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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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
4.72 | 22 ratings
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HERBIE HANCOCK Empyrean Isles Album Cover Empyrean Isles
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4.65 | 32 ratings
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MANU KATCHÉ Neighbourhood Album Cover Neighbourhood
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4.86 | 5 ratings
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
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GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence Album Cover Gary Burton / Chick Corea ‎: Crystal Silence
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JOHN COLTRANE Africa / Brass Album Cover Africa / Brass
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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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CHRIS POTTER The Sirens Album Cover The Sirens
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post bop Music Reviews

AFFINITY TRIO Hindsight

Album · 2023 · Post Bop
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Carmel
Gather around, class! Take a seat, maybe even recline a little. Today, we're not just talking theory or history; we're exploring the here and now of jazz with Affinity Trio's debut album "Hindsight." Let me put on my reviewer's hat—or should I say, my reviewer's shades? Let's dig into this.

The Affinity Trio, comprised of Eric Jacobson on trumpet, Pamela York on piano, and Clay Schaub on bass, has embarked on a journey less traveled—dropping the drums for a stripped-down, intimate conversation between three instruments. It's like eavesdropping on Miles Davis, Bill Evans, and Paul Chambers at a New York jazz club, but with its own unique flavor.

Released under the auspices of Origin Records, this album is an intellectual romp and an emotional voyage. Imagine your favorite book that keeps you pondering for days—that's what these tracks do, only they speak in notes instead of words.

Alright, class, let's get into the nitty-gritty details. When it comes to Affinity Trio's "Hindsight," we're hearing a rich curriculum of jazz history and today's jazz sounds. Starting with Jacobson's "Open Windows," the track reveals each musician's technical abilities right off the bat. Jacobson's trumpet isn't just warm; it's masterfully controlled, executing runs and trills that demand attention. York's piano fills in the texture, responding and initiating thematic ideas like a seasoned scholar at a symposium. And let's not overlook Schaub’s bass, which provides the harmonic foundation that the other instruments so eloquently dance over.

Following that, we have "Fitzroy" by Schaub. This tune delivers a rhythmic cadence that isn't just interesting; it showcases how well the trio listens to each other. They play with a level of anticipation that's palpable, engaging in call-and-response sections that give the feeling of an academic debate, but a friendly one, where everyone leaves enlightened.

Then there's "Tin Tin Deo," a Latin jazz piece where the absence of drums is barely noticed. York and Schaub collaboratively create a Latin groove so convincing you almost forget it's a trio. The switches between Latin and swing feels are smooth, showcasing their genre versatility. Jacobson's swinging solo is a delight with flowing lines and his magic tone.

"Blues for Change," penned by York, is no less captivating. It's a track where each musician gets to 'blow off some steam,' so to speak. York's solo is rooted in the blues scale but ventures into some chromaticism, displaying a solid grasp of both tradition and innovation. Schaub's bass solo keeps the rhythm driving, proving that melody and timekeeping can happily coexist in the low end.

As for "Theme for Ernie," this ballad is a high point in the album's emotional arc. The trio doesn't just play the changes; they narrate a story. The choice of timbre and pacing makes this track a reflective pause in the middle of an energetic set.

Rounding out the review, the latter part of the album features tunes like "Parisian Poet" and "Hindsight," where the trio again exhibits their creative unity. "Parisian Poet" is a York original that combines harmonic richness with melodic simplicity, resulting in a memorable experience. "Hindsight," named after the album, serves almost like a recap—a thoughtful conclusion to a dissertation, if you will.

So, in sum, "Hindsight" offers a varied yet coherent musical landscape, presented by three musicians deeply in tune with each other. "Hindsight" introduces us to Affinity Trio's promising future, and if this album were a course, you'd be talking about it long after graduation. Study up!

THE PACIFIC JAZZ GROUP The Pacific Jazz Group

Album · 2023 · Post Bop
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Carmel
Hey all, I am freshly back from a virtual ride down the Pacific coast and ready to unpack the musical polyphony of “The Pacific Jazz Group.” Forget the dusty annals of yesteryears – here's a record that bridges eras, making the jazz lover in me both nostalgic and intrigued. Let's dive deep, shall we?

Jazz, the quintessential American music genre, often finds itself in flux. Just as we observe paradigm shifts in literature, philosophy, and art, jazz too metamorphoses. Dred Scott's latest is a discourse set to music, drawing from the reservoir of the Pacific Jazz Label; Scott offers a post-modernist rendition of a vintage sound.

Gone are the monolithic approaches to jazz. “The Pacific Jazz Group” offers a symbiotic mingling of sounds, echoing the interdisciplinary nature of our contemporary world. Think Derrida meets Davis, but with a California sunset in the background. Dred's piano plays the post-structuralist, challenging our very conceptions of West Coast Jazz, while Eric Crystal's tenor sax croons with the eloquence of a seasoned professor emeritus.

"Line For Lyons": Ah, this piece is a veritable sonic voyage to the Californian coast. The quintessential West Coast jazz feel is both invigorating and soul-soothing. The performance immediately draws you in with that entrancing swing – the very essence of what we love about West Coast jazz.

Scott's soloing over John Witala's underpinning bass pulses is reminiscent of an eloquent dialogue – two conversationalists in the groove of things, their synergy palpable. Scott's dynamic phrasings, harmonizing with Crystal's soaring sax, show their adeptness and mastery over the genre. We witness a potent confluence of tradition and modernity in their melodic solos, making it evident that the spirit of jazz is alive and evolving.

Adding flavor to the piece is Witala's bass solo, which maintains a joyous demeanor, reminiscent of a carefree stroll down a sunny beach. The interplay during drummer Smith Dobson's eight-measure trade-offs with Scott and Crystal showcases jazz in its most collaborative form.

The production, under the expertise of Denny Abrams, with Ben Rubin's mastering touch, gives the track a polished brilliance. It's energetic, it's fun, and most importantly, it elevates your spirit. Top marks!

"Utter Chaos": Ah, don't be misled by the title. It might suggest disorder, but what we get is a joyful musical ride. Still staying true to the West Coast jazz vibe, "Utter Chaos" provides an expansive canvas for Scott and Crystal to paint their sonic narratives.

It's captivating to witness their simultaneous improvisations. There's an intimate tango happening here; Scott and Crystal are locked in a rhythmic embrace, weaving their solos seamlessly against the familiar backdrop of rhythm changes. It's an auditory delight, observing how the ensemble breathes new life into a standard progression. It's energetic, intellectually stimulating, and yet maintains that uplifting aura.

The Pacific Jazz Group's album is like a well-structured thesis. It acknowledges its roots while postulating new interpretations. The essence captured here is musical and emblematic of our zeitgeist – with reverence for the past and the innovative spirit of the present.

As I transition from virtual ocean side drive to don my reviewing cap, it's records like The Pacific Jazz Group's that keep both my avatars – the adventurer and the music aficionado – engaged and intertwined. “The Pacific Jazz Group” is an album that carefully balances the defined sounds of West Coast jazz with today's modern jazz vocabulary, an essential listen for anyone looking to expand their musical and intellectual horizons.

EUNMI LEE Introspection

Album · 2023 · Post Bop
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js
Eunmi Lee is a new comer to the NYC jazz scene, and “Introspection” is her first album as a leader. In 2005 Lee earned her first college level music degree in Seoul and then went on to a variety of musical jobs in Korea. For a long time she dreamed of coming to the states and playing jazz, but it took a while for all that to happen. She made it to California in 2007, but financial concerns drove her back home again. Eventually, by way of the Netherlands, Eunmi finally made it to NYU where she received a masters degree in jazz piano in 2022. Wasting no time, Lee sat down with some top notch local musicians and had her first album out within a year of leaving school. All of these songs were composed and arranged by Lee and they show a wide variety of interests ranging from post bop combos to big band and also neo-classical chamber music. One of the more endearing aspects of “Introspection” involves Lee’s CD liner notes in which she elaborates on the perspectives and emotions that are involved with each tune she composed.

As mentioned already, there is plenty of eclecticism to go around on these tracks. Album opener, “Gimmick”, sets a contemporary post bop mood with Lee and John Ellis on tenor sax taking the solos. The following two tracks show Eunmi’s abilities as a neo-classical composer. Although she has marked out an individual style as a jazz pianist, its her skills as a composer that really sets Lee apart. Her compositions are very direct and melodic and devoid of pretentious window dressing. An entire album of her chamber compositions would probably be a sure treat.

On “Mr Weird”, Eunmi gets her big band arranger hat on and shows a Quincy Jones style light breezy approach to arranging that avoids the heaviness that can happen with clumsy arrangements. As the album closes out we get some ballad material and a little more of Lee’s chamber compositional skills. The future looks good for Eunmi Lee, lets hope we hear more of her compositions and arrangements soon.

ORRIN EVANS The Red Door

Album · 2023 · Post Bop
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snobb
Pianist, composer and one-time member of nu jazz trio Bad Plus, Orrin Evans on his new album, "The Red Door", sounds exactly like one can expect - quite straight forward, tuneful and accessible. Containing a well balanced collection of standards and originals, the album sounds very much as if it comes right from the eighties.

If Evan's former band's musical aesthetics can be described as pop-songs played in a fashionable jazzy key, the newest Evans work is more a traditional jazz band playing some popular jazz tunes. There are some freer solos on a few compositions, but generally very competent band plays up-tempo, sometimes r'n'b influenced well-rounded pieces. Three of the album's songs contain vocals - including the popular Jazzmeia Horn on "Big Small".

Taking a few risks, Evans music is well-done, sounds warm and comfortable without being cheesy. Listeners with nostalgia for eighties straight-forward jazz will probably find a lot to enjoy here.

MICHAEL RAGONESE Stracci

Album · 2023 · Post Bop
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js
Whereas Michael Ragonese’s first album focused on horn arrangements, his latest album, “Stracci”, features a stripped down trio that better showcases his formidable skills as a pianist. Joining Michael on this new effort are the very versatile Mark Ferber on drums and Luca Alemanno on bass. Michael sites several contemporary post bop pianists as influences, including Gerald Clayton, Josh Nelson, Vijay Iyer and Brad Mehldau. You can also hear traces of Keith Jarret, Paul Bley and Theolonious Monk in his playing too. Mark is a very free range drummer, often displaying a non-conventional approach to the trap set in a Paul Motion style, while Luca’s bass has the flexibility to tie all of this together. Roughly this album falls into the contemporary post bop genre, but you will also hear influences from romantic classical, art pop, fusion and free jazz as well.

The album opens with a cover of Miles’ “Solar”, which is given a very modern and truncated melody before going into a more standard post bop groove. This is the cut on which Raogonese displays a Paul Bley style relentless and muscular stream of right hand soloing. The next two tracks allow a lot of room for Ferber’s free approach to the drums as the other two act as anchors allowing him to play the drums as an almost lead instrument. On “Tides of Tomorrow Pt.2”, Michael solos over a prog rock style chord progression recalling his favorite contemporary pianist, the aforementioned Mehldau. “I’ll be Seeing You” is the other standard on this album of mostly originals and shows a very ‘Monkian’ approach to soloing with plenty of obtuse and persistent figures built around the whole tone scale. On this track, Luca adds his most swinging solo on the bass.

Without breaking down every single track on the album, rest assured that “Stracci” represents much of what is current in today’s jazz world while also maintaining a personal vision and personal musicality.

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