Style recipe for Suno v5

Post-Bop

Post bop from the 1960s: acoustic piano stabs, tenor saxophone, trumpet with mute, defiant and raw in feel. A name-free Suno recipe that reproduces the signature sound without tripping the artist-name filter.

History

Post-bop is less a school than a name given afterwards to jazz of the late 1950s and 1960s that kept bebop's roots without settling fully into hard bop, modal or free jazz. Nobody used the term while the records were being made, and historian Stuart Nicholson called it a catch-all describing what the music isn't: not free, not fusion, not hard bop, not modal. In its narrower sense it means small-combo jazz shaped in the United States by Miles Davis, alongside Charles Mingus, Wayne Shorter, Herbie Hancock and John Coltrane, with less of the blues and soul that ran through hard bop. Forms, tempos and meters loosen: slow modal harmony, soloists moving inside and outside the chords and a rhythm section that converses instead of accompanying. The central document is Davis's second quintet, active from 1964 to 1968 with Hancock, Ron Carter, Shorter and Tony Williams, whose six studio albums from E.S.P. (1965) to Filles de Kilimanjaro (1968) are credited with introducing the style. Mingus Ah Um, Coltrane's Impressions, Eric Dolphy's Out to Lunch! and Shorter's Speak No Evil stand beside them, and the movement shaped later generations of both acoustic jazz and fusion players.

The recipe

Post bop, 1960s, defiant, raw, spacious…

Count them: 33 tags, 547 characters, straight from the 1960s at 120–220 BPM.

Artists in this style

• Max Roach

Similar styles

• Hard Bop1950s · 120–200 BPM
• Free Bop1970s · 120–260 BPM
• Gospel Jazz1960s · 80–130 BPM
• Bossa Nova1960s · 120–140 BPM
• Bebop1950s · 180–240 BPM
• Samba Jazz1960s · 130–180 BPM
• Blues Jazz1950s · 70–120 BPM
• Manouche Swing1940s · 160–260 BPM