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{{Short description|Genre of small-combo jazz}}
{{refimprove|date=June 2013}}
{{Infobox music genre
|name = Post-bop
|color = black
|bgcolor = pink
|stylistic_origins= {{hlist|[[Jazz]]|[[bebop]]|[[hard bop]]|[[modal jazz]]|[[avant-garde jazz]]|[[free jazz]]|[[Impressionism in music|impressionist music]]}}
|cultural_origins=Early 1960s, [[New York City]]
|instruments={{hlist|[[Drum]]s|[[saxophone]]|[[trumpet]]|[[trombone]]|[[clarinet]]|[[piano]]|[[double bass]]}}
|popularity=Moderate}}


'''Post-bop''' is a [[jazz]] term with several possible definitions and usages.<ref name="Yudkin p. 125">Yudkin, Jeremy (2007), p. 125</ref> It has been variously defined as a musical period, a musical genre, a musical style, and a body of music, sometimes in different chronological periods, depending on the writer. Musicologist [[Barry Kernfeld]] wrote in ''[[The New Grove Dictionary of Music and Musicians]]'' that post-bop is "a vague term, used either stylistically or chronologically (with divergent results) to describe any continuation or amalgamation of [[Bebop|bop]], [[modal jazz]], and [[free jazz]]; its meaning sometimes extends into [[Swing music|swing]] and earlier styles or into [[Jazz fusion|fusion]] and third-world styles."<ref name="Grove">{{Cite encyclopedia |date=2001 |title=Post-bop|encyclopedia=[[The New Grove Dictionary of Music and Musicians|Grove Music Online]] |series=Oxford Music Online |publisher=[[Oxford University Press]]|author-link=Barry Kernfeld|first=Barry|last=Kernfeld|doi=10.1093/gmo/9781561592630.article.J752800}}</ref>
'''Post-bop''' is a genre of small-combo [[jazz]] that evolved in the early to mid-1960s.


==Definitions and uses==
==Definition==
The term post-bop has a variety of usages which vary widely.<ref name="Grove"/> Jazz historian [[Stuart Nicholson (jazz historian)|Stuart Nicholson]] wrote that "The term post-bop is a wonderful catch-all, used not so much to describe what a style of music is, but more what it isn't. Post-bop isn't [[Free jazz|free]] or [[Fusion jazz|fusion]] or [[hard-bop]] or [[Modal jazz|modal]] or [[Avant-garde jazz|avant-garde]]."<ref>{{cite book|title=Jazz, the Modern Resurgence|page=157|publisher=[[Simon & Schuster]]|year=1990|isbn=9780671710125|author-link=Stuart Nicholson (jazz historian)|first=Stuart |last=Nicholson}}</ref> Some writers have defined post-bop with specificity, but these sources conflict with one another.<ref name="Yudkin p. 125" /> One potential definition of post-bop is a musical period in which modern jazz was at its greatest mainstream popularity extending from the mid-1950s through to the mid-1960s.<ref name="Yudkin p. 125" /><ref>{{cite work|title=A Jazz Improvisation Primer|first=Marc |last=Sabatella|url=http://outsideshore.com/primer/post-bop/|chapter=Post-bop|publisher=Outside Shore Music}}</ref> Others have written that post-bop is not a musical period but a specific body of music that emerged in the late 1950s and 1960s that combined principles of bebop, [[hard bop]], [[modal jazz]], [[avant-garde jazz|avant-garde]] and [[free jazz]], but also departed from earlier traditions in jazz.<ref name="Waters 2019">{{Cite book|last=Waters|first=Keith|url=https://www.worldcat.org/oclc/1104790682|title=Postbop jazz in the 1960s : the compositions of Wayne Shorter, Herbie Hancock, and Chick Corea|date=2019|isbn=978-0-19-060460-8|location=New York, NY|oclc=1104790682}}</ref>
Post-bop is jazz from the mid-1960s onward that assimilates [[hard bop]], [[modal jazz]], [[avant-garde jazz|avant-garde]] and [[free jazz]] without necessarily being immediately identifiable as any of the above.{{cn|date=April 2015}} 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

Still other writers have defined post-bop as a genre of small-combo jazz that evolved in the early to mid 1960s in the United States that was pioneered by [[Miles Davis]] (the central figure in the development of this genre), in conjunction with [[Charles Mingus]], [[Wayne Shorter]], [[Herbie Hancock]], [[John Coltrane]] and [[Jackie McLean]], which crafted syntheses of hard bop with contemporaneous developments in [[avant-garde jazz]], modal jazz and free jazz that resulted in music with a complex and experimental flavor though still rooted in bop tradition, featuring less of the [[blues]] and [[soul music|soul]] leanings predominant in hard bop. The movement had a significant impact on subsequent generations of both acoustic jazz and [[jazz fusion|fusion]] musicians.<ref name="Yudkin p. 125" />


According to [[musicology|musicologist]] Jeremy Yudkin, post-bop does not follow "the conventions of bop or the apparently formless freedom of the new jazz".<ref name="Bailey"/> He wrote in his definition of the subgenre:
According to [[musicology|musicologist]] Jeremy Yudkin, post-bop does not follow "the conventions of bop or the apparently formless freedom of the new jazz".<ref name="Bailey"/> He wrote in his definition of the subgenre:


{{quote|[[Form (music)|Forms]], [[tempo]]s, and [[meter (music)|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. Drummers gained the opportunity to move in and out of the basic swing rhythm and approach that incorporated much more complex style, [[mode (music)|modal]] and chordal harmonies, flexible form, structured choruses, melodic [[Variation (music)|variation]], and [[free improvisation]]."<ref name="Bailey">{{cite web|last=Bailey|first=C. Michael|date=April 11, 2008|url=http://www.allaboutjazz.com/php/article.php?id=28959&pg=1|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|work=[[All About Jazz]]|accessdate=February 23, 2013}}</ref>}}
{{blockquote|[[Form (music)|Forms]], [[tempo]]s, and [[meter (music)|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&mdash;an approach that incorporated [[mode (music)|modal]] and chordal harmonies, flexible form, structured choruses, melodic [[Variation (music)|variation]], and [[free improvisation]]."<ref name="Bailey">{{cite web|last=Bailey|first=C. Michael|date=April 11, 2008|url=http://www.allaboutjazz.com/php/article.php?id=28959&pg=1|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|work=[[All About Jazz]]|access-date=February 23, 2013}}</ref>}} According to scholar Keith Waters, some of the traits found in post-bop recordings are: a slower harmonic rhythm characteristic of modal jazz, techniques for playing "inside" and "outside" the underlying harmonic structure, an interactive (or conversational) approach to rhythm section accompaniment, unusual harmonic progressions, use of harmonic or metric superimposition, unusual underlying formal designs for head statements and chorus structure improvisation, or the abandonment entirely of underlying chorus structure beneath improvisation.<ref name="Waters 2019"/>

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

Much "post-bop" was recorded on [[Blue Note Records]].

By the early seventies, most of the major post-bop artists had moved on to [[jazz fusion]] of one form or another.{{Citation needed|date=February 2010}}

== Legacy ==
Due to the abstractness and the free form of post bop music it 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 had 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. The book states that, “Miles Davis is really the one who started Post Bop and continued on the legacy of his own creation towards fusion and hard bop.

== Key Albums ==
{{unreferenced|section|date=May 2016}}
{{original research|section|date=May 2016}}
{{POV section|date=May 2016}}
[[John Coltrane]] - ''[[A Love Supreme]]''

The Miles Davis Quintet - ''[[Nefertiti (Miles Davis album)|Nefertiti]]'' and ''[[Sorcerer (Miles Davis album)|Sorcerer]]''

[[Miles Davis]] - ''[[Miles Smiles]]''

[[Herbie Hancock]] - ''[[Speak Like a Child (album)|Speak Like a Child]]''

[[Wynton Marsalis]] - ''[[Black Codes (From the Underground)]]''

Key albums include ''[[Speak No Evil]]'' by [[Wayne Shorter]]; ''[[The Real McCoy (album)|The Real McCoy]]'' by [[McCoy Tyner]]; ''[[Out to Lunch (album)|Out to Lunch]]'' by [[Eric Dolphy]]; ''[[Miles Smiles]]'' by Miles Davis; ''[[Maiden Voyage (Herbie Hancock album)|Maiden Voyage]]'' by [[Herbie Hancock]]; and ''[[Search for the New Land]]'' by [[Lee Morgan]] (an artist not typically associated with the post-bop genre). Most post-bop artists worked in other genres as well, with a particularly strong overlap with earlier [[hard bop]].

==Associated musicians==
{{unreferenced|section|date=May 2016}}
{{col-start}}
{{col-2}}
*[[Gilad Atzmon]]
*[[Terence Blanchard]]
*[[Carla Bley]]
*[[Ron Carter]]
*[[John Coltrane]]
*[[Chick Corea]]
*[[Jaco Pastorius]]
*[[Andrew Cyrille]]
*[[Miles Davis]]
*[[Eldar Djangirov]]
*[[Eric Dolphy]]
*[[Antonio Farao]]
*[[Kenny Garrett]]
*[[Charlie Haden]]
*[[Jim Hall (musician)|Jim Hall]]
*[[Tigran Hamasyan]]
*[[Herbie Hancock]]
*[[Joe Henderson]]
*[[Vincent Herring]]
*[[Conrad Herwig]]
*[[Andrew Hill]]
*[[Freddie Hubbard]]
*[[Bobby Hutcherson]]
*[[Eric Ineke]]
*[[Milt Jackson]]
*[[Keith Jarrett]]
*[[Howard Johnson (jazz musician)|Howard Johnson]]
*[[Rahsaan Roland Kirk]]{{col-2}}
*[[Harold Land]]
*[[Wilbur Little]]
*[[Joe Lovano]]
*[[Cecil McBee]]
*[[Branford Marsalis]]
*[[Wynton Marsalis]]
*[[Pat Martino]]
*[[John McLaughlin (musician)|John McLaughlin]]
* [[Brad Mehldau]]
*[[Pat Metheny]]
*[[Charles Mingus]]
*[[Lewis Nash]]
*[[Junko Onishi (musician)|Junko Onishi]]
*[[Art Pepper]]-In the 1970s
*[[Chris Potter (jazz saxophonist)|Chris Potter]]
*[[Joshua Redman]]
*[[Sonny Rollins]]
*[[Woody Shaw]]
*[[Andy Sheppard]]
*[[Wayne Shorter]]
*[[Alex Sipiagin]]
*[[Ira Sullivan]]
*[[McCoy Tyner]]
*[[Hiromi Uehara]]
*[[Mal Waldron]]
*[[Tony Williams (drummer)|Tony Williams]]
*[[Phil Woods]]



[[Miles Davis]] was particularly influential in the development of small-combo jazz post-bop in the 1960s. His second quintet was active during 1964 to 1968 and featured pianist [[Herbie Hancock]], bassist [[Ron Carter]], saxophonist [[Wayne Shorter]], and drummer [[Tony Williams (drummer)|Tony Williams]]. They recorded six studio albums that, according to [[All About Jazz]]'s C. Michael Bailey, introduced post-bop: ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965), ''[[Miles Smiles]]'' (1967), ''[[Sorcerer (Miles Davis album)|Sorcerer]]'' (1967), ''[[Nefertiti (Miles Davis album)|Nefertiti]]'' (1968), ''[[Miles in the Sky]]'' (1968), and ''[[Filles de Kilimanjaro]]'' (1968).<ref name="Bailey"/>
{{col-end}}


==See also==
==See also==
*[[:Category:Post-bop jazz musicians]]
* [[:Category:Post-bop jazz musicians]]


==References==
==References==
{{reflist}}
{{Reflist|30em}}


==Bibliography==
*{{cite book|url=https://books.google.com/books?id=9hiwDQAAQBAJ&dq=Post-bop&pg=PA125|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|page=125|first=Jeremy |last=Yudkin|year=2007|publisher=[[Indiana University Press]]|isbn=9780253027818}}
==External links==
==External links==
*[https://web.archive.org/web/20080730085617/http://www.indiejazz.com/page.aspx?page=genre_detail&GenreID=9 Indie Jazz article on Post-Bop]
* [https://web.archive.org/web/20080730085617/http://www.indiejazz.com/page.aspx?page=genre_detail&GenreID=9 "Post Bop"], Indie Jazz.
*[https://web.archive.org/web/20080209211406/http://www.rhapsody.com/jazz/bop/postbop/more.html Rhapsody.com]
* [https://web.archive.org/web/20080209211406/http://www.rhapsody.com/jazz/bop/postbop/more.html "Post Bop"], Rhapsody.com.
*http://www.jazzmusicarchives.com/subgenre/post-bop
* [http://www.jazzmusicarchives.com/subgenre/post-bop "Post Bop"], Jazz Music Archives.
*http://www.allmusic.com/subgenre/post-bop-ma0000005010
* [http://www.allmusic.com/subgenre/post-bop-ma0000005010 "Post-Bop"], [[AllMusic]]
*http://www.allaboutjazz.com/post-bop-records-of-the-modern-era-by-aaj-staff.php
* [http://www.allaboutjazz.com/post-bop-records-of-the-modern-era-by-aaj-staff.php "Post-Bop Records Of The Modern Era"], ''[[All About Jazz]]'', August 16, 2005.


{{Jazzfooter}}
{{Jazzfooter|state=collapsed}}


[[Category:Post-bop| ]]
[[Category:Jazz genres]]
[[Category:Jazz genres]]

Latest revision as of 11:18, 8 July 2024

Post-bop is a jazz term with several possible definitions and usages.[1] It has been variously defined as a musical period, a musical genre, a musical style, and a body of music, sometimes in different chronological periods, depending on the writer. Musicologist Barry Kernfeld wrote in The New Grove Dictionary of Music and Musicians that post-bop is "a vague term, used either stylistically or chronologically (with divergent results) to describe any continuation or amalgamation of bop, modal jazz, and free jazz; its meaning sometimes extends into swing and earlier styles or into fusion and third-world styles."[2]

Definitions and uses

[edit]

The term post-bop has a variety of usages which vary widely.[2] Jazz historian Stuart Nicholson wrote that "The term post-bop is a wonderful catch-all, used not so much to describe what a style of music is, but more what it isn't. Post-bop isn't free or fusion or hard-bop or modal or avant-garde."[3] Some writers have defined post-bop with specificity, but these sources conflict with one another.[1] One potential definition of post-bop is a musical period in which modern jazz was at its greatest mainstream popularity extending from the mid-1950s through to the mid-1960s.[1][4] Others have written that post-bop is not a musical period but a specific body of music that emerged in the late 1950s and 1960s that combined principles of bebop, hard bop, modal jazz, avant-garde and free jazz, but also departed from earlier traditions in jazz.[5]

Still other writers have defined post-bop as a genre of small-combo jazz that evolved in the early to mid 1960s in the United States that was pioneered by Miles Davis (the central figure in the development of this genre), in conjunction with Charles Mingus, Wayne Shorter, Herbie Hancock, John Coltrane and Jackie McLean, which crafted syntheses of hard bop with contemporaneous developments in avant-garde jazz, modal jazz and free jazz that resulted in music with a complex and experimental flavor though still rooted in bop tradition, featuring less of the blues and soul leanings predominant in hard bop. The movement had a significant impact on subsequent generations of both acoustic jazz and fusion musicians.[1]

According to musicologist Jeremy Yudkin, post-bop does not follow "the conventions of bop or the apparently formless freedom of the new jazz".[6] 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."[6]

According to scholar Keith Waters, some of the traits found in post-bop recordings are: a slower harmonic rhythm characteristic of modal jazz, techniques for playing "inside" and "outside" the underlying harmonic structure, an interactive (or conversational) approach to rhythm section accompaniment, unusual harmonic progressions, use of harmonic or metric superimposition, unusual underlying formal designs for head statements and chorus structure improvisation, or the abandonment entirely of underlying chorus structure beneath improvisation.[5]

Miles Davis was particularly influential in the development of small-combo jazz post-bop in the 1960s. His 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).[6]

See also

[edit]

References

[edit]
  1. ^ a b c d Yudkin, Jeremy (2007), p. 125
  2. ^ a b Kernfeld, Barry (2001). "Post-bop". Grove Music Online. Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.J752800.
  3. ^ Nicholson, Stuart (1990). Jazz, the Modern Resurgence. Simon & Schuster. p. 157. ISBN 9780671710125.
  4. ^ Sabatella, Marc. "Post-bop". A Jazz Improvisation Primer. Outside Shore Music.
  5. ^ a b Waters, Keith (2019). Postbop jazz in the 1960s : the compositions of Wayne Shorter, Herbie Hancock, and Chick Corea. New York, NY. ISBN 978-0-19-060460-8. OCLC 1104790682.{{cite book}}: CS1 maint: location missing publisher (link)
  6. ^ 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.

Bibliography

[edit]
[edit]
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