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
KEITH JARRETT
4.72 | 37 ratings
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EBERHARD WEBER Pendulum Album Cover Pendulum
EBERHARD WEBER
4.69 | 9 ratings
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JOHN ABERCROMBIE Current Events Album Cover Current Events
JOHN ABERCROMBIE
4.63 | 10 ratings
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TOMASZ STAŃKO Soul Of Things Album Cover Soul Of Things
TOMASZ STAŃKO
4.69 | 7 ratings
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KEITH JARRETT Sleeper Album Cover Sleeper
KEITH JARRETT
4.61 | 9 ratings
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KEITH JARRETT Paris Concert Album Cover Paris Concert
KEITH JARRETT
4.53 | 16 ratings
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JOHN SURMAN Saltash Bells Album Cover Saltash Bells
JOHN SURMAN
4.67 | 6 ratings
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KETIL BJØRNSTAD Ketil Bjørnstad / David Darling / Terje Rypdal / Jon Christensen : The Sea Album Cover Ketil Bjørnstad / David Darling / Terje Rypdal / Jon Christensen : The Sea
KETIL BJØRNSTAD
4.55 | 12 ratings
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TORD GUSTAVSEN Tord Gustavsen Quartet ‎: The Well Album Cover Tord Gustavsen Quartet ‎: The Well
TORD GUSTAVSEN
4.83 | 3 ratings
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KEITH JARRETT A Multitude Of Angels Album Cover A Multitude Of Angels
KEITH JARRETT
4.62 | 4 ratings
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TOMASZ STAŃKO Litania: Music of Krzysztof Komeda Album Cover Litania: Music of Krzysztof Komeda
TOMASZ STAŃKO
4.62 | 4 ratings
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KEITH JARRETT Rio Album Cover Rio
KEITH JARRETT
4.50 | 6 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-fusion contemporary Music Reviews

TRIO TAPESTRY Our Daily Bread

Album · 2023 · Post-Fusion Contemporary
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snobb
Those jazz fans who, as me, are car lovers for decades, most probably will agree that German ECM label is very much a Mercedes-Benz in the jazz recording industry. Half a century ago, "Silver Star" was an innovative (remember Gullwing?), ambitious, brave and at the same time synonymous with 'highest quality'. Then ECM label, which started with the young Jan Garbarek, Kenny Wheeler and Keith Jarrett's European quartet, introduced a new sound quality, technological excellence and innovative take on jazz opening the door for North European folks, European chamber classical tradition and groove-less, partially emotionless, atmosphere as their new jazz standard. Years later, Mercedes experienced a lot of ups and downs, even some years of quality problems, and now it is a sort of safe, expensive and quite old-fashioned product from yesterday's world. I was only a little bit surprised, when I read in car magazine that the average buyer of a new Mercedes in Germany is an upper middle class man, 64 years old. Never heard such statistics about ECM clients, but somehow I expect that the correlation is quite right here.

The Joe Lovano led Trio Tapestry's third release is a good illustration to the longish intro from above. Excellent musicians (pianist Marilyn Crispell is a star on her own right) plays balladry of sort, in the ECM manner. Lovano's sax is signature-soulful, without significant improvisations, with touch of controlled melancholy. Crispell's piano sounds elegant, and Carmen Castaldi, the drummer, adds a lot of percussive sounds in support. The music is groove-less, chamber, slightly emotional, well controlled and safe. Nothing is unexpected or disturbing. It's a quality sound within the comfort zone, soundtrack of yesterday's world for those who want to believe that it's a today, and that it will last forever. Most probably would sound great in a new MB S-class...

MARKUS BURGER The Vienna Sessions

Album · 2022 · Post-Fusion Contemporary
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Carmel
Markus Burger's latest album, "The Vienna Sessions," finds Burger diving deep into the world of post-fusion contemporary and ECM-style solo piano. Packing sixteen original tracks performed by the man himself, this album is a joyous ride through melodic sophistication, harmonic exploration, and heart-stirring emotions. Recorded in the iconic Bösendorfer piano showroom in Vienna, Burger found his inspiration in the city's diverse musical history and the unmatched sound of the legendary Bösendorfer piano. His connection to Vienna is evident, and his love for the instrument shines through the album as he effortlessly blends subtlety, rhythmic freedom, and his powerful performance with silence. The result is a collection of fascinating and reflective pieces that invite the listener to join Burger on his musical stroll through the streets of Vienna, guided by the very essence of the piano itself.

In Burger's composition "Daybreak," the distinctive qualities of post-fusion contemporary and ECM-style solo piano shine through. Embracing melodic sophistication and harmonic exploration. The opening expansive arpeggio figures and complex layering showcase Burger's skillful touch on the piano. The relaxing soft B section, enhanced by added string sounds, illustrates the subtlety and nuance that define his playing, as well as the textural variety inherent in this style of music. With a lyrical and assured touch, Burger expertly weaves together rhythmic precision and emotional depth, creating a captivating listening experience that mirrors the introspective and deeply spiritual nature of his time spent recording in Vienna.

"An Afternoon in Vienna," another standout track from Burger's mesmerizing "The Vienna Sessions," seamlessly blends a beautiful melody that is developed through a theme and variation approach, highlighting Burger's harmonic exploration and melodic sophistication. His improvisations, deeply rooted in theme development, strike a perfect balance between activity and space, demonstrating his command of melodic structures and his thoughtful interaction with silence.

Markus Burger's “The Vienna Sessions” is a captivating showcase of his emotional depth, exceptional playing abilities, and engaging use of space that reels listeners in. Masterfully navigating the iconic Bösendorfer piano's delicate nuances, Burger crafts an introspective and spiritually resonant experience with his compositions and improvisations. This album highlights Burger's deep connection to Vienna, drawing inspiration from the city's rich musical heritage and seamlessly integrating the unique qualities that make his solo piano style so alluring.

MAMMAL HANDS Gift from the Trees

Album · 2023 · Post-Fusion Contemporary
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Carmel
Mammal Hands' latest album, "Gift from the Trees," is the trio of Jordan Smart on saxophone, Nick Smart on piano, and Jesse Barrett on drums recording an album in a residential studio, and they were all about capturing those organic experiences and interactions that come with late-night jamming. The album is a mix of pre-composed and improvised ideas, all in an effort to capture the energy of Mammal Hands' live shows. The album's title speaks to the trio's unique perspective, infusing their compositions with the sounds and rhythms of their Welsh surroundings.

The first track, "The Spinner," takes inspiration from the Welsh environment and builds up a stylish groove with elegant textures. Nick's piano playing propels the music forward, with Barrett and Jordan adding color and textures. It's a beautiful piece that builds up energy to seamlessly create a musical whole. Mammal Hands have a unique quality of melody and tone, and they show it off on this track.

"Kernel" continues the bright and hopeful energy with a theme that is built with counterpoint. Mammal Hands seamlessly blends pre-composed elements with improvisation, creating a sound that's organic, groovy, and rich in texture. The saxophone, piano, and drums all take turns in the spotlight, creating a harmonious whole that's greater than the sum of its parts.

Overall, "Gift from the Trees" is a distinctive Welsh jazz album brought to you by the creative and unique trio called Mammal Hands. The instrumentation and collective energy of the trio allow them to build organic, groove-based, and colorful soundscapes that will inspire and uplift you.

If you're looking for something fresh and innovative in the jazz world, you don't want to miss out on this album.

BRAD MEHLDAU Your Mother Should Know : Brad Mehldau Plays The Beatles

Live album · 2023 · Post-Fusion Contemporary
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js
Much like some other aging jazz musicians such as Bill Frisell and John Scofield, Brad Mehldau seems to be heading in a somewhat nostalgic direction these days. His previous album saw him exploring the prog rock of his youth, and now his latest, “Your Mother Should Know”, goes back a bit further and into the musical reign of The Beatles. If you have ever heard Brad’s lengthy improv on “Bitter Sweet Symphony”, then you will know that he can pull things never imagined before from the simplest pop tune, but this Beatles tribute is not that extravagant. Instead, on this album Mehldau more or less stays with the original tune, both in melody and in the general length of the song, but what he inserts while exploring these songs makes for some fascinating listening.

The handful of Beatle songs that jazz musicians like to play are on here, particularly “Here, There and Everywhere”, a song well on its way to becoming a ‘standard’, but there is also some sillier stuff that one wouldn’t expect a jazzer to touch. In the well written pamphlet that accompanies this CD, Brad explains how he found it interesting that The Beatles would often dive into older styles of pop and vaudeville. In that style Brad gives us, “Your Mother Should Know”, and an Art Tatum and Ellington influenced version of “Maxwell’s Silver Hammer”. On, “I Saw Her Standing There”, Mehldau digs into his boogie-woogie chops, something he is not usually known for.

“I am the Walrus” may be the artiest art pop song ever, and a real challenge for a solo piano player, but Brad handles it well by mostly sticking to the structure of the original with some interesting embellishments added. Yes, this album is kind of ‘cute’ and nostalgic, but there is enough true artistry and imaginative changing of harmonies and tone colors to make it interesting to even the hardcore jazz fan, or someone who just likes creative contemporary music. A hallmark of Brad’s playing is that he rarely gives into gratuitous flash, every note he plays counts and is well considered, and that is why he is so adept with pop material as pop songs are often composed under similar constraints.

CHET BAKER Chet Baker / Jim Hall / Hubert Laws : Studio Trieste

Album · 1982 · Post-Fusion Contemporary
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Steve Wyzard
VERY LATE CTI

Many people are stunned to discover that CTI Records was still releasing albums in the 1980s, of which Studio Trieste is probably the best example. Recorded in March and April of 1982, all the usual suspects (Creed Taylor, Rudy van Gelder, Don Sebesky, Pete Turner) are here, but without Ron Carter on the bass. And while the album is credited to 3 big names with past CTI experience, let it be known here that this is really a "CTI All Stars" album in all but name.

In fact neither Chet Baker nor Hubert Laws appear on the first track, "Malaguena" (9:44), which was originally popularized by Stan Kenton. Opening with percussionist Sammy Figueroa and Hall's stately guitar, this is a soul funk workout for keyboardist Jorge Dalto, electric bassist Gary King, and most especially, the amazing drumming of Steve Gadd. Both Baker's trumpet and Laws's flute open John Lewis's "Django" (10:02), in case anyone was wondering when they would appear. Another CTI staple was a classical piece arranged for jazz band, which here is provided by Tchaikovsky's "Swan Lake" (8:42). This is a showpiece for Laws, who opens and closes the piece, while Baker takes a rare flugelhorn solo. The rhythm section now includes Kenny Barron on keyboards and George Mraz on acoustic bass. The final track, Miles Davis's "All Blues" (9:43) is given a very different, almost Spanish, arrangement. Steve Gadd's drums feature prominently, and both Baker and Laws get to play the famous melody line. While Hall's fluid guitar work receives the most solo space throughout the album, he never dominates as this is truly a "CTI group" performance where the production and arrangements are everything.

It should be mentioned here that of the 3 names on the cover, Chet Baker, while given first billing (alphabetical?), plays the least. This is also one of the rare albums he appears on with NO VOCALS. If you're a fan of these players and the classic "time stands still" CTI sound, you should find much on Studio Trieste to enjoy. With most of the boxes checked, this is a worthy addition to the CTI library in spite of its late recording date.

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