and Coming. It features the same supporting cast (Marc Copland, piano, Drew Gress, double bass, Joey Baron, drums) and occupies a similar subtle, measured sound world. Which is not to say the two albums are carbon copies of each other. The end-of-summer wistfulness of 39 Steps has been replaced by a duskier, even chillier atmosphere on Up and Coming that fits in well with the ECM Records "winter afternoon jazz" mystique.

All the players are in fine form, and everyone receives plenty of solo space. This is definitely a band album, with not any one performer (least of all Abercrombie) dominating the material. Whimsically, Up and Coming opens with its two shortest compositions: a dirge entitled "Joy", and the up-tempo "Flipside" that is over before it starts. Copland's searching, thoughtful playing on "Sunday School" and the stately-yet-sobering "Tears" are true highlights. Gress's rumbling double-bass work and the brushes and cymbals of Baron contribute extensively to the album's hushed, sunset-glow textures. Still, it's Abercrombie's poignant, understated tones that make this album unique, with his soloing on "Silver Circle" and "Jumbles" letting everyone know that he hasn't been relegated to a "supporting player".

Since its release, Up and Coming has taken on an added pathos after proving to be Abercrombie's final album with his passing in August 2017. There are no foreboding glimpses into the abyss, nor is this a "grand summation"/"career retrospective" album. Comparisons to recordings from decades past are rather pointless, as Up and Coming looks neither backward nor forward. It's simply four marvelously talented players doing what they do best, saying everything they have to say in 47:16. In spite of its ironic title, this is a worthy addition to the discographies of all the performers, and like 95% of everything Abercrombie ever released, will stand the test of time and repeated listening. Special mention must be made of Sheilah Rechtschaffer's remarkable cover pastel, which (like many ECM covers) visually captures and encapsulates the music contained within.

KENNY WHEELER Gnu High

Album · 1976 · Post Bop
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snobb
Not very often one can hear Keith Jarrett/Dave Holland/Jack DeJohnette trio playing as support band. So this Canadian (UK-based) reeds player Kenny Wheeler's album is quite unique even because of this fact. And it looks like "Gnu High" is the last album containing Jarrett as side musician ever.

Wheeler's debut on ECM, this album represents very special time for modern jazz - influential German ECM label is in transition finding their upcoming "new ECM sound" later becoming known as "European jazz" or "chamber jazz". If former part of decade ECM built their reputation as audiophile company releasing avant-garde jazz and post bop of airy/ambient atmosphere with emotionally cold crisp sound, that is late seventies when artists like Keith Jarrett or Jan Garbarek started recording for ECM more amorphous,grooveless music quite liquid and sterile,with obvious influence of European music halls sound.

"Gnu High", even packed with "African" cover art (probably recalling Garbarek's fantastic adventurous ECM debut "African Pepperbird"),doesn't contain African rhythms or freer experimentation. In fact three long tracks are good example of label's transition sound when even if still post bop rooted, music is slower,more abstract and sterile. Wheeler himself plays exclusively flugelhorn, varying from controlled lyrical to abstractly cool. Jarrett/Holland/DeJohnette trio are competent but sounds as if they were asked to demonstrate their maximal available tenderness,delicacy and correctness.

Final result is quite similar to many better "classical" ECM albums of that time - music sound truly professional but soulless,sterile and quite faceless. From other hand, many fans like it because of that. Searchers of more adventurous sound can check Dave Holland ECM albums from the same time, without being too free they offer much more life,groove and fun.

STEVE HECKMAN Steve Heckman & Matt Clark : Some Other Time / Slow Cafe

Album · 2017 · Post Bop
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js
The hardest group format to work in when it comes to keeping a groove, and, as they say, ‘swinging your ass off’, has to be the duo configuration. Playing solo is easier because you have no one else to match to, you can wander as far off the beat as you want and no one is going to complain, except maybe your audience. Likewise, once you get up to three or more participants, more than likely you will have a drummer keeping time, or at least a bass instrument, but when it is just the two of you, both of you need to have killer time instincts and a swingin beat in your head or the resultant train wrecks will come soon and often at that. Having said all that, on their new CD, “Some Other Time/Slow Café”, saxophonist Steve Heckman and pianist Matt Clark easily show that they are ‘those guys‘, the ones with an impeccable drummer keeping time in their hearts and minds. This is a great CD, with an excellent choice of material made up of lesser known standards plus four originals, three by Heckman and one by Clark. It says a lot about your writing ability when your own originals can blend with proven standards and not stand out in a bad way, but such is the case, especially with Heckman, whose originals are often the highlight on this album.

My only prior experience with Steve’s playing was hearing his previous Coltrane tribute. Possibly it had to do with the pressure of paying tribute to Coltrane, but Steve sounds so much more relaxed and fluid on this new album, not that there was anything wrong with his earnest take on Coltrane classics, but “Some Other Time/Slow Café” shows more variety and personal approaches than what was heard on his previous effort. Some highlights on here include the lofty ballad “Some Other Time” on which Heckman’s breathy tenor tone recalls one of his favorite influences, Lee Konitz, I also thought I heard some Coleman Hawkins on this one too. Two Heckman originals stand out, “Sheila’s Sunday Song’ on which Steve shows that he has a nice full tone on the flute, and the soulful RnB/pop of “Slow Café”. Two tracks by Duke Pearson have the duo in a hard bop/soul jazz groove with Matt walking the bass on the low end of the piano, and then there’s Monk’s “Ugly Beauty”, on which Matt shows off those signature Monk style whole tone scale runs.

Don’t expect fireworks on here, instead, this is a very unpretentious and warm jam session from two guys who really click, give this album a chance and it will grow on you. There is another plus on here and that’s the piano sound. Often times modern acoustic jazz sounds too bright and artificial, I don’t know what they did right on here, but the piano has a natural presence with just the right amount of normal room ambience and reverb, absolutely no artificial sweeteners at all. The CD cover works well too, instead of the expected urban jazz scene, you get what looks like a somewhat surreal warm quiet café in a rural winter landscape, it fit’s the music perfectly.

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