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 | 78 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
MCCOY TYNER
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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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MILES DAVIS Miles Davis Quintet : Miles Smiles Album Cover Miles Davis Quintet : Miles Smiles
MILES DAVIS
4.69 | 35 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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HERBIE HANCOCK Speak Like a Child Album Cover Speak Like a Child
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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
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4.63 | 29 ratings
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MCCOY TYNER Expansions Album Cover Expansions
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4.82 | 6 ratings
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post bop Music Reviews

MANNY ECHAZABAL Short Notice

Album · 2017 · Post Bop
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js
One of the reasons why post bop has endured and grown over time as a musical genre is that it’s a very open and malleable musical form that is able to stretch its shape and morph into any new influence that crosses its path. Be it Latin, fusion, free jazz, drumnbass or any other style, post bop is able to absorb all of this and maintain its current relevance, which leads us to “Short Notice”, a very eclectic and modern post bop CD by saxophonist Manny Echazabal. On this new album, Manny takes on a myriad diversity of influences and throws them in the post bop blender to create something that is intellectually challenging, as well as energetic and enjoyable to listen to. Manny cites Joe Henderson, Wayne Shorter and Kenny Dorham as influences on his playing, and names Herbie Hancock, Dave Holland and the aforementioned Henderson and Shorter as influences on his compositional style. All of these influences show, but you could also add the compositions of Kenny Garret as similar too, in the way that he combines many diverse influences underneath the post bop umbrella.

None of the members of Echazabal’s backup band are particularly big names yet, which should change as this crew could hold their own against anybody. A good reference for how these guys interact could be Herbie’s explosive VSOP band that featured Shorter and Tony Williams. Much like that band, Echazabal’s group keeps a flowing high energy conversation going as they all interact with the soloists in rhythmic interjections. Drummer David Chiverton knows how to push a soloist, but also stays more in the pocket than the previously mentioned Williams. Pianist Tal Cohen is outstanding as he builds his free wheeling solos in tandem with Chiverton’s propulsions. There is a definite Hancock influence in Tal’s playing, but Tal also shows a little more mischievous humor when he does things like repeating two notes back and forth in building phrases.

All of the tracks on here are great, but some standouts include the high energy straight ahead swing of “Short Notice”, the stuttering broken rhythms of “The Green Monk” and the avant-garde excursions that make up “Abraham’s Warriors”. There is a lot to hear here, after many listens, I’m still finding things I missed before, there is much to be absorbed. “Short Notice” is excellent modern jazz for those who are into such things.

BILL EVANS (PIANO) Loose Blues

Boxset / Compilation · 1992 · Post Bop
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Amilisom
What originally drew me to the obscure Bill Evans album known as "Loose Blues" was primarily the lineup. This was the first album I'd come across where Bill Evans was playing with the bassist Ron Carter, who I'd known primarily through his work with Miles Davis' second great quartet as well as on other quintessential albums of the 60's. The appearance of Philly Joe Jones on drums wouldn't be a first for Evans.

It came as no surprise from the start of track 1, "Loose Bloose," that the groove created between bass and drums swung significantly stronger than the more airy atmosphere usually created in Bill's more usual rhythm sections. What made the mix all the more interesting was the obvious contrast between the rhythm section and the rest of the band. Playing the tenor sax was the soft-spoken Zoot Sims, who I admit to having little knowledge of. Jim Hall, who makes appearances on other Bill Evans albums, plays guitar. The resulting effect, perhaps an exaggeration, is that the bass and drums swing harder than anybody else in the band. Everybody else floats over the groove like a pillow fort built on cinderblocks.

Plus, the combination of piano, guitar, and Sims' delicate tone made for very nice timbres. Whether it's in "My Bells" where the tenor sax is placed with a backdrop of cascading guitar and piano chords, or in the beginning of "Loose Blues" where the melody is played monophonically by Evans and Sims with Hall complimenting the bass line, the combination is unique and enjoyable.

According to the linear notes, Orrin Keepnews actually found the experience and circumstances of recording this album to be quite stressful and frustrating. One of the tunes, "My Bells" features a tempo change partway through the form. It makes the solos interesting to listen to, but recording it was another story. The studio had little money for rehearsal, and the group went as far as Take 25 before having enough material capable of splicing together. As haphazard as the circumstances turned out, the album was ironically not released until 20 years later.

DANIEL DICKINSON A Gathering Foretold

Album · 2015 · Post Bop
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Carmel
A Gathering Foretold is an extremely melodious release from New York-based alto saxophonist Daniel Dickinson. Even though this is his debut outing, Dickinson plays with maturity and merges the historical language of jazz and all the right elements of modern jazz music. Dickinson has assembled a prodigious crew of musicians that play off each other, finding common ground between all the parts and creating an organic hybrid that plays to what sounds like a longtime working ensemble, yet is a well-organized session. A portfolio of Dickinson’s own compositions and arrangements, including original compositions by Christian Sands (Voyage to Somewhere) and Michael Dease (Cry of the Wolf).

Dease’s composition and the opening "Cry of the Wolf " takes its time building and then rises to the five horns playing the melody to create a beautiful sound. Dease stands out with a solid improvisation that utilizes the upper register of the trombone. The interplay between Bowlus’ piano comping figures and Ulysses Owens, Jr.’s drum pattern is a fine example of groups listening and melding to form a musical motif while Dease shapes his lines to a simmering boil.

The title track is composed by Dickinson and is an impactful track that displays both his compositional skills and his able improvisational skills. Dickinson finds inspiration during his solo in Owens’ drum rhythms, making him more than just support here, but the two work together to build and shape the solo statement and that communication is integral to the integrity of this fine album.

Even though everyone in the ensemble is a talented soloist, the emphasis is on listening to each other. “Voyage to Somewhere” features Christian Sands at the piano and as the composer. A relaxed likeable mid-tempo selection with a haunting piano figure is enhanced by Owen's drums and Dickinson’s nimble alto solo. Dickinson’s lines match Sands chordal colors and his creative rhythmic palate serves as a durable launching pad for creative explorations as a soloist.

“Darn That Dream” is the standard on the date and features Dickinson on clarinet. His tasteful clarinet playing has subtle elements of the blues and bop, all conveyed with unbridled swing. His relaxed soloing style is sure in melodic motion, strong in time and impressive in overall flow.

Although Dickinson is the leader and composed most of the material, A Gathering Foretold is by any measure a group effort, with each member given ample room to extemporize and the group works together to accentuate the various melodies and soloists. The respect and friendship between the players is indispensable, resulting in a splendid date with much to offer even the most demanding jazz aficionado and sensitive audiophile.

STAN GETZ Blue Skies

Album · 1995 · Post Bop
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Steve Wyzard
A QUIET MIRACLE

Why did Concord Records wait 13 years to release this magnificent album? Recorded in 1982 at the same sessions that produced the Pure Getz album, Blue Skies did not see release until 1995, four years after Stan's death. The label did an impeccable job with a superlative package, a slipcover, and an endorsement from Stan's son Steve, but the mystery remains as to why it was held back.

Don't for a moment believe this is an "outtakes" album. The six tracks work perfectly together and the four standards all figured prominently in concert performance over the last 10 years of Stan's life. While listening to Blue Skies, adjectives such as light, airy, ruminative, and leisurely may come to mind, but don't dismiss this as an easy-listening, MOR album. Yes, the emphasis is on beautiful ballads, but the uptempo Jim McNeely composition "There We Go" will quickly awaken those who may find themselves "drifting off". Pianist McNeely easily receives just as much soloing space as Stan does, and bassist Marc Johnson makes major contributions throughout, with solos on three tracks. Accusations of austerity are brushed aside with the whimsical take of the title track: the group is clearly having a good time.

Perhaps knowing Stan didn't live to see this album released lends the music a sense of haunted nostalgia. Drummer Billy Hart's brushes are all over these sessions, but that doesn't entirely explain the ethereal, summer-afternoon stillness that's almost palpable. Comparisons with Pure Getz will find Blue Skies more introverted and quieter, yet this album seems far more definitive and intrinsic to Stan's personal style. There are no dirges on Blue Skies, but anyone looking for an aural punch in the gut like Pure Getz's "On the Up and Up" have come to the wrong place.

Posthumous albums still get a bad rap. If the recordings were so good, the skeptic wonders, why weren't they released immediately? There are thousands of reasons/explanations/excuses, and the situations may vary, but when dealing with an iconic yet polarizing figure like Stan Getz, the answers grow even more complicated. Stan recorded so much with a multitude of players in a multitude of locations for a multitude of labels in widely varying genres. To this day he still has a devoted following, but his erratic recorded legacy has not made him hip with the trendsetters and namedroppers. That we still have in print today a quiet masterpiece like Blue Skies (despite its inauspicious start and late release date) is quite simply a minor miracle. Regardless of availability or popularity, this will always be an album to cherish, and one for the ages.

JOHN ABERCROMBIE 39 Steps

Album · 2013 · Post Bop
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Steve Wyzard
SUBTLE, CALM, MEASURED

In a world of perpetual change, it's nice to know there are some things you can continue to count on. Take, for instance, the much-discussed "ECM Records sound": the haunted, melancholy, "wide open spaces" atmosphere that can be heard as far back as its early-1970s releases. If it's beautiful, autumnal, heartland, Sunday-afternoon chamber jazz you're looking for, you've come to the right place with longtime ECM guitarist John Abercrombie's 39 Steps.

Recorded in April 2013 with Marc Copland on piano, Drew Gress on double bass, and Joey Baron on drums, 39 Steps is much more, well, "down to earth" than his last few releases. Albums such as Class Trip, The Third Quartet, Wait Till You See Her, and Within a Song were more on the noir-ish, late-night side of Abercrombie's guitar-playing spectrum, while 39 Steps will prove to be much more compatible with those who enjoy the classic ECM sound. It should be stated from the outset that those looking for more of his fiery 1970s soloing or his 1980s experimental freak-outs may find this album somewhat pale in comparison. Tracks such as "Vertigo", "Bacharach", "Greenstreet", and "As It Stands" are best described as subdued, peaceful, or even relaxing. The compositions are strong, the solos are solid, and interest is always sustained, but this is not music that will disturb your neighbors. Copland's two compositions, "LST" and "Spellbound", are both much busier and simultaneously more mysterious. Long-time Abercrombie listeners are sure to enjoy "Another Ralph's". Quoting directly from "Ralph's Piano Waltz" (which appeared on both 1975's Timeless and 1986's Current Events), this song has Abercrombie out in front rather than just another player in the quartet. While the soloing spotlight is consistently shared amongst all the players, 39 Steps remains unequivocally a John Abercrombie album. "Shadow of a Doubt" is a group improv (another ECM trademark), and "39 Steps" is a mini-epic, appropriately summing up all that's come before. An offbeat, jesting cover of "Melancholy Baby" closes the album, leaving a smile on the face of all but the most determined listeners. And after a not-too-long (59:42) meandering journey, we're right back where we started.

With all the references to past glories, there's no doubt many will consider this a "long-past-his-prime, career-achievement" album. As a 30+ year listener to Abercrombie's fluid fretwork, I can only urge others to give the introspective and atmospheric textures of 39 Steps a real chance. Newbies may not be impressed, but they are gladly referred to the earlier albums (such as the two mentioned above) of one of the greatest jazz guitarists of our time. While 39 Steps may be lacking in intensity, it more than compensates in true artistry, and not just on cloudy Sunday afternoons.

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Gerardo Nu´n~ez Trio Guitarra Flamenco GUITFESTSEVILLA 2013
GERARDO NÚÑEZ
js· more than 2 years ago
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