Post Bop
| Post-bop | |
|---|---|
| Stylistic origins | |
| Cultural origins | Early 1960s, New York City |
| Typical instruments | |
Post-bop is a genre of small-combo jazz that evolved in the early to mid-1960s.
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. 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". 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. Drummers gained the opportunity to move in and out of the basic swing rhythm and approach that incorporated much more complex style, modal and chordal harmonies, flexible form, structured choruses, melodic variation, and free improvisation."
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. 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).
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