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 | 103 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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KEITH JARRETT At the Blue Note: The Complete Recordings Album Cover At the Blue Note: The Complete Recordings
KEITH JARRETT
4.85 | 10 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
4.71 | 23 ratings
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HERBIE HANCOCK Empyrean Isles Album Cover Empyrean Isles
HERBIE HANCOCK
4.65 | 32 ratings
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MANU KATCHÉ Neighbourhood Album Cover Neighbourhood
MANU KATCHÉ
4.86 | 5 ratings
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
MCCOY TYNER
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GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence Album Cover Gary Burton / Chick Corea ‎: Crystal Silence
GARY BURTON
4.66 | 13 ratings
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JOHN COLTRANE Africa / Brass Album Cover Africa / Brass
JOHN COLTRANE
4.60 | 26 ratings
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HERBIE HANCOCK V.S.O.P. : Five Stars Album Cover V.S.O.P. : Five Stars
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5.00 | 3 ratings
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OLD AND NEW DREAMS Playing Album Cover Playing
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5.00 | 3 ratings
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CHRIS POTTER The Sirens Album Cover The Sirens
CHRIS POTTER
4.77 | 6 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

DAVID MURRAY David Murray Quartet : Francesca

Album · 2024 · Post Bop
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snobb
Tenor David Murray made his name in the late 70s and early 80s as one of the free jazz loft scene stars. Later he switched towards more accessible forms of jazz while still recording more adventurous albums occasionally. Less active during the last decades, David surprisingly returned in 2022 with a soul jazz album on the Swiss Intakt label, recorded with bassist Brad Jones and legendary drummer Hamid Drake.

Two years later, David returns with another Intakt release, his new quartet's work "Francesca". Murray plays soulful post-bop here, similar to the more orthodox post-avant-garde albums Archie Shepp was responsible for in the late 70s and 80s. Quite an unusual offer for a Swiss label specializing in more experimental and free jazz. Probably Murray's name as one of the avant-garde jazz significant figures from the past is a reason.

The album's music itself is beautifully played tuneful jazz usual for the early 80s. Compared with the above mentioned Archie Shepp works, Murray plays a bit more fast-tempo, more elegant, and less melancholic (ie not Shepp's "late night jazz"). His quartet is completed with some of the brightest young generation's musicians from both continents, including fast rising Spanish piano star Marta Sanchez, unorthodox bassist Luke Stewart, and young American drummer Russell Carter. BTW, Marta Sanchez is releasing her album as a leader on the Intakt label this year as well.

Murray is the obvious leader here on this recording, still leaving some space for each collab's soloing. In general, the music is more emotionally colored than technically complex, offering a bouquet of tunes. All musicians play concerning tradition, but adding some light touch of modernity.

An album of great musical quality if a bit conservative. Absolute must-have for everyone searching for newly released music based on the tradition of the 70s and 80s.

KEN MCINTYRE Ken McIntyre With Eric Dolphy ‎: Looking Ahead

Album · 1960 · Post Bop
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Bonifacio VIII
Ken McIntyre releases a phenomenal album with Eric Dolphy. The two saxophonists play with their instrument in a totally new way, the alternating solos of the two seem to float in the void, each note seems hinted at, it never seems to find its own space in a game of tension and release that requires complete attention waiting for the moment where the note finally reaches its complete form. Honestly, I had never listened to anyone with this improvisational style, not even Dolphy on other albums both as a leader and as a sideman. The only thing that puzzles me is Walter Bishop's piano which doesn't seem very comfortable with the style of the rest of the band maintaining a much more hard bop approach compared to the post bop style that characterizes McIntyre. However, it is still pleasant to listen to his solos which do not lower the level of the album. A very pleasant discovery, now I will definitely start listening to Ken McIntyre's discography.

KEITH JARRETT Jan Garbarek, Keith Jarrett, Palle Danielsson, Jon Christensen : Belonging

Album · 1974 · Post Bop
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snobb
"Belonging" is the first Keith Jarrett recording on ECM with Jan Garbarek and his rhythm section (often known as Jarrett's European quartet). Compared to Jarrett's American quartet, the music here is less experimental and adventurous and the whole sound is influenced by Garbarek's Nordic folk.

The obvious project leader is Jarrett for sure. His playful piano improvs are the central sound of the album's music and the most attractive element. Garbarek's sax sounds far from his experimental works of the early 70s and shows his growing trend to melodic simplified tunes influenced by folklore and with only occasional interesting improvs. He has enough space on this album, but compared to Jarrett's piano, which is very jazzy in an American manner, Garbarek's musicianship adds more simplified feeling to the sound.

The rhythm section is competent, but as in cases with previous Garbarek releases, they are a great supporting team and hardly more. Musically the album varies from post-bop with serious Jarrett classical influences to a more polished mix of third stream and Nordic folk, but in all cases, the sound is well rounded, emotionally cool and only Jarrett's great piano playing makes it alive.

A borderline album in many senses: after its release Jarrett will continue working for ECM recording a few more albums with the European quartet. Garbarek will develop similar musical direction on his later albums, but without Jarrett's jazz roots, Garbarek's music very soon will be transformed into cold background contemporary jazz/world fusion close to new age. The sound presented on this album (as well as many similar releases of the mid to late 70s) will evolve to post-bop rooted, but comfortably-polished melodic contemporary jazz of the 90s.

DAVE BASS Trio Nuevo

Album · 2024 · Post Bop
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js
After starting his recording career working with larger groups, in 2010 pianist Dave Bass decided he wanted to record in a trio format. As Dave explains it, “The spotlight is on each player, forcing you to play at the highest level. But its also the most satisfying configuration, because you can really develop a kind of telepathy with the other musicians:”. This year’s release, “Trio Nuevo”, is Dave’s fourth album in a trio format and presents his Nuevo trio, Tyler Miles on double bass and Steve Helfand on drums. The telepathic interplay that Bass talks about is on full display here. Tyler’s bass is almost on an equal footing with Dave’s piano as Tyler is apt to present melodies solo on the arco bass, or in harmony with Dave. Likewise, both bass and drums are afforded ample solo space as well as a place in the conversation when trading bars.

Along with being active in the SF bay area jazz scene, Dave also plays his share of Latin gigs and his Latin influences are very apparent on many of the tracks. Both “Sandino” and “Gone” have a tango like influence, only played in a very forceful and aggressive style. Bass’ Afro-Cuban style piano buildup is particularly appealing on “Sandino”. The up tempo “Baby Melon” sounds like classic west coast jazz with its brush work on the drums and double time feel. Likewise, Dave’s interest in contrapuntal lines on his “Three Views of Bach”, also recalls the sound of classic west coast cool. Today’s modern abstract sound are represented with “These Times” and a cover of Andrew Hill’s “Duplicity”. Dave presents an Ahmad Jamal type elegance on ballads such as, “As Time Goes By” and “One Look”.

TROY ROBERTS Green Lights

Album · 2024 · Post Bop
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Carmel
On "Green Lights," saxophonist and composer Troy Roberts embarks on a unique musical journey, illuminating the corridors of modern jazz with his vivid compositions and dynamic playing. His music draws a rich, emotive line through the map of his musical and geographical migrations, inviting the listener to connect with his personal experiences. This album, released under Toy Robot Music, reflects Roberts' artistic and personal journeys and marks the first time this gifted ensemble has recorded together under Roberts' leadership.

From the opening track, it's clear that "Green Lights" is based on conversational jazz between musicians who enjoy and respect each other. Roberts, alongside guitarist Paul Bollenback, bassist John Patitucci, and drummer Jimmy MacBride, establishes a seamless dialogue that sounds telepathic. The ensemble's responsiveness and mutual intuition are the bedrock upon which this album is built.

"Green Lights" opens the album with a flourish. The synergy among the musicians is palpable, marked by Roberts' robust, expressive saxophone and the ensemble's crisp, fluid interaction. Bollenback's guitar, with its rich Fender Rhodes-like tone, and Patitucci's growling bass lines create a lush, rhythmic tapestry, setting the stage for an album that feels both explorative and grounded.

"The Question" and "By Your Side" are prime examples of the band's versatility, showcasing contemporary harmony and rhythm and a traditional jazz waltz, respectively. In "The Question," the ensemble skillfully navigates through the well-written composition, allowing Roberts to display his deft control over the tenor saxophone during his impressive solo. Meanwhile, "By Your Side" offers an emotive contrast, emphasizing lyrical solos and traditional jazz aesthetics. This diverse range of musical styles keeps the listener engaged and excited throughout the album.

"Solar Panels" is an up-tempo swing, based on a standard that allows the ensemble to weave through the progression with finesse and fervor. "Harry Brown" and "Jive Dumpling" further highlight the ensemble's chemistry and interactive playing. "Harry Brown" delves into modal jazz, while "Jive Dumpling" mixes modern and contemporary jazz for a playful, rhythmically intricate track that will surely put a smile on your face.

"Up To No Good" and "The Scotsman's Ballad" each offer different feels for the ensemble to express through. The former showcases modern jazz sensibility meshed with tight compositional structure, and the latter is a tender, profoundly emotive ballad highlighting Roberts' sensitivity and control. Ending with "Stretch Armstrong," the album revisits the roots of jazz in a straight-ahead swing that allows each musician to shine individually and, as a whole, bring the album to a compelling close.

"Green Lights" is an album built on camaraderie, resulting in an auditory journey that resonates with anyone who appreciates the beauty of skilled jazz musicianship and the stories it can tell.

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JMA TOP 5 Jazz ALBUMS

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