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

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JOHN COLTRANE A Love Supreme Album Cover A Love Supreme
JOHN COLTRANE
4.82 | 88 ratings
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HERBIE HANCOCK Empyrean Isles Album Cover Empyrean Isles
HERBIE HANCOCK
4.74 | 22 ratings
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MCCOY TYNER Sahara Album Cover Sahara
MCCOY TYNER
4.73 | 16 ratings
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HERBIE HANCOCK V.S.O.P. Album Cover V.S.O.P.
HERBIE HANCOCK
4.81 | 8 ratings
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MCCOY TYNER The Real McCoy Album Cover The Real McCoy
MCCOY TYNER
4.68 | 22 ratings
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GARY BURTON Gary Burton / Chick Corea ‎: Crystal Silence Album Cover Gary Burton / Chick Corea ‎: Crystal Silence
GARY BURTON
4.76 | 8 ratings
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MCCOY TYNER Song for My Lady Album Cover Song for My Lady
MCCOY TYNER
4.75 | 7 ratings
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HERBIE HANCOCK Speak Like a Child Album Cover Speak Like a Child
HERBIE HANCOCK
4.62 | 16 ratings
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ENRICO RAVA The Plot Album Cover The Plot
ENRICO RAVA
4.88 | 4 ratings
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ENRICO RAVA Easy Living Album Cover Easy Living
ENRICO RAVA
4.88 | 4 ratings
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KEITH JARRETT At the Blue Note: The Complete Recordings Album Cover At the Blue Note: The Complete Recordings
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4.71 | 7 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
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4.74 | 6 ratings
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post bop Music Reviews

CHARLES LLOYD 8 : Kindred Spirits (Live From The Lobero)

Live album · 2020 · Post Bop
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snobb
Sax player Charles Lloyd, one of the few still active jazzmen from Coltrane era, made his name in mid 60s playing soulful hard bop and spiritual jazz, often beside rock musicians in arenas, not tiny jazz clubs.

In the eighties, he returned back on scene with slightly modified post-bop, adopted to more chamber-like ECM listeners. Not really grooveless as many European ECM recordings, his music was accessible, tuneful and enough safe to fit comfortably in label's catalog. In new Millennium, Lloyd moved to Blue Note again with some usual and some unorthodox recordings(as 2018's Vanished Gardens with Lucinda Williams). '8: Kindred Spirits ',recorded during his 80th birthday celebration gig on March 15, 2018 at his hometown venue, Santa Barbara’s Lobero Theatre,and released in early 2020,comes as a pleasant surprise.

Recorded with his slightly modified regular band from some last years (guitarist Julian Lage, pianist Gerald Clayton, bassist Reuben Rogers, and drummer Eric Harland), this album contains strong songs from different periods,but more important - for the first time for many years (if not decades)it leaves safely comfortable (some can say -'sleepy') zone of Lloyd releases from few last decades and music here really burns.

Depending on edition (the regular one contains just four songs plus DVD), the listener receives some well played, muscular and tuneful music, played with enthusiasm, spiritually and a touch of adventure. The opener,'Dream Weaver,'comes from Lloyd's glory day in mid sixties (most probably it is his biggest hit ever). Stretched till twenty-plus minutes, it has enough space for some extended improvisations still staying warm and framed at the end of the day. 'Requiem', the ballad originally released in 1992 on Lloyd's one of ECM album, sounds bluesy and 'organic' against more sterile original.

'La Llorona', a Latin trad tune, is elegant and only very slightly melancholic here.The closer,'Part 5: Ruminations,' is second longest album's composition, and besides of strong tune it has a lot of place for soloists improvs (some of which are quite free). Besides of Lloyd's regular pianist Gerald Clayton,in big part responsible for band's sound for years, there's a guitarist Julian Lage who makes this album so special. Lot of excellent guitars soloing refresh the sound a lot and makes all music sound very gracious.

Other editions can contain three vinyls+DVD and deluxe editions with full concert documented (12 songs). Strong choice of material and lively, inspired musicianship makes '8: Kindred Spirits' one of the better Lloyd release for some years,if not decades.

BRIAN SCANLON Brain Scan

Album · 2019 · Post Bop
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js
Brian Scanlon is one of those musicians who you have probably listened to before, but didn’t realize who you were listening to. A long time session saxophonist, Brian has recorded with stars like Bob Dylan and Randy Newman, appeared on TV soundtracks such as The Simpsons and Family Guy, as well as movies like “La La Land” and “Crazy Rich Asians”. After a 32 year career Brian finally decided to record his first album as leader and packed “Brain Scan” with mostly his original tunes. Brian counts Coltrane and Parker as major influences, and you can also hear a good bit of Sonny Rollins and some Eric Dolphy too. Scanlon plays both tenor and alto and is a bopper at heart, always swinging, but he also works in plenty of RnB and soul on his eclectic debut.

The album opens with two modern abstract post bop tracks with Latin and fusion influences. Brian’s son, Avery, turns in a Holdsworth flavored electric guitar solo on the opener. “Re-entry” follows with some funky soul jazz that sounds like an instrumental version of a classic Steely Dan track, particularly in the guitar scratching of Andrew Synowiec. After a well written melodic ballad the band goes full tilt bebop on “I Hear Something” and a major overhaul of “Harlem Nocturne”. Scanlon turns down the heat for the closing numbers, with “My Right Foot” providing some bluesy grooves.

I’m not sure why Brian waited so long to step out as a leader, this should have happened long ago. He is an excellent writer and his constant melodic invention recalls his favorite sax mentors, but Scanlon also provides his own very smooth delivery and relaxed sound that is unique to him.

JOEY DEFRANCESCO In The Key Of The Universe

Album · 2019 · Post Bop
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js
With a title like "In the Key of the Universe", and promotional advertising that plays up Pharoh Sanders' contributions on saxophone, it would be easy to think that Joey DeFrancesco is trying to cash in on the current 'spiritual jazz' revival on his new album. Its true that there are some tunes on here that reference Sanders' past as the originator of the spiritual modal jazz style, but none of this is gratuitous or insincere, and there is also such a wide variety of music on here that the modal jams are just a part of what goes down. Also, Sanders only appears on a couple tracks, elsewhere on here the very capable Troy Roberts supplies the tenor, alto and soprano sax work. In short, 'In the Key' is one of Joey's better albums and is rife with inspired solos and top notch song writing.

DeFrancesco's rapid fire solos take the Coltrane idea of 'sheets of sound' to new levels on the Hammond B3. This is used to good effect on the energetic post bop of "Awake and Blissed", and then given a double dose on the bebop barn burner, "It Swung Wide Open". The next couple tracks feature Pharoh, who still sounds as great as ever, as he takes a somewhat laid back and mature approach to classic material such as "The Creator has a Master Plan". Some other highlights include a couple of mystical samba lounge outings and a few hard groove blues numbers.

On the two closing tracks, Joey caps things off with something we don't hear often enough, really interesting melodies set to non-cliche chord changes. Both of these songs would make for great vehicles for others to try out their creativity on. The production is a little heavy on the reverb, which sounds fine on the groove numbers, but a bit heavy handed on the uptempo ones.

GARY PEACOCK Tales of Another

Album · 1977 · Post Bop
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Steve Wyzard
A CRYING SHAME (LITERALLY)

This is a good Gary Peacock album, but not a great album generally speaking. After the opening track, the excellent "Vignette", all of the others are buried beneath Keith Jarrett's moaning and screeching. And I don't mean for short periods or occasional intervals but for LONG stretches of time. Jarrett's vocalizations appear on most of his albums, but this is his only ECM recording I've heard where it becomes a major distraction. Whenever there is any discussion about this album, EVERYBODY mentions the unintentional histrionics, unless they pre-determine to not mention it out of respect for Jarrett.

It's really too bad that Gary Peacock's performances and compositions are not given their due, because with exception of the experimental "Tone Field", this would be a great jazz piano trio album. Peacock's playing on "Trilogy II" is especially outstanding. Jack DeJohnette plays with his usual brilliance, although from time to time he seems perplexed by the discordant directions the material sometimes takes. The group's headlong rush to the finish of "Trilogy III" is a true highlight on an album that doesn't provide as many as the all-star line-up might promise. This trio would go on to perform mostly standards for 30+ years, so to hear them play newly-composed material is greatly appreciated. Be forewarned about Jarrett's singing, however.

WOLFGANG DAUNER Dream Talk

Album · 1964 · Post Bop
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Igor91
Wolfgang Dauner's first LP under his name is an interesting beginning to an extremely eclectic output of jazz and jazz fusion. He is joined by two musicians that would work with him for many years to come: drummer Fred Braceful and bassist Eberhard Weber. Listening to Dream Talk now, after hearing much of his experimental late 60's early 70's material that came afterwards, one cannot but think how tame the music sounds. A closer listen, however, reveals that Dauner was already experimenting and not doing "straight" jazz. The music is in the early, more grounded, arena of Avant-Garde jazz. All the musicians are locked in subconsciously, creating a loose feel, yet contain elements of structure and melody. All three artists perform impeccably, and my remastered CD version sounds excellent. Weber's bass is high in the mix, giving it a warm, and even modern sound when compared to many recordings of the era. Definitely an enjoyable album to listen to, even if it doesn't leave you disorientated like some of his other work does! Four stars.

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