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|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 sixties.
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."
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).
Much "post-bop" was recorded on Blue Note Records. Key albums include Speak No Evil by Wayne Shorter; The Real McCoy by McCoy Tyner; Out to Lunch by Eric Dolphy; Miles Smiles by Miles Davis; 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 later hard bop.
- Bailey, C. Michael (April 11, 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz. Retrieved February 23, 2013.