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Xia Yu
F. Shak

Jazz style post-bop: towards the history of beginnings and evolution the term

In modern studies of jazz and generalized communication between listeners, musicians and everyone involved in the discussion of jazz music, it is long overdue to form a new term denoting structurally complicated and supplemented by new concepts of bebop. The development of bebop took place in three main phases. The first of them is connected with the classic bebop of the period 1940s – early 1950s. The second was updated by the emergence of a new wave of musicians in 1950, who brought the hardbop style. In turn, the third wave of bebop, which began to form in the 1960s and integrated many techniques that had not previously been commonly used, continued to develop in the 21st century. The article shows how these new varieties of bebop did not find proper understanding among theorists and jazz journalists for a long time. As a result, in the jazz environment, modern forms of jazz discourses were designated by general and rather vague formulations. The press began to use the designation “post-bop”, investing in it not so much musicological as colloquial meanings. Shifts in the theoretical understanding of post-bop are associated with the work of academic musicologist D. Yudkin, who proposed to count the beginning of the development of post-bop from the works of the second M. Davis quintet of the period 1965–1968. Yudkin’s position was criticized by various members of the jazz establishment but was ultimately adopted by many authors. As a result, the term post-bop, now understood as a stylistic definition, is increasingly appearing in the latest research and non-fiction jazz literature.

Key words

postbop, bebop, hardbop, improvisation, jazz art, modern jazz, mainstream jazz, jazz concepts, jazz criticism.

For citation

Xia Yu, Shak F., Jazz style post-bop: towards the history of beginnings and evolution the term // South-Russian Musical Anthology. 2022. No. 3. Pp. 101-109.