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 | 104 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 | 24 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
4.69 | 12 ratings
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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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OLD AND NEW DREAMS Playing Album Cover Playing
OLD AND NEW DREAMS
5.00 | 3 ratings
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HERBIE HANCOCK V.S.O.P. : Five Stars Album Cover V.S.O.P. : Five Stars
HERBIE HANCOCK
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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HERBIE HANCOCK Empyrean Isles Album Cover Empyrean Isles
HERBIE HANCOCK
4.58 | 34 ratings
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KENNY WHEELER Double, Double You Album Cover Double, Double You
KENNY WHEELER
4.72 | 7 ratings
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post bop Music Reviews

DIDIER LOCKWOOD New World

Album · 1979 · Post Bop
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FunkFreak75
French violinist records an album for MPS in the Netherlands with an international all-star cast. Here we find Didier deciding to reach backward toward a more classic acoustic-oriented jazz, sounding very much like the music Stéphane Grappelli and the great European jazz violinists of the 1950s and 60s. Didier even goes so far as to cover several jazz "classics"--as if he feels he has to prove himself to the Jazz community.

1. "Vieux Pape" (5:19) opening with a sound palette and style that sounds completely acoustic Sixties, this Didier composition is highly melodic and richly-full with the busy, virtuosic jazz musicianship of pianist Gordon Beck, bassist Niels-Henning Orsted-Pedersen, and drummer extraordinaire, Tony Williams while Didier puts in a performance that would make him worthy for competition with the great Jean-Luc Ponty. Beck's wonderful piano play is capped by a solo that finds me thinking of the late, great Chick Corea. Lovely! Then Niels-Henning Orsted-Pedersen takes a turn in the spotlight and he's also quite wonderful--projecting lovely melody despite moving along the fretboard of his stand-up double bass at breakneck speeds. (9.25/10)

2. "Autumn Leaves" (5:24) a fully-jazz expression of the jazz classic (which was originally composed by Frenchmen Joseph Kosma and lyricist Jacques Prévoert when titled "Les feiulles mortes"--meaning "dead leaves"). Great performances--especially if you like high quality jazz musicianship. Also, I never really realized how wonderfully this song's main melody lends itself to expression on the acoustic violin. A kind of revelation! Gordon Beck's pristine solo in the second minute is so clean, crisp and yet beautiful. And Niels-Henning Orsted-Pedersen's walking bass line so perfect for holding it all together. (9.3333/10)

3. "La Manufacture De Sucre Engloutie" (3:50) gorgeous piano chord play opens this song--a composition credited to both Gordon Beck and Didier. Listening to this song truly is like being in the presence of humans possessed with a direct line to otherworldly beauty. I can definitely see how anomolous music mathematician Allan Holdsworth forged such a deep and lasting bond with Mr. Beck. (9.75/10)

4. "New World" (5:04) composed by Didier's brother, Francis, the ensemble really has fun with this one--especially, methinks, Didier and Tony. A great listen of impressive musicianship. (9.25/10)

5. "The Last Blade Of Grass" (4:26) the first song to sound a little like J-R Fusion with electrified violin, electric guitars, this song is attributed to guest fusion guitarist Jean-Michel Kajdan. Jean-Michel's performance is particularly impressive for its fiery dexterity as well as emotional expressiveness. Matter of fact, the rest of the band seem rather sleepy when set beside J-M's play: as if they're all stunned, standing in jaw-on-the-floor shock, as they go through their motions perfunctorily while Jean-Michel plays. In fact, it takes a full 20-to-30 seconds after Jean-Michel pauses for the others to re-focus and put some passion back into their own play--including the next soloist himself (Didier)! In the end, everybody gets up to speed and the song finishes well, but those first two minutes were extraordinary! (9.3333/10)

6. "My Memories Of You" (5:40) interesting that this Francis Lockwood-penned song title and sound, chord progressions all sound like a song of a similar name that would find its way onto Vangelis Pappathanassiou's soundtrack for the 1982 sci-fi film Blade Runner. This duet between the Lockwood brothers finds the one using electrified violin, the other using a standard grand piano. (8.875/10)

7. "Giant Steps" (2:10) an interesting sprint through one of the giants of jazz history. (4.5/5)

8. "Pent-up House" (2:31) a Sonny Rollins song that Django Reinhardt and Stéphane Grappelli made their own on which guitarist John Etheridge quite capably takes the role of Django, while Didier, of course, takes that of Stéphane. Quite a respectful and faithful rendering. (9.125/10)

9. "Zbiggy" (6:55) a tribute to the recently-deceased Polish-born jazz violinist Zbigniew Seifert. Perishing of cancer at the age of 32, "Zbiggy" had been an early pioneer of electrified violin sounds and an active member of the "free jazz" movement though he contributed significantly to the J-R Fusion albums of Volker Kriegel, Jan "Ptaszyn" Wróbleweski, Jasper van 't Hof, Joachim Kühn, Hans Koller, Charlie Mariano, and Glenn Moore's Oregon. Didier's song here allows his collaborators (Tony Williams, John Etheridge, Gordon Beck, and Niels-Henning Orsted-Pedersen) to also pay tribute to their lost compatriot. Kind of a two-chord high-speed, dynamic vamp that allows for lots of soloing. (13.375/15)

Total Time: 41:19

It's all great acoustic jazz--maybe "rock" can be tagged onto the descriptive referents, but it's really just jazz. To me, this album is more of a retrospective tribute to Jazz history than a step forward in the evolution of Jazz-Rock Fusion. At the same time, after repeated listens I've come to appreciate the absolute genius of the performances of these jazz stalwarts. Beautiful!

A/five stars; while not what I would consider an expression or full-fledged Jazz-Rock Fusion, this is without a doubt a wonderful expression of music, musicianship, and jazz of the absolute highest quality and must, therefore, be extolled as a masterpiece of music--general Götterdämmerung-ed music--no matter what genre or category you choose to assign it to.

CHICK COREA Three Quartets

Album · 1981 · Post Bop
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FunkFreak75
A highly-touted album that I'd never heard until this year.

1. "Quartet No. 1" (10:09) spectacular, dynamic, and creative jazz with occasional injections of riffs and melodies that just keep wowing me. Eddie and Chick's performances are particularly engaging to me: often taking my attention totally away from the two other musicians (who are both solid--Michael able to surprise me from time to time with interesting sometimes knee-buckling, riffs). (18.5/20)

2. "Quartet No. 3" (9:36) opesning like an old-time big band piece for the first minute or two but then turning into a Post Bop/Hard Bop tune. Nice performances but not quite what I'm looking for. (17.5/20)

3. "Quartet No. 2 - Part 1" (dedicated to Duke Ellington) (7:05) Chick's solo opening shows him revisiting several of his old riffs, exploring variations on them and blending them into sequences heretofore unheard. I do not know Duke Ellington's style or sound very well (I only own a couple albums of his--one a three-disc set with Ella Fitzgerald), but there are components here that truly do feel and sound like what could be Duke's. A second musician (Michael) doesn't even join in until the third minute--the third and fourth not until the 3:34 mark! However, it is likeable and engaging, mostly for its comforting tempo, but also for Eddie's distinctive sound and his solo phrasing style that just seems to speak directly to my heart. Michael's sax play sounds a lot like it's coming from one of Billy Joel's mid-70s albums. I can't honestly say whether or not I will ever care if I hear this again much less recognize it if I do. (13.625/15)

4. "Quartet No. 2 - Part 2" (dedicated to John Coltrane) (11:48) Yes, we're back in the 1960s with The Jazz Messengers or Miles' Second Great Quintet (though I'd argue that Eddie Gómez is a little more dynamic and entertaining than Ron Carter--who I love and respect tremendously--and Steve Gadd is just not, much as he tries, as fierce and explosive as Tony Williams: his cymbal play is just too smooth and "elegant"). The opening bears some resemblance to the music of MAGMA (and, later, ONE SHOT)--which was, of course, greatly inspired by the man to whom this song is dedicated. Of the four separated pieces, this is probably my second favorite. It's got some really interesting and subtly variable tempos and a bit of a looser structure. (22.5/25)

Total Time 38:38

The opening song was immediately accessible and enjoyable, prompting hours of out-loud repetition and improvised variations on and inspirations from the bass and piano melodies. I'm saddened to have to admit that not only were the Post Bop motifs out-of-reach to my puny little brain, the performances of both Mr. Smooth (Steve Gadd) and Michael Brecker rarely managed to captivate my attention.

A-/4.5 stars; a minor masterpiece of rock-infused Post Bop Jazz that is a real treat if you're a fan of either Eddie Gomez or acoustic Chick Corea.

EBERHARD WEBER Yellow Fields

Album · 1976 · Post Bop
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FunkFreak75
With the creation of 1976's Yellow Fields we find Eberhard returning to a jazz combo/quartet format for the exposition of the exploration of his rather unique musical ideas. It helps that he has chosen three of my very, very favorite European jazz and Jazz-Rock Fusion musicians as his collaborators.

1. "Touch" (4:58) I am not usually much of a fan of the saxophone but Charlie Mariano has a rare gift for playing with sound and style that rarely irks my sensitive nervous system. Eberhard's underwater bass is the second most attention-grabbing performer here while Rainer and Jon do excellent work holding down the rhythmic foundation of an eminently-enjoyable song. (9.3333/10) 2. "Sand-Glass" (15:40) with a tuned percussion melody that sounds Gamelan (and, thus, marimba), Jon, Eberhard, and Rainer create a peaceful if-oddly-melodized foundation within which bass, Fender Rhodes, soprano sax, and even Jon's cymbal work have plenty of room to add infinitely creative and never-overdone flourishes, flashes, nuances, undertones and overtones. At the end of the fifth minute Charlie switches to the nasally sound of the shehnai for his soloing for about two and a half minutes. Then it's back to his soprano sax--here doubled up--before giving way to Rainer's Fender Rhodes. The creative, fluid play of Eberhard on his underwater bass is so unusual--and yet prepares one for the sounds and stylings he dominates with on his next album, The Following Morning (my favorite of his). Jon Christensen really shines in this section of the song: truly playing off of his band mates and their own expressions of fervor and subtlety. The style subtly shifts over the course of the 12th minute as Eberhard and Jon change their approach to more of a straightforward rock-like bass-and-drum team approach while Rainer continues his almost-too- subtle/gentle Fender Rhodes play. (He really could have stepped up more--or the engineers could have mixed him in front of the cymbals, Gamelan marimba, and bass instead of burying him in the back. A pretty decent composition that shows some of the exploration Eberhard was into at the time--and which he will improve upon/perfect on future albums. (26.5/30)

3. "Yellow Fields" (10:05) I hear a LOT of CHICK COREA and RETURN TO FOREVER in the structure and performances of this song--especially from Rainer and Jon; Eberhard and Charlie sound more like they're from WEATHER REPORT. Therefore, I call this a clever merger of the two, something that could only be managed by four absolute virtuosos of their instruments--which we have here. The only thing really missing from this tune are hooks that anchor themselves in the listener's memory. (17.75/20)

4. "Left Lane" (13:35) with extended sections with only Rainer and Eberhard playing with and off of each other, this one really preps the listener for the duo's next album, The Following Morning on which there will be no drumming, loads of lush orchestration, as well as plenty of areas, like this, where the two are left alone in a large, starkly-empty space. Eberhard convinces Rainer to back down from an extended solo with the establishment of a structured bass line that ushers Jon and Charlie back into the jazz mix, with Charlie taking the lead with his rapid-fire spewing of notes on his soprano sax. At the ten-minute mark Charlie relinquishes the lead for Rainer's Fender Rhodes. It's a nice solo, egged on by Jon and Eberhard's flawless though relentless encouragement. Nice. Charlie returns to a subdued lead for the final ninety seconds, being joined in the last minute by tracks of his nadaswaram and shehnai until the song's slow final fadeout. (26.66667/30)

Total time 44:18

B+/four stars; an excellent addition to any Jazz or Jazz-Rock Fusion lover's music collections. Recommended if mostly for the magnificent displays of virtuosity from all four of the contributors.

EDDIE HENDERSON Heritage

Album · 1976 · Post Bop
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FunkFreak75
Co-opting the "Oakland sound" of Paul Jackson-Mike Clark--the rhythm section that Herbie Hancock had been using on his post Head Hunters Headhunters albums (Thrust and Man-Child)--is an indisputably brilliant idea. Add Patrice Rushen, Julian Priester, and Mtume and you have the formula for instant magic.

1. "Inside You" (4:49) reminds me quite a little of FREDDIE HUBBARD's wonderful version of The Stylistics' "People Make the World Go Round" from Polar AC, his final album for Creed Taylor's CTI production team. Like Hubbard's song, this is soothingly hypnotic with some nice ARP synth strings work from Patrice Rushen throughout. (8.875/10)

2. "Acuphuncture" (3:42) there is no mistaking the Smooth Jazz influence of GEORGE BENSON's recent MONSTER hit, Breezin' on this one. Nicely melodic and funky in an early Smooth Jazz kind of way. (8.875/10)

3. "Time & Space" (5:16) a beautiful and contemplative opening to this one opens the door for some great play from Eddie and Patrice. I feel a bit sad for the constrictive restraints spirited bass player Paul Jackson finds himself under. Great soprano sax work from Hadley Caliman. Still, this is an eminently enjoyable Smooth Jazz tune. A top three song for me. Patrice Rushen's multiple instrument contributions should not go without appropriate praise. (9.3333/10)

4. "Nostalgia" (4:10) Yes, sometimes you just can't help but go back to reminisce--which, of course, conjures up inspiration for new songs from the spirit of 1917-73 and the Mwandishi-Crossroads-Sextant-Realization sessions with Herbie and the gang. I love this though it's not very dynamic or fresh. (8.875/10)

5. "Kudu" (6:07) a slow sustained intro leading into a very funky motif started by Paul Jackson's bass at the one-minute mark reveals a song that is very fitting to the Miles Davis school of jazz-rock fusion. Nice clavinet and trumpet accents and flourishes during the next 90 seconds before there is a James Brown-like R&B bridge that shifts the band into support for an even-wilder Miles-like performace from Eddie. Patrice Rushen's electric piano work beneath is so lively that it threatens to distract from Eddie's superlative outbursts. Then Paul Jackson seems to take over at the end of the fifth minute with Patrice amplifying her rhythm guitar-like clavinet play to take us out. Despite the similarities in sound and style to those of 1970s Miles Davis, this is a great Jazz-Funk tune! (9.75/10)

6. "Dr. Mganga" (7:29) the Swahili name that Eddie self-adopted while living in the Mwandishi world, the band pull together a very full, very active, very funky motif that feels as if it's incorporating a variation on Eumir Deodato's "Also Sprach Zarathustra (2001)" My other top three song. (14/15)

7. "Dark Shadow" (6:54) opens with Hadley Caliman playing bass clarinet sounding like a cross between Herbie's "Hidden Shadows" and Weather Report's "Birdland." Eddie throws in a "Nature Boy"-like melody with his muted trumpet to add to the mut-like mélange feeling of this tune. Julian Priester's contributions on trombone in the second and third minutes is awesome. (I've always loved trumpet and trombone way more than that of any saxophone or clarinet.) Patrice Rushen is also doing some very clever and interesting things beneath the horn soloists. The main bass-and-bass clarinet "Birdland" melody playing beneath it all, however, begins to feel a bit worn out: by the time we're approaching the end (which is, thankfully, quite dynamic) I've about had enough of it. Even Patrice and drummer Billy Hart seem to go to sleep around this point--and then, in the middle of the sixth minute, they do! They crash! Everything falls apart: rubbernecks before popping back to action. Unfortunately, they choose to just pick up the same parts they were all playing--the very ones that brought on the group narcoleptic fit! Not my favorite--and a sad way to close an album (cuz it leaves me with a sour feeling of disappointment). (13/15)

Total Time 38:27

Despite Eddie's tendency to "borrow" themes from other songs/artists in order to start/build his own songs, I cannot ignore the contributions to the progression of Jazz-Rock Fusion that Eddie Henderson and his collaborators have made.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion that falls into the category of early Smooth Jazz.

HERBIE HANCOCK Empyrean Isles

Album · 1964 · Post Bop
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FunkFreak75
Herbie is back with two of his cohorts from Miles Davis' "Second Great Quintet": drummer extraordinaire Tony Williams and bass legend Ron Carter--plus long-time collaborator and Miles replacement, Freddie Hubbard.

A1. "One Finger Snap" (7:21) Freddie Hubbard can sure get inspired by a spirited swing! He's on fire--prompted, to be sure, by the play of Tony Williams and Ron Carter. Only Herbie feels a little out of place (which may have something to do with his one minute of silence beneath Freddie's solo). But then he shows that he's certainly improved and matured with his own great high-speed solo in the fourth and fifth minutes. He definitely has a gift for cleverly and subtly varying the melody with each pass through the phrases. Tony's amazingly entertaining solo in the seventh minute is so cleanly recorded, top to bottom, that it feels as if the sound of a full drum has never been captured so well. So cool! (14/15)

A2. "Oliloqui Valley" (8:30) here's an interesting song whose opening sounds so much like the clip from THE DRIFT's 2008 song "Uncanny Valley" that is used as the main theme song for The Moth Radio Hour podcast! Herbie is the front man from the very start and, I must say that his gift for pleasing melodies (despite his penchant [and talent] for varying them with each and every recapitulation) is quite remarkable. At the end of the fourth minute Herbie finally relinquishes the spotlight in lieu of Freddie's cornet. Freddie's great--quite dynamic and exciting--but he still can't prevent me from gravitating to the extraordinary play of both Herbie and Tony. At 5:40 all but Tony's cymbal play and the odd piano chord step aside to allow Ron Carter to be heard in solo. Ron chooses to take the melody and rhythm off into an mind-bending psychedelia of pitch distortion and pace warp. Never expected that! When Herbie and the others return and push Freddie back to the front the song is about over and I'm sad! That was one of the fastest 8:30's I've ever experienced! (18.75/20)

B1. "Cantaloupe Island" (5:33) We are here once again (like "Watermelon Man") exposed to Herbie's genius for pop-friendly melodies and earworm "hooks." It sounds to me like a bit of a combination of variations on the main melodies of the famous samba-inspired songs, "Mas que nada" by Jorge Ben (released in 1963; later, in 1966, made famous by Sergio Mendes & Brasil '66) and Billy and Gene Page's "The 'In' Crowd" (which was, coincidentally being recorded for the very first time by and for Doby Gray just before Empyrean Isles was released). Nice cornet soloing over the two-part Brasilian-influenced song. (9/10)

B2. "The Egg" (14:01) built over one of the strangest rhythm motifs I've come across: there is a third-world (African) tribal ecstatic dance feel to this--a tense environment that Herbie's piano play is only encouraged and --until 5:15 when things "break" for another creative Ron Carter solo--this time with his bow on his double bass--while Tony (or someone) adds percussive accents and support to the odd "Aquatic Astronaut" sounds Ron is playing. Around the seven minute mark Herbie re-enters and steps up front to play some very angular, mathematical 20th Century "classical" piano stylings before turning it into jazz in the ninth minute as Ron and brush-handed Tony return to jazz-like support. The tneth minute sees a run in which Herbie parades a cascade of more unconventional "classical"-sounding chord progressions before heading off into a mouse/bug-like scurrying mode of play runs on the right handed keys. In the 12th minute Ron and Herbie (mostly) cut out to allow Tony to channel some of his own "weird hee-bee-gee-bee" ideas/inspirations. By the arrival of the 13-minute mark, Freddie is returning and the band is recongealing into a variation of the opening motif for the song's close. Interesting! Fun for a live performance or an internal band exercise, but not so much for the gentle listener. Of the musicians' performances I can say that only Herbie's really wowed me; the rest of the improvised expositions felt a little forced, faked, or soulless. (25.75/30)

Total time: 35:25

Though the growth of all four musicians is on keen display, I find myself a bit let down and turned off by the final piece, "The Egg."

A-/4.5 stars; a near-masterpiece of melodic and yet sophisticated and often experimental jazz. Highly recommended for its first three songs.

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