Post-bop

Post-bop
Post-bop
Stylistic origins	Jazz; bebop; hard bop; modal jazz; avant-garde jazz; free jazz; impressionist music;
Cultural origins	Early 1960s, New York City
Typical instruments	Drums; saxophone; trumpet; trombone; clarinet; piano; double bass;

Post-bop is a genre of small-combo jazz that evolved in the early to mid-1960s.

Definition[]

Post-bop is jazz from the mid-1960s onward that assimilates hard bop, modal jazz, avant-garde and free jazz without necessarily being immediately identifiable as any of the above.^{[citation needed]} Post-bop can refer to a variety of Jazz music that is post-bebop chronologically but in the common understanding post-bop music reflects these influences: the more open approach to the jazz ensemble crystallized by the second Miles Davis Quintet, and the modal intensity of that group as well as of the classic John Coltrane Quartet.

According to musicologist Jeremy Yudkin, post-bop does not follow "the conventions of bop or the apparently formless freedom of the new jazz".^[1] He wrote in his definition of the subgenre:

Forms, tempos, and meters are freer, all the compositions are new, and the band members themselves are featured composers.... [A]n approach that is abstract and intense in the extreme, with space created for rhythmic and coloristic independence of the drummer—an approach that incorporated modal and chordal harmonies, flexible form, structured choruses, melodic variation, and free improvisation."^[1]

History[]

Miles Davis' second quintet was active during 1964 to 1968 and featured pianist Herbie Hancock, bassist Ron Carter, saxophonist Wayne Shorter, and drummer Tony Williams. They recorded six studio albums that, according to All About Jazz's C. Michael Bailey, introduced post-bop: E.S.P. (1965), Miles Smiles (1967), Sorcerer (1967), Nefertiti (1968), Miles in the Sky (1968), and Filles de Kilimanjaro (1968).^[1]

Legacy[]

The abstractness and the free form of post bop music influenced fusion music in the 1970s. It transformed jazz music to another level that incorporates much more creative freedom and playing. The form free, harmonically free, and abstract post bop influenced artists to move away from the diatonic approaches and opened up the creative aspects of Jazz music. According to the book Miles Davis, Miles Smiles, and the Invention of Post Bop', “Miles Davis is really the one who started Post Bop and continued on the legacy of his own creation towards fusion and hard bop."

References[]

^ Jump up to: ^a ^b ^c Bailey, C. Michael (April 11, 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz. Retrieved February 23, 2013.

External links[]

"Post Bop", Indie Jazz.
"Post Bop", Rhapsody.com.
"Post Bop", Jazz Music Archives.
"Post-Bop", AllMusic
"Post-Bop Records Of The Modern Era", All About Jazz, August 16, 2005.

[Bailey-1] Jump up to: ^a ^b ^c Bailey, C. Michael (April 11, 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz. Retrieved February 23, 2013.

[1]

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