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. Sometimes referred to as 'spiritual jazz', this style has made a comeback with young musicians, especially in London and Los Angeles.

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
4.84 | 102 ratings
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HERBIE HANCOCK V.S.O.P.:Tempest in the Colosseum Album Cover V.S.O.P.:Tempest in the Colosseum
HERBIE HANCOCK
4.96 | 10 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
4.72 | 22 ratings
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KEITH JARRETT At the Blue Note: The Complete Recordings Album Cover At the Blue Note: The Complete Recordings
KEITH JARRETT
4.78 | 9 ratings
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HERBIE HANCOCK Empyrean Isles Album Cover Empyrean Isles
HERBIE HANCOCK
4.65 | 31 ratings
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
MCCOY TYNER
4.70 | 11 ratings
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MANU KATCHÉ Neighbourhood Album Cover Neighbourhood
MANU KATCHÉ
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GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence Album Cover Gary Burton / Chick Corea ‎: Crystal Silence
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HERBIE HANCOCK V.S.O.P. : Five Stars Album Cover V.S.O.P. : Five Stars
HERBIE HANCOCK
5.00 | 3 ratings
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OLD AND NEW DREAMS Playing Album Cover Playing
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CHRIS POTTER The Sirens Album Cover The Sirens
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4.77 | 6 ratings
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JOHN COLTRANE Africa / Brass Album Cover Africa / Brass
JOHN COLTRANE
4.59 | 26 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

JAE SINNETT Jae Sinnett's Zero To 60 Quartet : Commitment

Album · 2023 · Post Bop
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Carmel
It is a testament to an artist's vitality and creative skill when they can churn out their 19th record and still have it bristle with an electrifying freshness. Jae Sinnett, a veteran jazz drummer, composer, and bandleader who has spent decades enhancing his craft and teaching others to find their own musical voices, precisely achieves this with his album, “Commitment.” The record, an exhilarating mélange of Sinnett's compositions, and an intelligent reworking of standards explore jazz's multifaceted nature that showcases the immense versatility of the Zero to 60 Quartet members. The ensemble made up of all-star musicians, including Steve Wilson on alto and soprano saxophones, Randy Brecker on trumpet and flugelhorn, Allen Farnham on piano, and Terry Burrell on acoustic and electric bass, complement Sinnett's powerful drumming perfectly, each one adding a distinctive color to the rich tapestry of sounds.

The album sets off to a thrilling start with Sinnett's "Takin' It There," a formidable nod to the hard bop genre, pulsating with the energy that sets the tone for what follows. An equally impressive exploration is evident in the reinterpretation of Frank Foster's composition, "Simone." Sinnett's innovative arrangement and his polyrhythmic drumming are complimented by Brecker's fluid horn ideas and Farnham's application of modern voicings, imparting a modern edge to this timeless classic. Sinnett displays a nuanced understanding of pacing and intensity, demonstrated in the selection of tracks such as "Muhammara's Dance" and "Wait For Me." Here, muscular modern jazz is showcased with a display of raw, undiluted talent, each musician contributing to the overall energy of the pieces while retaining their individualistic flair.

The quartet's efforts to straddle diverse genres continue beyond there. Clare Fischer's Latin-tinged "Morning" and Antonio Carlos Jobim's rhythmic finale, "Chega de Saudade (No More Blues)," are delightful surprises that underscore the ensemble's ability to effortlessly navigate between different styles with Sinnett's deep rhythmic understanding leading the way. What truly stands out in this album is the artistic symbiosis between the quartet members. There is a clear dialogue between the musicians as they seamlessly move between solos and ensemble playing. Sinnett, a masterful drummer, and visionary composer, directs the flow of the music, expertly underpinning the melodic explorations of his colleagues while occasionally stealing the spotlight with his riveting solos.

Jae Sinnett's Zero to 60 Quartet has succeeded in creating an album that exemplifies the idea of 'Commitment'—a commitment to the craft, exploration, synergy, and, most importantly, to the listener. With each track, the album tells a unique story, creating a listening experience that is both thought-provoking and engaging. The audaciousness of the performances and the sagacity in the compositions make “Commitment” a stellar addition to Sinnett's extensive discography and a testament to his ongoing relevance in the jazz world.

ARTEMIS In Real Time

Album · 2023 · Post Bop
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Carmel
The singular collective known as ARTEMIS, an international all-female jazz supergroup conceived by pianist and composer Renee Rosnes, is releasing their sophomore release, "In Real Time," on the storied Blue Note label. Inspired by the Greek goddess Artemis, the ensemble's name is emblematic of their music: a divine blend of daring, natural instinct, and purity.

The original lineup of Rosnes on piano with trumpeter Ingrid Jensen, bassist Noriko Ueda, and drummer Allison Miller are joined by newcomers Nicole Grover on tenor saxophone and multi-reedist Alexa Tarantino. "In Real Time" features compositions penned by its members, contributing to a heterogeneous yet cohesive body of work. As eloquently phrased by bandleader Rosnes, the essence of the album is encapsulated in the idea of music as "liquid time in the air." This album is a living testament to that concept, as compositions unfold organically, rhythms ebb and flow, and improvisations meander through the labyrinth of time.

The opening track, Lyle Mays' "Slink," is a perfect introduction to ARTEMIS's collective jazz sound, dynamically navigating through a complex rhythmic landscape built on a transposing ostinato. This is complemented by the return of Renee Rosnes' 2002 piece, "Empress Afternoon," demonstrating not only the ensemble's virtuosic execution but also the versatility and richness of improvisational choices, especially in the contrasting solos of tenor saxophonist Nicole Grover and multi-reedist Alexa Tarantino.

Other standouts are Miller's modal journey, "Bow and Arrow," which ignites with riveting interplay between the tenor and alto saxophones. In addition, Bassist Noriko Ueda's contributions serve as the ensemble's heartbeat, particularly evident in her nuanced accompaniment on Tarantino's waltz, "Whirlwind." Throughout the album, Rosnes's intricate solos embody her innovative approach to jazz, intertwining with the ensemble to encapsulate the living, fluid nature of the genre. This concept, presenting jazz as an evolving art form, forms the album's thematic pillar and unifies the collection of compositions in a compelling narrative that flows.

"In Real Time" is a compelling testament to jazz's living, breathing essence, a sonic tapestry woven with intricate melodies and rhythmic structures, innovative solos, and rich ensemble interactions. This sophomore album is a dynamic journey, navigating the delicate balance between improvisation and composition. It reflects the unique voices of its ensemble members and their shared commitment to pushing the boundaries of the jazz idiom. It's an essential listen for those seeking to explore the convergence of tradition and innovation in contemporary jazz with a cohesive narrative.

JOHN COLTRANE Africa / Brass

Album · 1961 · Post Bop
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Mssr_Renard
Much has been written about this album.

An album that can easily be defined as a masterpiece. Coltrane has made different masterpieces, each different from the other.

This album is not a quartet album, but it features a 'big band', there are 21 musicians featured on this album, but not all at once. The core 'band' is Coltrane/Tyner/Workman/Jones, with Dolphy doing the arrangments.

Somewhere I read the whole album is in the key of 'E', making this an even more brilliant album, because it is worlds apart from anything Bop stands for.

This is an album wich so much happening that any time you play it, you discover something new. I think it is more a modern classical album than a straight jazz album.

I don't know if this album propelled Impulse! or later albums by Coltrane. I think that Nelson's Blues and the Abstract Truth was more succesfull, though, but I really don't know these things.

Back to Africa/Brass, a wonderful album with a lot of brass (horns), wonderful musicians, and everyone is really enjoying themselves and giving their best. You can really tell.

ALEXA TARANTINO Clarity

Album · 2020 · Post Bop
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Mssr_Renard
A gifted musician, composer and multi-instrumentalist, Alexa delivers an almost old-school boppish album.

The album sounds gentle and warm. The rhythmsection knows how to swing and groove. And Alexa displays her ability to solo and improvise on a wide array of instruments like flute (1), alto flute (9), soprano saxophone (5) and on the other tracks the alto saxophone.

There's room enough for the members of the band to solo aswell. My guess is that if the song 'A Race Against Time' wich is terrific hardbop, can satisfy and convince you, the album as a whole is a treat.

The songs are upbeat and joyful. As far as I know she composed all the compositions herself. I have bought all three of her albums that are available at this moment, and this one really stands out and is my favourite of her.

The album could have done without the sweet faux-bossa of La Puerta, wich is a little too sweet and soft for my taste.

YUSEF LATEEF Psychicemotus

Album · 1965 · Post Bop
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Mssr_Renard
This one may not be the best and most adventurous album of Lateef, but it sure is one of his most coherent.

A mostly mellow affair, with some hardbop thrown in the mix (the heavy and intense Semiocto), but like I said it's mostly modal jazz and ballads. But Yusef really knows how to blow a ballad. There are also a blues-piece and a wonderful adaption of my favorite composition in the world (Satie's Gymnopedie). Inn this version we have the flute playing the melody, and the rhythmsection (piano, drums and bass) filling in the gaps. Great playful drumming by James Black.

The most out-there composition is Medula Sonata, wich is a joy to listen to. A lot of percussion and great saxophone-playing and lot of dissonants make this composition the only real free-ish song on this album.

There is also a solo-piece by pianist Georges Arvanitas at the end of Side B, wich is a nice addition and a surprise to my ears. I have not heard of Arvanitas before, but he has a nice flowing playing-style.

There's is no oboe on this album, just tenor saxophone, flute and bamboo-flute. But that's okay. This album is definately a great Lateef-album and also a great Impulse!-album. I can strongly recommend this one.

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JMA TOP 5 Jazz ALBUMS

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