Post-Fusion Contemporary

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Post-Fusion Contemporary is a broad umbrella genre that contains several recent trends in jazz. One important branch of Contemporary Jazz (which first appeared in the mid 1970s) is rooted in Northern Europe and is often associated with the ECM label. This is a somber style of jazz often played in straight (non-swing) rhythm with elements of regional folk music and early 20th century classical music. This style is sometimes referred to as ‘chamber jazz’. Some early practitioners include Keith Jarret and Jan Garbarek. Although originally rooted in Europe, today this style is played and enjoyed around the world.

Another branch of the Contemporary sound started in the late 70s when artists such as Jeff Lorber and Pat Methany began to play in a style that mixed fusion with elements of smooth jazz and post bop. This was a somewhat light and radio friendly style of jazz, and a very dominant force until acoustic post/hard bop made a comeback.

Although most early forms of Contemporary Jazz were of a light and borderline easy listening nature, today’s Contemporary artists are often playing in a more energetic and rhythmic style influenced by indie rock, hip-hop, RnB, drumnbass, world beat and fusion. Leading the way in the new sound is the modern jazz piano trio. Heavily influenced by the popular trio, e.s.t., most of these groups consist of a trap set, acoustic bass and a very powerful virtuoso piano player.

Today’s Contemporary genre often borders on Classic Fusion, but there are differences. The rock influence in fusion comes from extravagant jam band artists like Jimi Hendrix, while the Contemporary artist draws from moody and dronish indie rock bands like Radiohead and REM. Fusion tends to have a basis in Afro-Latin or funk rhythms, while Contemporary Jazz tends to have straighter rhythms taken from pop and art rock.

Generally speaking, the difference between Contemporary and Post Bop is that Post Bop usually swings, while Contemporary often does not, although the new Contemporary piano trios continue to blur lines by occasionally playing in a post bop swing style too. Harmonically speaking, Post Bop usually uses the extended harmonies of jazz (9th chords, 11ths etc), while Contemporary may mix jazz harmonies with the simpler triadic harmonies of pop or classical.

post-fusion contemporary top albums

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KEITH JARRETT The Köln Concert Album Cover The Köln Concert
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JOHN ABERCROMBIE Current Events Album Cover Current Events
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4.90 | 6 ratings
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KETIL BJØRNSTAD The Sea Album Cover The Sea
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4.76 | 8 ratings
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EBERHARD WEBER Pendulum Album Cover Pendulum
EBERHARD WEBER
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JOHN SURMAN Saltash Bells Album Cover Saltash Bells
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KEITH JARRETT Sleeper Album Cover Sleeper
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KEITH JARRETT Paris Concert Album Cover Paris Concert
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JAN GARBAREK It's OK To Listen To The Grey Voice Album Cover It's OK To Listen To The Grey Voice
JAN GARBAREK
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KEITH JARRETT Rio Album Cover Rio
KEITH JARRETT
4.50 | 6 ratings
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RALPH TOWNER Matchbook (with Gary Burton) Album Cover Matchbook (with Gary Burton)
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RALPH TOWNER Solstice, Sound and Shadows Album Cover Solstice, Sound and Shadows
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4.67 | 3 ratings
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post-fusion contemporary Music Reviews

JUHANI AALTONEN Juhani Aaltonen & Iro Haarla : Kirkastus

Album · 2015 · Post-Fusion Contemporary
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Matt
Juhani Aaltonen and Iro Haarla have been playing together for quite a while now having first meet in the early 1970’s whilst Iro was still a teenager and still studying music and then again a few years later when both were performing with Edward Vesala in the late 70’s and early 80’s where after they went their own ways until reuniting in 2002 whilst recording for the Finnish Jazz label Tum with both appearing on various albums led by Juhani or Iro with the label since. Juhani Aaltonen plays tenor saxophone, flute, alto flute and bass flute within this recording “Kirkastus” whilst Iro Haarla is on piano, harp , guzheng or chen ( Chinese stringed instrument) and percussion for this duo recording released in 2015. Both have extensive histories in music with Juhani first releasing his debut as a leader in 1974 for the album “Etiquette” as well as performing with the Rock band Tasavallan Presidenti whilst Iro Haarla has kept working right up till the late 1990’s with her husband Edward Vesala until his death and did not release an album until 2001 under her own name in conjunction with the saxophonist Pepa Paivanen who also had been playing with Edward Vesala. All the recordings included within the album are written by Iro and as such are predominately intricate ballads with perhaps her most well known album being “Vespers” released in 2011 with the ECM label and a prime showcase for her style of Jazz composing.

“Evening Prayer” open subtlety with Juhani on Tenor saxophone and Iro playing piano for this lovely gentle ballad where one hear can the understanding both musicians have between each other with some beautiful solo input with the piano from Iro on this near six minute piece which is followed by “Out Of The depths” with Juhani on flute and Iro on piano and adding in addition a chimed percussion and although it another ballad which the whole album being it is the variety of instruments used throughout the compositions that keep things from not sounding all the same with the playing still remaining in a beautiful gentle mode.”Still Waters”, “Nightjar” and “ Long Sole Sound” has Iro playing Harp whereas Juhani plays flute on three of the ten ballads and Iro plays the chen on only one for ‘Nightjar” being one of my picks with the addition of “Long Sole Sound” where bass flute and harp are combined keeping the album interesting throughout all the tracks.

Lovely relaxed music with some great playing from Juhani in these beautiful low key compositions and although Juhani Aaltonen is first in the credits it is Iro Haarla’s just as much. She has her own style of composing and it is quite individual leaving her own mark on modern Jazz which is beautifully displayed on this album. Great for those quiet times.

WAYNE HORVITZ Sweeter Than The Day

Album · 2001 · Post-Fusion Contemporary
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Matt
Released in 2001 with the same personnel as Wayne Horvitz’s band Zony Mash but not the same music as the band being still a Quartet is acoustic now. Wayne Horvitz has quite a good a resume for a Jazz musician with film scores, various other bands and styles of music predominately Jazz, Electric and Classical that he has participated in. Many know him from his input into John Zorn’s music with the most well known being “Naked City” but this album “Sweeter Than The Day” also being the band’s name is at opposite ends of that spectrum. What we have here is, albeit being a Quartet this album seems to have more of a Trio sound with a laid back subdued take on the compositions that Wayne included for this project. Prepared and standard piano are played by him for this 2nd album by this incantation with Timothy Young on six and 12 string electric guitar, Keith Lowe on bass and Andy Roth on drums.

There is something about Wayne Horvitz’s piano technique that has always entranced me with the sound seeming to harken back to the early years of Jazz but still presented with a beautiful contemporary sound which is quite present in this acoustic album which starts off with the composition “In One Time and Another”. Plenty of space for this lower timed opening number and that old time sound really starts to emanate with the following “Julian’s Ballad” with Wayne keeping the theme never far off throughout with some beautiful subdued guitar from Timothy Young just adding to the sublime. “LTMBBQ” is mid tempo with Wayne again bouncing around the theme and never straying too far which is the technique he applies in all the compositions for the entire album and once again Young’s guitar just adds a lovely texture. “Sweeter Than The Day” the title track is back to a ballad with more of that old sound emanating from the piano input. “Irondbound” follows with “Waltz From The Oven” after which once again contains just a few notes that just keep reappearing to work around and is another of those beautiful subdued tracks within the album. Another that always grabs my attention whilst listening is “The Little Parade”. “George’s Solo” finishes the album up with more space and silence.

Still getting play here after 17 years since it release and for those days where time seems to slow whilst whiling away your day in the sun or just hanging out it is hard not to appreciate how Wayne Horvitz has captured and placed an atmosphere into wherever you are. Lovely stuff.

JULIAN ARGÜELLES Tonadas

Album · 2018 · Post-Fusion Contemporary
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snobb
UK-born Graz, Austria-based sax player Julian Argüelles last year arranged (and conducted) his first big band album ("Behemoth") for one of my British scene favourites - Phronesis, with big success. Four days ago he released a new album as leader, so I just need to hear how does it sound.

Argüelles leads a quartet with pianist-drummer-bassist, what generally looks like it could be Phronesis (reed-less trio) plus Argüelles himself. The similarity is even closer since the participating Argüelles quartet pianist is no one else but Ivo Neame, Phronesis' founding member.

"Tonadas" (or "tunes" in Spanish) is a beautiful collection of lively chamber songs. Dominating Latin titles possibly show the source of inspiration for the author, but the music itself is not really Latin-influenced. One can think of this as Phronesis improved with a sax player soloist playing more relaxed music than usual. Pianist Neave has more freedom here compared to his work on Phronesis albums, and he really shines on smart and swinging solos.

This album's music is elegant and warm - much more alive and pleasant than many of today's sterile-sounding chamber jazz collectives. Less energetic, it probably will attract a bit different listener than hard Phronesis fans, but in general, "Tonadas" is a nice modern jazz album for widest listener categories.

MORILD Nordic landscapes

Album · 2018 · Post-Fusion Contemporary
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js
Geographically speaking, jazz music has traveled a long ways since its birth in New Orleans long ago. As the jazz tradition moves throughout the globe it takes on different characteristics depending on the region that has adopted it next. There is no mistaking the distinct sounds of jazz from Cuba (Afro-Cuban), Brazil (bossa nova), Jamaica (ska) and England (acid jazz), which leads us to this new CD, “Nordic Landscapes”, by Morild, which features the contemporary sounds of Nordic jazz. As displayed by the music on this CD, Nordic jazz is a ‘cool’ jazz that emphasizes melody over technical solos and reflects the icy cold, yet beautiful windswept wide open landscapes and mountains of these two artists’ homelands. This is jazz for quiet reflection by the fireside, where the thoughtful melodies will help keep you warm through those long winter nights.

Morild is made up of two master musicians, Dag Einer Eilertsen on tenor trombone and Marius Noss Gundersen on classical guitar. Eilersten’s tenor trombone sounds a bit like a more mellow trumpet, which Dag plays with a breathy sound similar to Nils Petter Molvaer or 60s era Miles Davis. When Dag attaches a mute to the horn, it furthers the association with Miles in his cool mode. Gundersen is well versed in technical guitar skills as he is quite fluid in both classical music and bossa nova, but he keeps his technique in check on here as he supplies only what is needed to back up Dag’s plaintive melodies. As mentioned earlier, this is a music about inner reflection, not outward flash, Nordic soul music if you will.

All of the tunes on “Nordic Landscape” are originals, yet many carry a depth that would imply more history than just this year. Some standout tracks include “Voringsfassen”, which has a bit of Spanish heat to it, “Floyen” with its hint of bluesy jazz and “Molen”, which almost sounds like a familiar standard, but checking the credits, it is a Eilertsen original. This CD is highly recommended for fans of contemporary North European jazz, the melodic content you seek will be found in these musical tributes to the wide open landscapes of the far north.

JOACHIM KÜHN Situations

Album · 1988 · Post-Fusion Contemporary
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Steve Wyzard
NOT FOR MASSAGE THERAPY

For those of you who weren't there, the late 1980s were a very unique time in the history of jazz. Suddenly the music was acceptably hip, and was seen and heard everywhere, all with the media's full support and approval. It was what some have called the "Armani Suits/Skinny Ties" era of jazz, and many peripheral figures briefly found themselves in the spotlight for 15 minutes of fame. Such was the case for Joachim Kuhn when he released this album in early 1988.

Kuhn, best known in Europe, had been recording since the mid-1960s and was even a semi-prominent figure in the mid-1970s fusion scene. By the time Situations was released, he had already recorded a number of solo piano and piano trio albums, most of which had hideous cover art and were only sporadically available to his small-but-devoted following. When George Winston albums started going multi-platinum, Atlantic Records gave this album a major push before (naturally) dropping and forgetting all about him after the moment had passed.

So why are we discussing Situations today? Because it's a masterful solo piano album that truly transcends its release date. Don't for a moment think this is background music for candlelit dinners. The virtuosic "Delicate Pain" begins with startling vigor and passes through many tempo changes before returning to the original passionate fire it opened with. The impressionistic "Lunch in the Rain" betrays Kuhn's classical background, moving from a stately opening, through reflective moods, before reaching a crystalline peak. The best known song on this album, "Hauswomen Song" originally appeared on a compilation entitled Piano One, released on the Private Music label in late 1985. This longer version is one of Kuhn's most memorable compositions ever, brimful of hummable melodies. "Sensitive Detail" is a leisurely intermezzo before an indefinite conclusion, and the album closes with the dark-yet-warm beauty of "Refuge". Yet it's the first track, the exploratory "Situation", that most effectively captures the contemplative mood of its time.

The uncreditted package design (and the late 1980s zeitgeist) probably led many people to unfairly file this album under the dreaded moniker of "New Age". Situations far surpasses the music usually associated with that unfortunate label, and should interest far more than just Joachim Kuhn listeners. For jazz solo piano fans, this one is truly worth any efforts expended toward tracking it down. While so many contemporaries were going electric or exploring "World Music", Situations should be remembered as one of the defining statements of its era.

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