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
4.86 | 76 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
4.96 | 14 ratings
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CHARLES MINGUS The Black Saint and the Sinner Lady Album Cover The Black Saint and the Sinner Lady
CHARLES MINGUS
4.85 | 55 ratings
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MILES DAVIS Miles Smiles Album Cover Miles Smiles
MILES DAVIS
4.78 | 32 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
DAVE HOLLAND
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
MCCOY TYNER
4.95 | 5 ratings
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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'
DAVE HOLLAND
4.81 | 7 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

KOSUKE MINE Mine

Album · 1970 · Post Bop
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snobb
Kosuke Mine is a Japanese reeds player better known by his collaboration on sound early Japanese advanced jazz albums, partially playing in pianist Masabumi Kikuchi late-60s sextet and percussionist Masahiko Togashi more straight band few decades later.

Mine released some albums as leader as well, some earliest releases are high-rated obscurities between Japanese jazz collectors. "Mine" LP is important not only as early Kohsuke advanced release,but even more as very first album released on just established Japanese legendary label Three Blind Mice,known by his audiophile quality and accessible but advanced repertoire (especially during first years of existence).

Full-Japanese quintet play quite characteristic for the time hard/post bop hybrid with anchoring mainstream rhythm section and freer soloists, especially Kohsuke on alto/soprano sax and keyboardist Hideo Ichikawa. Three sextet originals plus Joe Henderson "Isotope" all sound pretty nice, with delicate and restrained rhythm,melodic but freer Kosuke solos and tasteful Rhodes licks. Well-balanced mix and uncompressed sound are both pros too on this not too original but professional and well-played album.

Not on the level of adventuress of Japanese avant-garde jazz of the time, "Mine" is nice work for those searching on advanced mainstream jazz of 60s or 70s,rooted in Dolphy's free-bop.

TETHERED MOON Tethered Moon

Album · 1992 · Post Bop
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snobb
Tethered Moon was Japanese pianist Masabumi Kikuchi (who passed away last summer)probably most successful project in Western market. Tokyo-born, Kikuchi lived in New York for decades but never won a real popularity in States (similarly in Japan,where he played and recorded extensively as well).

Tethered Moon were a all-star trio founded as secret Japanese King/Paddle Wheel label's weapon searching for success on European market. Two trio's other members were both established stars in Europe, Kikuchi played with them both already for some time as well. So - pianist Masabumi Kikuchi, bassist Gary Peacock and drummer Paul Motian debut album "Tethered Moon", released originally in Germany by Japanese label King/Paddle Wheel.

Before recording of the album's music, Kikuchi for some years played with different fusion projects almost using electric keyboards, so "Tethered Moon" is kind of his return to acoustic piano (mostly for good). Peacock and Motian are extra-class rhythm section which on this album play surprisingly straight if groovy. Album opens with three standards,continues with three Peacock original and finishes with long (over 14 minute)Kikuchi's "Tethered Moon".

Music is mid-tempo,tuneful,warm,even dreamy in moments. Kikuchi plays in characteristic for that period slightly chamber manner with touch of humor what makes all music more alive and playful. Being accessible listening,this album was hardly an event of the year, but aptly hitting the fashion of the day (presenting high-class hybrid of Paul Bley progressive chamber piano post-bop and European contemporary jazz ECM sound)it helped a lot establishing the band name in European (and later - US market). Next year after European release,the album has been released in US by Evidence, upcoming decade bring five more Tethered Moon albums (all - on German labels).

Not Kikuchi's (or any of other two trio's member) most innovative,original or just interesting music, Tethered Moon were good choice for those searching for accessible but intelligent and quality jazz during 90s. Very possible this project opened to Kikuchi doors to German ECM Records some years later (on this label Masabumi released some his most mature music ever)

PAULA SHOCRÓN Shocron-Gutfraind Cuarteto : Percepciones

Album · 2007 · Post Bop
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snobb
It's a shame we don't know much about today's South American jazz scene.Traditionally,region's jazz associates with Latin jazz and bossa novas what for sure has strong historical reason.

Paula Shocron is a younger generation Argentinian pianist who already has a numerous collection of released albums. Her music has strong mainstream jazz roots, but always sounds very modern. Paula doesn't avoid freer improvisations and even on more traditional songs she uses lot of non-conventional moves to make her music sounds fresh and less predictable.

"Perceppciones" is collaborative album, released by Paula's and Argentinian guitarist Marcelo Gutfraind co-led quartet, and it is an excellent example of Argentinian modern jazz at its best.

Marcello studied at Berklee in US and on return to Argentina plays as session artist with local musicians and teaches music as well. He has released three albums as leader, and on "Perceptiones" he simply steals the show.

Seven album's compositions (all - Paula or Marcelo originals) cover wide range of jazz sub-genres. Mostly rooted in hard/post bop, each composition has own tune,tells own story and without restrictions demonstrates brief tours towards fusion, Latin,chamber jazz and some more. Marcello guitar sound is warm, liquid and placed a bit in front of sound mix it leads listener from very beginning till the album last note. Paula's piano solo are really nice, but there aren't still Marcelo guitar dominates almost everywhere.Rhythm section is competent but them are obviously on support of two leaders.

With our (non-South American residents) limited knowledge of continent's modern jazz scene, this album gives an excellent possibility to ensure how interesting and stirring it can be.Unfortunately, as all other Paula Shocron and Marcelo Gutfraind albums, "Percepciones" is released in Argentina only so has only limited accessibility for foreign listeners.

GARY PEACOCK Eastward

Live album · 1970 · Post Bop
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snobb
One of most respectable among living jazz bass legends,Gary Peacock quite surprisingly released his debut as leader in Japan, in 1970. After almost decade of playing in US as session musician and seven years after his recording debut (with trumpeter Don Ellis quartet), Peacock recorded "Eastward" in Japan,where in 1969 he stayed for two years for (non-musical) studies and investigation of Zen Buddhism.

Two other trio's members are still almost unknown local musicians pianist Masabumi Kikuchi and drummer Hiroshi Murakami. After very few month Kikuchi will rich his probably most successful point of musical career releasing series of Miles Davis-influenced fusion albums, but for the day of recording "Eastward" he was just rising young pianist with a few recordings behind.

Seven album's compositions are all rooted in post-bop (mostly because of quite straight drummer Murakami beat),but Kikuchi advanced piano playing and Peacock deep physical and quite free bass both push the music towards more modern sound than just ordinary mainstream jazz of the time.

Initially released in Japan only as vinyl LP, this album was true obscurity,but re-issued on CD in 2015 (in Japan only as well)now it is easier available for both Peacock and Kikuchi fans. Reissue sound quality and mix are excellent (as almost any Japanese jazz recording coming from 70s)and it's really a pleasure to hear how well this music sounds now, after 45 years.

Starting from his very first Japanese recordings and up to current time Peacock developed his signature Zen jazz sound - that unique atmosphere of calmness,well controlled passion and melodic meditativeness. He will play with Kikuchi and other Japanese jazz musicians quite often during his long career, and will co-found some successful projects with Paul Motian who's music fits perfectly under same aesthetic umbrella.

On his debut Peacock (and all trio) shows still very first,but already significant signs of musical style he will become famous for. Excellent example of creative modern jazz of early 70s, comparing with Peacock later more matured works for ECM music here is less chamber,less polished and more lively.

CHRIS ZIEMBA Manhattan Lullaby

Album · 2016 · Post Bop
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Carmel
The winner of the 2011 Jacksonville Jazz Piano Competition, pianist and composer Chris Ziemba is becoming an active presence on the New York City jazz scene. He made his debut in the national jazz spotlight in March 2009 as a guest artist on Marian McPartland’s famed NPR radio broadcast, “Piano Jazz.” Since moving to NYC in 2011, he has been involved in a wide range of musical projects. He has performed and recorded with some of the leading voices on today’s jazz scene, including: Ted Nash, Ron Blake, Marcus Printup, Hans Glawischnig, and Ryan Truesdell’s Grammy-winning Gil Evans Project. Ziemba also leads his own trio and quartet to lend a voice to his own compositions.

The release of Manhattan Lullaby signifies a strong calling card for Ziemba, able to display sensitivity and harmonic depth and call upon ample dexterity when needed; Ziemba offers the listener a full-diapason listen. Opening the disc is a swinging original “Josie” this has all the making of monk-ish lines and driving be-bop rhythm to satisfy any bop aficionado. The decidedly modern “The Road Less Traveled” is harmonically rich and utilizes a flowing melody. Ziemba interacts with the ensemble in a strong conversational manner, each player has their distinctive role in creating the overall sound, and Ziemba’s solo cascades with notes that push and pull, all the while Glawischnig (bass), and Macbride (drums) create rhythmic complexities to elevate the tracks sound. This track was a highlight for me.

Another compelling cut is Ziemba’s original “Escher’s Loop,” the tune has a dark sound that stays with you long after the track is complete, the ensemble really shines on this cut in its interactive abilities. It is clearly evident each player takes great pride in listening and reacting. Ziemba creates a poignant piano interlude towards the end of the tune, before the entire ensemble joins in for a spacious improvisational ending.

Ziemba spins ample command and confident extensions of his creative ideas. His technical prowess is evident from the onset, and joined by an equally fearless ensemble, Manhattan Lullaby is beautifully reflective, not only of the beauty of New York’s Manhattan, but an enduring recording of a very special moment in time captured and documented for many years of enjoyment to come. In 2011 Ziemba was already an accomplished force to be reckoned with, now if 2016 – his maturity, and prescript is stunning. Highly recommended!

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