Jazz, more than any other genre, thrives on evolution. From its early roots in New Orleans to the modern explorations of today’s musicians, jazz has continuously reinvented itself while honoring its past. This book, Post Bop Linear Concepts on Jazz Standards, is part of that ongoing conversation—a bridge between tradition and innovation.
At the heart of jazz lies the standard: a composition so deeply embedded in the collective language of musicians that it becomes both a vehicle for expression and a shared vocabulary. Standards like “All the Things You Are,” “Autumn Leaves,” and “Body and Soul” have been performed, reinterpreted, and recorded by generations of players. They serve as foundational texts upon which individual voices are shaped, and communal creativity is built.
The genre of Post Bop, which emerged in the late 1950s and gained momentum throughout the 1960s, represents one of the most significant evolutionary steps in jazz. It is a musical period that stretches the boundaries of bebop and hard bop, incorporating elements of modal jazz, free jazz, and avant-garde experimentation while maintaining a deep commitment to swing and sophisticated harmony. Rather than adhering to strict formalism, Post Bop favors flexibility, surprise, and a heightened sense of interaction between players.
Among the seminal figures of Post Bop are Miles Davis, particularly through his Second Great Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—a group whose complex harmonic frameworks and rhythmic interplay redefined small ensemble playing. Other luminaries include John Coltrane during his later period, McCoy Tyner, Freddie Hubbard, Joe Henderson, Woody Shaw, Andrew Hill, Eric Dolphy, and Dexter Gordon, whose commanding tone and phrasing bridged bebop with the newer sensibilities of Post Bop.
This book offers a collection of linear phrasing concepts and exercises derived from transcribed solos, tailored for all instruments. It is designed not only to deepen the student’s understanding of the Post Bop idiom but also to provide a toolkit for improvisation rooted in authentic language. Through focused practice with these lines and phrases, musicians can develop a more nuanced command of melody, harmony, and rhythm—all while engaging with the rich legacy of jazz standards.
May this book serve as both a technical resource and a creative spark in your own musical journey.
