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Post-bop is a jazz term with several possible definitions and usages.Yudkin, Jeremy (2007), p. 125 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, modal jazz, and free jazz; its meaning sometimes extends into Swing music and earlier styles or into Jazz fusion and third-world styles."
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 leanings predominant in hard bop. The movement had a significant impact on subsequent generations of both acoustic jazz and jazz fusion musicians.
According to musicology 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:
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.
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).
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