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 | 77 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
4.84 | 56 ratings
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MILES DAVIS Miles Davis Quintet : Miles Smiles Album Cover Miles Davis Quintet : Miles Smiles
MILES DAVIS
4.80 | 34 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)
KEITH JARRETT
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)
KEITH JARRETT
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

CHICK COREA Origin: Live At The Blue Note

Live album · 1998 · Post Bop
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snobb
Renown pianist Chick Corea started his career in jazz highest league playing in Miles Davis band in 60s. After few mainstream solo albums as leader he co-founded technically superior (if short-lived) all-star avant-garde jazz quartet Circle (with bassist Dave Holland, sax player Anthony Braxton and drummer Barry Altschul) and then moved to stardom with his fusion band Return To Forever.

Still from mid 70s, when his successful fusion formula experienced dramatic decline under pressure of myriad of clones and and army fuzak players, Corea lost direction for decades unsuccessfully trying to find new inspiration (or another formula of success).Recorded few quite interesting fusion albums as leader,he started series of repeating changes of bands and genres with only very limited success trying everything from pop-jazz to chamber jazz,revitalizing electric fusion formula and returning back to mainstream jazz.

The only thing is obvious with no doubt - starting from late 70s Corea's best bands/albums all are post-bop. His acoustic sextet with young Israeli bassist Avishai Cohen (which opened to Cohen doors to best jazz scenes),drummer and reeds section is probably his Chick's best band for two decades. There are two releases only documenting Origin music, "Live at the Blue Note" debut (later released as box set incl. hours of unreleased material) and studio album "Change", released year later with different drummer (Jeff Ballard replacing Adam Cruz).

"Live at the Blue Note" contains material,selected from a week-long gig in December 1997,recorded in New York club. Sextet plays Corea's new originals with one exception (album's closer "It Could Happen To You"). Musically the album contains quite conservative post-bop with lot of brass/reeds, often sounding as bigger orchestra. Rhythm section is groovy and warm/physical recalling recordings from 60s, Corea plays his trademark tuneful moody piano,often with Latin touch and his old fans can easily hear some citations recalling early Return of Forever Latin scented music. He smartly adds few more complex and freer moments which work as tasteful spices making Origin music more delicious.

For sure, nothing is new here. Starting from mid 70s Corea's music is usually more or less quality, but always safe. Still great musicians interplay and technical excellence makes his best albums (incl. Origin recordings) a pleasant listening. A few years later Corea will establish another short-lived project with bassist Avishai Cohen - the New Trio (with drummer Jeff Ballard). In new Millennium Chick will continue playing with acoustic post-bop trios releasing his better recordings and enjoying moderate success (partially in Japan)

CAROL MORGAN Post Cool Vol. 1: The Night Shift

Album · 2017 · Post Bop
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Carmel
Carol Morgan is a jazz trumpeter, composer, educator and author who resides in NYC. Originally from Texas, she is a Juilliard graduate who has worked with many remarkable teachers including Chris Gekker, Mark Gould, Ingrid Jensen, and Dennis Dotson.

Carol’s discography includes six CDs as a leader. The much-anticipated POST COOL (2017) is a return to the Carol Morgan Quartet flavor of her celebrated Blue Glass Music. As a composer, she has been commissioned by DiverseWorks, the Michele Brangwen Dance Ensemble, the Arch-diocese of Houston/Galveston and St. Thomas Presbyterian Church, Houston. In 2008, Carol authored what is now a highly-regarded method for jazz improvisation--a textbook entitled The Practicing Improviser.

Post Cool is a definitive calling card for Morgan, her warm and inviting round trumpet sound is uniquely identifiable from the first notes and is what continues to uplift Morgan among trumpet players of this era. Uniquely tasteful in her note choices and approach, Morgan is an excellent foil to her compadres namely Joel Frahm: tenor sax; Martin Wind: bass; and Matt Wilson: drums; the quartet is a dream team of jazz in a post-cool era.

“Strolling” kicks off the festivities with an easy going swing that features Morgan and Frahm in a counterpoint approach. The melody is wistful and Frahm executes a solo that is chalk full of arpeggios and skillful sets, building a likeable interest for the listener. Morgan’s quick runs, offset by tasteful elongated lines builds the solo with tension and release. Wind and Wilson show their salt with inventive rhythms and dynamism that adds to the elevation of swing and sound.

The classic “Night in Tunisia” is given a respectful run, with Wilson creating interesting rhythm textures, while Morgan sticks to the melody and Frahm creates interesting accompaniment dialog under Morgan. The take is reverential, yet interesting enough to be an original version, not just a rehash.

Two originals adorn this offering, one by Morgan “Night,” and the other by Frahm “Song for Mom,” both full of beauty and depth. Morgan’s tune has dark chocolatey notes dripping with highs and lows, Martin Wind’s bass solo is filled with anticipation and beauty. On Frahm’s tune, a lilting melody is presented, and you can almost hear the story of mom unfold through the music. Frahm’s sax is commanding and full of passion, as he digs into the story with his horn. Morgan in toe also creates impassioned lines and fire. The group pushes to the climax of the song while Morgan creates the beauty in the accompaniment on this tune for Frahm, who holds the melody role. One would expect nothing less from Morgan but a fruitful beauty that lingers long past the listen, and once again this trumpeter has delivered. Another gleaming win in an ever-growing discography of potency. Highly recommended.

TROY ROBERTS Tales & Tones

Album · 2017 · Post Bop
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Carmel
Saxophonist Troy Roberts lives up to his reputation as one of the leading young saxophonists on the scene today. A regular member of The Jeff “Tain” Watts Quartet, The Jeff “Tain” Watts Blue 5, and the newest member of Joey DeFrancesco’s new quartet, The People. Roberts’ seventh record as a leader, Tales & Tones (Inner Circle Music) is smokin'.

Nine songs adorn this new offering, and the ensemble sports a who’s, who of today’s jazz greats including Silvano Monasterios on piano, Jeff “Tain” Watts on drums together with longtime friend on bass, Robert Hurst. The instinctive dynamism from this ensemble is profound as Troy Roberts puts his pen to the paper and challenges his fellow musicians with creative, and well-conceived ideas. In their hands these musicians put forth depth and clarity of steadfast moods and tonal colors. The tempo of each song is varied, from swingin hardness to soft playful introspection. Offering the listener deliberate, yet vivid rhythmic journey’s through Roberts visionary ideas. Tales & Tones focuses on the chronicle aspect of Roberts’ playing while it also highlights his ability with reed instruments.

The soundscape traverses, an almost patchwork of the most beautiful quilt you have ever seen. Stitched together with plaintive reflective pieces such as “Rivera Mountain” where Watts shows his mastery to create time, space and texture while Hurst creates the connection of sound and movement with his supportive, warm sound. Roberts reacts to the nuances and push and pull created by Watts and Hurst. Pianist Monasterios, presents a laid back buoyant touch that deepens the beauty of Roberts soprano solo. The ensemble is supportive of the overall group sound, each understanding the partnership of the journey. I was especially taken with Billy Strayhorn’s “Take The ‘A’ Train,” the ensemble kicks off with an almost train sound calling the listener aboard, with creative embellishments to the melody; the group truly makes this their own unique take. Filled with swinging tempo changes, it’s a narrative to how well-worn standards such as this can still be given a freshened life while still showing respect. “Cotu Chi, Chi, Chi,” a Roberts original displays mature finesse, giving the ensemble an opportunity to open up the throttle and exhibit the restrained gravitas of seasoned players that makes jazz a prime listen. In the hands of this ensemble the high paced, high flying tune is bold and Roberts sound is big, brazen and focused. With no hesitation, he expresses and builds his solo with glowing dynamism.

A group of players each in their own careers, known to be robust players – now coming together, offer a deeper grasp of sound. They interlock so tightly, yet so respectfully you, instantly recognize the comradery and care of the journey together, which creates a depth and breadth of the experience. Well done, highly recommended listen.

MARCELLO PELLITTERI Aquarius Woman

Album · 2016 · Post Bop
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js
Marcello Pellitteri may not be a household name, but he has played drums with just about every major jazz star you can think of, as well as many pop stars and studio orchestras as well. On his new album, “Aquarius Woman”, Marcello displays his versatility by presenting an album that covers more styles than most people cover in their career. “Aquarius Woman” opens with a couple of grooving hard bop numbers that seem to establish a style for the rest of the album, but instead Marcello follows these openers with a couple of pastoral post bop ballads, and then moves on to RnB ballads, funky hip-hop jazz and some spoken word pieces as well. Pellitteri has a great support group on hand led by the intense alto playing of Orazio Maugeri. Orazio has a bright sound that recalls Jackie McLean, and a dexterity that recalls McLean’s idol, Charlie Parker. Maugeri can not only bop and weave, but his ability to rock out on the funky tunes recalls modern artists like Joshua Redman, or Branford Marsalis’ early funk projects. A long with the core group, various guests show up, including tenor sax man George Garzone, who burns brightly on the opening track.

All of the tracks on here are good, with highlights being the aforementioned swinging opening tracks, and the funky hip-hop/indie rock grooves of “Twenty Three” and “Colors on Your Face”. Some well known cover tunes are given interesting face lifts such as Alicia Keys’ “If I aint got You” which is given some flatted notes in the melody by guest vocalist Nedelka Prescod, and a reversal of the vocal phrasing in a call and response with the saxophone. Much of this album is dedicated to Pellitteri’s daughter, Veronica, who died at a very young 23 years of age. All profits from the sell of this CD will go to the Veronica Pellitteri Memorial Fund, administered by Fiorello H. LaGuardia High School of Music & Art and Performing Arts.

MILES DAVIS Miles Davis Quintet : Miles Smiles

Album · 1966 · Post Bop
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frankbernardi22
Miles smiles and he's not pretending a part. He's really happy for his new family of musicians, so happy that he himself really can't believe this miracle of combo exists on earth and he's the creator of such a beauty. He needed his Golden Quintet, the highest expression of all times (neo) classic jazz, something living its (smiling) summer but with all the dangerous nostalgia of a perfectly mature fruit. So much that perfection that it was like a bridge to the unknown. Pure angst, at the end. Two were the alternatives to follow: the taste of decadence or a cut with the past. This gifted combo, touched by the hand of history, is sqeezed by Miles like a lemon; after, throught the naked "In a silent way", Miles and friends (those with him in that moment, because that was his - and their - own cruel and marvellous fate) will find themselves on the rich but deserted shores of "Bitches Brew", the occasion for many in the world to listen to Davis for the first time. But connoisseurs all around knew very well this perfect microgroove where everybody was smiling, according to Anthony Tuttle liner notes: "The entire quintet plays as if there were a shared smile between them, each man lending his efforts to the whole while the whole reflects the solid contribution of each man". A perfect definition good for every album of Miles magic quintet, starting from "ESP", first studio brick in a solid house. A castle. The building of dreams. "Seven steps..." is still tradition with some changes added but not a convinced piece of the new direction. Miles was waiting for Wayne, the Coltrane he always wanted. And from that lp to "ESP" we have only live albums. We have to wait until 1965, year of "ESP", to taste new flavours: but soon, 1966, everybody smiles with the leader. "Miles smiles" and we believe his smiling to be true. He's even surprised that his meditations or even impulses can find easy incarnation in music. He's really the genius he thinks to be. Everything's so smooth, in those years, that seems incredible, to him, to us, the amount of work, sometimes obscure, difficult work, waiting for Miles just around the corner. Smiling Miles soon will be a very far souvenir if compared to the ground zero of "In a silent way" or the path to hell of "Bitches brew": both streets with no return.

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JMA TOP 5 Jazz ALBUMS

Rating by members, ranked by custom algorithm
Albums with 30 ratings and more
Kind of Blue Cool Jazz
MILES DAVIS
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A Love Supreme Post Bop
JOHN COLTRANE
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The Black Saint and the Sinner Lady Post Bop
CHARLES MINGUS
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Miles Davis Quintet : Miles Smiles Post Bop
MILES DAVIS
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