#Post-Bop

[haveyouheardthisband]

#Hard Bop #Modal Jazz #Post-Bop #Spiritual Jazz #Avant-Garde Jazz #Free Jazz #1960s #1970s #USA #poll

[haveyoulistenedtothisalbum-poll]

Tracklist:

II B.S. • I X Love • Celia • Mood Indigo • Better Get Hit In Yo' Soul • Theme For Lester Young • Hora Decubitus

Spotify ♪ YouTube

#hyltta-polls #polls #artist: charles mingus #language: instrumental #language: english #decade: 1960s #Post-Bop #Hard Bop #Third Stream

[reckonslepoisson]

The Lounge Lizards, The Lounge Lizards (1981)

White boys pretentiously, needlessly convoluting jazz has never been one of my favourite genres, but the Lounge Lizards were among the first to do so – and did it with admirable panache. At least these guys were somewhat playful and self-aware; they could chuckle at themselves, like an overqualified wedding band. But better, obviously.

Pick: ‘Do the Wrong Thing’

#The Lounge Lizards #self-titled #jazz #avant-garde jazz #post-bop #no wave #1981 #music #review #music review

[a-new-kind-of-water]

#music #john coltrane #the john coltrane quartet plays #post-bop #avant-garde jazz

[zef-zef]

Sylvie Courvoisier & Mary Halvorson - Moonbow from: Sylvie Courvoisier & Mary Halvorson - Searching for the Disappeared Hour (Pyroclastic, 2021)

#2020s #Switzerland #Sylvie Courvoisier #Mary Halvorson #Jazz #Avant-Garde #Avant-Garde Jazz #Post-Bop #women in jazz #Pyroclastic #2021 #week 49 2023 #Bandcamp

[wormsinthadirt]

nothing like some Monk to get the day started... happy wednesday, wormsinthadirt nation :D

#thelonius monk #jazz #post-bop #hard bop #Spotify

[spaceintruderdetector]

13 Avenue B  / 1969

Marvin Stamm, trumpet; Garnett Brown, trombone; Joe Farrell, tenor sax; Chick Corea, piano; Richard Davis, bass; Elvin Jones, drums.

https://www.jazzmusicarchives.com/album/chick-corea/jazz-for-a-sunday-afternoon-volume-4-aka-live-at-the-village-vanguard(live)

#jazz #village vanguard #post-bop #1969

[minimusics]

John Coltrane - "A Love Supreme"

Despite being categorically Not My Thing, I was actually surprised by how much I enjoyed this album. It manages to remain surprising, and it is entirely instrumental, but if jazz is even slightly your thing, might want to check this out. (It is rated mid just because it is not something I will return and listen to without significant reason.)

.

genre: modal jazz, post-bop year: 1965

personal rating: 5 (out of 10)

.

Why this album? This album was listed as one of Rolling Stones Best Albums of All Time in 2003, 2012, and 2020 (at #47, #47, and #66)

#music criticism #music review #album review #john coltrane #a love supreme #a love supreme album #1965 #1960s #5 musics #m musics #modal jazz #post-bop #jazz #relisten #rolling stones best albums of all time #Spotify

[redshift-13]

#matthew shipp #jazz #piano #jazz piano #post-bop

[tornbluefoamcouch]

Artista: John Coltrane Álbum: Olé Coltrane Ano: 1961 Faixas/Tempo: 04/45min Estilo: Jazz/Modal Jazz/Post-Bop Data de Execução: 01/07/2022 Nota: 8,0 Melhor Música: To Her Ladyship

#john coltrane #olé coltrane #1961 #jazz #modal jazz #post-bop #to her ladyship

[luuurien]

Julius Rodrigues - Let Sound Tell All

(Post-Bop, Nu-Jazz, Avant-Garde Jazz)

Julius Rodriguez's debut album sees him coming into his own as a bandleader and composer, pieces that toe the line between the explosive energy of live jazz and the meticulous detailing of studio production. Let Sound Tell All is a ton of information delivered in under 35 minutes, and it's a complete thrill all throughout.

☆☆☆☆

Julius Rodriguez has been all over the place, but his heart lies in the endless possibilities of jazz. He's played in jazz clubs since he was a little kid, toured with A$AP Rocky, and even left Julliard to go on that aforementioned tour. It's that impulsivity and energy that gives his music such character, and on his debut album Let Sound Tell All he lets it all out in one massive burst. Taking hold of both precise and painstakingly detailed studio wizardry and the live, in-the-moment intensity of improvisation and jazz melodic language, Let Sound Tell All is the perfect introduction to a bit of everything that makes Rodriguez the artist he is. It's a little swing, a little gospel, a little electronic, a little avant-garde - you could keep going for a half dozen more descriptors - but it's always him. He's an unfathomably skilled pianist and a powerful bandleader, using the myriad of influences afforded to him as a Gen-Z musician to fit everything from classic Monk and Coltrane to Solange and James Blake into his sound. The results are as spellbinding as you'd expect. After opening with the fiery Blues at the Barn, a hard-swinging blues jam that shows off Rodriguez's raw power on the piano atop a rhythm section comprised of bassist Philip Norris and drummer Joe Saylor, Rodriguez takes the rest of these pieces in all sorts of different directions. You've got everything from the vocal jazz kick of album single All I Need, a fuzzy Stevie Wonder cover with singer Mariah Cameron's heavenly vocals driving the song forward while Rodriguez and the band hang back and watch, to Two Way Street's hard bop by way of psychedelic electronica where Morgan Guerin's saxophone is drenched in all sorts of effects to make for an intense body high of a jazz tune and Elegy (For Cam's) eight minute odyssey of improvisation atop ambient synth layerings that make for one of the dreamiest songs on offer. At just a slim 35 minutes, Let Sound Tell All doesn't waste even a little of your time, but it doesn't feel like a fruitless listen just because these songs aren't all that long. He knows how to get you invested in his music and keep you invested as the album continues to unfold, the synth-infused balladry of Gift of the Moon as downtempo electronica sways in the breeze of Giveton Gelin's trumpet or Rodriguez's untamed piano performances that immediately hooks you in Blues at the Barn short but essential parts of what makes Let Sound Tell All such a fantastic debut. It feels incredibly fleshed out not only for a debut, but for contemporary jazz albums as a whole. Not that other players don't have the same wide vocabulary of Rodriguez - I'm sure anyone with jazz experience has played a hard swing tune like Blues at the Barn and ballads like All I Do enough times to practically write one out in their minds - but it's how Rodriguez utilizes all the different kinds of music he makes in tandem with one another that lets Let Sound Tell All be so magnetizing. Two Way Street shows his ability to work deep within the studio setting, layering effects on effects while preserving the song's post-bop sense of freedom and untethered groove, and the four-minute ballad Where Grace Abounds is an undisturbed gospel-jazz piece outfitted with organs, the choir and all. It's not only a skill to be able to make this all work within one single album, but Rodriguez makes them all feel so well-rounded and distinct that you can easily imagine ways he could make an entire album's worth of tunes just off the template of a single track. He's got the normal swing and blues down, he knows how to work with electronics and the labyrinthian insanity of studio production, he's well-versed with the soulfulness and spirituality of gospel, and no matter where his music goes, he never appears out of his depth for a second. The album's best moment, though, is a simple duet between Rodriguez and vocalist Samara Joy, In Heaven. It's without question one of the best songs to come out this year, a solemn and chilling song that brings out the deepest emotions without Rodriguez's playing and one of Joy's most electrifying performances to date. She starts in her warm, cocooning lower range, Rodriguez's soft piano chord creating a backbone for the story of everlasting love for someone Joy sings of. As her voice continues to grow into the song's soaring chorus, Rodriguez follows suit, not trying to direct where Joy's voice goes and instead playing to her strengths and seeing where the music takes them together. It's one of the less outgoing moments on the album - the song sounds like one you'd hear in the dead of night as a bar begins to be put to rest with dawn approaching - but it's truly unforgettable. It's the kind of stripped-back songcraft that only the best can make work, Rodriguez's wild piano solo halfway through the track saying everything Joy's voice and words could not and making it clear his power as an instrumentalist and storyteller. While her words are simple, they seem to promise the world within them. "Don't go running to the mountains, my love / Because you know I won't be there," she sings, "You'll see me in Heaven." It is absolutely unforgettable and one of the most tearjerking songs to come out in years. Let Sound Tell All professes everything Julius Rodriguez has been, is right now, and could be in the future, everything within his reach and ready for him to take hold of. If this album is only the start, you can only imagine how magical the future is going to be.

#julius rodriguez #let sound tell all #verve #avant-garde jazz #electronic #experimental #jazz #nu-jazz #post-bop #soul #vocal jazz #2022 #8/10 #neo-soul

[haveyouheardthisband]

#Spiritual Jazz #Post-Bop #Jazz Fusion #Soul Jazz #Film Score #2010s #2020s #USA #poll

[sonmelier]

Avant-cuvée 2024 : 1/10

Les trois premières cuvées se sont construites à l'abri des regards, révélées en un seul bloc une fois toutes les explorations sonores de l'année menées à leur terme. Changement de rythme en 2024 : à compter de mars et jusqu'en décembre inclus, toutes les fins de mois seront ponctuées par une sélection de six coups de cœur musicaux - préfigurant de manière progressive une grosse moitié de la cuvée annuelle de 100 disques.

Ces avant-cuvées seront l'occasion de célébrer sans trop attendre les œuvres les plus marquantes de l'actualité musicale, tout en se laissant un temps suffisant de décantation (ce que ne permettrait pas un traitement éditorial plus dense). Leur modalité de présentation adopte l'ordre alphabétique du groupe ou de l'artiste, sans aucune sorte de hiérarchisation.

Mais place désormais au premier épisode de la série, où le jazz est largement mis à l'honneur (de manière directe, avec notamment deux pianistes de génie, mais aussi de façon plus diffuse - en tant qu'influence esthétique). Si elles sont en minorité ce mois-ci, les œuvres habitées vocalement par le genre humain ne le sont pas par n'importe qui : Julia Holter et Thom Yorke, c'est le haut du panier en matière de créativité.

Four Tet | Three

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre | Text | 45 minutes | 8 morceaux

Kieran Hebden est un des artistes les plus créatifs et talentueux de la scène électronique depuis maintenant plus de vingt ans, et ce douzième album sous l’alias Four Tet est une démonstration éclatante de maitrise et de vision. On y retrouve cet équilibre caractéristique entre ambiances oniriques, virées psychédéliques, grooves inspirés du hip-hop, profondeur hypnotique de la house, le tout dans un breuvage sonore organique d’une fluidité exemplaire (mais cependant parsemé de surprises). Il s’agit de son disque le plus envoutant depuis le sublime There Is Love in You (2010), digne de former avec ce dernier et avec le fondamental Rounds (2003) la trinité de référence de sa riche discographie.

🎧 Daydream Repeat

Amaro Freitas | Y'Y

🇧🇷 Brésil | Psychic Hotline | 43 minutes | 9 morceaux

Trois années ou presque se sont écoulées depuis le réjouissant Sankofa, et le moins que l’on puisse dire c’est qu’Amaro Freitas a parcouru du chemin sur cet intervalle de temps. 4 600 kilomètres plus exactement, distance séparant son Pernambouc natal du voisinage forestier de la mythique localité amazonienne de Manaus. En immersion profonde au sein de la communauté indigène des Sateré-Mawé, reconnue pour la vitalité de ses pratiques culturelles, pour la sacralité extrême de ses liens avec la nature mais aussi pour la dureté de ses rites initiatiques (coucou les fourmis tucandeira, dites « balles de fusil ») , le pianiste virtuose semble avoir accédé à de nouveaux états de conscience et c’est par sa musique qu’il parvient à nous y entrainer à sa suite. Aussi foisonnant que méditatif, son quatrième album a fait basculer son jazz dans une nouvelle dimension third stream, plus complexe mais aussi plus saisissante.

🎧 Encantados

Julia Holter | Something in the Room She Moves

🇺🇸 Etats-Unis | Domino | 54 minutes | 10 morceaux

Julia Holter a illuminé la décennie musicale 2010s par son inventivité et son exigence artistique hors du commun, trouvant une sublime ligne de crète entre composition savante et expressivité élégante. Elle a aussi impressionné par sa prolificité, enchainant cinq disques importants en l’espace de huit années. Le dernier d’entre eux, Aviary (2018), album somme d’une heure et demie, peut être vu rétrospectivement comme la conclusion d’un cycle de créativité bouillonnante comme très peu d’artistes ont pu en traverser toutes époques confondues. Six ans, une pandémie mondiale et une maternité plus tard, Something in the Room She Moves ouvre un nouveau chapitre dans le parcours de la californienne. Sa cérébralité légendaire y est un peu moins prégnante, au profit d’une connexion plus profonde au corps et à ses bouleversements internes – comme dans un mouvement de lâcher-prise créatif puissamment libérateur que les épreuves traversées (dont la panne d’inspiration) auraient patiemment préparé. Fusionnant jazz, folk, prog et néoclassique dans un ensemble sonore océanique et organique de toute beauté, ce retour discographique baigné d’ombres mais surtout de lumières réinstalle Julia Holter au sommet de l’art pop contemporaine.

🎧 Something in the Room She Moves

Vijay Iyer Trio | Compassion

🇺🇸 Etats-Unis | ECM | 65 minutes | 12 morceaux

Vijay Iyer est un des pianistes les plus talentueux du jazz américain contemporain, avec un jeu vibrant et des compositions intellectuellement stimulantes qui explorent les frontières entre les chapelles musicales. Changeant régulièrement de configuration et de partenaires artistiques, on a pu l’entendre en 2023 arpenter de sublimes territoires orientaux en compagnie d’Arooj Aftab et de Shahzad Ismaily. « Compassion » réactive un précédent trio qui avait déjà fait ses preuves, tant en studio (Uneasy – 2021) qu’en concert, avec la contrebassiste d’origine malaisienne Linda May Han Oh et le percussionniste avant-gardiste Tyshawn Sorey. Comme son nom l’indique, ce second album de la bande est habité par une dimension humaniste très profonde, mêlant la beauté et la résilience dans des paysages sonores magnifiquement aériens et puissamment électrisants. 

🎧 Maelstrom

The Smile | Wall of Eyes

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre | XL Recordings | 45 minutes | 8 morceaux

Wall of Eyes s’inscrit dans le prolongement du premier album du trio, avec une approche peut être plus impressionniste. Ce qui pouvait apparaitre comme une belle parenthèse inspirée en 2022, un side-project particulièrement réussi de Radiohead, prend finalement racine et semble pouvoir s’installer dans la durée comme un projet à part entière. Un très beau disque d’art rock nourri au jazz et au krautock.

🎧 Bending Hectic

Rafael Toral | Spectral Evolution

🇵🇹 Portugal | Moikai | 47 minutes | 1 morceau

Riche d’une trentaine d’années d’exploration sonore exigeante (notamment dans le cadre d’un projet au long court intitulé « Space Program »), le compositeur portugais Rafael Toral aligne ici toutes les planètes et délivre une symphonie drone-jazz absolument éblouissante. Créée à partir d’accords de guitare ralentis et à l’aide d’un arsenal de synthétiseurs faits maison, Spectral Evolution est une odyssée étonnamment organique, convoquant tout à la fois la beauté hypnotique et infinie de la nature (symbolisée par le chant des oiseaux) et les possibilités vertigineuses de création offertes par la technologie. C’est une œuvre intensément émouvante, peut être aussi parce qu’elle représente un accomplissement inouï, une sorte de graal sonore d’une limpidité miraculeuse compte tenu de l’ampleur des ambitions artistico-scientifiques poursuivies par Toral sur plusieurs décennies.

🎧 Spectral Evolution

#avant-cuvée 2024 #ambient #spiritual jazz #art pop #chamber jazz #post-minimalism #experimental #drone #electronic #post-bop

[reckonslepoisson]

Daguri, Kosuke Mine Quintet (1973)

Trawling through the ages of Japanese jazz, one often hears a country utterly adoring of the genre, with countless musicians that undoubtedly respect it in ways that many far closer to the music’s homeland do not. And while it is rather easy, in any mid-size Japanese city at least, to find exceptional players of hard bop and post-bop, it is far less common to come across records of those styles that are bona fide classics (the avant-garde here is deliberately not mentioned – Japan has far more than its fair share of exciting jazz experimentalists, past and present).

When one does stumble upon one of those classics, a record that truly captures even the most miniscule slither of the country’s vast, awesome jazz scene, needless to say it’s joyous. And that’s the case with Daguri, a 1973 work by the Kosuke Mine Quintet. Far more than imitating the post-bop fusions of the spiritual and avant-garde seen in the US of the period immediately prior, one gets the impression that Mine – with this muscular, pretty, ambitious work – was not just compositionally and stylistically inspired by the likes of Coltrane, Dolphy and Shepp but also influenced in terms of attitude, approach, spirit.

Pick: ‘Thirsty’

#daguri #Kosuke Mine Quintet #jazz #avant-garde jazz #modal jazz #post-bop #spiritual jazz #1973 #music #review #music review

[onryou-onryou]

Colin's ARP2600m processing of Wayne Shorter’s "Nefertiti" (Miles Davis Quintet)

#colin marston #analog synth #trust the process #studio magic #jazz #post-bop #very post #Youtube

[zef-zef]

Kosuke Mine Quintet - Mine (Three Blind Mice, 1971)

Kosuke Mine: Alto Saxophone, Soprano Saxophone Takashi Mizuhashi: Bass Hiroshi Murakami: Drums Hideo Ichikawa: Electric Piano [Fender] Takashi Imai: Trombone

#1970s #Japan #Kosuke Mine Quintet #Jazz/Hard Bop #Post-Bop #Modal #Contemporary Jazz #Fusion #Three Blind Mice #1971 #week 30-2023 #Youtube