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Neo-bop contains elements of bebop, post-bop, hard bop, and modal jazz. As both "neo-bop" and " post-bop " refer to eclectic mixtures of styles from the bebop and post-bebop eras, the precise differences in musical style between the two are not clearly defined from an academic standpoint.
Neo-bop as a subgenre emerged within jazz during the early 1980s. This list is derived from All Music [ 1 ] and may contain inaccuracies. In addition the source indicates most or all these musicians work in others genres as well with Post-bop and Hard bop being most common.
Bebop or bop is a style of jazz characterized by a fast tempo, instrumental virtuosity, and improvisation based on a combination of harmonic structure and occasional references to the melody. 1940s -> Big band: Big band is a type of musical ensemble, in essence a jazz orchestra, that typically consists of at least ten musicians and four sections.
Post-bop isn't free or fusion or hard-bop or modal or avant-garde." [3] Some writers have defined post-bop with specificity, but these sources conflict with one another. [1] One potential definition of post-bop is a musical period in which modern jazz was at its greatest mainstream popularity extending from the mid-1950s through to the mid-1960s.
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A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, which was close to swing. Lu Watters and the Yerba Buena Jazz Band, and trombonist Turk Murphy, adopted the repertoire of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong and W. C. Handy: bands included banjo and tuba in the rhythm sections.