Post-Bop Jazz: Definitions, Characteristics, and Evolution
In the vast landscape of musicology, few terms are as debated or as flexible as post-bop. Depending on which historian or musician you ask, post-bop might be described as a specific era, a distinct genre, or a stylistic bridge between the structured world of bebop and the experimental frontiers of free jazz. At its core, post-bop represents an evolution of modern jazz, blending established traditions with a spirit of avant-garde exploration.
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Defining the Ambiguity of Post-Bop
Because the term is used in various ways, musicologists often struggle to provide a single, universal definition. Barry Kernfeld, writing in The New Grove Dictionary of Music and Musicians, describes post-bop as a "vague term" used either chronologically or stylistically to describe the amalgamation of bop, modal jazz, and free jazz. In some instances, the term's reach extends even further, touching upon swing, fusion, and third stream styles.
Jazz historian Stuart Nicholson offers a different perspective, suggesting that post-bop is often used as a "catch-all" term to describe what the music is not—specifically, that it is not purely free jazz, fusion, hard-bop, modal, or avant-garde.
Competing Perspectives on its Origin
- As a Musical Period: Some define it as the era of peak mainstream popularity for modern jazz, spanning from the mid-1950s to the mid-1960s.
- As a Body of Work: Others view it as a specific collection of music emerging in the late 1950s and 1960s that synthesized bebop, hard bop, modal jazz, and free jazz while departing from earlier traditions.
- As a Small-Combo Genre: A third view defines it as a genre of small-combo jazz that evolved in the U.S. during the early to mid-1960s, characterized by a complex, experimental flavor that remained rooted in bop but moved away from the soul and blues leanings of hard bop.
Key Facts
- Central Figure: Miles Davis was the primary pioneer of the small-combo post-bop genre.
- Core Influence: It synthesizes elements of hard bop, modal jazz, and avant-garde/free jazz.
- Key Era: The movement was particularly influential during the 1960s.
- Musical Shift: It features less emphasis on the blues and soul elements found in hard bop.
- Legacy: It significantly impacted subsequent generations of both acoustic jazz and fusion musicians.
Technical Characteristics and Musicality
Post-bop is distinguished by its refusal to adhere strictly to the rigid conventions of bop or the total formlessness of "new jazz." According to musicologist Jeremy Yudkin, the style is abstract and intense, granting drummers more rhythmic and coloristic independence. It utilizes flexible forms, structured choruses, and melodic variation.
Scholar Keith Waters identifies several specific technical traits common in post-bop recordings:
- Slower Harmonic Rhythm: A characteristic borrowed from modal jazz.
- Inside/Outside Playing: Techniques where musicians play within the underlying harmonic structure ("inside") or intentionally deviate from it ("outside").
- Conversational Rhythm: An interactive approach to accompaniment between the soloist and the rhythm section.
- Complex Structures: The use of metric superimposition, unusual harmonic progressions, and the occasional abandonment of traditional chorus structures during improvisation.
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The Influence of Miles Davis and His Second Quintet
Miles Davis was instrumental in shaping the post-bop sound of the 1960s. His Second Quintet, active from 1964 to 1968, served as a laboratory for this style. The group featured a powerhouse lineup: pianist Herbie Hancock, bassist Ron Carter, saxophonist Wayne Shorter, and drummer Tony Williams.
This ensemble recorded six studio albums that are widely credited with introducing the post-bop idiom to the world:
- E.S.P. (1965)
- Miles Smiles (1967)
- Sorcerer (1967)
- Nefertiti (1968)
- Miles in the Sky (1968)
- Filles de Kilimanjaro (1968)
Beyond Davis, other pivotal figures in the development of this synthesis included Charles Mingus, John Coltrane, and Jackie McLean.
Post-Bop Summary Table
| Feature | Hard Bop / Bebop | Post-Bop |
|---|---|---|
| Harmonic Rhythm | Generally faster | Slower (Modal influence) |
| Tonal Influence | Strong blues and soul leanings | Abstract, experimental, less blues-centric |
| Structure | Strict chorus/head patterns | Flexible forms; sometimes abandoned structures |
| Rhythm Section | Supportive accompaniment | Interactive and conversational |
Frequently Asked Questions
What exactly is post-bop jazz?
Post-bop is a flexible term describing a style of jazz that emerged primarily in the 1960s. It acts as a synthesis of bebop, hard bop, modal jazz, and free jazz, resulting in music that is more experimental and abstract than traditional bop but more structured than free jazz.
Who are the most important musicians associated with post-bop?
Miles Davis is considered the central figure, particularly through his work with his Second Quintet (Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams). Other key contributors include Charles Mingus, John Coltrane, and Jackie McLean.
How does post-bop differ from hard bop?
While hard bop is heavily influenced by soul and blues, post-bop moves toward a more abstract and experimental flavor. It also typically employs a slower harmonic rhythm and a more interactive relationship between the soloist and the rhythm section.
What are some essential albums to understand post-bop?
The six studio albums recorded by Miles Davis's Second Quintet between 1965 and 1968—including E.S.P., Miles Smiles, and Nefertiti—are fundamental recordings that introduced the post-bop style.
What does "playing outside" mean in post-bop?
Playing "outside" refers to a technique where the musician intentionally plays notes or phrases that are not within the underlying harmonic structure or key of the song, creating tension before returning "inside" the harmony.